Saturday, April 23, 2011

Fender Precision Slab Bass

Post World War II saw a marked increase in the popularity of the guitar throughout the world. My take on this is due to United State soldiers, especially those from the southern USA who brought their guitars with them to play and sing songs that reminded them of home. Britain was especially accepting of this cultural exchange. 

This was a time that Brits were not only listening to country music, but rhythm and blues, that was introduced by Black soldiers. 

Big Band music would shortly fade away, due to economics and “combos” of four or five players made dance music. 

Skiffle Music became popular, as did R&B and American Rock &  Roll.

The Marshall Plan aka the European Recovery Plan designed to rebuild Europe by lending money to nations resulted in debt to the US. This debt resulted in tariffs placed on US products imported to Britain. Subsequently American guitars and amplifiers were available in the UK, but they were very expensive.

There were a few ways around this problem.  

The most common method was to import guitars from European countries. This was a boon to manufacturers such as Hagstrom, Hofner, Framus, EKO, Italia, Crucianelli, Selmer and others. The other way was for British manufacturers to build guitars and amps. 

Marshall, and Vox amplifiers found their beginnings and built amplifiers based on their own unique variations of the Fender Bassman. Later Watkins, Harry Joyce, and Hi-Watt entered the scene. 

Steve Curries Slab P-Bass
One last method was when an major American company wants to test market a product to see if it will sell. This was the case with a special British-only version of the Fender Precision Bass. This guitar was known as the Fender Slab Precision bass and it entered the UK in 1966. 


(Fender would test market some gear in later years in Japan and Europe.)

The original “slab” bass was the 1950's Precision Bass, which had a Telecaster-style headstock and one single coil pickup that was not split. The 1966 Precision Slab bass looked exactly like the 1966 US version of the P-Bass, but it did not have the body contours. This instrument was only available to the British market.

There were only a handful of these instruments. The estimate is 25 or 35 bass guitars. Most all of them went to well known British players.

John Entwhistle of The Who was among the first to receive a slab bass. Steve Currie of T. Rex purchased a slab bass, as did John Sprigate of The Glitter Band. Chip Hawkes of the Tremeloes can be seen in early videos with his Fender Precision Slab bass.

Based on their rarity, the Precision Slab bass is very collectible, but seldom seen. The Fender Custom Shop at one time offered  a reissue of the Precision Slab Bass

It came only in Olympic White, a black pickguard, a maple cap neck, and the original-style split P-bass pickups.
©UniqueGuitar Publications (text only)


 

65 comments:

  1. Nice work on this piece, I haven't kept up with this blog lately. Steve Harris of iron maiden played one also :-)

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  2. Thank you. The Slab is an interesting and not too mentioned bit of Fender history.

    Marc

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  3. I´ve heard they used leftover bodies from Precision 1.
    Saw one which had the through-body-routings in the back filled, sprayed over white. Anyway collectible and rare.

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  4. I HAD ONE OF THE 1966 SLAB BODY PRECISION BASSES NEW.
    BOUGHT FROM PAN MUSIC WARDOUR STREET.
    I USED IT WITH MY BAND THE MADDENNING CROWD GIGING ALL OVER THE PLACE.
    I STILL HAVE PHOTOS OF IT.
    I SOLD IT WHEN I WAS HARD UP TO AMEN CORNER. FOR THEIR BASS PLAYER CLIVE WILLIAMS.
    I WENT WITH IT TO TOP OF THE POPS AS REQUESTED.
    CLIVE WILLIAMS WAS NOT THERE BUT ANDY FAIRWEATHER LOW SAW ME AND TRIED IT AND LIKED IT.
    I WOULD LOVE TO HAVE IT BACK.
    FROM,
    JOHN PRESLEY.
    NOW IN BURNHAM ON SEA SOMERSET.
    johnpresley@tiscali.co.uk

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    1. Lovely John. Spend my money on tpoo many. Have A 66 body F183...hoping big Baz can help sort it out. Had.18 years but it's sad without a neck.

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    2. ALBERT VICKERS,
      DOES YOUR SLAB BASS BODY HAVE A RED WINE COLOURED STAIN DOWN THE FRONT?
      THANKS
      JOHN PRESLEY
      johnpresley@tiscali.co.uk

      Delete
  5. This comment has been removed by the author.

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  6. This comment has been removed by the author.

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  7. Nice pick job on that slab. 47 years playing bass I never did get my hands on that fender Slab bass. Just too much money! Still I have my 66 P bass, a Maverick Nemisis, etc etc but I would love to play that slab just one,
    On the 4

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  8. I have one. Serial 13870X. Bought it 7 years ago in a small shop in Denmark for about EUR 3000. Owner knew it was special, but not what exactly it was. It has unfortunately been stripped, but is otherwise original.
    Best part is the wide neck, the heavy body and the very precise tone. Very different from my Jazz'es. And then of course the thrill of owning it.

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    Replies
    1. Martin,
      I am collecting all Data on Slabs/Hybrids.
      Would it Be possible to contact me?
      Oliver (senmen@web.de)

      Delete
  9. After posting here in October I bought a bass body that turns out to be a P Slab! It was in a badly done stripped back to the wood. Think it was gonna be someones re build and it must have just slipped away till I bought it from France. It came with neck plate and serial number but no neck. I planned to rebuild it. I also have a beautiful 1966/7 Hohner Jazz bass made in West Germany, and 3 tone burst. Hohner was the first guitar I bought more than 50 years ago!

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  10. Albert, Can you give me more Info in your Slab body? See email above
    Thank you
    Oliver

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  11. Hi, and thanks for asking. I don't know what to tell you though as you need to be specific?
    I have parts off of a 63 single coil P Bass and a 66 P.
    I am v.new to re builds.
    My age and disability lead me away from playing last year and I converted a Strat and a Telecaster to 30"short scale bass'.
    I have read so much on the P basses, but what is real and what is false is hard to know. I think Fender is a mine field so I wanna go slow.
    I have soo many questions myself :-)

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  12. Albert,
    So Do you have a 66 Slab Body with neck plate?
    I would love to see photos of it!
    Oliver

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  13. Yes I do, but I am not having much luck posting photos to you. Seems you are ring fenced by 'norply'.
    I am friends with many mates from famous 60's bands and they are easier to contact.
    By the way Frank Allen of the Searchers has played a slab P bass for years. As far as I recall it was rebuilt by a Swedish Luthier and just gived to Frank in the 1980's + - ! It was re finished in 3 tone burst! He wont sell it :-)
    Give me an email address I can wite to easily and I will keep you in the loop regard the 2 single coil and the 66 re builds. I wish you good luck. Cheers.

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  14. Albert,
    Plse try sending to:
    senmen@me.com

    Oliver

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  15. Ok Oli I got the mail adress. Thanks for making the effort. I will try a test email later. Right now I am coping with a re finish in Nitro.

    Regards from malaga Spain :-)

    this is refusing to send and I am getting error messages (again) will keep trying.
    My email is mulesspain@gmail.com

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  16. I had one which belonged to my dad which he gave me. Stupidly I put it in the window of Andy's guitars on Denmark Street in London in 2005 or thereabouts to see if it got some interest, all of a sudden a worker there said it has been sold without us knowing and a cheque would be issued. After admitting it had been sold I couldn't get hold of the owner mr Andy Preston and they shut up shop straight after. I never got anything back and i couldn't keep affording solicitors bills to carry on chasing mr Andy Preston. He apparently went bankrupt. I still don't even know how much it sold for and i'm still having sleepless nights over it. I have all the details of the case and a couple of his responses and the signed receipt i had him sign for receiving it and having it displayed in the window. Was a huge shame as i didnt really want to sell it but we were so broke and it was the only thing i had of any value.
    Im still hopeful something can come out of it even after this amount of time. So sorely missed.

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  17. Hi I have one all original .sounds great BUT the truss rod is broken and the bass frets out, not sure which route to take.

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  18. Hi, does anyone know the exact specification of the pickups? Like the wire gauge, type of magnet etc. I know they're 10k scatterwound
    thanks!

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  19. Hi Taravir Johal,
    They are standard P-Bass pickups from the year.
    From Barry Matthews - I wrote the book "A Fender Bass for Britain - a History of the 1966 Slab-bodied Precision Bass" released in 2009.

    Happy to communicate with anyone who wants to talk about them or ask about them.I am currently preparing a further article which may be included in a guitar magazine shortly so would be really pleased to find any further examples - I have collected details of 26 black-guarded ones and several of the USA version so far.


    My email address is

    To Irak Vilkingson - I saw your bass when Andy had it and can give you photos and the serial no. if you are interested, it may help you trace it!

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  20. To all Slab lovers out there
    It is now 50 years since the Slab was born! Hoping to commemorate it with an article. Please get in touch if you own or have owned one - all information appreciated.
    Hoping to hear from you
    Big Baz Matthews
    07890903419 (England)
    big.baz@tesco.net
    or
    threebearsbh@gmail.com

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  21. Hybrid Lovers,
    well the official 50th anniversary is slightly over as the initial order for a "Telecaster Hybrid Bass" was placed in early summer by the inventor Mr. Barrie Midford-Millership.
    He must be seen as the godfather of the Hybrid Slab basses.

    I have done extensive research on the Hybrid Slab basses for a future publication.
    All I can say is that big parts of the yet distributed history on the Hybrids need to be overwritten and corrected.

    In the meantime I can highly recommend the book

    "The Mighty Hybrid and The Keeper of The Slabs"

    by Mr. Midford-Millership


    More Information on his initial order, the basses and his book on:

    http://www.themightyhybrid.com/

    There you can also order a copy of the book!!

    Many thanks for reading and be prepared for a revolutionary future publication on the Hybrid Slab basses.

    Many greetings
    Oliver Baumann
    The Hybrid Hunter

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  22. Slight typo correction:
    Must read: ....initial order for a "Telecaster Bass"....

    Cheers
    Oliver
    The Hybrid Hunter

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  23. Since October The second bass body I purchased in 2015 has proven to be an early copy of the Original 66 Slab. It has a 70's F P Bass neck plate and we set out to prove it was a 70's copy so no one is dissopointed or surprised.
    The slab body I rescued 18 plus years ago in France still looks good and I am waiting for a gap in my other rebuild programs to photograph it and get as much feed back asap about it!

    I know there are people here who want to see it.

    A Vickers, aka ziggybass

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  24. Interesting to hear about your research, 'Hybrid Hunter'. It is a shame the man who made them in the Fender factory, Babe Simoni, and the man who distributed them in England, Ivor Arbiter, are no longer with us, though I did personally meet and interview them both before they died and I included their comments in the book "A Fender Bass for Britain - a History of the 1966 Slab-bodied Bass." Also visited the Fender factory and discussed production procedure with a number of those that worked there.
    Since the book's publication in 2009 more of the basses have come to light, which I have been able to list and examine many, but the basic facts the book contained I believe to be as accurate as it is possible to be at this distance of time. The Slab is a Precision Bass which hasn't been contoured and as such it's inventor was Leo Fender. A number of guitar experts agree.
    When I spoke about the 50th anniversary, I wasn't specifying a particular day but the 50th anniversary year!
    Will be interesting to see your new information.
    Barry Matthews

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  25. Well I can not second your opinion.
    To me the inventor of the Hybrid bass is Mr Midford-Millership with his custom order of a Telecaster bass.
    Fender was only the fulfiller of a custom order and with what they delivered they haven't thought about that much what to Build.
    They just pulled parts off the shelf to fulfill this order. Of course they did a gorgeous and iconic Design with it.
    But if they would have seriously invented a new Design following a Telecaster order the would have had more Telecaster details like the small headstock for example.
    Even more if they put a Telecaster bass into production in 1968.
    That all would make no sense.
    No fact is that after the order of Mr Midford-Millership and upon receipt of the single bass in later 1966 Arbiter first showed that bass to several dealer and musicians and the huge response caused them to place the small production run.
    I have yet discovered twice as many examples most experts are convinced that have Been produced.
    But there are also fakes out there and I have traced several!!

    Oliver
    The Hybrid Hunter

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  26. Sorry, typo correction:
    Must read:

    "Fact is that after the order of Mr ......."

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  27. Mostly pointless gibberish some of it written in terrible English. 2 sides. One wants to know what it's worth, and I'm only interested in an instruments voice!! Will it sound good? That cannot be resolved here!

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  28. Albert,
    that is very hard to say how it will sound. An original Hybrid Slab body is only part
    of the whole thing.
    Most important is that maple capped maple neck....
    You can email me if you want like we already did some time ago.

    Cheers
    Oliver
    The Hybrid Hunter

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  29. The 66 Fender Slab
    Well I held my first fender Bass in 1958. I have owned dozens of them. have stubby fingers and having the tips of the fingers on my fret hand smashed nearly 30 years ago my prefered instrument is the P Bass and the Jazz Bass with the P bass neck and 42mm nut!
    I read a lot of stuff over the years regarding Fender and the 'SLAB Bass and a lot of hearsay at gigs and pubs etc, and ignored it mostly as irrelevent to normal life.
    There is some guy calling himself 'keeper of the slab'. My God what is the world coming to. If I had the money I could buy an art museum, it wouldn't make me an expert on art.
    From an educators perspective I think Barry Matthews has made a real effort to produce a well founded honest work documenting as much as is rational regarding the fender slab bass. Instead of massaging egos some of you should get together and share honestly what each of you knows/believe and post it as a free and Gratis Thesis for the world in general and let the students (those who care)of musical history be the judges
    Remember the music, dance, sing and have fun. Life is to short to know everything!

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  30. I have two 1966 Fender Precision basses F138700 & F138711. I met the man who built them, Virgilio "Babe" Simoni. He worked for Fender from 1953 until 1973. He remembers the order from Ivor Arbiter, a good friend of mine.When I spoke to him researching my book Ivor did not remember any order. I also spoke to George Fullerton, who assisted Leo to design the Precision bass in the early 1950's. He related to me how things worked with orders. Babe Simoni made quite a few different instruments (the Custom, Swinger & 1966 slab bodied Precision bass). Babe Simoni told me he was asked to come up with a design to use up maple capped necks, and this was the result.
    So Leo Fender invented the Precision bass with the help of George Fullerton & Babe Simoni designed the '66 slab, a Precision without contours. I don't think I would like to steal a dead man's laurels, Oliver.

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  31. Just a correction on my previous comment, My 2 basses F138700 & 138711 are Both 1966 slab-bodied Precision basses one has the body refinished and the other is stock original. {b}

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  32. Just another point, the one refinished was done by Clive Brown (a great restorer) a superb refinish it looks so good you would not think it was a refinished body. when I got the bass the finish was a bodge but now it looks great.
    BAZ

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  33. Good Morning
    Never Seen 138711.
    Is that one pictured somewhere in your book?

    Oliver

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  34. No It has recently come to light, I have Pictures of 24 different ones that are Black guarded, and Many others.
    Barry

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  35. Oliver, I have tracked down slabs from England,Finland Norway, Sweden, Germany, France Iceland, South-Africa, For the first Batch, and of course the USA, for the second Batch.
    Barry

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  36. Hi.Albert have you got your book yet Baz

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  37. Yes Baz, but need your current email as tesco get returned. Need Help!

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  38. Baz if you have skype I can show you my neck less body etc and we can chat? skype address via email only!

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  39. Hi Albe, I'm trying to set up Skype on my Ipad when is the best time to try & get in touch, Bazza.

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  40. Fender bass for Britain seems legitimate

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  41. Thanks JonintheBass, Fender Bass for Britain is the only book I ever bought so I can give it as a gift to any young musician interested in Fender Bass History.

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  42. Hi Johnithebass, Have you got a 1966 slab-bass? Is it in good condition? Do you play in a Band? Have you any pictures

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  43. After so much wasted time. Turns out my Slab is not original. Too much excitement from other people carried me along. It is a Fender but either a Re Issue or a Custom Shop. It's cost me so much money to have the burnt wood stabilized and body areas re built and painted.
    I didn't buy the neck Baz had offered me, and have not heard another word from him.
    That aside I have read all the books now and clearly Barry Matthews review of events was obviously not only a labour of love, but a journey to discover the truth. I failed to find that in the other dedicated more recent book on the subject. Thanks Baz!

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  44. Barrie Midford-Millership's book, The Mighty Hybrid & The Keeper of The Slabs is THE authoritative word on the matter of 1966 Slab Basses. Anything else just doesn't measure up. At all.

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  45. Not in the slightest, I've never met him: I'm just a discerning reader who knows a good book when she reads one. Why do I have to be a gf to appreciate a good book? That kind of reasoning belongs to the playground.

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  46. I have also read "The Mighty Hybrid and The Keeper of the Slabs" by Barrie Midford-Millership. Barrie has presented a thorough and complete description and presentation of his version of history with facts, photos and information that backs his claims! The top level of disagreement is refuting the central point of Barries story with fact, which is not what you have not done. The 7th level of disagreement is to resort to name calling. This is what you have done. Shame on you, Barry Matthews and Albert Vickers. :^(! !!!!

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  47. I have read both books, but more importantly as a collector of Vintage Fender Basses, and owner of one of these basses, I have done my own research. In my opinion, the history contained in The Midford-Millership book is spot on, and it is disappointing the other piece has many historically inaccuracies being put forward as facts. And, I believe the bass shown throughout the Matthews pamphlet, the one with the highly figured maple, is a reproduction. Leo would never have allowed this wood to be used, and although he sold the company in January 1965, all examples I have seen during the following transition years continued to display unremarkable grain patterns.

    But the real reason for this post is to agree with Stephen Lee. Name calling is so unprofessional, so classless. The only upside is that it allows the reader to better understand the true character of the poster.

    And before anyone asks, I am not Mr. Midford-Millership’s girlfriend either.

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  48. Just to reply to Stephen Lee and Steve - appreciate your interest in this bass but I am not quite sure how I am being accused of "name-calling" as I haven't said anything about anyone! In reply to Steve's comment on the bass with the bird's-eye maple neck, there were a couple of pictures in the book that were taken with this reissue bass as I didn't at the time have an original and wanted to picture the former owners with one. Other pictures are of the bass I now have, F138700, and of course there are others belonging to other owners. All the information I recorded in my book was obtained as a result of extensive research and a trip to the Fender factory and interviews with Babe Simoni the man responsible for their conception and Ivor Arbiter the importer. My book is an honest attempt to trace the background of the Slab as far as can be ascertained after 50 years. Many vintage guitar experts agree with what I have written and John Entwistle offered to write the foreword for the book on this basis. Others may have their own opinions about this, to which of course they are entitled.

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  49. Hello Marc nice to finally be on here.

    I have been watching your page with interest but feel the time has come to speak.
    As this site may be used as historical reference to my 1966 commission for a Telecaster bass - the catalyst for Leo Fender and Freddie Tavares to make F195507 the genesis hybrid, I have taken the decision to tell the true facts.
    Now he admits the 'author's 66 slab' was not a genuine 66 slab bass but only in response to other observant Fender bass fans pointing out the fact. No honesty before this.

    He misleadingly states it was a reissue which is untrue; the FCS 66 slab P reissues were made post 2000. I have 1994 tape recordings made at my home with Mr Matthews stating he had it made from a filled and re-routed Telecaster Bass body and new neck before acquiring F138700 from me circa 95. The tapes go back to my 93 article The Maltese Fender published in Guitarist magazine by Gibson Keddie in the February 94 issue featuring 66 hybrid Telecaster P bass F138708 the first instrument of a four year quest to track down and recover my original F195507. Gibson can verify writing to me in the spring of 94 re a gentleman from whom I acquired F138700. A second letter contained Mr Matthews telephone number which was the beginning of a relationship I later came to deeply regret.

    Due to his enthusiasm I agreed to persistent requests to join me as co-author.
    Unbeknown to me Mr Matthews copied F138708 to make a fake 66 slab then accompanying me to see John Entwistle for the first time produced it and showed it to John. This was the first I had heard of it. He subsequently conducted covert fake bass interviews with Suzi Quatro, Chip Hawkes and Bob Daisley.

    Unaware of his covert activities and as a gesture of goodwill to Mr Matthews who was as stated a trusted guest in my home and privy to my contacts, history and information I released F138700 from my collection to him. His pamphlet documents my 95 gesture: "Mr Matthews dream of owning his own Slab came true when he swapped one of his standard bass guitars and some "bits and pieces."

    Armed with F138700 fresh from my collection he hot footed it to conduct another covert interview with Ivor Arbiter in February 95. Furthermore he subsequently conducted a secondary interview with John Entwistle accompanied by Craig Addecott. Further covert interviews after acquiring F138700 were with Ken Achard and Eric Haydock.

    The final straw - Mr Matthews advertised his fake for sale in the December 96 issue of Bassist for £1150 the going rate of a genuine 66 Hybrid. Recognising his home number I asked was he selling F138700. He said 'No I am selling the copy'. I reiterated the fake and he said yes. I was furious a youngster may hand over hard earned wages for a fake believing it to be real.

    This, combined with discovering all his further covert interviews was the moment I cut all ties with him. Totally shocked he had reneged on his word, I stated if I ever saw his name associated with mine in print I would sue him up hill and down dale. The last thing Barry Matthews said to me in 1996 was "But Barrie - this book is all about you!"

    Due to my parting words Mr Matthews decided to write me out of my own history and conjured up a story putting Vergilio Simoni forward as a designer production manager in 1966. Not true; he was not yet a production manager, he was an end of line production quality control checker who had nothing to do with designing my commission. His first involvement with R&D was when seconded to Roger Rossmeisl to assist with routing on the 1968 Telecaster Thinline. He was not asked to use up old 1965 stock by CBS bosses until 1969 resulting in the Custom and the Swinger six-string guitars. Nothing to do with bass guitars or maple cap necks fitted to my 1966 commission.

    Gibson Keddie, Ashley Hutchings and original members of Dr K's Blues Band can bear witness that nullifies Barry Matthews story.

    Barrie Midford-Millership originator of the 1966 Telecaster Bass hybrid.

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  50. TAPEGATE
    Evidence Transcribed from two cassette tapes made during the period Mr Matthews and myself were supposedly working together, they laid twenty years until found by my wife. Labelled by his own hand The 1966 Hybrid - B. Millership B Matthews, Fender Bass for Brits and the Great British Fender take 2. Given personally by Barry Matthews circa 1995, salient points transcribed October 2016.

    The great British Fender, the foreword to be supplied by John Entwistle. The bass guitar I would like to focus on is the slab bodied Precision bass manufactured in 1966. The interesting thing, is that this was a lawful production of the Fender Research and Design team under Leo Fender in 1966. Not having much information, it was put to the back of my mind, until many years later when I saw an article in Guitarist magazine, about Barrie Millership's bass. The article was entitled 'The Maltese Fender'. It reawakened my curiosity to track down the full story. I contacted Barrie Millership through the Guitarist magazine and with Barrie started to collect information. The search for the hybrids was on. I have joined forces with the man whose order for this Fender bass guitar sparked off the manufacture of the 1966 slab bodied Precision bass, known as the Telecaster Precision Hybrid. We have done our best to relate the facts with as much accuracy as possible and when not sure of the true facts we have stated that in the text. We trust that the information recorded herein will give the reader as much pleasure as it has given the authors to produce it Barrie Midford-Millership and Barry Matthews.

    So Barrie walked into a Watford Hi-Fi shop and ordered a Fender Telecaster Bass. The Hi-Fi shop in Watford then put an order in for a Telecaster Bass through the British importers of Fender guitars at that time, Arbiters Limited. When they saw the non-contoured body and the unusual maple neck and fingerboard they liked it. A few named musicians saw it and wanted one just the same so Arbiters ordered a batch of these Hybrids from Fender. It is evident that the United Kingdom was the only outlet for this style of bass and as the person who sparked off the order is from England we have to say that the slab body Precision Telecaster Hybrid bass was the Fender Bass For Britain. Quite a few named bassists possessed one of these instruments for example John Entwistle of the band The Who and we will be discussing John's basses later in the book. On a visit to Arbiters PLC at Hendon, I spent a whole morning with Ivor Arbiter looking at old catalogues and price lists, and we discussed in depth the bass. It would be nice to think that Barrie's original order for a Telecaster Bass sparked off the production of the Telecaster Bass in 1968, so rightfully, this bass the slab body bass could be said to have been the Fender bass made specifically for Great Britain.

    The John Entwistle 1966 Fender Precision Telecaster Hybrid bass. Barrie Millership and myself travelled down to see John, the only difference between the first one produced that's Barrie's original prototype was the colour of the scratchplate black white black. John played the bass for us through his bass rig and she really growls as John would say.

    It was the ordering really of Barrie Midford-Millership going into the shop ordering a Telecaster Bass that the Fender Research and Design Team came up with his Hybrid bass.

    The Barry Matthews 1966 to 1996 thirty year anniversary Precision Telecaster hybrid bass. The pick guard was tortoiseshell. Birds eye maple fingerboard and a flame maple neck. The body was an old Telecaster body filled and re-routed for pickups and controls. The body was then finished in Olympic White. The reason I had this done was for my own personal interest and as there were at the most 14 manufactured and the chances of myself owning one of these original hybrids would be very remote so I had my own one built copied exactly to the Hybrid Precision of Millership fame.

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  51. "Pride comes before a fall!". As the the old saying goes and I drew Mr Millerships book and literary integrity to doubt I must publicly apologies. This is a sincere apology Sir.
    I think few men love the bass guitar as much as I do. My first fender bought by my mum on HP when she had only a Cleaners income, and this binds me with a passion to Fender Bass.
    When Barry Mathews contacted me and laid out his story, and I pieced my own collage of fender knowledge to it. I was totally swayed by the evidence presented. At the time I lived in hope that a P Bass i rescued in France was most likely a part of the missing puzzle. Anyway these lines are not about me or my small collection of bass.
    The truth is I don't know if Mr Millerships book is 100% factual or not. It's a jolly interesting read! I do know that what he has posted together with the emails and photographs I received from Mr Matthews lead me to this apology Mr Millership. I wish you well for the future. Barry, I am feeling so relieved I did not spend over 1.000 Pounds GB on that poor p bass copy with the dodgy date stamp. Shame on you! "We all seek words of encouragement and warmth from like minded people that share our journey. This also leaves us vulnerable at times to "Wolves in sheep's clothing!".

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  52. I have no desire to get into an online battle of words with Mr Millership but do feel I have to clarify a couple of points and then leave it there.
    We did start to collaborate on the project to write an account of the Slab bass and we exchanged hospitality, contacts and information (I introduced Barrie to John Entwistle and we visited him together and I gave Barrie a copy of the Beat Instrumental July 1966 advert for the bass which had been sent to me by Paul Day). The object of doing research is to get as close to the truth as possible by gathering information, but in time it became clear that Mr Millership felt himself to be the father and inventor of the Slab bass and anything that did not tally with that conclusion would not be tolerated. As he said, we parted ways. As for me conducting "covert" interviews (makes me sound like MI5), I contacted people who had owned or played the Slab or had an interest and they agreed to make their contributions to go in the book - nothing sinister there!
    As more information comes to light, sometimes we change our opinions - for instance, Mr Millership himself in his first article said that his original was b/w/b guarded but now he maintains it was tortoiseshell. Also apparently he managed to have the bass to play in "high summer of 1966" when the neck was only made in Aug 66.
    Mr Millership condemned me in his Amazon review of my book (written 9 years after the book was published) for not giving him acknowledgement or credit, but as he states in his post on this blog, he threatened to sue me if I mentioned him, so I didn't!
    There are many inconsistencies that I could also challenge but I do not want to get bogged down in a "tit for tat" situation.
    Mr Millership has released a very lavishly produced account of his playing career and his dealings with the "hybrid", which has obviously proved of interest to a number of people. Good for him!
    My book, compiled in my spare time and printed on a budget, was to give a voice to some owners or former owners, including John Entwistle, about their impressions or memories of the Slab Bass. It has also proved of interest to many bass lovers.

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  53. Finally the truth is out there. I have both books mentioned in this blog.

    I've also seen some of the original writing, and the tape transcripts referred to by Barrie Midford-Millership.

    I still have the issue of Guitarist that is mentioned as well as the issues of Bassist magazine.

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  54. Albert Vickers, your sincere apology goes deep in my heart and is gratefully accepted. It takes a big man to admit he was wrongly advised. With kind regards and best wishes from Barrie Midford-Millership.

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  55. To clarify events following Mr Matthews Slab body Precision advert in the December 1996 copy of Bassist magazine.

    Previously he sold me a very good Squier copy of a 57 Precision with a 'law suit' Fender logo, I liked the maple board and how it played so bought it for £150.

    As said in my prior post I was incensed a youngster might hand over £1150 for a fake so I phoned his number and said "This is what is going to happen - you are going to take back the Squier and give me that fake." On arrival Mr Matthews came to the door red faced. Disgusted, I gave him the Squier, took the fake and said "If I ever see your name associated with mine in print I will sue you up hill and down dale". Matthews blurted "But Barrie this book is all about you" and I drove off.

    I kept the bass for a year but its presence was a sickening reminder so decided to be rid of it. To be sure it could not be identified as an original I deliberately cut tummy and forearm contours into the body - much deeper than standard with the cuts going almost to the opposite faces of the body. I removed the fake neck stamp and polished out another fake stamp under the pickguard and replaced the engraved neckplate with a plain one. Mr Matthews had fitted the instrument with 1966 hardware and pickups which did have some value so explaining exactly what it was I let it go only to cover my £150 outlay for the Squier. Finally I chucked Mr Matthews fake neckplate into the sea to corrode.

    With hindsight I should have presented the whole issue to Trading Standards.

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  56. Mr Matthews has not told the true time pattern and sequence of events.

    Regarding his so-called exchanged hospitality, the balance of weight lay heavily in his many visits to my home in the trusted position of co-author. There were only two visits on my part to Mr Matthews residence, first when he photographed my pickguard repair to the exhibition hybrid in 1995, and last when advertising his fake for sale at £1150 in December 1996.

    Mr Matthews claim of introducing me to John Entwistle. At this point we were working together. It was my suggestion to visit John which Mr Matthews duly arranged. I had met and spoken to John outside Club Noreik in 1965 when he wanted to inspect my 1956 Cadillac. It was due to this 30 year association with John at Club Noreik that it was indeed me who introduced Mr Matthews to the Ox.

    Beat Instrumental. Mr Matthews has not explained I told him about Beat Instrumental as I had a standing order at a Watford newsagent close to EME where I placed my commission in 1966. He fails to admit I gave him the Beat Instrumental magazine name and the July 1966 publication date. Yes Paul Day found the reference page but only after Mr Matthews imparted him my knowledge.

    My black/tortoise pickguard correction. Mr Matthews has withheld the facts surrounding my correction to The Maltese Fender article. I had contacted Bass Editor Gibson Keddie prior to publication to correct it but was too late as it had already gone to press. When the bass arrived in 1966 it was bright white with a very dark tortoiseshell pickguard which I initially recalled as black. This in mind I called up Dr K's blues veteran Mick Haase who instantly recalled it as tortoiseshell. I fully explained that to Mr Matthews in 1994 and he wrote down on a photo copy of my original manuscript to Gibson Keddie inserting his abbreviation 'tort'. I still have the copy with alterations in Mr Matthews own hand.

    The high summer of 66. Mr Matthews questions the arrival date of my commission. To be clear, as stated in my book it was what I call high summer - late August early September and still swelteringly hot just like we are experiencing now in the UK . The historic timing dovetails perfectly with Ivor Arbiter ordering more in September thus bearing October 66 neck stamps - the sequence of events flows like a well oiled steam engine. Dr K's founder Ashley Hutchings can confirm using F195507 for auditions for a whole week contemporary to its arrival prior to forming Fairport Convention. Also playing it at the Starting Gate so witnessed by the great Richard Thompson, Simon Nicol and Bob Ecclestone.

    Mr Matthews has finally admitted to collaboration with me and that he did not mention me because I had threatened to sue him if he associated my name with his in print. If Mr Matthews had done nothing wrong it begs the question, why did I propose to sue him and why did he heed the warning?

    I must finally draw a line under the whole sad business. I do not want an ongoing trawl in what should be a happy exchange column over the bass put into production as a result of my commission.

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  57. Barry Matthews should follow Albert Vickers lead by issuing a full public apology and retraction for calling my literary integrity into doubt.

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  58. My apology is heart felt Barry )Mr Millership. I'm glad to clear the air on my side. I have my daughter by my side ensuring I do not ramble or contradict myself. For several years I have been on Morphine for the severe pain. Prescribed by doctors. I use Patches and back those up with Morphine tablets. AS they wear down I suffer withdrawal just as any addict would. This makes my reasoning erratic. So for those you who have found my writing contradictory I offer you the only reason I can. I have never attempted to mislead, but ill health and pain have a wearing and often confusing effect. I have been desperate to find a friend here that understands bass, but few people have the time. I must sell all my instruments so Kate )my daughter, and a young friend )not a musician is helping me sort out what I have. Sadly I cannot remember the history of a lot of my pieces but I will be unsubscribing from this blog. I don't wish to make any more mistakes or enemies. I still have some pieces I would like to finish but nothing rare! I thank Mr Millership for his gracious acceptance of my apology. My last words before I go: I think there should be a time when mature men fill comfortable enough in their skins, and contented with their lives so that they can stop making each other angry. Who is the bigger man. I encourage you both to walk away from this battle. No ifs ands or buts. You have both added so much good to the Archeology of the Fender. Please feel free to contact me, but no more: "he said I said" stuff Please. Thank you both for all your hard work. pp Kate. Your Friend, Albert Vickers. Albie website withheld.

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  59. Dear Albie, once again, very many thanks and God bless you. With kind regards Barrie M-M

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  60. Thank you Mr. Millership. How difficult it must have been to stay quiet all this time, taking the high road as it were, while your work was being cannibalized. My goodness! And Mr. Vickers, if you are still reading this blog, I am very sorry for your health issues. I have never had the instance to meet or talk with you, but you seem like a person with integrity, and I wish you well. Mr. Matthews, you lost me when you faked a bass and then published it. Perhaps there was a reissue only for export that I am not aware of other than the 2009 Fender Custom Shop run. It really doesn't matter anymore, does it.

    My concern, as a collector and history buff of the Fender bass during its first fifty years, is the damage that has been done by the publishing of misinformation. The bass in question has a very small sample size by anyone's count. Not a lot of people will be looking for information about it because not a lot of people outside of collecting circles have even heard of it. And many, shall we say half, of those that are really looking for it will stumble upon the wrong information. Such a shame. I have no idea how we ever correct for something like this other than keeping our own records and research to pass along with each of these unicorn basses we own and love. I keep a copy of my research on all my Fenders in their cases. Hopefully future generations will appreciate the effort I have made to preserve little bits of history. But I guess I will never know, will I?

    I am done with this, moving forward. Mr. Millership, thank you for clearing the air.



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