Browse Dave’s Collection
“Welcome to the guitar collection. On the second floor of our store we have on display over 300 guitars and more than 50 amps that I’ve accumulated over the years. The friends and customers that have visited us seem to really appreciate being able to view this, so we thought we would share it with our online friends and fellow guitar enthusiasts as well. Enjoy!”
- Dave Rogers
The items in Dave’s Collection are not available for purchase.
Brown Tolex, February 1960.
As important and innovative as Fender guitars were in the 1950’s, Fender amps were the industry standard; renowned for their tone, durability, and easy maintenance. At Fender, the amplifier was considered as important to the overall sound as the guitar. The right electric guitar needed to be matched to the right amplifier before music could be made.
If the legendary recordings made at the Memphis Stax-Volt studio in the 1960’s are used as evidence, the perfect mate for a Fender Esquire (or Telecaster) would be a Fender Harvard Amp. This combination was used by session guitarist (Booker T. and the MGs band member) Steve Cropper, on nearly every Stax hit of the 1960s. The sounds ranged from mellow (Otis Redding’s “I’ve Been Loving You Too Long”), to biting (The MGs’ “Green Onions”), to distorted (The MGs’ “Hip Hug Her”).
Fender introduced the 10 watt Harvard in 1955 to fill the space between the 5 watt Princeton and the 15 watt Deluxe. It had one 10” speaker (sometimes an 8” was used) driven by two 6V6 power tubes. It had one tone control and one volume control. The Harvard was discontinued in 1961.
Tweed, High Power
In 1953 Fender launched an amp that would become the industry standard for decades: The Twin.
The Twin, named for its pair of 12” speakers, evolved in looks and power output through the 1950s. In1955 it changed from a wide-panel 25 watt amp to a narrow-panel 50 watt amp. By 1958, the tweed Twin reached 80 watts.
The new high powered Twins were favored by late ‘50s rock n’ roll musicians because the sound was able to fill most dance halls (this was before miking amps through a PA system was standard practice). A number of these rockers also plugged Fender’s space age Stratocaster into the Twin because of the solid body’s ability to reach high volumes without feedback. The Strat/Twin setup was favored by Buddy Holly and Tommy Allsup of The Crickets, and by Johnny Meeks of Gene Vincent’s Blue Caps.
Even though the high powered tweed Twin was eventually replaced by the black tolex covered Twin Reverb and various incarnations of channel switching Twins, it is still a sought after collectable amp. The most notable proponent of the 80 watt tweed Twin today is Keith Richards of the Rolling Stones. Since the ‘90s he’s always had a Twin or two on stage to achieve his signature clean/dirty - rhythm/lead sound.