Tag Archives: Gretsch Guitars

Go Behind the Scenes With Reverend Horton Heat


Reverend Horton Heat has a new album coming out on Jan. 21 that is appropriately titled Rev, and Guitar World recently offered fans a behind-the-scened look at what’s to come.

The music mag went into the studio with bassist Jimbo Wallace and Jim “The Rev” Heath, and the duo discussed the recording process and their new single, “Let Me Teach You How to Eat.”

Check out the action below and visit Reverend Horton Heat’s official website for more information.

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Gretsch on ’60s U.S. Series TV


Gretsch guitars were all over the tube in the 1960s. Big hollow-body guitars remained in widespread use in rock and pop throughout the entire decade, and it seemed at times as though you couldn’t throw a rock without hitting a TV set that was showing some variety or music show featuring some band that had at least one Gretsch instrument in the lineup. Pretty cool.

From the Beatles and the Stones and the Animals on The Ed Sullivan Show to the Kinks on Shivaree to the Zombies on Shindig! and more, Gretsch guitars were a staple on U.S. programming. Even across the pond, the Who’s John Entwistle wielded a Gretsch 6070 bass on Ready Steady Go! in 1965.

And yet there was a whole other category of U.S. television programming in the ’60s that also showed Gretsch instruments: prime-time series television on the three major networks at the time—ABC, CBS and NBC. Not only did you see and hear Gretsch guitars on variety shows and music shows; you also saw them on top-rated sitcoms, action-packed cop shows, cool spy shows and more.

Here are five notable examples of That Great Gretsch Sound on U.S. network series television in the 1960s. Some of these shows and the musical acts on them are well known and some are pretty obscure, but there’s simply no mistaking a Gretsch when you see one.

The Monkees

Gretsch instruments appeared in nearly every Monkees episode from first (Sept. 12, 1966) to last (March 25, 1968). In this clip, from fall 1965 pilot episode “Here Come the Monkees” (which, oddly, aired Nov. 14, 1966, as episode ten), NBC’s simian heroes swing their way through “Let’s Dance On.” Sort of.

And that’s three Gretsch guitars out front, wielded not only by Mike Nesmith and Peter Tork, as usual, but here even by Davy Jones. Nesmith’s guitar undergoes an interesting change toward the end, but it’s nothing compared to the utterly magical transformation of Tork’s bass. And pay close attention to the logo on that kick drum head, by the way …


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Gretsch Hot Rod Walt Pinstripe Guitars


Check out one of the new Gretsch Hot Rod Walt guitars receiving its custom pinstripe paint job. A limited run of these guitars are shipping out now to dealers worldwide. Get ‘em while you can!

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Patrick Stump Discusses His New Gretsch Signature Model


Fall Out Boy is back and better than ever in 2013, and so is singer/guitarist Patrick Stump’s signature Gretsch guitar model, the G5135CVT-PS Stump-O-Matic Patrick Vaughn Stump Signature Electromatic® CVT, as seen (and heard) below.

In this video clip, Stump himself gives you a guided tour of the guitar, which now features a white finish with gray “competition” stripes for a cleanly elegant look with a dash of attitude. In a variety of styles, he gets a variety of sounds from its tonally versatile three-pickup design with special electronics—going from crushing full-on distortion one minute to sharply clean funk-style rhythm tone the next, and even convincingly rich acoustic-like tone, too. And watch as he “plays” the kill switch …

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GretschTech: the Zero Fret


Zero fret on a G6122-1959 Chet Atkins Country Gentleman.

What’s the deal with the zero fret found on some Gretsch guitars? What is it, why is it there and what does it do?

A “zero fret” is an extra fret located directly in front of the nut. You don’t often see them these days, although they were once fairly commonplace. Regarded today as an antiquated feature, they nonetheless still appear on a small number of instruments as an item of vintage-style authenticity.

Nonetheless, a zero fret isn’t merely a cosmetic touch—it does serve a subtle purpose appreciated by discerning players. In effect, it takes over the role of the nut in determining string height above the fingerboard. A zero fret can even out string action even more uniformly than the nut.

It’s easy to understand how the zero fret achieves this. On most guitars and basses, the nut serves as the anchor point for the vibrating length of the string at that end of the instrument (the bridge saddles serving the same function at the other end of the instrument) and as the string “spacer.”

The slots cut into the nut are of a generally uniform depth, but there can be very slight variations, which in turn produce very slight variations in the height of each individual string above the fingerboard. Guitarists with a discerning fretting hand feel may be able to detect such small variances.

The zero fret eliminates these variances and uniformly evens out string height even more finely because all the strings rest on it as they pass over it, with the nut relegated solely to its role of spacing the strings apart evenly across the width of the fingerboard.


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