The Geraldine Fibbers – Butch

"This is my main Jazzmaster, this is the first one I ever owned," Cline says in this premier guitar interview at (0:10). "I bought it from Mike Watt, my friend, inspiration, a fearless bass player," he said. "I've broken virtually everything on it at some point except for the knobs and the pickups," the Wilco guitarist said. "It has a Mastery bridge, as virtually all my guitars- Jaguars and Jazzmasters - have the Mastery bridge so the strings don't move around...The reason I love Jazzmasters," he says, "is everything about the shape, the feel of the guitar, the sound, strings behind the bridge, and virtual indestructibility."

"My guitar (the second one here, the 1959 Fender Jazzmaster) was purchased in the summer of 1995 from Mike Watt after the first tour by The Crew of the Flying Saucer. I had used my old '66 Jaguar on Watt's first solo record and really didn't know the difference between a Jaguar and a Jazzmaster other than the different pickups and switching configurations. I didn't know then that 1959 is one of the best years for Jazzmasters, and that this would end up being my favorite guitar. I first chose both Jazzmasters and Jaguars for their feel and because they have strings behind the bridge and single-coil pickups. I was copying Sonic Youth and Tom Verlaine, basically. But when I finally played the Jazzmaster, I was smitten with the whole feeling of the neck and body, the sound, and the inherent durability. Watt engraved his name on the base of the neck where it joins the body and on the base of the tremolo assembly. He engraves everything!

This guitar has done more tours and records than I can count: all the Mike Watt tours, the Geraldine Fibbers tours and Butch album, later records with the Fibbers' CarlaBozulich and Scarnella, dozens of recordings by various improvised projects, including all my solo records since The Inkling, tours with Wilco, and all three records I made with them. This guitar mostly lives in Chicago in the Wilco loft now, and I have a different '59 at home in Los Angeles so that I don't always have to fly back and forth with it. I have been extremely hard on it, as you can see — it was in perfect shape when I got it. I play hard. There is actually a very deep and ever-deepening gouge above where the strings stretch from the bridge to the tailpiece, where I play a lot and, apparently, with considerable vigor!

Admittedly, the finish was delicate. It is easy to scratch the paint, revealing a purplish hue, much like eggplant. I used to wear my keys on my pant loop, and after hopping up and down on stage with Watt, I created an interesting and rather sizable stippling on the back of the guitar. In the Geraldine Fibbers, I would sometimes throw the guitar to our drummer Kevin Fitzgerald and play my effects pedals while he savaged it with drumsticks, sometimes ripping out the strings, which is difficult to do on a Fender guitar, and bleeding on it. I have bled on it plenty. The Geraldine Fibbers' "Dusted" caused some wounds, and these days Wilco's song "A Shot in the Arm" might be another danger, though I am much smarter now about things like fret wear. The body, well ... I think it looks great. It's a work in progress, just like me." - Spin Magazine, 2011