DISTRIBUTED WORLD WIDE EXCLUSIVELY BY JK LUTHERIE

BLACKGUARD- Telecaster Style Guitars from 1950- 1954 By: Nacho Banos

The Blackguard is a book about the earliest Fender Telecaster style guitars produced from 1950 to 1954 by Fender Musical Instruments in Fullerton California. The book is written in English and comes in a large 12" x 12" coffee-table format with beautiful color photos throughout, totaling nearly 2000 photos in all (aprox. 10lbs), of classic Tele’s, including Broadcasters, Nocasters, Telecasters, and Esquires. About 50 guitars are disassembled and photographed in detail, and another 20 more are pictured in beautiful settings. Along with the photos, each model year is explained in detailed text. The book is limited to 5500 number copies. All books are numbered from 0001 to 5500 in the same style as the original Blackguard Tele serial numbers (stamped on the bridge plate of front cover photo and inside the book as well). All come with a protective case. 412 pages, hardbound book. For more info see theblackguardbook.com  
Here are some pictures from inside the book. This book is incredible, the nicest guitar book we’ve ever seen. Take a look at these few photos from inside the book, and you’ll get an idea of detail and quality of photos that are throughout the book.

 

 

The Blackguard Fests in Dallas & New York
Were Great Successes

New Telecaster Book
Limited edition The Blackguard goes into great detail about early Telecasters

The Blackguard

is an appreciation book by author Nacho Baños about the earliest Fender Telecaster® guitars, those produced between 1950 and 1954. The large (12” x 12”) coffee table-style book is a limited edition of 5,500 copies, all numbered in “Tele serial number” fashion—0001 to 5,500.

 

The book comes in an individual hard case, and features a beautiful color presentation, with more than 2,000 images of early Telecasters. About 50 guitars are disassembled and pictured in detail. Included are a few non-truss Esquires from early 1950, a large group of Broadcasters and Nocasters, and a good selection of ’51, ’52, ’53 and ’54 Esquires and Telecasters.

 

At 419 pages,

The Blackguard

is divided into five chapters, one for each year from 1950 to 1954, plus a final “nitty gritty” technical section in which every component of the Telecaster is pictured and explained in detail. Most secrets pertaining to the manufacturing techniques used for these parts are revealed here, supported by factory documentation, Leo Fender’s personal cost notes, patent prints, Radio-Tel inventory sheets, invoices and other historical documents.

 

Great pictures of legendary Blackguard players in action abound in the book—players including Redd Volkaert, Waylon Jennings, John Beland, Jim Weider, Bill Hullet, G.E. Smith, Keith Richards, Danny Gatton, Roy Buchanan, Jimmy Bryant, Bruce Springsteen, Arlen Roth, Vince Gill, Mike Stern, Marty Stuart and others. There are forewords by Volkaert, Weider, Beland and Ole Fuzzy, plus special contributions by Hullet and luthier David Eichelbaum.

 

Baños, a native of Spain, has been passionate about electric guitars since childhood. His father bought him his first real electric, a brand-new 1983 top-loader blonde Telecaster, an event that marked the starting point of an intense love affair with one of the first and best guitar designs. He discovered the magic feel, beautiful looks and unique sound of the early Blackguard Telecasters and started to develop a real passion for them.

 

Baños conceived of the book in 2001, and finished it after three painstaking years of work. He self-edited and self-published it, and all proceeds from its sale are being donated to Intermon Oxfam (

www.oxfam.org/eng

) to fund Aquaria, a water-supply development program for Ethiopia.

 

Specific details on the progress of the project and its evolution are given through a direct link on the Oxfam website so that buyers and contributors to the book will know exactly where the money is being used and what for.

The Blackguard

is available worldwide exclusively from JK Lutherie (

www.jklutherie.com

), by serial number and on a first-come-first-served basis. The distributor lists available serial numbers so buyers looking for a given number can know what’s left to choose from. Contact JK Lutherie directly through the website above for price and shipping rates.

 

 

The Man Behind The Beard

Billy F Gibbons when he was just a tall, skinny, very polite young man making a lot of noise in the garage of his parents’ home in Tanglewood. His father, Fred Gibbons, was a musician who played the piano for many of the fashion shows in which I modeled; he also accompanied me when I sang on many occasions. I don’t think I ever went to rehearse in Fred’s home and didn’t hear Billy, amped up to the max, rehearsing with his band.

In 1969 Billy’s band, Moving Sidewalks, joined with a rival band, the American Blues, which included bassist and vocalist Dusty Hill of Dallas and drummer Frank Beard of Irving. They formed the blues-rock band, ZZ Top – aka That Little ol’ Band from Texas. With Billy as the front man, centerpiece guitarist and vocalist, the band has been a part of the American musical landscape ever since. The longest running major rock band still composed of its original members, they are known for their Texas-size energy, showmanship and unique image.

Billy is widely regarded as one of America’s finest guitarists working in the blues-rock arena. He is also an internationally recognized collector of cars, guitars and African art, as is chronicled in the best-selling book he wrote about his collecting obsessions, "Rock + Roll Gearhead," which was published in 2005.

His astronomical guitar collection includes the "Muddywood," constructed from fallen timbers from Muddy Waters’ childhood home; the famous "Furry One," as seen in the "Legs" video; and his most cherished one, "Pearly Gates," a Gibson Les Paul Sunburst, valued above all others.

Over the years, Billy’s cars have become stars in their own right. The Eliminator, CadZZilla, Kopperhed and others have been major attractions on the car show circuit and highlighted in numerous videos. They are considered art and icons of automotive history.

Theories have collected, as well, concerning the origin of the band’s name. One asserts that they put two brands of rolling paper, Zig Zag and Top together; another declares the name is a tribute to blues legend, Z. Z. Hill. The real story is told by Billy in his new book, "Rock + Roll Gearhead," where he reveals that the name really came from "king of the blues" master B. B. King. They started to call themselves Z. Z. King, but it sounded too much like their hero; so they settled on ZZ Top.

The band’s first two albums, ZZ Top’s First Album and Rio Grande Mud, were produced by the London Records label. National success and the first gold album came to the hometown boys in 1973 with the third album, Tres Hombres, featuring the now classic song, "La Grange," about the famous bordello that inspired the musical "The Best Little Whorehouse in Texas." This album also included "Beer Drinkers &Hell Raisers," which became a favorite.

Fandango produced the huge hit "Tush;" Tejas featured "Arrested for Driving While Blind" and "El Diablo;" and The Best of ZZ Top quickly followed.

ZZ Top’s "Worldwide Texas Tour," with sets that featured haystacks, live buffalo, a longhorn steer, rattlesnakes, buzzards and ranch equipment, lasted a year and a half, and reportedly, earnings were in the tens of millions. Exhausted, the band decided to take a sabbatical in 1977, which lasted for almost three years. When they reunited to record again, under the Warner Brothers banner, a cosmic revelation or cosmic comedy had occurred: Billy and Dusty, unbeknown to the other, had grown the chest-length beards that soon became part of their "wild man" image.

The members of ZZ Top are almost as well known for their appearance as for their music. Billy and Dusty are always pictured wearing sunglasses and their trademark beards. Ironically, Frank Beard is the only band member without a beard; logically, the group could be renamed, "The Beard Brothers." All wear similar clothing. Billy has long since replaced his giant cowboy hat with an African Nudu tribal chief’s hat from Cameroon, a nod to his love of African art.

It was not until MTV started in the ’80s that ZZ Top decided to appear on television. Their first video, "Gimme All Your Lovin," was soon followed by "Legs" and "Sharp Dressed Man" from the 1983 album Eliminator, which featured Billy’s bright red Ford ’33 hotrod. This multiplatinum album has become one of the group’s most successful. Becoming the "darlings" of MTV took the trio’s famous mystique and popularity to an all-time high.

Afterburner, the group’s eighth album, was a worldwide smash hit; Recycler came out on the Warner label before the group signed a five-disc deal with RCA. Deguello, ZZ Top’s first new album with Warner, featuring "I Thank You," "Cheap Sunglasses" and "I’m Bad, I’m Nationwide," is believed by some fans to be the band’s strongest release. Six albums on RCA followed.

Throughout the years, Billy, Dusty and Frank have relished playing gigs in their hometown. ZZ Top was the second act to play at the Summit; they played there 23 times, more than any other act; and performed at the closing of the Summit, renamed the Compaq Center, renamed Lakewood Church. As Billy was quoted by Houston Chronicle columnist Bruce Westbrook, "ZZ Top walks out, Jesus walks in." Continuing, Billy said, "We have to give our best for the home folks; the home shows are the fun shows … You get to show off in front of your buddies, new girlfriends, old girlfriends – girlfriends you wish you had." As Houstonians, they felt honored to play at the Houston Livestock Show &Rodeo the last year in the Astrodome (2002) and again the first year at Reliant Stadium (2003).

ZZ Top, an acknowledged symbol of Texas, was inducted into the Rock and Roll Hall of Fame on March 15, 2004, by Keith Richards of the Rolling Stones, a longtime friend of Billy’s. It was the first Houston band to join the roster of rock legends.

Beyond his work with ZZ Top, which includes 14 albums, six compilations and myriad singles, Billy has recorded with many notable artists, such as B. B. King, Kid Rock, John Mayall, Les Paul, Nickelback, Queens of the Stone Age and others. He has acted on the television shows "Bones" and "Yes, Dear," as well as appeared in a Quaker State motor oil commercial and innumerable television appearances.

Additionally, Billy was instrumental in raising funds for The Orange Show when it was in its beginning stages. And The Cancer League honored Billy in 2002 with its Texas Hall of Fame Award. It was a joy to catch up with Billy, who people say is still the sweetest, most modest superstar in the world.

H: What was it like growing up in Houston?
BFG: "Bright … with no traffic. The same great community then as it remains today."

H: Tell me a little about your mom, dad and sister.
BFG: "That’s the family. My dear ol’ Dad surrounded us with his musical talents, Mom (Lorraine) listened; Pam and I listened and learned."

H: When did you know that music would be your life?
BFG: "Early on, back as far as I recall … probably around age zero!"

H: Who did you listen to when growing up? I know that one of your housekeepers influenced your direction.
BFG: "Loads of influences! As the song says, ‘Country, Jesus, Hillbilly, Blues, that’s where I learned the licks.’"

H: How did you choose the guitar as opposed to piano, like your dad?
BFG: "Easier to carry! Get up and go!"

H: You’re an icon. It’s so often said that you’re the finest guitarist in the world. How did you learn to play?
BFG: "That’s quite a send up! Rock ‘n’ roll on records and on the radio was the start and still remains a beam of attraction. Good stuff!"

H: ZZ Top has sold 60 million records. Can you think back to the time when you had your first big success? Remember how you felt?
BFG: "ZZ Top’s third release landed our first ‘Top 10,’ ‘La Grange’ – then the touring travels began taking the famous Houston and Texas feeling around the world."

H: What comes to mind immediately as one of your most memorable moments in a performance?
BFG: "Perhaps one of the first performances where the curtain opened, and we were greeted by the one paying customer of the evening. We looked at each other, then launched into the show. Played the first set, took a break, went out and bought the guy a Coke and went back and completed the night. We’re still friends with the guy!"

H: Describe your band members, Dusty and Frank.
BFG: "My stalwart pals; Fine entertainers and superb instrumentalists each. We still like what takes place on the bandstand ’cause we’re never certain who’s gonna do what. Challenging, yet cool."

H: Describe Billy for me.
BFG: "Just that eccentric guy tryin’ to be a good ‘un!"

H: It’s such a tribute to all of you that you’ve stayed together all these years. What’s the secret to the success?
BFG: "We still enjoy playing and creating above anything. It’s a passion which maintains our focus and enjoyment."

H: When did you fall in love with cars?
BFG: "Well, I’ve been told the first words out of my mouth were ‘Ford, Chevrolet and Cadillac’ … that says it all."

H: What was your first car? How many cars do you have? Do you have a favorite? What do you drive now?
BFG: "The first car was a Saturday Westheimer Special, a 1953 Packard Golden Clipper, complete with sawdust in the transmission to keep it in gear … picked it up from a notoriously gifted TV pitch-man for $50 and took off straight for the Mexican border. That’s the start of it all … now too many to count. We do have some favorites, the little rod ’33 Ford, seen in the videos, ‘the Eliminator Coupe,’ and, of course, ‘CadZZilla,’ the radically customized ’48 purple Cadillac. And after all that, our daily driver is provided by Houston’s Yellow Cab!"

H: Why did you decide to write a book? How long did you work on it? Did you enjoy the book tour?
BFG: "The collection of cars and guitars came to the attention of some young associates from Motorbooks International who suggested following the idea of creating a coffee-table photo presentation and essay. The work commenced and a quick few months later, the project hit the streets. A robust book-signing tour ensued and along the way, I rekindled a long standing friendship with another Houstonian, the lovely Adrien Seixas, now residing down the street in Los Angeles! She appears in the book and recognized an early photo of herself when she danced as a go-go girl, way back when!"

H: Do you have any other hobbies in addition to cars and guitars?
BFG: "Oh yes! African art holds intrigue in a most peculiar manner … the somewhat exotic expressions of functionality … in the western eye, considered art, represent feelings of the way, way back. Quite grounded and solid."

H: How about exercise? Favorite foods? Do you ever cook?
BFG: "Exercise? Try walking through an airport looking for the gate! Favorite foods? Mexican as found in Texas or anywhere else. Cook? What’s that!?"

H: You’ve accomplished so much. Do you ever make goals? Is there anything you want to do that you haven’t realized?
BFG: "Oh, yeah. I just want to aim at what remains to be discovered. Keep writing songs."

H: Do you ever get nervous performing anymore?
BFG: "No, unless Mom is in the audience!"

H: Any favorite singers?
BFG: "Jeff Beck. Jeff is as good a guitarist as it gets and yet he, at one time, chose to assign the singing chores to someone else. However, I invited him to appear on ZZ Top’s XXX release as a singer. It was an unexpected invitation and to capture the moment, we revisited the Robert Johnson blues recordings method of setting up the recording session in Dallas in a hotel room. One take and he nailed it! ‘Hey Mr. Millionaire’ became another stunning example of Jeff’s genius and delivery. Mercy!"

H: How many songs have you written, if you know?
BFG: "A bunch … and still willin’ to hammer on!"

H: There’s so much humor in your choices of songs. Are all of you that funny? Or, who’s the funny one?
BFG: "Well, I suppose if one were to encounter us off stage, we would all be thought quite funny."

H: Can you narrow down your favorite song or songs?
BFG: "I like most all of ‘em. Especially the one being played at the moment."

H: In concert, is there one song you MUST do for fans … such as "La Grange"?
BFG: "La Grange," "Sharp Dressed Man," "Bang Bang Shang-A-Lang," "Legs," "Tush."
H: How long have you had the beard? Did Gillette really offer you $1 million to shave it?
BFG: "The beards are now part of the trademark. We have turned down all bets to shave ‘em as we don’t really know what’s under there! The answer that seems to fit is: we’re too ugly. Ha!"

H: I love the sunglasses. Do you wear them all the time now?
BFG: "Oh, yes. Part of the image."

H: I hear you’re working on your 15th album? Tell me about it. When it’s coming, etcetera? When do you go out on tour again?
BFG: "New recordings [are] in the works. Seems that remains an ongoing prospect, followed with touring and, of course, Houston square in the middle. Gotta love the H-town."

H: Talk to me about what Texas means to you.
BFG: "Big, and BIGGER. This is home."

H: When you look back on your career, can you believe what you’ve accomplished? What has all this success meant to you?
BFG: "The accomplishments are a reward. Family and friends make ‘em worthwhile."

H: What do you tell young performers that want to follow in your footsteps?
BFG: "Keep at it. Learn to play what you want to hear."

H: Do you have any favorite sayings that live with you, keep you positive and energized?
BFG: "The great blues singer, Muddy Waters, said it best. ‘You don’t have to be the best one, just be a good ‘un!’ That pretty well says it all."

Billy F Gibbons has been described in many ways: "the guru of the guitar," "the musician’s musician," "an iconic guitarist," "the legendary master of the six-string," "music’s most highly regarded Renaissance man" – even as "The Reverend Willy G.," making that title official when he was ordained in 2002, so that he could perform a wedding ceremony. Boogie on, Billy; you have made your hometown very proud!

 

ijrfqyd479

Here is a Great article about the Fender Blackguard from:

Jacksons Rare Guitars

I first came across this wonderful Black Guard in the very early 1980′s, must have been 1981. At that time the local gang of Pre CBS Stratocaster collectors all scratched their heads (including myself). The guitar had a Fender Telecaster decal that was added I would say in the seventies. We had never seen an early fifties Black Guard before, how do you tell what’s original? Well that was over a quarter of a century ago!

1981 – Sold for $1,000

Today we have had the opportunity to educate ourselves with the benefit of having seen these beautiful Black Guard Tele’s, Esquire’s, Nocaster’s plus a couple of rare Broadcasters (to which we believe this to be one!) which have come into the store. The reason we say believe is due to the fact that the decal is not the original and maybe (being pinpointed to 1950), could it have been a 1950 Esquire? Which would then make it much rarer than a Broadcaster from that era!

1998 – Sold for $6,500

Until the "Black Guard Book" by Nacho Benos (which is the most comprehensive and detailed look of the Black guard era of Fender) We thought the dates had been lost to the thirty plus year old refinsh. The book clearly shows that most of the early Black Guards from 1950 were without dates. It was also near impossible to date these instruments via pot dates, as the solder was (in nearly every case) placed over the codes in the centre of the pots. This Guitar when I first saw it had the original pots and were replaced some twenty years back.

First style 1950 Bushings  -  The peg head had the original PAT APPLD for tuners to which we inadvertently sold to a US dealer around ten years ago (As they floated into the store separately) and we didn’t know they were off this guitar until it’s return a fair while later. However, the original machine head screws together with the first style 1950 string post bushings still remain.

First style Truss Rod Screw – The neck features the first type flat truss rod screw, that changed to a double (Star – Phillips) in 1951.

First style 1950 String retainer – The guitars show a slightly different 1950 string retainer, compared to the 1951 style that gradually dishes in on the top rim.

2003 – Sold for $12,750

First style 1950 Fender Knobs – The guitar still carries the original first series knobs which have a taller dome than later versions. The original control plate is showing plenty of character as it has had much use in its 58 year history.

First style 1950 Ferrules – these are found on the rear of the guitar for which to feed the strings through. These are the original first version 1950 ferrules on this guitar.

First type Strap Button ’50 – 51 type – The guitar still has the original "Steel Rod" nickel plated with the shaper top edge and flat base. These of course are also showing their age.

Bridge Saddles from November 50 Broadcasters onwards – The saddles are the original second series Brass with flat bottom that appeared on Broadcaster and Esquires from November 1950 onwards.

First style Bridge plate – The bridge plate is the original and has the early mat lower half as all the earlier Black Guard models have. Interesting to note is the rear of the bridge has a small hole drilled in the rear. We will come back to that later.

Serial number – One of the reasons I always thought this guitar was later (all those years ago) was due to the serial number being #1803. Once again after reading the fabulous Black Guard book, it reveals that Leo Fender exaggerated with higher numbers in the serial numbers being used and made the production of guitars look much higher as he jumped forward in sequences, to suggest Fender had made many more instruments than they had at that point in time.

First series Jack Cup – This Jack Cup fitted here is one of the three early 1st versions made for these guitars.

First version rear pickup – Elevator Plate – The first versions of these 1950 – 1951 Black Guards had a zink plated Elevator plate as does this guitar. The pickup was weak and open circuit and has been rewound with original type wire by Martin Kell and sounds fantastic. The original Rope was replaced in the same position and looks like the pickup has not been touched. The front pickup appears to be original and I will keep researching that …. Back to the Black Guard book!

First series Switch Lever – The book states the first examples of the Broadcaster have a two PAT Number Switch that ran up intil early 1951 when they switched to a three Pat Number switch. Pictured here is the original first version switch. Attached is also the first series original Capacitor. The switch like most old Tele style guitars has had the wiring converted to the conventional Tele pickup selections. The switch tip is a type two PAT number which may have been replace early on, as like the bridge cover, it was easy to lose or possible brake.

Original Pickguard – The Black Guard on this guitar is original. To quote the Black Guard book " …..  Most Broadcasters come with the Straight-Edged pickguards"  This guitar has the Straight-Edge (Non Beveled) pickguard. The Characteristics of these early guards have traces or polish on the bridge end of the pickguard as does this one! Under the guard shows the factory original 5" paint can ring. On close inspection, this guitar shows the traces as stated, on the bridge end of the pickguard.

The rare cavity rout –  The rare cavity rout on this guitar has the early “gully way” for the wiring to pass through the bridge pickup cavity to the neck pickup cavity. This early wire feeding system proceeds the Diagonal rout that followed on later bodies. The cavity also shows the earlier router entry circle off the the right rather than the centre found on post 1950 bodies.

Early 1950 Control Cavity Rout  - Early Broadcasters had handmade enlargements to the pickup cavities … as this guitar has! The post 1950 guitars had a flat lower end. The Control cavity also has the punched hole on the bass side of the control cavity found on most Broadcasters.

Back to the hole in the Bridge …. An interesting thought … We were looking at pictures of the "Bill Carson" playing a Broadcaster and we noticed the way Bill played with the Bridge cover slid back on the bridge with the rear pickup exposed. This guitar (when I first saw it) had the bridge cover attached with an original bridge screw so one could slide it back with an original spring on the inside, to stop the cover from moving away from the bridge (in the slid back position). Also when being refinished back in the seventies, the top horn had a little more attention with the sanding than anywhere else …. Right where a name may have been!

Secondly, the headstock has a unique circle with a factory type fill with almost matching timber that does not go right through. The circle is around the same size as the top dish of the original string retainer. A factory second given to an Artist? If anyone can shed some light, that would be appreciated.

Over all …  playing this guitar one can see what all the fuss is about with these early Black Guard Fenders. It is super light weight, warm, colourful and takes you back to the time pre the Stratocaster, when Fender were like a big custom shop. One could almost see
the thoughts going into these guitars!

Thanks to the Black Guard book, researching these early Fenders has become much easier. I suggest anyone that has an interest in the Black Guard or the history of Fender, read this wonderful book more than once!

These books are numbered and I was fortunate to get the matching number to this guitar #1803 which the picture on the cover supports. The book comes with the guitar.

2008 – Yours for $75,000