It is a hard thing to describe, but the way the pickups are wound, the thing vibrates. This particular guitar had the same course kind of vibe as the guitar Marty plays (a Telecaster formerly owned by Clarence White).

We finally found an amp to stay with and used that as our main amp. Brad said, 'We'd play this one and then that one and we had a guitar tech up there changing out the amps. Marty and Brad spent about a month playing the various Telecasters that were sent. Since Marty was a pretty big star, all of the dealers agreed to the deal. If he bought it, he'd pay for it and keep it, if he didn't buy it he'd pay to ship it back. Brad called various dealers and explained that he was with Marty Stuart and that he was interested in looking at the guitars they had and would be happy to pay for shipping. When Brad started looking for the vintage Telecaster in 1991 Marty said, 'You need to get you a good one.' Marty gave Brad his American Express card and told him to look in Vintage Guitar Magazine and find at least 10 different early 50s Telecasters to look at and try out. When I got into the studio the first time with Tony Brown he said, 'Davis what kind of guitar do you have.' I told him that it was a '51 Telecaster and he was happy with that.' So they really wanted you to have the best equipment and do your best with it.

Brad said, 'Records were costing 250 to 300 thousand dollars and there was a lot of pressure on the producers to do a good job. Marty knew that Tony would not be satisfied with anything else. We hit the road running and were gone over 200 days that year.' After things on the road settled down and the band was getting ready to record, Marty told Brad, 'If you are going to play with me in the studio, you are going to need an early 50s model Tele.' Marty's producer at the time, Tony Brown, was partial to the Telecasters of that era. When I first joined Marty it was a whirlwind. When Brad first got the job playing with Marty Stuart he had a 1969 Telecaster with a Bigsby on it.

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