From Plumbing to Plucking: John Osborne’s Musical Journey

“Growing‌ up, my father was a plumber, and I spent countless hours working alongside him,” shares John Osborne, the⁣ talented guitarist and co-writer of the renowned country-rock duo, Brothers Osborne. “My determination to avoid a plumbing career drove me to practice guitar relentlessly. Now, as​ I reflect on my journey, I⁤ frequently enough joke, ‘I’m just a plumber with a guitar!’ [Laughs] I show⁢ up to perform, hoping to do my job well.”

For anyone who has ‍had the pleasure of hearing him play, it’s ‌evident that his dedication has ‌truly paid off. Over the course​ of their four albums, John and his brother T.J. blend sophisticated Nashville twang with catchy pop melodies, all enhanced by remarkable musicianship that’s perfect for arena performances.

Crafting the Signature Telecaster

It’s⁤ no wonder that Fender chose John to create his signature Telecaster this year, inspired by his own modified ’68 model, complete with a B-bender. This design ​reflects years​ of personal adjustments, experimentation, and those enlightening “aha” moments. The guitar features a maple neck, which John describes as the “lifeblood” of the instrument, alongside a unique pickguard that evokes the outlaw era of Telecasters.

The custom​ pickups deliver that perfect “spank,” while the B-bender adds a‌ classic pedal-steel sweetness by raising the pitch of the B string a whole step to C#. “You’re aiming to evoke ​emotion,” he explains.”Once you‍ grasp it, ⁢the fun begins. You can create sounds you’ve never imagined before. After the initial excitement fades, you realize it’s another tool to use⁢ when the moment calls for it-emphasis on when it’s necessary.”

Osborne’s Telecaster ⁣Evolution

John⁤ provided insights into his signature Telecaster, reflecting on his ⁤history with the B-bender ⁤and the delicate⁤ balance between craftsmanship and technique. “the goal was to‍ replicate my beloved ’68⁣ Tele as‌ closely as possible, incorporating all the modifications⁣ I’ve made over the years. This is the culmination of two decades of‌ experimentation. I wanted anyone who picks it up to recognize it’s classic​ roots while also appreciating its unique qualities.”

Discovering the B-Bender

John’s captivation with the B-bender began ⁣in high ‍school when ‍he became enamored with the playing of Brent Mason.After exploring various genres, he heard a solo on Alan Jackson’s song, “Who’s Cheatin’ Who?” and was‌ captivated by the perfect note bends. “I learned to bend notes with my fingers, but I could never quite achieve that sound,” he recalls.

“I remember watching a Brad Paisley video and noticing a peculiar device ⁣attached to his strap. I thought, ‘What is that?’ ⁤After some digging-back when ⁢the Internet was still new-I ‍discovered the B-bender. Unfortunately, I never had the ⁢funds to ‌install one on my ⁣guitar. For years, I only ⁤had my ’68 Tele.⁤ I once opened ​for Brad, and his ‌tech ⁣jokingly warned me, ‘Don’t try the B-bender; that’s Brad’s thing.’ But when he saw my guitar, he realized I didn’t⁤ have one! I had to learn to achieve that sound without it, but I was always obsessed ⁤with that tone.”

During the recording of their second album,*Port Saint Joe*,John borrowed a ⁤B-bender from his​ late friend Keith Gattis,a talented Tele⁤ player and producer. “Keith’s B-bender playing was ⁤phenomenal,” John recalls. ‍”When I used it ​on the record, I thought, ‘This is so ⁤much fun!’‍ I could finally produce the sounds I had been chasing, and it felt natural as I⁣ had learned many techniques with​ my hands. After that, I became wholly hooked on B-benders.”

Signature Moments and Songwriting Philosophy

“dead Man’s⁢ Curve” is often regarded as a modern guitar classic. “It feels significant, yet it doesn’t define me,” John admits. “I ⁢cherish that moment in the song, especially the transition from ‌’Muskrat Greene’ to ‘Dead Man’s Curve.’ It’s a chance to showcase⁢ my skills,but ultimately,I see myself as a songwriter⁣ first. The song is always ⁣the priority.”

As he matures as ​an artist, ​John reflects‍ on the importance of songwriting over flashy solos. “I grew up‌ idolizing legends like Jimi Hendrix and ⁣Eric clapton, but I’ve come to understand that the song is ⁢what truly matters. We have tracks with no solos as they‍ simply don’t need them. I focus on rhythm⁣ and texture instead.”

“The guitar is merely a​ tool for the song,” he concludes, “even though,⁣ in my youth, I thought the song was just a vehicle for ⁢my guitar playing.”

The Essence‌ of the Telecaster Neck

John emphasizes the importance of the Telecaster neck, stating, “The first thing ‍you ‍notice when you‍ pick up a guitar is how the neck feels. It’s a subconscious connection. Picking up my guitar feels like⁢ slipping into ⁤a favorite pair of ‌jeans-cozy and ⁤just right. We aimed to replicate that smoothness in my signature model.”

“You can’t replicate 60 years of wear on a neck, but we came close.The‌ rounded edges of the fingerboard reflect natural hand wear,⁣ making it more ergonomic. the last thing you want is to struggle‍ with your guitar; it should be⁢ a joy to play. While body woods⁣ are crucial, it’s the neck that truly influences your expression.”

“The maple cap gives ’68-era Teles a unique spank. Interestingly, I discovered that Brad Paisley’s original Tele is ‌also a ’68. There’s something special about that year.”