That guitar was not lost for fifty years. It was owned by Marv Erickson, who bought it as a refurbished Bigsby after Murphey traded it back to Bigsby. Marv owned it until about ten years ago, or less -- I can check my notes. Paul Bigsby removed the original center plate. filled the pot hole with the acorn knob and inlaid into the apron Marv Erickson's name. When Erickson sold the guitar, it was changed back as you see it today, with the aged badge and no Marv Erickson.
Several Bigsby collectors knew Marv Erickson owned the guitar. He was not cheated out of it either. He got a very fair price.
Murphey's reverse single neck Bigsby is not lost either. It was redone and resold by Bigsby as well. It now has another name on it as well.
Chris Lucker
Red Bellies, Bigsbys and a lot of other guitars.
Back to Murphy vs Murphey,when I built him a guitar he said he wanted his name spelled correctly and it really bothered him when it wasn't, this is his autograph:
That's great info Chas.
I'm glad you made the receipt available to the public as well. I saw it at your place several years back . Also one of the coolest items at your place has to be the hand signed note from Joaquin to you.... priceless.
Todd
Jimmy,
I think it was volume. I really can only think of one recording or so where I've heard Joaquin use a tone Boo Ahh effect. On my copy of his guitar I put a tone control on there.
Thanks for the reply and information. "Red ball Whistle" and the very svelte "Cow Pasture Song" on a Tex and the Western Caravan album are the only Boo Ahhs I can recall. That T8 was on the cover. Does it get in your way at all?
Chris Lucker wrote:
Murphey's reverse single neck Bigsby is not lost either. It was redone and resold by Bigsby as well. It now has another name on it as well.
I don't know if "reflective" is the right word---I believe Bobby Black saw him play that steel in San Jose and he says that Joaquin was not amused with the guitar.
That could be Speedy on "Red Ball Whistle". The tracks on that LP were transcription recordings made in 1950-51, at which time Freddie Tavares was on Tex Williams studio recordings and live appearances. But the Tavares recordings I've heard always seem to have a Hawaiian tinge to them (like Murphey's) and no sign of boo-wah that Speedy often used.
On the other hand, I can't locate ANY other recording by Tex Williams with Speedy, although I guess he could have been on just that one track.
I can't find any evidence that Joaquin recorded with Williams after December of 1949, after just about 2 years in the band. Wayne Burdick didn't appear until November of 1951, at least in the studio.
The guitarist doesn't sound at all like Johnny Weis, more like Dickie Phillips. But I've only heard a couple examples of his playing, the soundies that had Burdick, Deuce, and Jimmy Widener (among others).
My rig: Infinity and Telonics.
Son, we live in a world with walls, and those walls have to be guarded by men with steel guitars. Who's gonna do it? You? You, Lt. Weinberg?
Herb Steiner wrote:Dickie Phillips. But I've only heard a couple examples of his playing,
Herb:
Take a listen to Dickie on Dick Stubbs' "Hillbilly Swing" aka "Saturday Nite Stomp"--one of the few Starday recordings done in California, circa 1954. I agree, nothing like Johnny Weis. He's on a number of the Town Hall Party video clips, but always on bass rather than standard guitar as far as I know.
I have a several "Tex Williams Western Caravan" Columbia transcription recordings. All the early stuff is Joaquin The last "album labeled # G-181 and G-182 Has a steel player I do not recognize. A good player but no Joaquin... a bit more of a chordal player. Sounds like a Fender instrument, Standard guitarist ( lead) is playing a solid body, not Johnny Weis .
Tunes include:
Red Ball Whistle
The Big Print Giveth
Last Go Round
Between You and The Birds and The Bee's And Cupid
Foolish Tears
Kansas City Rag
Close The Door Richard
Brother Drop Dead
Ten Silver Dollars.
Mitch maybe that will give you a clue on who the players were from that recording session.
“Big Print Giveth†is allegedly Tavares, but I’m just not sure enough about him to say. At times, I am reminded of Speedy on that one track. Tavares could well be on most or all of the others.
As talented as he was, I’d guess he could ditch the overt Hawaiian sound at will. Considering Freddie’s connection with Leo, I suppose he could be on a Fender.
“Between You and The Birds and The Bees and Cupid†is also allegedly Tavares on June 7, 1951.
There aren’t a lot of choices, pre-1952, with Tex Williams’ own band; Joaquin, Tavares, possibly Eddie Mitchell on a couple of songs, and then a bunch of songs with unidentified players.
In a case or two, Mitchell is reminiscent of Murphey. He didn’t have nearly the fluidity, speed, or imagination of our hero, but the tone occasionally suggests JM, at least to me. I think that’s him on “Baby Doll†by the Sons Of The Pioneers.
I also have an odd version of Steel Guitar Rag by Tex. I think it’s a transcription and may be Wayne Burdick on steel. It runs only 1’38â€. Burdick also did a live version of the tune with Tex that runs only 58 seconds. The two versions have enough similarities on that tune to make me think it’s the same guy.
Mitch,
Probably is Tavares as you say. I do not know enough of his playing to know his style, but the playing does not have a big Hawaiian touch. If it was him,he was probably playing more of a "Western" style for Tex. Not 100% on the Fender tone either , but it is no Bigsby. The lead guitar is twangy as well.
I'm sure Leo was getting his instruments to all the L.A guys by this time.
Old thread just adding some info.The Capitol Transcription G 181/182 is Wayne Burdick playing steel guitar and Dickie Phillips playing the cool lead guitar and the fiddle. Jimmy Widener plays rhythm guitar.
The Murphey-Murphy subject has been covered pretty well here, but what is the origin of his sobriquet "Joaquin" and did he pronounce the J the Spanish way?
Don't go in the water after lunch. You'll get a cramp and drown. - Mother.
David, Joaquin's legal name was Earl James Murphey Jr. and when he auditioned for Spade Cooley at 17 years old, he was most likely going by "E.J." which was his childhood nickname. In any case, "Joaquin" was placed on him by Spade or Smokey Rogers and was meant to stick to a tradition in the Spade Cooley group at the time which was to give western-sounding names to the band members. For instance, Andrew Soldi (violin) became "Cactus" Soldi, Larry De Paul (accordion) became "Pedro", and so forth. In live and studio recordings from Cooley, Tex Williams, and others, they all say "Wakeen" when he goes into one of his always unique and inventive solos so it's not the textbook Spanish pronunciation.
