Sean Costello: What Amp?

[gkoelling]

I'm just curious if anyone knows what amps Sean preferred.




Thanks

[bbarnard]

I'm pretty sure he was using a Vibrolux for a while. He also was using a Goodsell towards the end.

[mr tom]

Sean toured with a BF Deluxe Reverb until it wasn't loud enough; a BF Vibrolux Reverb until it was stolen; and a BF Pro Reverb thereafter. And he recorded in NY and Atlanta with a variety of amps including a brown Super, a BF Princeton Reverb, a Goodsell, a 45W Bakos, some small Gibsons, an Ampeg Reverborocket, maybe a Vox..... I am pretty sure he owned a Magnatone at some point as well.

[guitarbob]

I saw him at BB Kings in Nashville a couple of years ago, and he was playing that old Les Paul through an old beat to hell Gibson tube amp. In this video it looks like a Hot Rod Deville on top, and can't tell on bottom. http://www.youtube.com/watch?v=ApbOc39A0xY

I'm sure mr. tom is more accurate for the most part than I am. Those all sound like logical choices. Whatever he used, it sounded good.

[Ulysses]

He sounded pretty much the same on them all. One thing I notice about Sean is no matter what amp it is or whether he's playing his original '53 wrap tail or his R6 Reissue, he always get's his tone and his "voice". The Sean Costello sound truly was in his fiungers. There are a few videos on YouTube that are first rate clinics on coaxing tone from a Les Paul

[shallbe]

He sounded pretty much the same on them all. One thing I notice about Sean is no matter what amp it is or whether he's playing his original '53 wrap tail or his R6 Reissue, he always get's his tone and his "voice". The Sean Costello sound truly was in his fiungers. There are a few videos on YouTube that are first rate clinics on coaxing tone from a Les Paul


Agreed. At 29, the guy was already a master.

[hasserl]

I saw him at BB Kings in Nashville a couple of years ago, and he was playing that old Les Paul through an old beat to hell Gibson tube amp. In this video it looks like a Hot Rod Deville on top, and can't tell on bottom. http://www.youtube.com/watch?v=ApbOc39A0xY

I'm sure mr. tom is more accurate for the most part than I am. Those all sound like logical choices. Whatever he used, it sounded good.

He sounded pretty much the same on them all. One thing I notice about Sean is no matter what amp it is or whether he's playing his original '53 wrap tail or his R6 Reissue, he always get's his tone and his "voice". The Sean Costello sound truly was in his fiungers. There are a few videos on YouTube that are first rate clinics on coaxing tone from a Les Paul

I don't agree at all. The tone on the clip linked above is very average and nothing to get excited about at all. If that was THE example of a vintage Les Paul Gold Top I'd say no thanks, doesn't do it for me at all.

Now check out this clip: http://www.youtube.com/watch?v=Nrkv5ey1Oq4&feature=related

Or this one: http://www.youtube.com/watch?v=pPmIPaWdChU&feature=related

Now that is tone to knock your socks off! :dude

It completely blows away the tone of that first clip. He didn't always sound like that. I don't know what amp he was using at that gig at the Crossroads Cafe but those are the best clips I've ever seen of him. He was on fire! His playing and his tone is incredible, and unmatched.

[EataPeach]

Killer clips...

I have been a fan since his Sue Tedeschi days...

I only found out 2 weeks ago that he passed...What a tragic loss.

Cool thread BTW

[TRIODEROB]

A TIP


jason lollar winds a p90 pickup set that is super low output (very low ohms)

he calls it the vintage p90 set

he came up with the set for Costello to put in his non vintage goldtop

I have a set of these pups in a gibson historic 1954 re issue

they are the cats ass

also remember costellos 1953 goldtop was a killer

it is said that it was 7 lbs - a monster guitar

if anyone knew him and I have anything wrong - chime in.

[Dave Orban]

A TIP


jason lollar winds a p90 pickup set that is super low output (very low ohms)

he calls it the vintage p90 set

he came up with the set for Costello

I have a set of these pups in a gibson historic 1954 re issue

they are the cats ass

also remember costellos 1953 goldtop was a killer

it is said that it was 7 lbs - a monster guitar
From what I understand, the Lollars never actually made it into any of Sean's guitars...

Anyone else know the details...?

[shuie]

Was his R6 stock? Does anyone know who has the guitar now or if a tech has ever seen the inside of it?

[Dave Orban]

For some reason, I think there are Fralins in the R6...

Anybody know for sure...?

[stephenT]

From what I understand, the Lollars never actually made it into any of Sean's guitars...

Anyone else know the details...?

Sean would sweat like crazy and he shorted out the neck PU on the '53.

Lollar rewound Sean's neck PU in the '53 and after returning it once Sean felt that Jason had got it on the second try. I don't believe that Sean ever got the PUs replaced in the '90s reissue LP.

I used the low output Lollar "Sean Costello wind" in the T90 I built for Sean. We replaced the Lollar tele PU in the bridge with a Budz which was magic.

http://i50.photobucket.com/albums/f335/talkovich/_DSC0026_1.jpg

I had started on another guitar for Sean, this was to be a short scale tele w/ two P90s but we had decided to use David Budzs low output P90s which we both thought beat out the Lollars.

Mr Tom has the amp list, Sean loved that old Gibson and did have a few Maggies. I had given Sean a Magnatone 250 at one point and he gave me his Titano which was like a Maggie 260R. Here's me, Jon L. and Sean w/ that Gibson in '02 at my Sunday night gig at Northside Tavern. Those nights were frickin' wonderful and magical. God I miss the boy.

http://i50.photobucket.com/albums/f335/talkovich/IMG_0543.jpg

[gkoelling]

Thanks for the info, so far, everyone. There have been several threads since Sean passed but I couldn't recall much gear talk. The man had some great tone to go along with the chops and it's nice to hear what his choices were.

[JohnK24]

Stephen, thanks for sharing that information and that wonder pic.

Lord, I miss his talents...

[KBR]

He was awesome, no question, Great Vibrato and tone on Double Trouble, (Otis Rush is a major influence of his) among others. Sad to see a Young Cat that had it all, leave us at 29.
I miss him, and thank God for You tube, So many cool things on it, Sonny Boy, Magic Sam
Albert Collins, BB, You name it.

[Ulysses]

I don't agree at all. The tone on the clip linked above is very average and nothing to get excited about at all. If that was THE example of a vintage Les Paul Gold Top I'd say no thanks, doesn't do it for me at all.

Now check out this clip: http://www.youtube.com/watch?v=Nrkv5ey1Oq4&feature=related

Or this one: http://www.youtube.com/watch?v=pPmIPaWdChU&feature=related

Now that is tone to knock your socks off! :dude

It completely blows away the tone of that first clip. He didn't always sound like that. I don't know what amp he was using at that gig at the Crossroads Cafe but those are the best clips I've ever seen of him. He was on fire! His playing and his tone is incredible, and unmatched.


Yes, I'm very familiar with this clip. I did also notice the discrepency in tone but if you listen to him speak right before the count, you'll hear the same dull, boxy, tone on his vocals. There is very little detail on his guitar but I doubt it is his amp. You can see when the camera pans back he is shooting across the line of floor monitors from the other side of the stage probably close to the FOH and could hardly be getting much if any of Sean's actual stage tone. I have a similar clip of my own rig from the N.O. Jazz Fest. shot at similar angle and the combination of FOH and the monitor mix EQ totally sabotages what I was hearing in front of my amp. Underneath the overdriven camera mic and all the extra signal from the PA I still hear his Sean's distinct guitar voice as strong as ever. Check these two clips out, same song shot with different mic placement, EQ on FOH, etc, one looks like it was edited from two cameras but doean't sound like a feed from the mixer, and even with all the differences it's still his guitar voice. Those "Crossroads Cafe" and the "Living Room" clips are probably some of the best representations of his actual stage sound though. It's pretty apparent from the proximaty of the camera and intimacy of the room in the Crossroads Cafe clip we are hearing much more of the direct sound of his amp without the interference of two other mixes .


http://www.youtube.com/watch?v=1AUsj84HfhI&feature=related

http://www.youtube.com/watch?v=DbH-X08V1Do


I agree though, the C.C. clips are as raw and up front as it gets and his tone is to die for.

[jumpnblues]

"[...Now check out this clip: http://www.youtube.com/watch?v=Nrkv5...eature=related (http://www.youtube.com/watch?v=Nrkv5ey1Oq4&feature=related)

Or this one: http://www.youtube.com/watch?v=pPmIP...eature=related (http://www.youtube.com/watch?v=pPmIPaWdChU&feature=related)

Now that is tone to knock your socks off! :dude...]"


In the first clip at about 1:42 there's a little tribute to the guitar he's playing...it's a Les Paul lick. What a tremendous loss of a tremendous young talent?!! As good as he was, he was just beginning to develop.
You know, after watching Sean in those clips I feel the need to say I absolutely LOVE that kind of music. It just has such a warmth and feels so good and just invites instruments with great tone. Straight blues, swing jazz, early R&B, and everything in between...give me that kind of music and I'll be musically fulfilled for the rest of my life. I especially like bluesy jazz and jazzy blues. And Sean played it all with such skill and taste. Man, I do miss ya'.


Tom

[hasserl]

Yes, I'm very familiar with this clip. I did also notice the discrepency in tone but if you listen to him speak right before the count, you'll hear the same dull, boxy, tone on his vocals. There is very little detail on his guitar but I doubt it is his amp. You can see when the camera pans back he is shooting across the line of floor monitors from the other side of the stage probably close to the FOH and could hardly be getting much if any of Sean's actual stage tone. I have a similar clip of my own rig from the N.O. Jazz Fest. shot at similar angle and the combination of FOH and the monitor mix EQ totally sabotages what I was hearing in front of my amp. Underneath the overdriven camera mic and all the extra signal from the PA I still hear his Sean's distinct guitar voice as strong as ever. Check these two clips out, same song shot with different mic placement, EQ on FOH, etc, one looks like it was edited from two cameras but doean't sound like a feed from the mixer, and even with all the differences it's still his guitar voice. Those "Crossroads Cafe" and the "Living Room" clips are probably some of the best representations of his actual stage sound though. It's pretty apparent from the proximaty of the camera and intimacy of the room in the Crossroads Cafe clip we are hearing much more of the direct sound of his amp without the interference of two other mixes .


http://www.youtube.com/watch?v=1AUsj84HfhI&feature=related

http://www.youtube.com/watch?v=DbH-X08V1Do


I agree though, the C.C. clips are as raw and up front as it gets and his tone is to die for.

But those two clips are from different gigs. Your point is well taken, but I'm not so sure the tone issue of that first clip wasn't due to the amp he was using. But maybe it was just the recording. In any case it's nothing to argue about, and I sure enjoy watching ANY clips of the guy and am just floored with his talent, and left feeling completely inadequate as both a player and a tone seeker.

It inspires me though to push out of the ruts I find myself in and reach for something better that I know is there yet out of reach.

So, Fender Reverb amps (Deluxe, Vibrolux, & Pro) seems to be the answer to the original question, eh? At least live, hard to tell on studio recordings. Dang, I've got several, they don't sound like that for me.

[esoteric pete]

they are the cats ass


ahhh...so THATS what the cats ass is?!

i always loved that saying, but never knew what teh hell it meant!!!!!!!11

[valcotone]

There are some great tones on all his CDs, but some of the ones on his Cuttin' In and Moanin' For Molasses sound like a small amp turned up all the way... you can even hear a touch of cone cry coming from the speaker. LOVE IT!

When I saw him play a few years ago in Dallas he had that big tweed Gibson GA-100 (or something) amp that's in the pic above.

[Ulysses]

But those two clips are from different gigs. Your point is well taken, but I'm not so sure the tone issue of that first clip wasn't due to the amp he was using. But maybe it was just the recording. In any case it's nothing to argue about, and I sure enjoy watching ANY clips of the guy and am just floored with his talent, and left feeling completely inadequate as both a player and a tone seeker.

It inspires me though to push out of the ruts I find myself in and reach for something better that I know is there yet out of reach.

So, Fender Reverb amps (Deluxe, Vibrolux, & Pro) seems to be the answer to the original question, eh? At least live, hard to tell on studio recordings. Dang, I've got several, they don't sound like that for me.

Yes, they are two different gigs actually a year and a half apart. He's playing his R6 on both and may or may not be the same amp, I can't tell. I guess what I was trying to say is that his playing "voice" is so distinct and recognizable it's always the most predominant thing I hear about Sean no matter how much the tone of the recording varies. Much like many of the greats that had a distinct voice, he gets it with his hands and it's always there no matter what the amp is. No matter what guitar or amp Freddie King plays his inflections are so strong we know it's him. Same with Albert King. In the early days Clapton could play a 335, Firebird, SG, or Les Paul, on a variety of amps but you knew it was him from the voice. Same with Jimi whether on a Strat, Flying V, or SG, it pretty much sounded the same. Just like Joe Cocker can sing through a transister radio and his voice is so distinct there would be no question who it is, Sean Costello was one of those players. He has so much personality in his playing that like many of the greats, his very distinct "voice" is more a product of his touch or hands than his gear. I think as his contributions get sorted out over time, it will become more and more apparent how important to the big picture of the blues he actually is.

[jawjatek]

I once worked on Sean's BF DR and fixed it up for his birthday for no charge. It was essentially stock; I put in a set of NOS USA JAN 6V6s and an early (Detroit) JF Naylor Special 50 (the original Oxfart was toast). He gigged that amp for a long time, at least around Atl. He even used it (miked) at a Center Stage gig, opening for Bobby Blue Bland, that I stage-tech'd for him. My old DR was identical in every way, but I couldn't get the same tones he did - go figure. He had a bunch of amps at his house, including a white Bassman and some other cool pieces, but he mostly used that DR AFAIK in those days. This is back before he got the Goodsell; around the time of "Cuttin' In". He used my ES-345 on the title tune, but I have no idea what he used for an amp - Jeff Bakos would know. I was very proud to see he gave me a "thanks to" credit on that CD.

I had been out of touch with Sean for a few years, but I was supposed to see him that Wed night at Northside about an amp that needed fixin'...I'll never know what he wanted. A crying shame. One of my biggest regrets in life is not staying in touch with him the last few years.

Joe Loftus

[wstsidela]

What a talent. Damn shame he died so young.

[todd richman]

stephenT, that is a great looking hollow T that Sean is playing in that pic-are they available for order? PM with details please.

[BadAssBill]

This is my favorite Sean video. I really think this showcases how great he truly was and how iconic he would become...

http://www.youtube.com/watch?v=qX8b0hVXk28

I'd seen Sean a bunch of times at the Northside Tavern. Probably the best tone I ever heard out of him was what I think was a 5 watt Goodsell. He started out with a Super 17 and then switched to the 5 watter for the second set. It was more aggresive and just magical...perfect for his style and P-90's.

[Ryguy]

This is my favorite Sean video. I really think this showcases how great he truly was and how iconic he would become...

http://www.youtube.com/watch?v=qX8b0hVXk28

I'd seen Sean a bunch of times at the Northside Tavern. Probably the best tone I ever heard out of him was what I think was a 5 watt Goodsell. He started out with a Super 17 and then switched to the 5 watter for the second set. It was more aggresive and just magical...perfect for his style and P-90's.



Sounds like a Magnatone to me. I think its a Robert Ward too, Sean did a few of the, so the Magnatone connection is natural. You can really hear Robert Wards influence in his playing here too. Beautiful version. Sena was a young master, no doubt about it.

[gkoelling]

I love that tune. Does anyone know if it's on one of his CD's?

[sanhozay]

When Moanin for the Molasses came out I purchased ten copies and gave them out for gifts - instead of cigars - when my kids were born, 2002. It's been in the van spinning just because they turned six - and I miss Sean Costello.

Big fan. His voice was beyond those guitar chops, which is saying a lot.

[cg]

An absolute genius with sooooo much soul.

[stephenT]

I love that tune. Does anyone know if it's on one of his CD's?

"Your Love is Amazing" never did make it on a CD, it is a Robert Ward song.

There's a whole CD that was scrapped between "Sean Costello" and "We Can Get Together" and "Your Love is Amazing" was with those tunes.

It sure does sound like a Maggie on that tune, but it's not. He tried two different Magnatones but couldn't get what he wanted, Sean's using a Fulltone Supa Trem.

[TwoFeets]

When I saw Sean one time at a small bar here in Sanford, FL the band had gotten caught up in a bunch of traffic and ended up showing up about 20 minutes late for the gig. He didn't have time to change his strings ahead of time and as was mentioned before he sweated a lot and tended to really rust out strings. After busting a string, the club manager handed him the guitar they have on hand as a spare for blues jam night - one of those cheapo $99 Squier Affinity Strats. And you know what, Sean absolutely killed on that thing, and it sounded just like Sean. So, '53 Gibson, Lollars, Fralins, Goodsells, blackfaces, Magnatones, whatever - the gear was definitely only a small fraction of that equation. That guy just had "it" going on.

[bbarnard]

That guy just had "it" going on.

Man he sure did. Feets and I saw him at the kitchen at HOB in Orlando with the old band (Melvin, etc). I think perhaps 15 people were in the place. We got a chance to talk to him during the breaks and when he found out I drove down from Gainesville to see him, he was just so appreciative. He's really missed.

[Goldie295]

The lick he does on THIS (http://www.youtube.com/watch?v=pPmIPaWdChU&feature=related) at 3.00 is wild !!

He was one of those JLV style players, whereby maybe you only got see 10% on any given day of what he had under the hood.

The more I see and hear, the more I wish I'd just got on a plane, arrived at Sanford airport and made one of his gigs. When things happen and life does what it does best (worse) the lesson is always the same - Live for the day !!

I still haven't caught Jr Watson. I really must do that.

Cheers,
Phil

[cg]

The lick he does on THIS (http://www.youtube.com/watch?v=pPmIPaWdChU&feature=related) at 3.00 is wild !!

He was one of those JLV style players, whereby maybe you only got see 10% on any given day of what he had under the hood.

The more I see and hear, the more I wish I'd just got on a plane, arrived at Sanford airport and made one of his gigs. When things happen and life does what it does best (worse) the lesson is always the same - Live for the day !!

I still haven't caught Jr Watson. I really must do that.

Cheers,
Phil

I can't stop thinking about this song! He just kills it.

[bluesbreaker59]

In Sean's R6 those were Fralins. I heard it straight from the horses mouth when he was through town. He said Lollar copied his original set in his 53 Goldtop, but he never received his free set, so he went with a set of Fralin P90's instead, and he highly recommended them.

I saw him 3 different times, and he was amazing every time, but there was one time that was WAY BETTER than the others. Every time he was using a vintage BF Pro Reverb.

[Goldie295]

Does anyone know if his pups were wired out of phase in the centre position?

[stephenT]

In Sean's R6 those were Fralins. I heard it straight from the horses mouth when he was through town. He said Lollar copied his original set in his 53 Goldtop, but he never received his free set, so he went with a set of Fralin P90's instead, and he highly recommended them.

I saw him 3 different times, and he was amazing every time, but there was one time that was WAY BETTER than the others. Every time he was using a vintage BF Pro Reverb.

The fralin's were put in his 90's reissue, Lollar had rewound the neck pickup in his '53 (although the Fralins were in the '53 for a month while that work was done). Sean wasn't real happy with the service from Fralin, I do know that Lindy didn't work on his guitar because I spoke with Lindy after Sean had complained about the work (which had nothing to do with the Fralin pickups but work on the original '53 PUs).

It bothered Sean that Lollar was calling his low output P90 the "Sean Costello wind", when I bought a set from Lollar for Sean's T90, Jason said he'd been doing that wind for awhile, called his '50's P90,... so many stories,... but after that they became the Sean wind.

[hasserl]

I captured this image from one of the Crossroads Cafe vid's, and the amp is clearly not a Fender _____ Reverb, or a Goodsell (unless Goodsell made him an amp without the valance across the top front). It looks mostly like the picture of the old Gibson back on the first page of this thread, maybe an effect of two sitting on top of it. But I don't see the Gibson logo on it. Kind of looks like theres a name badge down in the lower left hand corner (right hand corner in this view). Or maybe that's a pedal on the floor.

http://img401.imageshack.us/img401/8362/seancostellocrossroadsczr4.jpg

[shuie]

Gibson GA8 tweed?

[Thinsocks]

I'm not sure how many guys understand this, but unless your a big name or have money behind, chances are you're using rental equipment on overseas and larger festival gigs. I highly doubt any of the amps in those European videos are actually Sean's.

[stephenT]

I'm not sure how many guys understand this, but unless your a big name or have money behind, chances are you're using rental equipment on overseas and larger festival gigs. I highly doubt any of the amps in those European videos are actually Sean's.

Really not that difficult to understand, but thanks Socks, I'm sure that's the case. I don't recognize the amp myself.

[mr tom]

Sean's custom Jazzmaster had Lollars - I think St. Louis Matt, who built it, pointed Sean toward Lollar for the rewind also. But the goldtop RI definitely had Fralin P90s, and Sean's red 335 had Fralin humbuckers.

Thinsocks is right on as far as what gear is likely or unlikely to be used overseas. It's whatever they got!

[TwoFeets]

http://img401.imageshack.us/img401/8362/seancostellocrossroadsczr4.jpg


Sean travelled with his amps in a road case on casters. He'd wheel the amp into the show, pop off the cover and leave the amp in the road case while he played. The edges of what we're calling an amp in this picture look an awful lot like the edges of a road case.

It is possible as Frank mentioned also that he's using provided backline.

[playon]

That's a flight case not an amp...

[bbarnard]

Looks like a flight case to me too. Maybe he was blocking the front because it was a small venue and the volume was too much, i.e., using it like a plexi shield.

[hasserl]

That's a flight case not an amp...

I think you may be right. So, that pic is no help.

[TwoFeets]

If I were a betting man, I would say it's his BF Pro Reverb. When I talked to him back in January he was just getting back on the road after having been in Atlanta for a little while, and when he was home he'd had the Pro serviced. The amp then died on him at his show at BB King's here, in Orlando so he was puzzled. He had the Goodsell along for a backup but was bummed at the prospect of doing any touring without the Pro.

[Birdseye]

Sean liked brown Supers a lot too, specifically the 1960 center volume Supers. He used them to record on more than one of his records, and reportedly loved the tones.

[nc_guitarist_9]

in this video he's got a Deluxe Reverb?
look at 1:36
http://www.youtube.com/watch?v=_t3mNHMQ1ZQ&feature=related

[gkoelling]

I think it was a DR but I also think he'd sound great through a string and a Dixie cup.

[Guitar Slinger6]

I think it was a DR but I also think he'd sound great through a string and a Dixie cup.

:agree

[JamonGrande]

Sean's custom Jazzmaster had Lollars - I think St. Louis Matt, who built it, pointed Sean toward Lollar for the rewind also. But the goldtop RI definitely had Fralin P90s, and Sean's red 335 had Fralin humbuckers.

I've been watching these threads to see if Matt was ever mentioned. He was a former guitar student of mine when he was 10. Saw him on and off for a couple years after. Next time I saw him, he was telling me about this gig he got tech-ing for a guy on the chittlin' circuit. Huge opportunity for Matt, and I know he dug the scene and Sean's playing quite a bit. A real interesting guy, played mostly punk music through his teens until he got into restoring archtops and digging the blues.

joe

[stephenT]

Originally Posted by mr tom
Sean's custom Jazzmaster had Lollars - I think St. Louis Matt, who built it, pointed Sean toward Lollar for the rewind also. But the goldtop RI definitely had Fralin P90s, and Sean's red 335 had Fralin humbuckers.

I've been watching these threads to see if Matt was ever mentioned. He was a former guitar student of mine when he was 10. Saw him on and off for a couple years after. Next time I saw him, he was telling me about this gig he got tech-ing for a guy on the chittlin' circuit. Huge opportunity for Matt, and I know he dug the scene and Sean's playing quite a bit. A real interesting guy, played mostly punk music through his teens until he got into restoring archtops and digging the blues.

joe

Matt's a nice guy, saw him last at the funeral. When he was in town w/ Sean he'd come down to our Sunday night and sit in every once in awhile. He was certainly proud to be buds with Sean and work with him.

I'm not certain that Jazzmaster was ever finished and in Sean's hands, Matt was finishing it up around the time he left town and i think Sean told me Matt took it with him.

[tjedmond]

I met Matt the first time I met Sean, when I did sound for him at a club. Both nice guys. I invited him to one of my band's shows but he was too young to get in! I think sean was using a blonde piggyback tremolux that night. He sounded amazing, and like himself, every time I saw him, but I don't remember what he played.

I was so enraptured by his playing and singing that I don't ever remember thinking to look at what amp he was playing through.

[Jason Lollar]

"It bothered Sean that Lollar was calling his low output P90 the "Sean Costello wind", when I bought a set from Lollar for Sean's T90, Jason said he'd been doing that wind for awhile, called his '50's P90,... so many stories,... but after that they became the Sean wind."

Actually I call those my 50's winds but I never had an official 50's wind set untill Sean sent me his pickups from his original goldtop.
Of course I have been aware that alot of 40's and 50's P-90s are low output but my 50's set was developed from Seans goldtop. I talked to Sean and Matt many times on the phone and did whatever they required in the time they gave me to do it because i really liked what he was doing.

If Sean was pissed about something I never heard about it and if he was it was some sort of misunderstanding- probably second hand comments from someone who didnt know or misunderstood the story if that really happened.
I would add if you call and ask for the sean costello wind- youll get my 50's set- i always gave Sean credit for inspiring that set with his original goldtop- nowhere will you see them advertised as Sean Costello wind- do you???

So your right- too many stories :)

Its a real shame hes gone.

[Shnook]

"It bothered Sean that Lollar was calling his low output P90 the "Sean Costello wind", when I bought a set from Lollar for Sean's T90, Jason said he'd been doing that wind for awhile, called his '50's P90,... so many stories,... but after that they became the Sean wind."

Actually I call those my 50's winds but I never had an official 50's wind set untill Sean sent me his pickups from his original goldtop.
Of course I have been aware that alot of 40's and 50's P-90s are low output but my 50's set was developed from Seans goldtop. I talked to Sean and Matt many times on the phone and did whatever they required in the time they gave me to do it because i really liked what he was doing.

If Sean was pissed about something I never heard about it and if he was it was some sort of misunderstanding- probably second hand comments from someone who didnt know or misunderstood the story if that really happened.
I would add if you call and ask for the sean costello wind- youll get my 50's set- i always gave Sean credit for inspiring that set with his original goldtop- nowhere will you see them advertised as Sean Costello wind- do you???

So your right- too many stories :)

Its a real shame hes gone.

I bought a set of 50's Wind P90's from Jason right around the time Sean died, and they were labeled 50's Wind. They sound fantastic in my R4. Thanks again Jason!

[jjboogie]

When I gigged with him he was using either a Vibrolux or a Deluxe Reverb.

[stephenT]

"It bothered Sean that Lollar was calling his low output P90 the "Sean Costello wind", when I bought a set from Lollar for Sean's T90, Jason said he'd been doing that wind for awhile, called his '50's P90,... so many stories,... but after that they became the Sean wind."

Actually I call those my 50's winds but I never had an official 50's wind set untill Sean sent me his pickups from his original goldtop.
Of course I have been aware that alot of 40's and 50's P-90s are low output but my 50's set was developed from Seans goldtop. I talked to Sean and Matt many times on the phone and did whatever they required in the time they gave me to do it because i really liked what he was doing.

If Sean was pissed about something I never heard about it and if he was it was some sort of misunderstanding- probably second hand comments from someone who didnt know or misunderstood the story if that really happened.
I would add if you call and ask for the sean costello wind- youll get my 50's set- i always gave Sean credit for inspiring that set with his original goldtop- nowhere will you see them advertised as Sean Costello wind- do you???

So your right- too many stories :)

Its a real shame hes gone.

I'll have to own up to posting that. And it's certainly a case of me saying too much. Sean thought Lollar did a great job in the repair of his '53 neck PU, thought that Jason nailed the sound and he was happy with the other P90s we got from Lollar.

I never said "pissed", I said "bothered" and it was never about the service or the product. I'm sure on the day he said it to me, he was talking about hearing his name used to describe a product and he joked that he should get a lick from the sales.

I'm sure Sean said it as an artist who felt that in many ways he wasn't appreciated (paid) for his skill level and it was an off handed comment. My mistake for posting a private conversation about a third party and I apologize.

[Shnook]

Could the confusion about the 'Costello Wind' be by people who have bought the pups and them calling them that? Jason never referred to them as anything other than 50's Wind when I dealt with him. However, I have seen people on forums refer to their 50's Wind pups as the 'Costello Wind.'

[Jason Lollar]

Allright I see stephen T- I learned some time ago to be careful what I say on forums- I have done similar things enough times i decided just to stay off forums :)

Becasue I have said the 50's wind is a copy of what he had on his goldtop- which I either gave him a set or at the least cut him a screaming deal, I thought I gave him a set- people call me and ask for sean costello winds.

I just felt you were saying things like I took advantage of him and the thing about that he used lindy fralin pickups becasue I wouldnt give him a set just doesnt jibe with my recollection or my files, I made a new set just like his old set at his request but Sean is gone so all we can do at this point is speculate and give second hand info.

I did get to make him a set of jazzmasters- he wanted them for that build so obviously he wasnt upset over anything but I guess he never got the guitar.


Thanks for clearing up he was sort of joking about it.

I played blues clubs from the late 70's to the early 90's 2 to 6 nights a week up to 50 weeks a year. I know what thats like, i do support guys that havent really made it and are still struggeling (not that that ever ends) but are really good players.

Sorry for jumping on you- it looked different in tone than what you meant- I dont run around trying to stop people from being critial - thats inevitable when you work as much as I do but I felt I should say something about this- i dont take advantage of people and if i dont think I have what you want I dont make it for you.
there is no money grubbing greedy side of me.

[stephenT]

Allright I see stephen T- I learned some time ago to be careful what I say on forums- I have done similar things enough times i decided just to stay off forums :)

Becasue I have said the 50's wind is a copy of what he had on his goldtop- which I either gave him a set or at the least cut him a screaming deal, I thought I gave him a set- people call me and ask for sean costello winds.

I just felt you were saying things like I took advantage of him and the thing about that he used lindy fralin pickups becasue I wouldnt give him a set just doesnt jibe with my recollection or my files, I made a new set just like his old set at his request but Sean is gone so all we can do at this point is speculate and give second hand info.

I did get to make him a set of jazzmasters- he wanted them for that build so obviously he wasnt upset over anything but I guess he never got the guitar.


Thanks for clearing up he was sort of joking about it.

I played blues clubs from the late 70's to the early 90's 2 to 6 nights a week up to 50 weeks a year. I know what thats like, i do support guys that havent really made it and are still struggeling (not that that ever ends) but are really good players.

Sorry for jumping on you- it looked different in tone than what you meant- I dont run around trying to stop people from being critial - thats inevitable when you work as much as I do but I felt I should say something about this- i dont take advantage of people and if i dont think I have what you want I dont make it for you.
there is no money grubbing greedy side of me.

It's good to clear the air.

But I didn't suggest any rivalry between pickup builders. Just reported that Sean had Fralins in his 90s reissue and that we paid for those and the other PUs we used.

Sean trusted Jason to work on his '53 and was overjoyed with the work. Other guys didn't want to tackle a rebuild, Sean could corrode your strings just by walking past your guitar and the PUs on the '53 were all gummed up by his sweat. I'm sure it wasn't easy doing the rebuild.

Mr. Tom reminds me that Sean had that Jazzmaster for a short time and really enjoyed the tone, he and builder had a parting of ways and the guitar went away as well.

[centervolume]

interesting thread,
stephen, you are right about Matt's jazzmaster. Sean had it for a while but then there were issues with it holding tune and the other things. It was a prototype guitar built to sean's personal specs. So the design wasnt super stable I suppose. They had a personal rift and the deal was off - sean returned the guitar to Matt and Matt left town. There was also a 64 lincoln continental and a 61 bandmaster head in on that deal. Sean wasnt happy with the way it went down, but was over it in no time. That's just the way he was.

[gkoelling]

It's interesting, to me, to learn which pickups Sean used, as well amps.

In a way I'm glad the differences here have come out and people are understanding who really said what.

[Shnook]

All this said, I'd be interested in knowing how much Sean used the Vibrolux Reverb? Also, how often did he use the Supa-Trem vs. on board amp vibrato?

[stephenT]

interesting thread,
stephen, you are right about Matt's jazzmaster. Sean had it for a while but then there were issues with it holding tune and the other things. It was a prototype guitar built to sean's personal specs. So the design wasnt super stable I suppose. They had a personal rift and the deal was off - sean returned the guitar to Matt and Matt left town. There was also a 64 lincoln continental and a 61 bandmaster head in on that deal. Sean wasnt happy with the way it went down, but was over it in no time. That's just the way he was.

Hey there CV!

If any knows the extent and models of Sean's amp usage it's centervolume.

Sean used the Supa-Trem for that really fast tremolo stuff he did on Robert Ward's "Your Love is Amazing" (who used a Magnatone vibrato for that sound) and I hear it on several of the songs on "We Can Get Together". I've heard him use the amp's tremolo on stage but he did like the Supa-Trem I suspect because of it wide range of adjustment.

[gkoelling]

bump

[Jason Lollar]

Heres for anyone that cares to know a little more about Sean costellos rig.
I have been waiting to hear from a tech that did the work on this since we talked about it a couple month’s + ago.
I finally reheard the story about this today and it is how I recall it too- maybe theres hope for my memory yet!
Seans original goldtop had another pickup makers P-90s in it- I don’t know why he didn’t like them- who knows. The original pickups including the original wiring harness had been stashed away, the neck pickup was shorted out. It would be easy to assume he just wanted the originals working again and maybe he didn’t dislike the other guys pickups- that would make sense too.
I reworked the neck pickup and sent it back- it was a little too hot and snarly so I offered to do it again but I told them to send me the bridge pickup too so I could match them up better. His comment was he wanted a “wispier sound”. While I was at it I made a set that was an exact copy of the originals- those went immediately into his reissue. That said I had already been making low output P-90s before I saw Seans, its not uncommon for P-90s to read 6 to 7.5K. All this was back in late 2004.
I also made a set of jazzmasters that he used on 1/3rd to 1/2 a recording that is not released and may never be.
That’s the story I got and its what I recall and I also recall talking to sean several times. I remember he was in NYC playing some club and he was lamenting the price of a drink was $18.
My experience is the artist doesn’t always know or pay much attention about what they have in their guitar- a lot of guys just have the tech take care of it and they just play.
Possibly the other stories are what those guys were told or maybe they did additional work at some other time, who knows. When you have multiple repair guys- whose going to know all the details?
Maybe he put something else in there later but he had mine in there for a few years from what I know. Of course he knew how to testify so what he had in there- he would have sounded good with anything, having what you want in there is just like working with nice comfortable tools.
Apparently there are a couple recordings that may never be released- too bad, he had something going on. I really like the more soul kind of stuff he did, simple twist of fate, love is amazing, Im a ram, he was badd asss.

[Jazzydave]

"It bothered Sean that Lollar was calling his low output P90 the "Sean Costello wind", when I bought a set from Lollar for Sean's T90, Jason said he'd been doing that wind for awhile, called his '50's P90,... so many stories,... but after that they became the Sean wind."

Actually I call those my 50's winds but I never had an official 50's wind set untill Sean sent me his pickups from his original goldtop.
Of course I have been aware that alot of 40's and 50's P-90s are low output but my 50's set was developed from Seans goldtop. I talked to Sean and Matt many times on the phone and did whatever they required in the time they gave me to do it because i really liked what he was doing.

If Sean was pissed about something I never heard about it and if he was it was some sort of misunderstanding- probably second hand comments from someone who didnt know or misunderstood the story if that really happened.
I would add if you call and ask for the sean costello wind- youll get my 50's set- i always gave Sean credit for inspiring that set with his original goldtop- nowhere will you see them advertised as Sean Costello wind- do you???

So your right- too many stories :)

Its a real shame hes gone.

Yeah, not to turn this into a pro-Lollar thread but I've been talking with Jason lately about my own tone and he's an upstanding guy. I couldn't imagine anything like that ever happening.

To get back to the main post though, I think we can try to wrap our heads (and hands) around what Mr. Costello was using but in reality, if we want to get closer to his tone, the only way to do that is spend more time with your guitar honing the craft.

Its true that a great guitarist can make just about anything sound incredible. Hey, I love my Lollars and my Les Paul but I hope I sound like myself when I pick up any guitar.

Also, maybe we should look at the amps he was using collectively? Maybe if we can pinpoint the qualities he listened for in an amp, we'll be able to better reproduce that warm sound?

[gkoelling]

Heres for anyone that cares to know a little more about Sean costellos rig......
Apparently there are a couple recordings that may never be released- too bad, he had something going on. I really like the more soul kind of stuff he did, simple twist of fate, love is amazing, Im a ram, he was badd asss.

Thanks for the update, Jason.



Yeah, not to turn this into a pro-Lollar thread but I've been talking with Jason lately about my own tone and he's an upstanding guy. I couldn't imagine anything like that ever happening.

To get back to the main post though, I think we can try to wrap our heads (and hands) around what Mr. Costello was using but in reality, if we want to get closer to his tone, the only way to do that is spend more time with your guitar honing the craft.

Its true that a great guitarist can make just about anything sound incredible. Hey, I love my Lollars and my Les Paul but I hope I sound like myself when I pick up any guitar.

Also, maybe we should look at the amps he was using collectively? Maybe if we can pinpoint the qualities he listened for in an amp, we'll be able to better reproduce that warm sound?

Valid points but musicians talk shop just like anyone else. It's what we do because we love what we do.

It's all good.....

[tweed135]

So, I wonder if Sean's Custom 33 was a 1x12, 2x12, or 2x10?

[bluesbreaker59]

By the way there is an older Guitar One magazine with a small article on Sean in it, like a 6 question thing. It was printed about the time that the self entitled cd came out, and in there it mentions that Sean's reissue goldtop had Fralins, also mentions the amps he used. I was recently going through my old magazines and getting rid of some and stumbled across this. This was the only interesting piece in the magazine so I tossed it, but nonetheless it was in there. I believe it was a March issue and it was in the Blues News section or something like that.

[RichardGoodsell]

So, I wonder if Sean's Custom 33 was a 1x12, 2x12, or 2x10?

There was more than one, but I think the last one was a 212. Stephen T kept up with his rigs better than I did. The earliest was a 6v6 22.

[Shnook]

Funny that this thread should pop back up again as I was thinking about it last night. I was on Youtube watching some of Sean's videos and it looked to me that he was using a different amp for most all of them. Some had him playing vintage Fender's, some current production model Fender's, the Goodsell amp.... Of course, to my ears the best tone he was getting was with his '53 thru vintage Fender's, with the Goodsell being my second favorite. I imagine a lot of times he just used what was available at each show or something cheap and easy to travel with. Regardless of his gear, it was the musician and his soul that came thru and touched people.

[stephenT]

There was more than one, but I think the last one was a 212. Stephen T kept up with his rigs better than I did. The earliest was a 6v6 22.

It's true, I was there, it's not second hand info.

(Actually) Sean started his Goodsell amp collection with a Goodsell Clairmont Super 17, #0015 (1x12), I own that amp now. Bill Sheffield recently used it to record tracks on his new CD.

His second Goodsell was a red Goodsell Delux 22 (2x12) w/ 4x6v6s. I own that amp as well, Richard did some mods to it and my son Max is playing it in Athens, GA.

Sean's last Goodsell was the brown 33 Custom (2x10) and Sean's family has that amp.

On recordings Sean used whatever was around, Sean's good friend and band mate Paul is a vintage amp aficionado. Old Fenders, Gibsons, Silvertones and Magnatones abound.

Sean used that guitar i built for him the last year of his life (along with his beloved goldtops), that guitar turned into my t90 model, a thinline with a p90 neck and a tele bridge pickup. It started out with Lollars in both positions, a set that was put together for this particular guitar after a couple conversations I had on the phone w/ Lollar. As soon as we strung it up we knew it needed something else in the bridge position, it was way too thin and bright for Sean's use. I had been talking to David Budz about pickups for future products and got him to send out one of his purebreed tele bridge pickups next day, i slapped it in and Sean loved it, that's how that guitar stayed, one Lollar, one Budz and that will never change. That shoreline gold t90 is buried with Sean. I have the strap Sean used on that guitar hanging above my work bench.

Sean's next build from me was to be a solid "t" style w/ two p90s and a (shorter) conversion scale neck. Sean had several conversations with David Budz on the road about what he wanted and what he liked and was excited about the next guitar with two Budz p90s. We talked about this guitar in the last conversation we had on this earth (we've since talked and hung out in my dreams) the Saturday night before at dinner with Sean, myself and my wife. I haven't been able to do anything with that project since Sean's passing.

Sean never ended up with the guitar that Lollar mentions w/ jazzmasters. Once that guitar was finally completed, Sean had a problem with the strings slipping out of the saddles and he wasn't able to play it for any period of time. Around the same time Sean's relationship with the guitar tech who built the guitar and worked for Sean for a bit, disintegrated. The guitar tech moved back home with the guitar he'd built for Sean. It was after that project fell apart that Sean and I started talking about the guitar I eventually built for him.

All of Sean's recordings are being archived by the family and foundation. If you want to know about future releases, talk to the Sean Costello Memorial Fund for Bipolar Research, they have much better info.

http://www.seancostellofund.org/index.html

The most recent release, is a stunning 20 track collection of material from Sean's Landslide days. These tracks cover Sean from around age 16 (when I met him) to around 26. It's an amazing collection and one song, "Motorhead Baby" gives folks an idea of what a live Costello show was like. You can hear the excitement build in the room as the song goes on, when the solo section comes Sean pushes the audience to a frenzy. "Double Trouble" is amazing as well. Please buy this CD! You'll treasure it and a portion goes to the SC fund.

http://ecx.images-amazon.com/images/I/51cgZkOj2tL._SS500_.jpg

[BBender]

"I'm a Ram"!!!!!! F*$#in awesome!!! Love that R.B. tune.


I don't agree at all. The tone on the clip linked above is very average and nothing to get excited about at all. If that was THE example of a vintage Les Paul Gold Top I'd say no thanks, doesn't do it for me at all.

Now check out this clip: http://www.youtube.com/watch?v=Nrkv5ey1Oq4&feature=related

Or this one: http://www.youtube.com/watch?v=pPmIPaWdChU&feature=related

Now that is tone to knock your socks off! :dude

It completely blows away the tone of that first clip. He didn't always sound like that. I don't know what amp he was using at that gig at the Crossroads Cafe but those are the best clips I've ever seen of him. He was on fire! His playing and his tone is incredible, and unmatched.

[flyingvees]

One of my favorite memories of Sean was when myself, Sean and Matt Wachoup were hanging out at Ray's in west palm beach and there was a band playing that was more on the rock side of things but there were a few girlies we were eyeing so the idea came up that we should jam. Well I had my guitar there since I was the house band but Sean didnt have his axe. The band agreed to let us jam and the guitar hands Sean his strat which we found out then had a Kahler, 9's and the lowest action I ever saw. Well when we got done with three songs Sean handed the guitar back to the guy with two or three strings left on it...:D Sean was and will always be my friend and I miss him terribly.:o

Also somewhere in the files I have a version of myself and Sean doing Double Trouble that is killin...The night we recorded that he had just gotten the '53 and he told me that he traded his CS Tele and his old 335 amongst other things and I couldnt believe it until he plugged that lester in and proceeded to burn the house down.

[Shnook]

One of my favorite memories of Sean was when myself, Sean and Matt Wachoup were hanging out at Ray's in west palm beach and there was a band playing that was more on the rock side of things but there were a few girlies we were eyeing so the idea came up that we should jam. Well I had my guitar there since I was the house band but Sean didnt have his axe. The band agreed to let us jam and the guitar hands Sean his strat which we found out then had a Kahler, 9's and the lowest action I ever saw. Well when we got done with three songs Sean handed the guitar back to the guy with two or three strings left on it...:D Sean was and will always be my friend and I miss him terribly.:o

Also somewhere in the files I have a version of myself and Sean doing Double Trouble that is killin...The night we recorded that he had just gotten the '53 and he told me that he traded his CS Tele and his old 335 amongst other things and I couldnt believe it until he plugged that lester in and proceeded to burn the house down.

Great stories!!! Can you tell us more about the '53 Goldtop? When did he start using it?

[Jazzydave]

Great stories!!! Can you tell us more about the '53 Goldtop? When did he start using it?

I second that! I love that Sean gets so much attention here at TGP. Let's just hope that pours over into the mainstream as well. I'm always introducing his music to people who otherwise may not had heard of him - sad!

[flyingvees]

Hard to remember what year exactly but it seems to me that it was somewhere between 99-02. We played a show together at the Bamboo Room in Lake Worth and he had just gotten it. His 335 was a killer and I really liked his Tele but he said he knew that when he saw that 53 it was meant to be. Another funny Sean story is and I may have told this one before but the first time I met Sean he played in South Florida at Rays and had Susan with him. They were dating and he asked the club owner Ray if he would pay her 100.00 to sing with the band. Ray didnt want to pay but said he would if she was really good. Well the place filled up and I noticed alot of folks were asking if Susan was with Sean tonight. First song she does "Aint nobody's buisness" and Ray had the extra hundo ready for Sean. I also have a special place in my heart when I think about the few times I got to see Sean with Paul Linden who I think is CenterVolume on here. Those two had the dynamic that great duo's have and they always had it. I had that same dynamic with Jason Ricci when we first started New Blood but sadly we lost it but somehow Paul and Sean never did. Paul I hear is working with the Notorious Big Al and the Heavyweights so check him out for outstanding Harmonica playing, tone and taste.

[stephenT]

Sean and his step Dad got that goldtop from Frank Moats at Atlanta Vintage Guitars. Frank said it was the best goldtop he ever touched and thought of Sean. I think late 1999 is about right. Sean had it for awhile when he started playing with my Sunday Night thing at Northside Tavern in early 2000.

Here's a photo I took in '05 of the Goldtop in Sean's backyard. It was pretty clean when he first got it, so here's 5-6 years of use from the most corrosive hands I've ever seen. (Which is more like 30 years use from a normally ph balanced person).

http://i50.photobucket.com/albums/f335/talkovich/sean_53.jpg

[jjboogie]

Yes Sean had the sweatiest hands in the world!!!!

You would always just see sweat marks all over the fretboard when he played.

It was like footprints!!! : )

He sounded amazing on any guitar he touched!

I seen him play on Acoustics, Archtops, Tele's, Strat's, Les Paul's.....he made everything sound phenomenal.

His voice was all in his hands and soul!

[stephenT]

Sean's favorite old Gibby amp, a beautifully nasty thing. Again in Sean's backyard, '05.

http://i50.photobucket.com/albums/f335/talkovich/gibby_amp.jpg

[stephenT]

yours truly, Jon Liebman and Sean w/ Goldtop and that Gibby amp at Northside on a Sunday night. Taken in (maybe) late 2000. (yeah, I know, it's a strat,... don't know what I was thinking)

http://i50.photobucket.com/albums/f335/talkovich/IMG_0543.jpg

[valcotone]

I may have posted this before... but it's great... here's an MP3 clip (http://kilback.net/tunes/SeanCostello-JumpForJoy-dallas15oct05.mp3) from a gig in Dallas in October 2005. He was playing his '53 GT and the Gibson Rhythm King picture above. I recorded the whole 3-hour gig and will post it somewhere if I can...

Big thanks stephenT and flyingvees for sharing your stories and pics!

[Shnook]

GREAT pics Stephen!!! Love the old Gibson amp pic! Any idea where that amp is now?

[stephenT]

GREAT pics Stephen!!! Love the old Gibson amp pic! Any idea where that amp is now?

I'll ask his step dad Glenn, I'll see him thursday (but I'm pretty sure his family has it).

[rickmebe]

I may have posted this before... but it's great... here's an MP3 clip (http://kilback.net/tunes/SeanCostello-JumpForJoy-dallas15oct05.mp3) from a gig in Dallas in October 2005.

Love the "Three dollars. Thank you." :D

[OldSchool]

"I'm a Ram"!!!!!! F*$#in awesome!!! Love that R.B. tune.

I've heard like a million versions and his is by far the best . http://www.thegearpage.net/board/images/icons/icon14.gif Not saying that because he's passed either. I thought that when I first heard it back in 2005. http://www.thegearpage.net/board/images/icons/icon14.gif Gaddamn shame.......I really dug that kid. http://www.thegearpage.net/board/images/icons/icon9.gif

[stephenT]

GREAT pics Stephen!!! Love the old Gibson amp pic! Any idea where that amp is now?

I did ask Sean's stepdad about the Gibson Rhythm King today. They have that amp and 8-9 others that Sean owned. They also have Sean's guitars including the '53 GT, the '90 reissue GT he used, his Gibson ES-175 he played early on for quite a few years, the old blonde Epiphone F-hole Sean recorded "Good Advice" with,...

[Shnook]

I did ask Sean's stepdad about the Gibson Rhythm King today. They have that amp and 8-9 others that Sean owned. They also have Sean's guitars including the '53 GT, the '90 reissue GT he used, his Gibson ES-175 he played early on for quite a few years, the old blonde Epiphone F-hole Sean recorded "Good Advice" with,...

Thanks for the info Stephen. I'm glad his family has his stuff.

Quick question...Does that model Gibson amp have tremolo?

[dukeh62]

Sean and his step Dad got that goldtop from Frank Moats at Atlanta Vintage Guitars. Frank said it was the best goldtop he ever touched and thought of Sean. I think late 1999 is about right. Sean had it for awhile when he started playing with my Sunday Night thing at Northside Tavern in early 2000.

Here's a photo I took in '05 of the Goldtop in Sean's backyard. It was pretty clean when he first got it, so here's 5-6 years of use from the most corrosive hands I've ever seen. (Which is more like 30 years use from a normally ph balanced person).

http://i50.photobucket.com/albums/f335/talkovich/sean_53.jpg

I was lucky enough to play this guitar for a few tunes with Sean's band during a run through the Northeast. Man...what a magical guitar. Not much more to say about it. Just perfect on all levels.

[DMichel123]

When I saw Sean one time at a small bar here in Sanford, FL the band had gotten caught up in a bunch of traffic and ended up showing up about 20 minutes late for the gig. He didn't have time to change his strings ahead of time and as was mentioned before he sweated a lot and tended to really rust out strings. After busting a string, the club manager handed him the guitar they have on hand as a spare for blues jam night - one of those cheapo $99 Squier Affinity Strats. And you know what, Sean absolutely killed on that thing, and it sounded just like Sean. So, '53 Gibson, Lollars, Fralins, Goodsells, blackfaces, Magnatones, whatever - the gear was definitely only a small fraction of that equation. That guy just had "it" going on.

I'm 99.9999% sure the club owner you speak of lives here in Knoxville now, and is trying to sell that Squier Strat you speak of. It is signed by Sean, and he has pictures of him playing it and maybe signing it.

[jazzguitarplay]

Great Talent/GreatPost/Great Loss/ Thanks for sharing this great american treasure, So unknown to so many.

[valcotone]

Does anyone know which amp of his had that cool speaker "cone cry" going on when it was pushed?
I hear it in a few studio tracks and some live stuff as well (the 2000-06-16 Marquette show for example).

[mr tom]

I think I remember Sean playing through a Deluxe Reverb for those 2000 shows. Birdseye? Centervolume? Was it a Deluxe or the Vibrolux Reverb?

[bek]

Some years back Sean came through my little town in California for a blues festival. I'd never heard of him, but he was playing as I came in. He really got my attention and I went up to see closer. He was playing the goldtop, sounding amazing. Later he did a guitar clinic with two other players and I went. I don't remember who one of them was, the other was an older fairly local central California pro. He left them both looking weak, and he didn't do it on purpose, he just couldn't help it. He could really sing, too. I was just more and more amazed at how good he was and how young he was. Maybe WCR was there. Jim?

[Goldie295]

I did a little 1 hr slot on a local radio station here in the UK last night (as a guest talking about and playing blues) and got a really good plug in for Sean. I explained a little bit about him and then got them to play I'm a Ram from one of the bootlegs available on the web. They got lots of emails and a few phone calls asking for more info on Sean. Felt good to turn some more people onto his music. He always gets a mention by me over the mic at gigs. We gotta keep spreading the word. The world needs to know about Sean.

[Goldie295]

I did a little 1 hr slot on a local radio station here in the UK last night (as a guest talking about and playing blues) and got a really good plug in for Sean. I explained a little bit about him and then got them to play I'm a Ram from one of the bootlegs available on the web. They got lots of emails and a few phone calls asking for more info on Sean. Felt good to turn some more people onto his music. He always gets a mention by me over the mic at gigs. We gotta keep spreading the word. The world needs to know about Sean.

BTW, I have had a 60s BF Pro and currently used a '66 Deluxe Reverb. For me, the Deluxe gets closer to his recorded sound, though he used both live I believe.

[Birdseye]

Tom, if the 2000 shows were his second time at Upfront, it was the Deluxe Reverb.

I think it's interesting when we discuss Sean's tone, to consider that he used a bunch of different tones in the studio. His live tone was always great too, but not as diverse as he would use when he had the chance to really explore a variety of amps.

[stephenT]

BTW,.. that Deluxe Reverb had 6L6(s) and a Naylor speaker. It had a bit more juice than a stock BFDR.

[jjboogie]

BTW,.. that Deluxe Reverb had 6L6(s) and a Naylor speaker. It had a bit more juice than a stock BFDR.

Was that DR a 66 and did he get it from Midtown Music?

I bought a DR from Midtown Music years ago and I put a Naylor Speaker in it. After the original reverb tank broke and was replaced it didn't sound the same so I gave up on it and traded it back in for something else.

Unless Naylor speakers were common in our parts in amps it could have been my old amp.

[bloo]

I agree with birdseye... his tones were so different in the studio... like on the "lost album" magic shop... his tone on "I Went Wrong" sounds like an amp about to blow up and then on "Fool's Paradise" it's a gorgeous clean... But I think everyone is in agreement on one thing... It didn't matter what guitar/amp combination, it was always going to sound like Sean... Great to see another thread about one of my hero's around here..

[stephenT]

Was that DR a 66 and did he get it from Midtown Music?

I bought a DR from Midtown Music years ago and I put a Naylor Speaker in it. After the original reverb tank broke and was replaced it didn't sound the same so I gave up on it and traded it back in for something else.

Unless Naylor speakers were common in our parts in amps it could have been my old amp.

Don't know for sure but I don't think so. Sean had that amp quite a long time. I believe Joe L. set that amp up for Sean, speaker and 6L6s.

[tweed135]

Lost album?

[stephenT]

Lost album?

The recordings Sean did in NY before "We Can Get Together", "You Wear It Well" was one of those tunes. It was shopped, no one bit. The idea was to record a variety of material and see who might be interested, the shotgun approach. There are some great songs but Sean lost interest after awhile and was focusing on newer material with the trio. Sean was really proud of "We Can Get Together", felt it represented where he was at the time and pointed to a new direction. he also thought it was some of his better recorded guitar work.

I suspect all of that stuff will be released at some point.

[Shnook]

The recordings Sean did in NY before "We Can Get Together", "You Wear It Well" was one of those tunes. It was shopped, no one bit. The idea was to record a variety of material and see who might be interested, the shotgun approach. There are some great songs but Sean lost interest after awhile and was focusing on newer material with the trio. Sean was really proud of "We Can Get Together", felt it represented where he was at the time and pointed to a new direction. he also thought it was some of his better recorded guitar work.

I suspect all of that stuff will be released at some point.

I certainly hope this material sees an official release. I also think Sean's story and music would make a very powerful documentary. Wishful thinking on my part.

[stephenT]

I certainly hope this material sees an official release. I also think Sean's story and music would make a very powerful documentary. Wishful thinking on my part.

Good thinking on your part.

http://southerndocumentaryfund.org/projects/blues-man

[SLBlues]

Thanks for posting that link, stephenT.

[Shnook]

Good thinking on your part.

http://southerndocumentaryfund.org/projects/blues-man

Thanks for the link Stephen! I SO hope this happens! :aok

[mr tom]

It took forever for the Sean Costello album to come out. Sean continued to write and record with the guys in the same NY studio that produced the self-titled album, and essentially finished another record before SC came out. Sean shopped it and shopped it after Tone-Cool/Artemis folded (essentially as soon as Sean Costello came out), incredibly, to those of us who are lucky enough to have heard it, without success. Some of the tracks came out in new versions on We Can Get Together - "Can't Let Go" (the original, 'soulful mix' is on the Rarities CD available at the Fund's Web site) and "Told Me A Lie" are a couple of them. There are also studio versions of "You Wear It Well," "Check It Out" (which was re-recorded for WCGT, but remains in the can), "It's My Own Fault," "Fool's Paradise," "Make A Move," and many more. Centervolume reports that this project is likely, eventually (finally), to see the light of day. Hallelujah!

Edited to apologize - I typed all that not realizing the thread continued on another page, and that StephenT had already answered tweed135's question!

[stephenT]

Edited to apologize - I typed all that not realizing the thread continued on another page,...

Thanks for adding Mr. Tom!

Is Bill Sheffiled's "You're Always On My Mind" is part of that collection? Sean on mando!

[mr tom]

It sure is. Wonderful song! Didn't you and Sean back Bill on that tune when he recorded it?

[stephenT]

It sure is. Wonderful song! Didn't you and Sean back Bill on that tune when he recorded it?

Sean and I played on Bill's version of a Ross Pead/Bill Sheffield song "Trouble (When It Starts)" on Bill's "Journal On a Shelf" album.

I'm proud to say that (my/our) little Sunday night at Northside has been a meeting point for Atlanta musicians. I introduced Sean to Bill and Sean to Donnie Mccormick,.. who wrote "Have You No Shame". Donnie's singing with Sean on his version from "We Can Get Together". (all these guys knew of each other, but never had met face to face).

Sean and Donnie, w/ Charlie Wooton and Oliver Wood also had a side project called "Coup de Ville" for a short period of time.

It was quite a night at Northside the first time wildman Donnie Mac came in when Sean was playing with us. One of those rainy Georgia nights, rain coming down sideways, hardly no one in the club. We were playing a particularly hard driving song and Donnie grabbed a metal folding chair and would drag it across the floor (like a soft shoe) and then bash it against the steel pole in front of the bandstand on the beat (with wild glee in his eyes and a smoking cig hanging from his lips). I know Sean dug it but wasn't sure what to think and was also a bit scared (as was his date, i think it was a first date, you could see she was way out of her element). Donnie was a force of nature, Donnie and Sean together, wow.

They are gods/saints/fallen brothers to us, every Sunday night @ Northside is like church.

http://i50.photobucket.com/albums/f335/talkovich/sean_donnie.jpg

[mr tom]

Great story, Stephen! Sean loved Donnie - and he said he learned more about showmanship and getting over with the audience from watching Donnie than he did from anyone else, ever.

I would love to hear the Coop recordings someday. That was one hell of a talented foursome.

[SCOTT CABLE]

In the studio on the Nappy sessions Sean Used a Brown Princeton and on the live gigs with Nappy he used a large tweed Gibson . I sold him a great Magnatone in either 1999 or 2000 for $250 at a club we played together frequently in Myrtle Beach . I tried to buy it back but he had already sold it! Sean bought a nice Pro in Buffalo that he used a bit as well. On another note ...Sean LOVED Lurrie Bell's work and we stayed up until dawn one night watching a live video of Lurrie...Sean constantly rewinding it in parts he wanted to learn. I passed out and when I woke up he was crashed on the couch video still on. He was brilliant and a very funny guy. A great hang on off nights too.

[stephenT]

He was brilliant and a very funny guy. A great hang on off nights too.

Amen. Funny, smart, well read,... loved NPR and Italian loafers.

[stephenT]

Great story, Stephen! Sean loved Donnie - and he said he learned more about showmanship and getting over with the audience from watching Donnie than he did from anyone else, ever.

Just like Sean, there will be no more Donnie Macs. Donnie played with us (or rather, we played with him) almost four years on Sunday nights and Sean was there for many of those Sundays, watching Donnie. Amazing guys, we were so lucky to have them as friends and bandmates.

[stephenT]

Love this solo. Anyone know who's the subject of this song? (Hint: same initials as me)

GTfCiTH4STg