Chords for Dick Dale talks about Leo Fender & Guitars part 2 1996
Tempo:
106.95 bpm
Chords used:
Am
Ab
C
Bm
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
So I started playing, gave me an amplifier, and right off the bat I blew it up because I wanted the sound to sound like Gene Krupa.
And it sounded loud in the little factory, but when I put it on the stage in front of a thousand people, it just, the bass would just go away.
It's resonance.
And then we turned around and I said, all right, now we've got four thousand people.
He keeps giving me amplifiers, I keep the on fire, the speakers would catch on fire, they'd start smoking.
And it was unbelievable.
And so what happened was, finally, after about 48 to 50 speakers and amps that I just torched and blew up,
Leo said, meanwhile I was doing little things with the guitar, first of all my arm kept hitting the knobs, so I took the knobs off,
and then I'd be playing and I'd be cutting my wrists and bleeding and everybody thought I was committing suicide or something.
And I said, Leo, can you put the knobs on the bottom?
He said it would cost me about seven to twelve thousand to make a jig to do that for you.
The next thing I know, give me the guitar.
I take it in there, boom, I got knobs on the bottom.
Still right-handed neck.
So what happened was, and then I made switches and I reversed the pickup so it took a bigger bite, and I made sure that [Am] my big string,
guitar players were playing on six, seven, eight, nine, ten gauge strings.
My smallest gauge is a sixteen.
Then it goes to an eighteen.
Then it goes to a thirty-eight.
Used to go to forty-nines, fifty-nines, and sixties.
Well, that's what I play on today.
They call them bridge cables, they call them coat hangers, railroad tracks, it's really funny.
And I break them, and I break three and four in a song.
And the heavy-duty picks that I use, because I'm going, I developed this style which I'll explain,
grinds the picks down so fast that I'll go through six or seven picks in a song, and I have to, I have a pick holder that I put picks in,
so I pick them up and I just hand them out to the people as I grind through the songs.
Only one company called Dean Markley is the guy who is like Dick Dale in a way.
He's a grassroots guy.
He's against the systems and whatever.
He just, no bullshit.
One and one is two, it's not three.
Like a politician.
[Ab] Like they do.
He treated a string.
That string is the only string that can withstand three of my concerts without breaking.
And I put on Graf-Tek saddles to cut down, because what happens is the string comes up in the saddle and turns purple and black and heats up,
just like you're hitting it with a torch.
And you can just see them turning purple and black.
And then they heat treat and they pop, because I'm going, tiki-tiki-taka-tiki-tiki-taka-tiki-tiki-taka-tiki-tiki-tiki-taka, like that.
Now, how did I learn to play that way?
Learning to play that way was a kid asked me if I could play a song on one string.
And I said, oh, okay, come back tomorrow and I'll do it.
And I was just trying to get rid of them.
Then I started thinking, what am I going to do?
And that's when the birth of Mizzle-Loo came.
Mizzle-Loo was an Egyptian song that the belly dancers would dance to and it was done slow.
It was done on a drum, an Arabic drum.
And they would go, whoop, and she would come up dancing, daaah, on an Oud [Am] instrument.
A man would play this song [Ab] on an Oud, O-U-D.
And he goes, tang-ta-ting-ta-ting [C]-ta-ting-ta-ting-ta-ting-ta [N]-ting-ta-ting-ta-ting-ta-ting-ta-ting-ta-ting-ta-ting,
and play it with a feather quill, a chicken quill.
I went, I'm going to make it sound big and I went to get on done then you're done
you get on that and why I'm in the guy who rolled over in his grave if he heard
it but the thing is I wanted a fat sound all right that's what I really started
blowing up a I'm just playing like that so Leo finally stood in the middle of
4,000 people with Freddy and he said now I know what details trying to tell me
back to the drawing board and he created an amplifier an output transformer all
the text color ticked ill and output transformer and what this is it's
favored the highs mids and lows whereas no transformers did that they only
favored one of the other and this was designed by Leo made by Leo but it was
actually made by triad company no longer in business this was an 85 watt output
transformer that peaked 100 watts and with the 558 81 tubes it peaked up to
100 watts what are we gonna plug it into we had every Jensen speaker that he
had I completely fried so we went to the Langston company and as I sit here today
I can remember standing there with Freddy Leo and myself with the guy hit
man down the aisles of all their equipment the storehouse we want a large
speaker we want a larger magnet a 15-inch speaker with a large magnet on
it have your winding have your coil voice coil put in an aluminum dust cover
because I want to hit the plick of the pick in Europe they call it plethron
I'm gonna just came back from there and that's all they call them picks of
plectrums we want to hear the pick the click of the pick we want to take and
double double the size of the voice coil on the wires and we want to take rubber
glue and put it around the ridge of the outside because the speakers would go
Fred used to go take what you did this one and it would be twisted like that it
was going you know a [Am] twist so they put the rubber so they could go in and out
in and out [Bm] they [Ab] thought we were crazy that was a 15-inch JBL 15 inch d130 F
meaning fender specifications now they call it the big deal pack if you want to
redo it that's what I do when I need extra speakers so what happens is we put
it in a three-foot high cabinet two feet wide 12 inches deep no portholes
just packed it full of fiberglass because we wanted the percussion to kick
back and push the speaker when dick Dale plugged the beast as it's called by
named by a guitar player he called the beast his strat and he plugged his strat
into that showman that amplifier was called the big deal showman when we
plugged that the single showman we plugged that showman into a 15 inch that
speaker that's when dick Dale changed the [N] course of history of rock and roll
before they were talking about dick Dale came to surf guitar the title came from
the 17 surfers that I surfed with the other King so they gave this king of the
surf guitar cool even named my songs let's go tripping let's go tripping on
down to dick Dale everything dick Dale did has always been from the grassroots
people because he could never afford a PR firm and he still doesn't this whole
new movement I'm playing to in front of 500,000 people still the same way it's
a word of mouth because I'm playing to grassroots people we don't try to
impress musicians people don't know what an augmented 9th is neither do I I don't
give a shit I can't even play the scale who cares I play my frustrations and
pain and sound that comes from what I've seen in life and the indigenous people
stepped on so when that happened when that guitar hit dick Dale then broke the
sound barrier he was the first power player in the world now Leah I said to
Leo two weeks later I want to put another 15 in there because I want even
a bigger sound so he went nuts because the speaker was rated at 16 but it was
really 8 so the first output transformer was 8 for the single speaker so he had
to make he made a hundred watt output transformer 4 ohms because we put the
second speaker in the same cabinet and just put a divider in there packed it
when that 100 watt output transformer peaked 180 watts when dick Dale plugged
the beast into that dual showman and that's why it was called the dual
showman because of the dual speakers he not only broke the sound barrier but he
made people's ears bleed and went into the black hole the rest is history and
you know what today no one's been able to duplicate that sound I've spent two
days alone in Meridian Mississippi with mr.
Peavy himself to Leo was his big
guru and he had all his men in there trying to get it they've tried to count
the windings they've cut the transformers in half they've looked
inside but Leo died with the secret he never sold it to CBS
And it sounded loud in the little factory, but when I put it on the stage in front of a thousand people, it just, the bass would just go away.
It's resonance.
And then we turned around and I said, all right, now we've got four thousand people.
He keeps giving me amplifiers, I keep the on fire, the speakers would catch on fire, they'd start smoking.
And it was unbelievable.
And so what happened was, finally, after about 48 to 50 speakers and amps that I just torched and blew up,
Leo said, meanwhile I was doing little things with the guitar, first of all my arm kept hitting the knobs, so I took the knobs off,
and then I'd be playing and I'd be cutting my wrists and bleeding and everybody thought I was committing suicide or something.
And I said, Leo, can you put the knobs on the bottom?
He said it would cost me about seven to twelve thousand to make a jig to do that for you.
The next thing I know, give me the guitar.
I take it in there, boom, I got knobs on the bottom.
Still right-handed neck.
So what happened was, and then I made switches and I reversed the pickup so it took a bigger bite, and I made sure that [Am] my big string,
guitar players were playing on six, seven, eight, nine, ten gauge strings.
My smallest gauge is a sixteen.
Then it goes to an eighteen.
Then it goes to a thirty-eight.
Used to go to forty-nines, fifty-nines, and sixties.
Well, that's what I play on today.
They call them bridge cables, they call them coat hangers, railroad tracks, it's really funny.
And I break them, and I break three and four in a song.
And the heavy-duty picks that I use, because I'm going, I developed this style which I'll explain,
grinds the picks down so fast that I'll go through six or seven picks in a song, and I have to, I have a pick holder that I put picks in,
so I pick them up and I just hand them out to the people as I grind through the songs.
Only one company called Dean Markley is the guy who is like Dick Dale in a way.
He's a grassroots guy.
He's against the systems and whatever.
He just, no bullshit.
One and one is two, it's not three.
Like a politician.
[Ab] Like they do.
He treated a string.
That string is the only string that can withstand three of my concerts without breaking.
And I put on Graf-Tek saddles to cut down, because what happens is the string comes up in the saddle and turns purple and black and heats up,
just like you're hitting it with a torch.
And you can just see them turning purple and black.
And then they heat treat and they pop, because I'm going, tiki-tiki-taka-tiki-tiki-taka-tiki-tiki-taka-tiki-tiki-tiki-taka, like that.
Now, how did I learn to play that way?
Learning to play that way was a kid asked me if I could play a song on one string.
And I said, oh, okay, come back tomorrow and I'll do it.
And I was just trying to get rid of them.
Then I started thinking, what am I going to do?
And that's when the birth of Mizzle-Loo came.
Mizzle-Loo was an Egyptian song that the belly dancers would dance to and it was done slow.
It was done on a drum, an Arabic drum.
And they would go, whoop, and she would come up dancing, daaah, on an Oud [Am] instrument.
A man would play this song [Ab] on an Oud, O-U-D.
And he goes, tang-ta-ting-ta-ting [C]-ta-ting-ta-ting-ta-ting-ta [N]-ting-ta-ting-ta-ting-ta-ting-ta-ting-ta-ting-ta-ting,
and play it with a feather quill, a chicken quill.
I went, I'm going to make it sound big and I went to get on done then you're done
you get on that and why I'm in the guy who rolled over in his grave if he heard
it but the thing is I wanted a fat sound all right that's what I really started
blowing up a I'm just playing like that so Leo finally stood in the middle of
4,000 people with Freddy and he said now I know what details trying to tell me
back to the drawing board and he created an amplifier an output transformer all
the text color ticked ill and output transformer and what this is it's
favored the highs mids and lows whereas no transformers did that they only
favored one of the other and this was designed by Leo made by Leo but it was
actually made by triad company no longer in business this was an 85 watt output
transformer that peaked 100 watts and with the 558 81 tubes it peaked up to
100 watts what are we gonna plug it into we had every Jensen speaker that he
had I completely fried so we went to the Langston company and as I sit here today
I can remember standing there with Freddy Leo and myself with the guy hit
man down the aisles of all their equipment the storehouse we want a large
speaker we want a larger magnet a 15-inch speaker with a large magnet on
it have your winding have your coil voice coil put in an aluminum dust cover
because I want to hit the plick of the pick in Europe they call it plethron
I'm gonna just came back from there and that's all they call them picks of
plectrums we want to hear the pick the click of the pick we want to take and
double double the size of the voice coil on the wires and we want to take rubber
glue and put it around the ridge of the outside because the speakers would go
Fred used to go take what you did this one and it would be twisted like that it
was going you know a [Am] twist so they put the rubber so they could go in and out
in and out [Bm] they [Ab] thought we were crazy that was a 15-inch JBL 15 inch d130 F
meaning fender specifications now they call it the big deal pack if you want to
redo it that's what I do when I need extra speakers so what happens is we put
it in a three-foot high cabinet two feet wide 12 inches deep no portholes
just packed it full of fiberglass because we wanted the percussion to kick
back and push the speaker when dick Dale plugged the beast as it's called by
named by a guitar player he called the beast his strat and he plugged his strat
into that showman that amplifier was called the big deal showman when we
plugged that the single showman we plugged that showman into a 15 inch that
speaker that's when dick Dale changed the [N] course of history of rock and roll
before they were talking about dick Dale came to surf guitar the title came from
the 17 surfers that I surfed with the other King so they gave this king of the
surf guitar cool even named my songs let's go tripping let's go tripping on
down to dick Dale everything dick Dale did has always been from the grassroots
people because he could never afford a PR firm and he still doesn't this whole
new movement I'm playing to in front of 500,000 people still the same way it's
a word of mouth because I'm playing to grassroots people we don't try to
impress musicians people don't know what an augmented 9th is neither do I I don't
give a shit I can't even play the scale who cares I play my frustrations and
pain and sound that comes from what I've seen in life and the indigenous people
stepped on so when that happened when that guitar hit dick Dale then broke the
sound barrier he was the first power player in the world now Leah I said to
Leo two weeks later I want to put another 15 in there because I want even
a bigger sound so he went nuts because the speaker was rated at 16 but it was
really 8 so the first output transformer was 8 for the single speaker so he had
to make he made a hundred watt output transformer 4 ohms because we put the
second speaker in the same cabinet and just put a divider in there packed it
when that 100 watt output transformer peaked 180 watts when dick Dale plugged
the beast into that dual showman and that's why it was called the dual
showman because of the dual speakers he not only broke the sound barrier but he
made people's ears bleed and went into the black hole the rest is history and
you know what today no one's been able to duplicate that sound I've spent two
days alone in Meridian Mississippi with mr.
Peavy himself to Leo was his big
guru and he had all his men in there trying to get it they've tried to count
the windings they've cut the transformers in half they've looked
inside but Leo died with the secret he never sold it to CBS
Key:
Am
Ab
C
Bm
Am
Ab
C
Bm
_ _ So I started playing, gave me an amplifier, and right off the bat I blew it up because I wanted the sound to sound like Gene Krupa.
And it sounded loud in the little factory, but when I put it on the stage in front of a thousand people, it just, the bass would just go away.
_ It's resonance.
And then we turned around and I said, all right, now we've got four thousand people.
He keeps giving me amplifiers, I keep the on fire, the speakers would catch on fire, they'd start smoking.
And it was unbelievable.
And so what happened was, finally, after about 48 to 50 speakers and amps that I just torched and blew up,
Leo said, meanwhile I was doing little things with the guitar, first of all my arm kept hitting the knobs, so I took the knobs off,
and then I'd be playing and I'd be cutting my wrists and bleeding and everybody thought I was committing suicide or something.
And I said, Leo, can you put the knobs on the bottom?
He said it would cost me about seven to twelve thousand to make a jig to do that for you.
The next thing I know, give me the guitar.
I take it in there, boom, I got knobs on the bottom.
Still right-handed neck.
So what happened was, and then I made switches and I reversed the pickup so it took a bigger bite, and I made sure that [Am] my big string,
guitar players were playing on six, seven, eight, nine, ten gauge strings.
My smallest gauge is a sixteen.
Then it goes to an eighteen.
Then it goes to a thirty-eight.
Used to go to forty-nines, fifty-nines, and sixties.
Well, that's what I play on today.
They call them bridge cables, they call them coat hangers, railroad tracks, it's really funny.
And I break them, and I break three and four in a song.
And the heavy-duty picks that I use, because I'm going, I developed this style which I'll explain,
grinds the picks down so fast that I'll go through six or seven picks in a song, and I have to, I have a pick holder that I put picks in,
so I pick them up and I just hand them out to the people as I grind through the songs.
_ Only one company called Dean Markley is the guy who is like Dick Dale in a way.
He's a grassroots guy.
He's against the systems and whatever.
He just, no bullshit.
One and one is two, it's not three.
Like a politician.
[Ab] Like they do.
_ He treated a string.
That string is the only string that can withstand three of my concerts without breaking.
And I put on Graf-Tek _ saddles to cut down, because what happens is the string comes up in the saddle and turns purple and black and heats up,
just like you're hitting it with a torch.
And you can just see them turning purple and black.
And then they heat treat and they pop, because I'm going, tiki-tiki-taka-tiki-tiki-taka-tiki-tiki-taka-tiki-tiki-tiki-taka, like that.
Now, how did I learn to play that way?
_ Learning to play that way was a kid asked me if I could play a song on one string.
_ And I said, oh, okay, come back tomorrow and I'll do it.
And I was just trying to get rid of them.
Then I started thinking, what am I going to do?
And that's when the birth of Mizzle-Loo came.
Mizzle-Loo was an Egyptian song that the belly dancers would dance to and it was done slow.
It was done on a drum, an Arabic drum.
_ And they would go, whoop, _ _ _ _ _ _ and she would come up dancing, daaah, on an Oud [Am] instrument.
A man would play this song [Ab] on an Oud, O-U-D.
And he goes, tang-ta-ting-ta-ting [C]-ta-ting-ta-ting-ta-ting-ta [N]-ting-ta-ting-ta-ting-ta-ting-ta-ting-ta-ting-ta-ting,
and play it with a feather quill, a chicken quill. _ _
I went, _ I'm going to make it sound big and I went to get on done then you're done
you get on that and why I'm in the guy who rolled over in his grave if he heard
it but the thing is I wanted a fat sound all right that's what I really started
blowing up a I'm just playing like that so Leo finally stood in the middle of
4,000 people with Freddy and he said _ now I know what details trying to tell me
back to the drawing board and he created an amplifier an output transformer all
the text color ticked ill and output transformer and what this is it's
favored the highs mids and lows whereas no transformers did that they only
favored one of the other and this was designed by Leo made by Leo but it was
actually made by triad company no longer in business this was an 85 watt output
transformer that peaked 100 watts and with the 558 81 tubes it peaked up to
_ 100 watts what are we gonna plug it into we had every Jensen speaker that he
had I completely fried so we went to the Langston company and as I sit here today
_ I can remember standing there with Freddy Leo and myself with the guy hit
man _ down the aisles of all their equipment the storehouse we want a large
speaker we want a larger magnet a 15-inch speaker with a large magnet on
it have your winding have your coil voice coil put in an aluminum dust cover
because I want to hit the plick of the pick in Europe they call it plethron
I'm gonna just came back from there and that's all they call them picks of
plectrums we want to hear the pick the click of the pick we want to take and
double double the size of the voice coil on the wires and we want to take rubber
glue and put it around the ridge of the outside because the speakers would go
Fred used to go take what you did this one and it would be twisted like that it
was going you know a [Am] twist so they put the rubber so they could go in and out
in and out [Bm] they [Ab] thought we were crazy that was a 15-inch JBL 15 inch d130 F
meaning fender specifications _ now they call it the big deal pack if you want to
redo it that's what I do when I need extra speakers so what happens is we put
it in a three-foot high cabinet two feet wide 12 inches deep no portholes
just packed it full of fiberglass because we wanted the percussion to kick
back and push the speaker when dick Dale plugged the beast as it's called by
named by a guitar player he called the beast _ _ his strat and he plugged his strat
into that showman that amplifier was called the big deal showman _ _ when we
plugged that the single showman we plugged that showman into a 15 inch that
speaker that's when dick Dale changed the [N] course of history of rock and roll
before they were talking about dick Dale came to surf guitar the title came from
the 17 surfers that I surfed with the other King so they gave this king of the
surf guitar cool even named my songs let's go tripping let's go tripping on
down to dick Dale everything dick Dale did has always been from the grassroots
people because he could never afford a PR firm and he still doesn't this whole
new movement I'm playing to in front of 500,000 people still the same way it's
a word of mouth because I'm playing to grassroots people we don't try to
impress musicians people don't know what an augmented 9th is neither do I I don't
give a shit I can't even play the scale who cares I play my frustrations and
pain and sound that comes from what I've seen in life and the indigenous people
stepped on so when that happened when that guitar hit dick Dale then broke the
sound barrier he was the first power player in the world now _ Leah I said to
Leo two weeks later I want to put another 15 in there because I want even
a bigger sound _ so he went nuts because the speaker was rated at 16 but it was
really 8 so the first output transformer was 8 for the single speaker so he had
to make he made a hundred watt output transformer 4 ohms because we put the
second speaker in the same cabinet and just put a divider in there packed it
when that 100 watt output transformer peaked 180 watts _ when dick Dale plugged
the beast into that dual showman and that's why it was called the dual
showman because of the dual speakers he not only broke the sound barrier but he
made people's ears bleed and went into the black hole the rest is history and
you know what today no one's been able to duplicate that sound I've spent two
days alone in Meridian Mississippi with mr.
Peavy himself to Leo was his big
guru and he had all his men in there trying to get it they've tried to count
the windings they've cut the transformers in half they've looked
inside but Leo died with the secret he never sold it to CBS
And it sounded loud in the little factory, but when I put it on the stage in front of a thousand people, it just, the bass would just go away.
_ It's resonance.
And then we turned around and I said, all right, now we've got four thousand people.
He keeps giving me amplifiers, I keep the on fire, the speakers would catch on fire, they'd start smoking.
And it was unbelievable.
And so what happened was, finally, after about 48 to 50 speakers and amps that I just torched and blew up,
Leo said, meanwhile I was doing little things with the guitar, first of all my arm kept hitting the knobs, so I took the knobs off,
and then I'd be playing and I'd be cutting my wrists and bleeding and everybody thought I was committing suicide or something.
And I said, Leo, can you put the knobs on the bottom?
He said it would cost me about seven to twelve thousand to make a jig to do that for you.
The next thing I know, give me the guitar.
I take it in there, boom, I got knobs on the bottom.
Still right-handed neck.
So what happened was, and then I made switches and I reversed the pickup so it took a bigger bite, and I made sure that [Am] my big string,
guitar players were playing on six, seven, eight, nine, ten gauge strings.
My smallest gauge is a sixteen.
Then it goes to an eighteen.
Then it goes to a thirty-eight.
Used to go to forty-nines, fifty-nines, and sixties.
Well, that's what I play on today.
They call them bridge cables, they call them coat hangers, railroad tracks, it's really funny.
And I break them, and I break three and four in a song.
And the heavy-duty picks that I use, because I'm going, I developed this style which I'll explain,
grinds the picks down so fast that I'll go through six or seven picks in a song, and I have to, I have a pick holder that I put picks in,
so I pick them up and I just hand them out to the people as I grind through the songs.
_ Only one company called Dean Markley is the guy who is like Dick Dale in a way.
He's a grassroots guy.
He's against the systems and whatever.
He just, no bullshit.
One and one is two, it's not three.
Like a politician.
[Ab] Like they do.
_ He treated a string.
That string is the only string that can withstand three of my concerts without breaking.
And I put on Graf-Tek _ saddles to cut down, because what happens is the string comes up in the saddle and turns purple and black and heats up,
just like you're hitting it with a torch.
And you can just see them turning purple and black.
And then they heat treat and they pop, because I'm going, tiki-tiki-taka-tiki-tiki-taka-tiki-tiki-taka-tiki-tiki-tiki-taka, like that.
Now, how did I learn to play that way?
_ Learning to play that way was a kid asked me if I could play a song on one string.
_ And I said, oh, okay, come back tomorrow and I'll do it.
And I was just trying to get rid of them.
Then I started thinking, what am I going to do?
And that's when the birth of Mizzle-Loo came.
Mizzle-Loo was an Egyptian song that the belly dancers would dance to and it was done slow.
It was done on a drum, an Arabic drum.
_ And they would go, whoop, _ _ _ _ _ _ and she would come up dancing, daaah, on an Oud [Am] instrument.
A man would play this song [Ab] on an Oud, O-U-D.
And he goes, tang-ta-ting-ta-ting [C]-ta-ting-ta-ting-ta-ting-ta [N]-ting-ta-ting-ta-ting-ta-ting-ta-ting-ta-ting-ta-ting,
and play it with a feather quill, a chicken quill. _ _
I went, _ I'm going to make it sound big and I went to get on done then you're done
you get on that and why I'm in the guy who rolled over in his grave if he heard
it but the thing is I wanted a fat sound all right that's what I really started
blowing up a I'm just playing like that so Leo finally stood in the middle of
4,000 people with Freddy and he said _ now I know what details trying to tell me
back to the drawing board and he created an amplifier an output transformer all
the text color ticked ill and output transformer and what this is it's
favored the highs mids and lows whereas no transformers did that they only
favored one of the other and this was designed by Leo made by Leo but it was
actually made by triad company no longer in business this was an 85 watt output
transformer that peaked 100 watts and with the 558 81 tubes it peaked up to
_ 100 watts what are we gonna plug it into we had every Jensen speaker that he
had I completely fried so we went to the Langston company and as I sit here today
_ I can remember standing there with Freddy Leo and myself with the guy hit
man _ down the aisles of all their equipment the storehouse we want a large
speaker we want a larger magnet a 15-inch speaker with a large magnet on
it have your winding have your coil voice coil put in an aluminum dust cover
because I want to hit the plick of the pick in Europe they call it plethron
I'm gonna just came back from there and that's all they call them picks of
plectrums we want to hear the pick the click of the pick we want to take and
double double the size of the voice coil on the wires and we want to take rubber
glue and put it around the ridge of the outside because the speakers would go
Fred used to go take what you did this one and it would be twisted like that it
was going you know a [Am] twist so they put the rubber so they could go in and out
in and out [Bm] they [Ab] thought we were crazy that was a 15-inch JBL 15 inch d130 F
meaning fender specifications _ now they call it the big deal pack if you want to
redo it that's what I do when I need extra speakers so what happens is we put
it in a three-foot high cabinet two feet wide 12 inches deep no portholes
just packed it full of fiberglass because we wanted the percussion to kick
back and push the speaker when dick Dale plugged the beast as it's called by
named by a guitar player he called the beast _ _ his strat and he plugged his strat
into that showman that amplifier was called the big deal showman _ _ when we
plugged that the single showman we plugged that showman into a 15 inch that
speaker that's when dick Dale changed the [N] course of history of rock and roll
before they were talking about dick Dale came to surf guitar the title came from
the 17 surfers that I surfed with the other King so they gave this king of the
surf guitar cool even named my songs let's go tripping let's go tripping on
down to dick Dale everything dick Dale did has always been from the grassroots
people because he could never afford a PR firm and he still doesn't this whole
new movement I'm playing to in front of 500,000 people still the same way it's
a word of mouth because I'm playing to grassroots people we don't try to
impress musicians people don't know what an augmented 9th is neither do I I don't
give a shit I can't even play the scale who cares I play my frustrations and
pain and sound that comes from what I've seen in life and the indigenous people
stepped on so when that happened when that guitar hit dick Dale then broke the
sound barrier he was the first power player in the world now _ Leah I said to
Leo two weeks later I want to put another 15 in there because I want even
a bigger sound _ so he went nuts because the speaker was rated at 16 but it was
really 8 so the first output transformer was 8 for the single speaker so he had
to make he made a hundred watt output transformer 4 ohms because we put the
second speaker in the same cabinet and just put a divider in there packed it
when that 100 watt output transformer peaked 180 watts _ when dick Dale plugged
the beast into that dual showman and that's why it was called the dual
showman because of the dual speakers he not only broke the sound barrier but he
made people's ears bleed and went into the black hole the rest is history and
you know what today no one's been able to duplicate that sound I've spent two
days alone in Meridian Mississippi with mr.
Peavy himself to Leo was his big
guru and he had all his men in there trying to get it they've tried to count
the windings they've cut the transformers in half they've looked
inside but Leo died with the secret he never sold it to CBS