Chords for Jim Weider - 1952 Telecaster & 1955 Tweed Super Amp
Tempo:
84.275 bpm
Chords used:
B
E
Ab
G
Gb
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
Let's get going.
[Am]
[A]
[E] All [N] right.
This is a 1952 Telecaster.
And it's one of my favorite guitars.
It's like the workhorse.
I mean, if you don't have a toothbrush,
and you don't have a Telecaster, you're in trouble.
Leo first came out with the Telecaster.
Actually, it was called a Broadcaster in 1948.
And it sold for about $189.
A hell of a lot less than it does now.
And the first one looks exactly like this guitar.
There's no really difference in the Broadcaster than this one.
Now, in 1950, Leo came out.
It was a transition period for the Broadcaster.
He had a problem with Gretsch having the patent on the name Broadcaster
and their drums and banjos.
So since television was coming out,
he decided to call it the Telecaster.
And in between that time, the vintage people, he didn't have a name on it.
And vintage people, people who collect these, just call it the Nocaster.
And this is exactly the same.
Right here you can see there's no Telecaster name on the headstock at all, unlike mine.
But primarily the same guitar as the Broadcaster and the 52 Tele.
There's a little color difference.
This one hasn't been in enough bars.
And on the Nocaster, Broadcaster, and the Telecaster,
the front pickup switch had three positions.
And on the old ones like these, all the way forward was a real bassy sound
because the electric bass was just about coming out then.
Leo was making it.
And in the 48 and then 50s, people didn't have electric basses.
They had the doghouse.
So they'd have to play the bass with the Telecaster.
Get that real boomy sound.
You can do it on that.
Then in between here, you got your rhythm pickup.
And all the way back was the lead pickup.
[Ab] And on all those guitars, in the early, from 48 through 55, until 55 rather,
the back pickup was flat.
Flat pulled, the magnets were flat against the pickup flush.
And that's how you tell.
That's another reason how to tell the pickups.
And these pickups are widely sought after because of their bite and great distortion.
Just compressive tone.
They really sting and sing.
The Tele, you can tell it's an old [B] 52,
[N] is it's just got a black pick guard, big-like pick guard,
full maple neck, solid maple neck,
and that old spaghetti lettering they used to call it,
a little round string tree.
And the serial number was stamped right on the front.
This one happens to be patent number, patent pending, 4248.
Dome knobs and a nice medium-weight ash body.
They used ash back then.
It was like a, built like a tank.
I mean, you could really knock people out with these things if you had to.
And the volume controls were great for doing [B] all kinds of steel swells, like
[G]
[Gb] [F] [Gb]
[Bb] Which you could [B] also do with the tone control.
Because it was, it's also easy to get at.
Let me talk about the amp I'm in right now because it's so funky.
This is the Mate.
This is called a Fender Superamp.
It came out in, it first came out in 1949,
and in 1950 [Ab] became the Mate for the Telecaster,
which was soon to be called a Telecaster because television was coming in.
Leo had to [N] change the name from Broadcaster to Telecaster
because Gretsch had a patent on it for its banjos and drums.
So, this particular amp has got two volume controls,
a volume and a mic volume, treble, bass and presence.
And it's got the old Blue Jensen Alnico speakers,
which give it that warm tone.
[C] [D]
[E] And, it had about 30 watts.
There's something about the Tweed amps that just has a real transparent tone to them.
[D] They're really clean.
[G]
[Am]
[A]
[E] All [N] right.
This is a 1952 Telecaster.
And it's one of my favorite guitars.
It's like the workhorse.
I mean, if you don't have a toothbrush,
and you don't have a Telecaster, you're in trouble.
Leo first came out with the Telecaster.
Actually, it was called a Broadcaster in 1948.
And it sold for about $189.
A hell of a lot less than it does now.
And the first one looks exactly like this guitar.
There's no really difference in the Broadcaster than this one.
Now, in 1950, Leo came out.
It was a transition period for the Broadcaster.
He had a problem with Gretsch having the patent on the name Broadcaster
and their drums and banjos.
So since television was coming out,
he decided to call it the Telecaster.
And in between that time, the vintage people, he didn't have a name on it.
And vintage people, people who collect these, just call it the Nocaster.
And this is exactly the same.
Right here you can see there's no Telecaster name on the headstock at all, unlike mine.
But primarily the same guitar as the Broadcaster and the 52 Tele.
There's a little color difference.
This one hasn't been in enough bars.
And on the Nocaster, Broadcaster, and the Telecaster,
the front pickup switch had three positions.
And on the old ones like these, all the way forward was a real bassy sound
because the electric bass was just about coming out then.
Leo was making it.
And in the 48 and then 50s, people didn't have electric basses.
They had the doghouse.
So they'd have to play the bass with the Telecaster.
Get that real boomy sound.
You can do it on that.
Then in between here, you got your rhythm pickup.
And all the way back was the lead pickup.
[Ab] And on all those guitars, in the early, from 48 through 55, until 55 rather,
the back pickup was flat.
Flat pulled, the magnets were flat against the pickup flush.
And that's how you tell.
That's another reason how to tell the pickups.
And these pickups are widely sought after because of their bite and great distortion.
Just compressive tone.
They really sting and sing.
The Tele, you can tell it's an old [B] 52,
[N] is it's just got a black pick guard, big-like pick guard,
full maple neck, solid maple neck,
and that old spaghetti lettering they used to call it,
a little round string tree.
And the serial number was stamped right on the front.
This one happens to be patent number, patent pending, 4248.
Dome knobs and a nice medium-weight ash body.
They used ash back then.
It was like a, built like a tank.
I mean, you could really knock people out with these things if you had to.
And the volume controls were great for doing [B] all kinds of steel swells, like
[G]
[Gb] [F] [Gb]
[Bb] Which you could [B] also do with the tone control.
Because it was, it's also easy to get at.
Let me talk about the amp I'm in right now because it's so funky.
This is the Mate.
This is called a Fender Superamp.
It came out in, it first came out in 1949,
and in 1950 [Ab] became the Mate for the Telecaster,
which was soon to be called a Telecaster because television was coming in.
Leo had to [N] change the name from Broadcaster to Telecaster
because Gretsch had a patent on it for its banjos and drums.
So, this particular amp has got two volume controls,
a volume and a mic volume, treble, bass and presence.
And it's got the old Blue Jensen Alnico speakers,
which give it that warm tone.
[C] [D]
[E] And, it had about 30 watts.
There's something about the Tweed amps that just has a real transparent tone to them.
[D] They're really clean.
[G]
Key:
B
E
Ab
G
Gb
B
E
Ab
Let's get going. _ _ _ _ _ _ _
_ _ _ _ _ _ [Am] _ _
_ [A] _ _ _ _ _ _
[E] All [N] right.
This is a 1952 Telecaster.
And it's one of my favorite guitars.
It's like the workhorse.
I mean, if you don't have a toothbrush,
and you don't have a Telecaster, you're in trouble.
_ _ Leo first came out with the Telecaster.
Actually, it was called a Broadcaster in 1948.
And it sold for about $189.
_ A hell of a lot less than it does now.
And the first one looks exactly like this guitar.
There's no really difference in the Broadcaster than this one.
Now, in 1950, _ Leo came out.
It was a transition period for the Broadcaster.
_ He had a problem with Gretsch having the patent on the name Broadcaster
and their drums and banjos.
So _ since television was coming out,
he decided to call it the Telecaster.
And in between that time, the vintage people, he didn't have a name on it.
And vintage people, people who collect these, just call it the Nocaster.
And this is exactly the same.
Right here you can see there's no Telecaster name on the headstock at all, unlike mine.
But primarily the same guitar as the Broadcaster and the 52 Tele.
There's a little color difference.
This one hasn't been in enough bars. _
_ _ _ And on the Nocaster, Broadcaster, and the Telecaster,
_ _ the front pickup switch had three positions.
And on the old ones like these, all the way forward was a real bassy sound
because the electric bass was just about coming out then.
Leo was making it.
And in the 48 and then 50s, people didn't have electric basses.
They had the doghouse.
So they'd have to play the bass with the Telecaster.
Get that real boomy sound.
You can do it on that.
Then in between here, you got your rhythm pickup.
And all the way back was the lead pickup.
[Ab] And on all those guitars, in the early, from 48 through 55, until 55 rather,
the back pickup was flat.
Flat pulled, the magnets were flat against the pickup flush.
And that's how you tell.
That's another reason how to tell the pickups.
And these pickups are widely sought after because of their bite and great distortion.
Just compressive tone.
They really sting and sing.
The Tele, _ you can tell it's an old [B] 52,
_ _ [N] is it's just got a black pick guard, big-like pick guard,
full maple neck, solid maple neck,
and that old _ spaghetti lettering they used to call it,
a little round string tree.
And the serial number was stamped right on the front.
This one happens to be patent number, patent pending, 4248. _
Dome knobs and a nice medium-weight ash body.
They used ash back then.
It was like a, built like a tank.
I mean, you could really knock people out with these things if you had to.
_ And the volume controls were great for doing [B] all kinds of steel swells, like_
[G] _ _ _ _
_ [Gb] _ _ _ [F] _ _ _ [Gb] _
_ _ [Bb] Which you could [B] also do with the tone control. _
Because it was, it's also easy to get at. _ _
_ _ Let me talk about the amp I'm in right now because it's so funky.
This is the Mate.
This is called a Fender Superamp.
It came out in, it first came out in 1949,
and in 1950 [Ab] became the Mate for the Telecaster,
which was soon to be called a Telecaster because television was coming in.
Leo had to [N] change the name from Broadcaster to Telecaster _
because Gretsch had a patent on it for its banjos and drums.
So, _ this particular amp _ has got two volume controls,
a volume and a mic volume, treble, bass and presence.
And it's got the old Blue Jensen Alnico speakers,
which give it that warm tone.
[C] _ [D] _
_ [E] _ _ And, it had about 30 watts.
There's something about the Tweed amps that just has a real _ transparent tone to them.
_ _ _ [D] They're really clean.
[G] _ _ _ _ _ _ _
_ _ _ _ _ _ [Am] _ _
_ [A] _ _ _ _ _ _
[E] All [N] right.
This is a 1952 Telecaster.
And it's one of my favorite guitars.
It's like the workhorse.
I mean, if you don't have a toothbrush,
and you don't have a Telecaster, you're in trouble.
_ _ Leo first came out with the Telecaster.
Actually, it was called a Broadcaster in 1948.
And it sold for about $189.
_ A hell of a lot less than it does now.
And the first one looks exactly like this guitar.
There's no really difference in the Broadcaster than this one.
Now, in 1950, _ Leo came out.
It was a transition period for the Broadcaster.
_ He had a problem with Gretsch having the patent on the name Broadcaster
and their drums and banjos.
So _ since television was coming out,
he decided to call it the Telecaster.
And in between that time, the vintage people, he didn't have a name on it.
And vintage people, people who collect these, just call it the Nocaster.
And this is exactly the same.
Right here you can see there's no Telecaster name on the headstock at all, unlike mine.
But primarily the same guitar as the Broadcaster and the 52 Tele.
There's a little color difference.
This one hasn't been in enough bars. _
_ _ _ And on the Nocaster, Broadcaster, and the Telecaster,
_ _ the front pickup switch had three positions.
And on the old ones like these, all the way forward was a real bassy sound
because the electric bass was just about coming out then.
Leo was making it.
And in the 48 and then 50s, people didn't have electric basses.
They had the doghouse.
So they'd have to play the bass with the Telecaster.
Get that real boomy sound.
You can do it on that.
Then in between here, you got your rhythm pickup.
And all the way back was the lead pickup.
[Ab] And on all those guitars, in the early, from 48 through 55, until 55 rather,
the back pickup was flat.
Flat pulled, the magnets were flat against the pickup flush.
And that's how you tell.
That's another reason how to tell the pickups.
And these pickups are widely sought after because of their bite and great distortion.
Just compressive tone.
They really sting and sing.
The Tele, _ you can tell it's an old [B] 52,
_ _ [N] is it's just got a black pick guard, big-like pick guard,
full maple neck, solid maple neck,
and that old _ spaghetti lettering they used to call it,
a little round string tree.
And the serial number was stamped right on the front.
This one happens to be patent number, patent pending, 4248. _
Dome knobs and a nice medium-weight ash body.
They used ash back then.
It was like a, built like a tank.
I mean, you could really knock people out with these things if you had to.
_ And the volume controls were great for doing [B] all kinds of steel swells, like_
[G] _ _ _ _
_ [Gb] _ _ _ [F] _ _ _ [Gb] _
_ _ [Bb] Which you could [B] also do with the tone control. _
Because it was, it's also easy to get at. _ _
_ _ Let me talk about the amp I'm in right now because it's so funky.
This is the Mate.
This is called a Fender Superamp.
It came out in, it first came out in 1949,
and in 1950 [Ab] became the Mate for the Telecaster,
which was soon to be called a Telecaster because television was coming in.
Leo had to [N] change the name from Broadcaster to Telecaster _
because Gretsch had a patent on it for its banjos and drums.
So, _ this particular amp _ has got two volume controls,
a volume and a mic volume, treble, bass and presence.
And it's got the old Blue Jensen Alnico speakers,
which give it that warm tone.
[C] _ [D] _
_ [E] _ _ And, it had about 30 watts.
There's something about the Tweed amps that just has a real _ transparent tone to them.
_ _ _ [D] They're really clean.
[G] _ _ _ _ _ _ _