Learn the tonal techniques behind five classic tracks by Tele-toting masters

Words Chris Bird, Rob Laing

GREEN ONIONS

STEVE CROPPER, BOOKER T. & THE M.G.’S 1956 FENDER ESQUIRE

This soul classic was recorded with guitarist Steve Cropper’s 1956 Esquire equipped, as is the Esquire way, with just a single bridge pickup. Amp-wise, Green Onions’ biting tone was reportedly delivered through a 10-watt Fender Harvard valve amp. There’s also a rich echo on certain parts of the guitar track that’s most likely to be a plate reverb.

THE MESSIAH WILL COME

AGAIN  ROY BUCHANAN 1953 FENDER TELECASTER

This track showcases the singing emotion Leroy ‘Roy’ Buchanan could conjure with his Tele ‘Nancy’. Flipping between the bridge and middle pickup positions and adjusting volume on the fly, Roy would coax both gentle tones and stinging leads from his guitar. No effects are necessary. Just a Fender Vibrolux amp with volume and tone cranked to maximum, plus reverb and an Echoplex delay unit for ambience.

CRAZY LITTLE THING CALLED

LOVE  BRIAN MAY, QUEEN 1967 FENDER ESQUIRE

Brian May actually put down his Red Special to use one of Roger Taylor’s natural-wood Telecasters in order to nail the ’50s throwback style on this song’s rockabilly solo. Its status as a wonderful anomaly is further added to by the fact producer Reinhold Mack put May through an unfamiliar Mesa/Boogie for it. Use a neck pickup, a little compression and a low-inthe-mix slapback delay.

Photos Getty

GRACE

JEFF BUCKLEY 

1983 ‘TOP LOADER’ TELECASTER

Proof of how atmospheric a clean Tele can be with creative chord work. Jeff’s borrowed blonde Tele (now owned by Muse’s Matt Bellamy) was loaded with a Seymour Duncan Hot Tele Lead pickup in the bridge position that he added himself.