|The story behind the ad, organised by UK born, Nashville guitarist and Vintage® fan Michael Spriggs, which features thirteen of the
most respected players in Nashville, is testament to the care and attention which Vintage® guitars lavish on these humbly priced
|Michael’s been playing a V52 for several years, rates it as the best guitar in his arsenal, and like all the guys in the ad either has, has had, or could easily get any of the classic, esoteric, high end benchmark guitars, and definitely knows his guitars. He’s on
record as saying “…My V52 is my go to electric now, it gets
more air time than any of my others …”
Michael tells the story that one of the things he really loves
about the Vintage brand, and the V52 in particular, is what he
describes as its “subversive ‘anti-brand’ nature”, that a guitar like
this can blow away guitars selling at ten times the price on vibe,
tone, feel and playability.
As a regular at The Grand Ole Opry, Michael’s Vintage V52
came to the attention of the many stellar guitarists who
play The Opry regularly, who were to a man, so impressed they
started asking where they could buy a V52.
Michael contacted his buddies at Vintage® in the UK, and
to get a bunch of guitars sent out to Nashville for his
Steve Gibson, the Musical Director of The Opry commented;
“…we are all just so pleased with the V52. I personally played all
of the guitars when they arrived and was very impressed at the
consistency of construction, set up and sound. These are a
fantastic discovery …”
The various comments from the rest of the guys, which you can
read below are from amazing players who were so impressed
with the V52, they were happy to get a great deal, in which dollars did changed hands, with no freebies, and enjoy playing a guitar
which does the job without compromise.
Now everyone can leave their “family jewels” guitar at home, put the “classic” back in the “closet”, and go out with a guitar that any
Joe can buy without pocketbook pain.
|The Vintage V52 ICON sounds, plays and feels as good as it does because it features custom designed, vintage voiced Wilkinson
pickups, wound to an achingly authentic recipe. There’s only one way for this style of guitar to really sound and the V52 delivers in
spades. The guitar features a Wilkinson WTB intonatable bridge with three brass saddles, and a true steel baseplate, essential to
transfer all the string energy to the body, and capture the power and tonal nuances of the bridge pickup. The body is as it should
be, two piece centre jointed American Alder, with a one piece fretted maple neck, with a classic soft “C” profile, and comfortable 10”
The distressing process gives the V52 a really cool, aged, played in vibe, and an overall ambience which belies its very modest US
MAP of just $459:00
|The Vintage® V52 ICON is one of the vast range of Vintage® electric and acoustic guitars, banjos, ukuleles and other fretted
instruments, and is the creation of UK company John Hornby Skewes @ Co.Ltd., who have been in the guitar business since 1965,
with the Vintage® electric guitar series being the result of close collaboration between JHS bass playing MD Dennis Drumm, and
internationally renowned guitar, hardware designer, and no mean blues guitarist, Trev’ Wilkinson,
At the end of the 1990’s Trev’ and Den got together to prove that compromise, commercial niceties and corporate interference
need not get in the way of making a truly great guitar with a modest price tag.
Drumm explains the thinking behind the Vintage® brand; “… I’m often asked why we do it, why do we make such good guitars so
inexpensively. The simple answer is because it’s possible, and ‘cos it’s possible, it’s really our duty to do it. The most important
guitar anyone ever buys is their first one, and maybe the first step-up. Trev’ and I took he decision that we’d prove the point, show
just what could be done if the focus really is on ‘doing it right’, we’d show that you don’t have to ‘build down to a price’ and that you
can build in as much high specification, and quality as you want to.
|One thing that’s always driven Trev ’and I is the importance of keeping at the forefront of why we do what we do, that young players
are following their dreams…..young folks don’t go and wash cars, work in a 7/11, do a paper round, run errands, or whatever they
do to get money together ‘cos they want to go buy a guitar….no; they do it ‘cos they want to follow their dream. We believe
passionately that with our decades of knowledge and experience and expertise, all the stuff that’s been learned from the masters,
give young players the absolute best, rather than a compromise, built down
to a price to satisfy a commercial or corporate agenda.
Let’s face it, there are great names out there, and here we are, the tiny
British terrier snapping at the big guy’s heels, drawing a bit of blood every
now and again, showing the world that when you put your brand snobbery
in your hip pocket, strip out all the fancy marketing costs, factor out the
dead-hand demands of investors, focus on heart and soul, not just ROI,
use your knowledge and experience for good, keep the bean counters
firmly in the bean counting department and actually CARE, the impossible
becomes a reality …”
Drumm goes on to say; “… Knowledge, experience and trust, along with the ability to understand the subtle nuances that separate
a ‘guitar shaped object’ from true musical instruments which can astound the most experienced players are amongst the key
attributes of every Vintage® guitar. Neither Trev’ nor I are interested in ‘saving a few bucks’, why would we be…we’d rather leave
‘em in there, ‘cos they make all the difference. Many hugely experienced players, who have arsenals of mega guitars, tell us they
love using Vintage, ‘cos the aspiring young player in row four, who wants to be stage too one day, can afford to buy the guitar their
‘hero’ is playing
For sure, if guys like Steve Gibson, Bruce Bouton, Duane and Dee Allen, Hoot Hester, Jimmy Capps, Larry Paxton and Steve
Hinson, Mike severs, Michael Spriggs, Kerry Marx, Paul Martin and Coleman Murphy, as some of the finest players in the world ‘get
it’ along with many other players playing various Vintage® guitars like Bruce Watson, Danny Dugan, Don Kelly, J.D. Simo, Cory
Congilio, Neil Taylor, Paul Guerin, Dave ‘Bucket Colwell, Jerry Donahue, Will Ray, Matt Lee, Geoff Whitehorn, Gordon Giltrap,
Graham Oliver, Gwyn Ashton, Jeff Ross, Jim Cregan, John Parr, John Verity, Martin Turner, Mick Abrahams, Paul Brett, Robbie
Gladwell, Rob ‘Lord Hailer’ Mills, Thomas Blug, Tom McGuiness, Bobby Tench, Alex Kraft, and a host of others, then I guess we
must have gotten something right ...”
As Trev Wilkinson somewhat wryly observes, “…I’m on record as saying many times, if you can’t build a good guitar for $4,500.00
then you shouldn’t be doing it. The thrill for me is building a GREAT guitar for $450.00. Guitars that players of this calibre
recognise, appreciate, buy and PLAY …”
If you are at Winter NAMM 2013, Anaheim Convention Centre, Anaheim California, January 24th -27th, come and meet Trev’
Wilkinson and Dennis Drumm at Booth E1212 and check out the entire Vintage® and Fret-King® ranges.
If you can’t make it, get in touch anyway, we’d love to hear from you.
Grand Ole Opry Musical Director
“…we are all just so pleased with the V52.
I personally played all of the guitars when they arrived
and was very impressed at the consistency of construction, set up and sound. These are a fantastic
Years ago, Steve Gibson was playing the honky-tonks and dance halls of central Illinois.
The teenager found plenty of work as a member of the American Federation of Musicians’ Peoria Local 26. His parents always
tagged along to watch him play, being music fans themselves.
Fast forward several decades. That teenager is now the music director of the Grand Ole Opry and has earned himself a reputation
as Nashville’s go-to guy, working with many of the top musicians of the industry since moving to Nashville, Tenn., in the 1970s.
|“I am grateful,” Gibson said recently by telephone. “I have to pinch myself and remind myself that I’m the same kid that used to go
to Matthews Music on Main Street, look at the guitars and say ‘I wish I could have one of those someday.’”
“When I was growing up, we were influenced by the whole British music invasion,” he said. “My father was a country music guy
and my mom liked more pop standard music. I had two older brothers who were children of rock ‘n’ roll, so I was exposed to
He was good at music, so he started playing with bands at taverns in and around Peoria. He was accepted into the American
Federation of Musicians at age 14.
Peoria was a great place to work, lots of union involvement. If you wanted to be a professional, you joined a union,” said Gibson,
who played Gil’s Supper Club, Hanna City Tap and the East Peoria circuit near the Caterpillar complex, as well as local halls. That
was back when taverns were neighbourhood meeting places that always had a live band on Saturday nights.
“I owe so very much to the fact that my mother and father supported this and, to the best of my recollection, I don’t think they ever
missed a night of being with me while I performed,” said Gibson, who is married with three adult children. “I realize what a huge
commitment they made for me to be able to have those experiences.”
Legendary Nashville Guitarist
"…My Vintage® 52 Guitar is REALLY comfortable to play – the neck is perfect,
the weight is perfect,
and the sound is as good as it gets! …"
Over the years, countless guitarists have come to Nashville with as little as $5.00 in their pockets and their guitars slung over their
backs in hopes of getting a job and making their dream a reality. Only a chosen few ever made it; especially those whose
'fingerprints' are left on #1 hit recordings.
Jimmy Capps is one of those chosen few.
For years now, Jimmy, who is one of the select group of Opry Staff Guitarists, has been a part of turning songs he's never heard
before into hits...and in some cases...even 'classics'.
These timeless classics include: * "Stand By Your Man" - Tammy Wynette" * "He Stopped Loving Her Today" - George Jones
* "The Gambler" - Kenny Rogers * "The Rose" - Conway Twitty * "The Lighthouse" - The Hinson.
As one of Country Music's finest guitar players, Jimmy Capps is a 'master of smoothness'. He is known in the studio for his ability to
move flawlessly from 'electric to acoustic' with a polished and refined touch that he brings to every recording or performance he is
When you hear the richness and grace of his acoustic intros on "The Gambler" (Kenny Rogers) ..."How Blue" (Reba McEntire) ..."Near You" (George Jones and Tammy Wynette) ..."After All These Years (Barbara Mandrell) ...16th Avenue (Lacy J. Dalton) ...
and on Conway Twitty's "I Don't Know A Thing About Love"... it comes as no surprise that this gifted guitarist can easily alternate
into his more distinctive, electrifying sounds that you hear on the intros of Waylon's "Brown-Eyed Handsome Man"...Terri Gibbs'"Somebody's Knockin' "... Charley Pride's "Honky Tonk Blues" ... or The Louvin Brothers' "How's The World Treating You" and"Second Time Around" ... just to name a few.
Some other incredible recordings you can hear Jimmy on are George Strait's "Amarillo By Morning" and "Unwound" ... Alan
Jackson's "Here In The Real World" ... The Oak Ridge Boys' "Elvira" and "Sail Away" ... Barbara Mandrell's "Sleeping Single In A
Double Bed" and "I Was Country When Country Wasn't Cool" ... Conway's "Lost In The Feeling", "Red Neckin' Love Makin' Night",
and "Don't Call Him A Cowboy" ... John Denver's "Some Days Are Diamonds" ... as well as such artists as Andy Williams ... Ray
Charles ... Mac Davis ... John Conlee ... Moe Bandy ... Joe Stampley ... Billie Joe Spears ... Johnny Paycheck ... Janie Fricke ...
and all of Ronnie Milsap's recordings through 1988, to include such hits as "Smoky Mtn Rain" and "Legend In My Time".
Oak Ridge Boys/Reba McEntire/Garth Brooks
“…when I heard the sound of the Vintage® V52, all cranked up through a tube amp, it reminded me
of the first time I heard those great classic ’52 sounds; very clean, full bodied… it just
pumped me up…”
A native of Taylortown, Texas, Duane (“Ace”) Allen had formal training in both operatic and quartet singing before becoming a
member of the Oaks in 1966, joining Tenor Joe Bonsall, baritone William Lee Golden and bass Richard Sterban
Duane graduated from Paris Junior College, and then Texas A&M University at Commerce, Texas. He received a B.S. in Music
from Texas A&M, studying with Metropolitan Opera stars Richard Webb and William Abbott. For his classical music degree, he
concentrated on voice, piano, and composition. He has received the Distinguished Alumni Award from both Paris Junior College
and Texas A&M. He and his wife Norah Lee underwrite a scholarship fund for Texas A&M University Department of Music
The Oaks Ridge Boys have won countless industry awards, many for their chart topping “Elvira!, and they’ve had twelve gold, three
platinum, one double platinum album, more than a dozen No1 hits, and of thirty top ten chart hits.
Their 1981 Billboard No. 1 single “Fancy Free” has received over 120,000 hours of play worldwide, the equivalent of thirteen years
Nashville Session Ace
"I Just can't put this thing down, I play my V52 constantly, marvellous guitar!!!"
After 30 years in town, Bruce Bouton is an instrumental star and Nashville scene session ace.
After five years of playing with Ricky Skaggs (you’ve heard his steel solos on hits like Heartbroke, Country Boy, You May See Me
Walkin’ and Highway 40 Blues), he toured with Mel Tillis and Foster & Lloyd. For the past decade he’s been concentrating on
session work, playing on albums by Kathy Mattea, Reba McEntire, Garth Brooks, Emmylou Harris, Shania Twain, Wynonna, The
O’Kanes, Daniel O’Donnell, Randy Travis, The Oak Ridge Boys and Pam Tillis.
As a songwriter, Bruce co-wrote "Against The Grain" for Garth Brooks’ Ropin' The Wind album, which has sold more than 11 million
copies. He also served as mastermind and executive producer of “Mama's Hungry Eyes,” a tribute album to Merle Haggard and a
fund-raiser for Second Harvest Food Banks.
| Dee Allen
Tall Dark Stranger
"Vintage® is part of one of today's most positive movements in music: Outstanding instruments at
prices within anyone's reach.
A great choice, whether you're looking for a main live instrument, or
need a specific sound for your arsenal.
Everyone who plays my V52 falls in love with it and it’s
instantly become one of my mainstays."
Tall Dark Stranger is the brainchild of Dee Allen, a Nashville native who has never liked the idea of being pigeonholed into one
style of music. Their sound reflects his diverse influences, from classic guitar rock to sophisticated pop to R&B dance grooves.
Allen says, “If an idea pops into your head and moves you enough to write it down, then it will probably move others as well. I
think it’s important to let each song be what it wants to be, and not lose sight of what initially gave me chill bumps."
Although his style emerged from eclectic influences, it’s grounded in a rock solid history. Born near Nashville, Dee literally grew
up in the music industry, to musical parents (Oak Ridge Boy Duane Allen and Grand Ole Opry backup singer Norah Lee). His
mother taught him to hear harmony by singing hymns around the piano. At age fifteen, his path was set when he picked up a
guitar and taught himself to play by listening to KISS and Def Leppard albums. Within a year, he began writing songs.
junior year, he had formed his first rock band, who recorded an EP and an album. This piqued an interest in recording and
arranging, and soon Allen was spending all his free time in his home studio making elaborate demos, typically playing and
singing all of the parts. He spent the next several years gaining experience as a session singer, demo producer, stage performer,
and even as the baritone singer of the Oak Ridge Boys for a brief period.
Tall Dark Stranger originally came together in 1998, and began making regular appearances at Nashville clubs and writers'
nights. In their first few years together, they performed with acts like Big & Rich, Joe Pisapia (Guster), Billy Yates, John Cowan
(New Grass Revival), and Dave Berg. They released two collections of demos, but frequent personnel changes prevented them
from recording a cohesive album together. The band was put on hold for a few years when Allen was hired to sing in a theater
show in another state. During that period, he poured his time, energy, and resources into making the first proper Tall Dark
Stranger album. Performing most of the instruments and vocals, he also drew from a large stable of talented friends and coworkers.
The result is that each song on "There It Is" has a character of its own, while sharing the common threads of clever
arrangements, insightful lyrics, intricate harmonies, and Allen's soulful lead vocals.
For Dee, the only rule for an artist is to keep it interesting to him/herself. “There will always be a faster player or a higher
singer. But, if you strive to develop your own unique style and be true to what moves you, then you’ll be untouchable.
Grand Ole Opry Staff Guitarist
"… It’s the best guitar I have …"
Fiddle player Hoot Hester has played backup for a number of country music recording artists, among them Alabama, Hank Williams
Jr., Conway Twitty, Randy Travis, Bill Monroe, and Ricky Van Shelton. He has also recorded with Manhattan Transfer and Ray
Charles. Hester is a member of the Grand Old Opry's staff band, as well as the fiddler for a Nashville-based Western swing outfit
called the Time Jumpers. He appears on the band's debut album, On the Air.
Hoot was born on a Kentucky farm and acquired his nick-name at the age of two. The nickname is derived from Hoot Gibson, a
popular cowboy actor. As a child, Hester developed a love of music from his guitar and fiddle playing father and four uncles, as well
as from his mother's piano playing. He learned first how to play the piano and by the time he was nine, he had picked up the fiddle
as well. It wasn't long before he also developed skill on the guitar and mandolin. He and a couple of cousins formed a band to play
Upon leaving high school, Hoot found employment with the phone company while also performing with a Louisville group called the
Bluegrass Alliance. Relocating to Nashville in 1973, he started performing with the Whites. He moved on to gigs with artists such as
Jerry Reid, Mel Tillis, and Donna Fargo. By 1980, he decided to work as a studio musician and soon he was also playing with steel
guitar player Buddy Emmons and session guitarist Phil Baugh in Sound Factory. They went on to become the staff band on the
television shows That Nashville Music and Nashville Alive.
Grand Ole Opry Staff Guitarist
“…"My V52 is an amazing guitar. I always check new instruments by playing them unplugged. If
they are properly set up and have fresh strings they should sing and sustain on their own. That's
exactly what the V52 did. After that little test I plugged it in to check out the electronics. Perfect!
I own several vintage guitars and the V52 has the feel, playability and sound that usually comes
after years of playing. And.......you don't have to take out a second mortgage to buy one!! …" – Larry
I was born in Youngstown, Ohio and graduated from McDonald High School in 1966. My folks still live in McDonald. Dad's a retired school band
director, still active in various community bands, teaching a few private students and playing occasional weekend wedding gigs on piano.
My first band, the "L & M's" (Larry, Mark & Mouse) in 1960, played for dances after athletic games at Ridgedale High School. I also played weekend
gigs with dad on guitar and bass. At this time I also began playing string bass in the school jazz band.
When we moved back to McDonald I formed the "Huns," another school rock/dance band. After graduation, I entered Youngstown State University
as a music education student majoring on tuba. While attending YSU, I performed in various local Youngstown bands, including the "Squires," "Upper Realm," "Three Rivers Blues Band"(with Freeland), and "Roadshow" (with Marshall and Pizzulo). We broke up several Youngstown groups
to form "Brainchild" in late 1969, in which I played guitar (as the bass slot was occupied by Bodine).
After "Brainchild" broke up, I did a brief stint in a Holiday Inn lounge band, and a jazz trio called "Mirage" (with Grazier). Then the "Jaggerz" called
me, and I performed with them until Bodine lured me to L.A. in 1976 with the promise of plenty of work. I slept on his couch until I found my own
apartment. And he was right - the work was great.
I soon began recording, playing live gigs, and writing charts; I even landed a song writing deal with CBS April Blackwood as a staff writer.
I eventually wanted to be nearer to my family, so I moved to Nashville in 1979. Thanks to my L.A. contacts and some Youngstown buddies already
living in Nashville, I went right to work. Since then, I've been on many top ten/number-one records with numerous artists. For a complete
discography of my work, go to http://www.allmusic.com/search/all/larry+paxton and search LARRY PAXTON. I was also featured in the book, Studio
Bass Masters published by Miller Freeman/Bass Player Magazine.
In 1985 and 1992 I toured with Alabama. I've also performed with Emmy Lou Harris, Suzy Boggus and many others. I've been bandleader on "The
Charlie Daniels Volunteer Jam" band and the annual Harlan Howard birthday bash. And I've performed live on TNN's Music City Tonight and Prime
Time Country T.V. shows as staff bassist for three years.
I met my wife, Kristin Wilkinson, in 1983 while working on projects with her. She is a top arranger and violist with many gold records to her credit.
You can also find her on allmusic.com by searching KRISTIN WILKINSON. Lately, we have been working together as a writing/arranging team. In
2000 we worked with Marty Stuart on the score for the Billy Bob Thornton film, "All The Pretty Horses," which received a Golden Globe nomination.
Together, we have also arranged many orchestra sessions in the Country, Rock, and Christian fields while still actively pursuing our individual
recording careers (just recently, Kris worked with Bruce Springsteen and I worked with Kid Rock!).
Grand Ole Opry Staff Guitarist
"… My V52; I can hardly put it down...I love it!...plays and sounds out of this world! …"
One of the most highly respected and well thought of musicians in the Nashville music community, Steve Hinson can flat out play!!. Electric guitar,
acoustic guitar steel Guitar, lap guitar, slide guitar, dobro….it doesn't matter, Steve can make it "sing" for you. In addition to his musical talent he
can bring a smile to a recording session or a stage as good as anyone I have ever worked with. Over the years Steve has performed or recorded
with scores of artists and songwriters, a list which includes George Jones, Ray Price, John Conlee, Dolly Parton, Kenny Chesney, Josh Turner,
Trace Adkins, Keith Anderson, Vern Gosdin, Alan Jackson, Ricky Van Shelton, Tracey Lawrence, and for the last 13 years, Randy Travis.
Grand Ole Opry Staff Guitarist
"… This is the way I like my guitars to feel …"
Mike Severs is acknowledged as one of the top session players in Nashville, whose credits in country music include number one
records with Dolly Parton, Kenny Chesney, and Alabama. Credits in pop & rock include Paul Simon, Steve Winwood, Felix
Cavaliere & Brian Wilson.
Nashville Session Guitarist and Producer
“…My V52 is my go to electric now, it gets more air time than any of my others …”
Born in Sussex, England October 3, 1948 and was formally educated in England, The Isle of Man, and Canada. He attended
Niagara University, majoring in Composition and Music Theory.
Michael started his professional career in Buffalo N.Y. when he was 14 playing with a popular local rock band “The Rogues” for
“The Rogues” eventually released three singles and played thousands of shows in the NY state area. Michael was
inducted into the Buffalo Music Hall of Fame in 2004.
He moved to Nashville in 1971 and played lead guitar for Eddie Rabbitt for six years. He played guitar on Rabbitt’s first four albums
and received a Naras Super Picker Award in 1979 for the following Rabbitt #1 singles: Rocky Mountain Music, I Can’t Help Myself,
You Don’t Love Me Anymore, and Hearts On Fire. He played on a total of eleven number one songs for Eddie Rabbitt.
He has played on over 5000 live, radio, and televised shows which include:
The Today Show, Jay Leno, Ellen, NPT Sound Stage, Music City Tonight, NPT Great Performances, NPR Echoes and Hearts of
Space, Solid Gold, Midnight Special, Johnny Carson, Hee-Haw, Grand Ole Opry, That Nashville Music, Jerry Lewis Telethon, The
Osmond Show, Disney World T. V. Show, On Stage, Pop Goes The Country, Nashville Now, Crook and Chase, Charlie Daniels’
Volunteer Jam, Farm Aid, CMT, VH1.Currently touring with Trisha Yearwood Fall 2005.
Michael has been an A String session player for over twenty five years and works with hundreds of engineers, writers, session
players and artists annually. He has been featured in:
Guitar Player Magazine, Taylor Wood and Steel twice, and the Peavey Monitor three times.
Currently he has released his first solo album Without Words on Agnes Records distributed by Narada Music Design. One cut off
the CD is featured on the the new Windham Hill release Sounds Of Wood And Steel: Volume 3. He has just completed his second
album Neurasenia which will be released soon and is currently in production on yet a third album Sonic Venue. He also has a
distribution venture with Readers Digest Music Division.
Nashville Session Ace
“… I love my V52. It sounds and feels as good as some of my guitars that cost much, much more.
It's become one of my favorites!...”
Kerry Marx is a guitarist, living presently in Nashville, Tennessee.
His foremost endeavor is recording for artists, jingles, and TV,
although he does a variety of live TV and stage work also. He plays on the Grand Ole Opry every week as a member of the Opry
staff band, performing with an average of 10-15 artists per week. If you check his bio at http://www.kerrymarx.com/bio.htm ,
you'll get an idea of who some of these artists are.
Kerry was born in Shelby, North Carolina on January 26th, 1954 and grew up in Aiken, South Carolina. Playing bass and guitar in
bands as a teenager, he studied music at the University of South Carolina. After deciding to concentrate on guitar, he attended
North Texas State University in Denton, Texas with a concentration in jazz guitar, before moving to Nashville in 1981.
In these last 29 years, Kerry has played a variety of jazz, pop, rock, and country music in the Nashville recording scene, as well as
traveling to other cities to do the same. For the last 7 years, Kerry has been dividing his time between these more traditional
methods of recording and recording at his state-of-the-art home studio. There he has done work for ABC, NBC, CBS, Fox, Disney,
CMT, and the Dick Clark company, as well as countless jingles and record projects.
Nashville Session Ace
"I don't use my old Tele anymore the V52 is just better sounding not to mention feeling infinitely more comfortable, the Wilkinson components and touch just make a really good instrument even better"
Kentucky born and bred, Martin made a name for himself during his five years of playing guitar and singing lead
vocals with the country/pop super group Exile. After a successful run of hits, Exile stopped touring in the mid-90s,
lending Martin time to focus on some of his other passions—writing, producing, and engineering in his recording
studio. Being a multi-instrumentalist, he enjoyed several tours on the road, playing both steel guitar and keyboards for
Kathy Mattea, bass guitar and steel for the legendary Oak Ridge Boys, bass for Steve Wariner, and even sang as one
of the Oak Ridge Boys prior to William Lee Golden’s return to the line-up in the mid-90s.
|Martin delved into writing and recording a wide range of projects, including composing national & regional commercial
jingles, writing/producing music libraries and instrumentals that have been featured in national and international
television spots and programs, recording album projects for acclaimed major-label and independent recording artists,
and singing and playing on numerous recordings from country, rock, pop, bluegrass, gospel, and more.
Martin and his wife Jamie also started raising their family. Watching their 4 children all share their parents’ passion for
music has been a thrill beyond Martin’s imagination. Martin’s goals have always been to be a successful artist,
performer, songwriter, producer and engineer--and most importantly a great husband and father.
After years of focused studio time, Martin got the call from Marty Stuart, asking him to join the Fabulous Superlatives.
“Marty said, ‘You’ve spent the last 10 years being a great father and husband, and now it’s time for the world to enjoy
that God-given talent of yours again.’ I just laughed and said, ‘Well, alright then; time for the next chapter!”
Nashville Session Ace and Producer
"The Vintage Icon V52 has become my favorite Tele. Its' cool look, awesome tone and great playability is
inspiring. It's one of those guitars that are hard to put down. I just love it!"
At an early age, guitars became an obsession with Coleman Murphy and he played lead guitar in a rock and roll band in high
school as part of an independent music class. For their final grade, they had to do a show for the entire school assembly.
Fun! Glad they loved rock and roll.
Coleman started playing in clubs near his home in North Carolina at age 15. Soon after high school, he worked at Emmons’ Guitar
Company where he learned to play pedal steel and met Irvin Parham who was a classical guitarist.
Coleman was intrigued and took some lessons from him and others, which would later become helpful in reading music.
He was influenced by some of the guitar greats: Jimi Hendrix, Eric Clapton, Duane Allman, and Chet Atkins.
After fifteen years of playing in popular bands along the East Coast, Coleman decided to venture out to Music City.
When he made the move to Nashville, new doors opened with recording opportunities in country, pop, R&B, and gospel genres. In
fact, he has played on over 4,000 songs for Sound Choice Karaoke Company.
Coleman has also toured or recorded with artists like Chely Wright, Tanya Tucker, Linda Davis, Buddy Jewell, and others.
He currently tours with country music legend John Anderson and plays sessions at various Nashville studios.
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