For decades, Jazzmasters, Jaguars, Firebirds and many other offsets have been the go-to instruments for pioneering outsider musicians. Here’s our pick of 15 offset- heroes.
Offset s aren’t just for hip indie kids and surf-rock revivalists – Jazzmasters, Jaguars and Firebirds have been the go-to s for a wide range of iconic artists across the whole musical spectrum. Here are some of the most iconic offset ists of them all.
The My Bloody Valentine man didn’t just play offsets – he changed the way they could be played. When MBV abandoned the goth-rock of their 1985 debut release
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Are like diaries of Shields’ experimentation with his favoured Fender Jazzmasters and Jaguars. He had set out to create an “infinite horizon” of near-cacophonous s through a combination of open tunings, unique use of the offsets’ floating tremolo and stacks of fuzz.
, and as a fitting tribute to the instrument that defined the record, a washed-out photo of a Jazzmaster adorns the album art. Even as he revitalised his sound with jungle- and acid-fuelled beats on 2013’s
, it’s impossible to look past Shields’ most significant contribution to music: that the whole hipsters-with-offsets trend sprung from his slouching shoulders.
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The 2019 Grammys turned out to be an unlikely victory for aficionados. Rather than the mumble rappers and DJs who dominate today’s charts, two electric six-strings snagged the leading roles at the ceremony: R&B starlet H.E.R.’s clear Strat, and St. Vincent’s funky offset-bodied Music Man signature.
The latter is much more than a showpiece instrument for Annie Clark, a player who stands shoulder to shoulder with the rock deities that came before her. Clark is known for her idiosyncratic new-wave chops that are as indebted to Elvis Costello as Prince, hence her MM’s retro-inspired good looks and versatile triple-pickup configuration.
There are practical and symbolic rationales behind the Ernie Ball’s unorthodox, retrofuturistic shape, too. One, it makes the smaller and lighter – Clark has has mentioned that she considers Les Pauls and old-school Strats, as great as they are, to be unwieldy and heavy.
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Perhaps more significantly, it’s an emblem of both St. Vincent’s reverence of tradition and her desire to break out from it. “I made this for players, ” she explained in an Ernie Ball video. “The design of the … everything was incredibly purposeful, but it was also spontaneous in a certain way. The shape that I drew initially at the factory ended up being pretty similar to how [the ] ended up. You’re honouring the past, you’re taking the knowledge of various people who’ve cultivated and passed it forward. But you’re also going, ‘Cool, we’ll take that. But let’s do something else. Let’s find out what’s in the future.’”
Her quote mirrors what Kevin Shields had to say about the Jazzmaster body shape: “They knew how to make things look like they’re going forward. It’s kind of flying through space.” All that from a – before you’ve even strummed a chord.
The Austrian artist may be more widely known in experimental and electronic-music circles, yet it’s turbulent work that underpins his prickly ambient compositions. A Kevin Shields fetishist, Fennesz swapped a Stratocaster for a Jazzmaster to record all the electric sounds on his 2008 opus,
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Symphonic, vast and unsettling, the album is built upon s manipulated beyond recognition by digital plug-ins and custom-made stompboxes – a mesmerising mix of shoegaze, Brian Eno and Autechre. His collaborations with Ryuichi Sakamoto (
“I liked the tone spectrum of the Jazzmaster better and the way you could play behind the bridge, ” he told Moderne in a 2015 interview. “It is more of an improvising instrument, whereas you have to play the Stratocaster much more precisely to get great tone – the Jazzmaster is more forgiving. If you are a lousy player, it still sounds okay.”
. Cobain even went as far to admit it’s his favourite in the world – no idle talk coming from a punk rocker so hostile to the worship of gear.
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One of his earliest Mustangs wasn’t a Fender, but a Greco copy. He used that and a Univox Hi-Flier during the
era, then picked up his first Fender Mustang (a 1973 one) as Nirvana were touring in support of the debut LP. As the urban legend goes, that vintage Mustang – and the Hi-Flier – met its demise at a 1989 gig in New Jersey.
Recording sessions, Cobain started playing a 1965 Fender Jaguar and a 1969 Lake Placid Blue Mustang with a Competition Stripe. Both these s became his trusted go-tos live and in the studio, and offsets soon became as synonymous with Cobain as his oversized cardigans were.
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Around 1993, the grunge icon approached Fender with a cut-and-paste collage of a Jaguar and Mustang. Two prototypes of the Jag-Stang were built, but, sadly, Cobain only used one of them for a handful of shows before his tragic passing in April 1994.
Riff? And which one of them didn’t, eventually, pine after the vintage Fender Jazzmasters that the Dinosaur Jr. ist towed out to all his gigs? He may currently use 1963 and 1965 Jazzmasters as his main and backup instruments respectively, but his love affair with offsets began when he purchased a $300 Jazzmaster back in the 80s.
“The only person I ever thought of with the Jazzmaster at that point was Elvis Costello, ” J said in an interview with Fender. “So I learned how to play the [on it]. I used the whammy bar a lot for the songs I was writing, so it became part of my style. It kind of became my because that’s the only one I had. I bought other s over the years but, live especially, for the Dinosaur songs, I can only play the Jazzmaster.”
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Today, Jazzmaster and J are so entwined that it’s tough to think of one without the other. So it’s only fitting that Fender chose to recognise the relationship with several signature Jazzmasters for the Massachusetts native: a sparkling purple with a tune-o-matic-style bridge that appeared on his first-ever Jazzmaster, and a white Squier with a vintage-style bridge and an anodised gold pickguard.
In her heyday, the proto-punk poet and leading lady of the Downtown Scene was fond of her 1957 Fender Duo-Sonic. The appears in many press photos of Smith back in the 70s, and it was immortalised in the title track of her beatific 1976 record,
. “When I see Brancusi/ His eyes searching for the infinite abstract spaces/ In the rude hands of sculptor/ Now gripped around the neck of a Duo-Sonic, ” she screeches.
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Sure, Patti isn’t a ‘ists’ ist’ in the traditional sense. That plaudit would have to go to Lenny Kaye, who played in the Patti Smith Group, and Fred “Sonic” Smith of MC5, who collaborated with – and married – her. Furthermore, she’s more occasionally spotted with an acoustic these days. But for inspiring female ists such as Liz Phair (another Duo-Sonic user), Cat Power and St. Vincent, and for how effortlessly cool she looks with the in those photos, we just had to save a spot on this list for her. Oh, and did we mention she also cut a record with Kevin Shields?
Although Fender designed the Jazzmaster for jazz cats, upon its release in 1958, they weren’t biting. So in their stead rode the surf-rockers, who took to the ’s rad looks, thicker-than-a-Strat tone and eccentric ‘tremolo’ system – and at the crest of that new wave of playing, you have Bob Bogle.
The lead ist and co-founder of The Ventures famously rocked a 1960 Jazzmaster, in Three-Colour Sunburst, with a ‘slab’ rosewood fretboard. You’ll spy it on the covers of
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, the group’s second single, that propelled the sound of the electric – let alone the Jazzmaster – to the mainstream. In fact, George Blanda, one of Fender’s master builders, admitted that
“The Jazzmaster has a certain sound that no other has, ” Bogle’s bandmate and rhythm ist Don Wilson said. “And that sound is so unique, so warm and yet tough. There’s no like this.”
, Van Etten was predominantly known as an acoustic player. She got a hollowbody when she started writing “more aggressive songs”, yet it wasn’t until The National’s Aaron Dessner recorded and co-produced
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That Van Etten found herself in the company of a Fender Jaguar. “He had a Jaguar, and I had never played one before, ” she recalled in an interview with Fender. “[Dessner and his brother] introduced me to the wonderful world of the Jaguar.”
She picked up her current number one, a 1965 Jaguar, during rehearsals for that album, too. It was put on sale by the people Van Etten was sharing the space with – and she bought it. “I felt like I lucked into it, ” she said. “I just fell in love with the tone, how it felt. It’s solid and heavy – but it’s not too heavy – and it has such an awesome, thick, lush sound.”
In January 2019. And that vintage Jaguar has remained by her side through
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