#Thomas organ vox amps full

In the middle of the tour, The Who had to break away on a couple of off days and go to Tennessee to record a song called “I Can See For Miles”.

This was an amplifier I was well familiar with, because when I was with the Raiders, we were sponsored by Vox, as well. The Who were sponsored by Vox, and had six Super Beatle Vox amplifiers. Hermans Hermits were sponsored by Fender, and they had all large Fender-dual showman amplifiers. When we were in Calgary, the Blues Magoos didn’t have matching equipment on stage. 1967.Īt the end of the tour in September 1967, The Who reportedly left the Super Beatles with the Blues Magoos.Įxcerpted from Blues Magoos roadie Mark “Hoss” Amans book, Where The Action Was: The first documented stage use of Sunn gear is 23 Aug. So while the Who were renowned in England for the sheer power and volume of their Marshall gear, it was Hendrix (and The Cream) who would ultimately gain notoriety in the USA for “pioneering” the Marshall backline.įollowing the use of the Super Beatles, Pete and John each began using Sunn equipment for North American shows, which were far better suited to the Who’s stage sound, though still not their UK Sound City gear. The inferior quality of the gear is evident in the Monterey Pop show, where Jimi Hendrix, who had “learned” his gear setup from Pete and the Who, was able to bring his Marshall 4×12s and 100-watt amps, to great effect. Thomas Organ (Vox) V1143 ‘Super Beatle’ 120w solid-state amplifiers and 4×12 (w/two horns) cabinets. tours, including the March/April 1967 “Murray the K – Music in the Fifth Dimension” shows in New York, and the Monterey Pop festival in June, the Who used rented U.S. Because of their financial straits, Chris Stamp, the Who’s manager, signed the group to an exclusive agreement with Vox to use their gear in the States.

#Thomas organ vox amps full

The reason for the difference in gear in the 1967 North American shows was that the group could not afford the cost of importing their full gear and, instead, rented or borrowed gear once arriving in the U.S. The amp line was coined the “Beatle” to take advantage of Beatlemania, though the Beatles did reportedly use the Super Beatle on their last few U.S. Thomas Organ owned the rights to distribute Vox in the U.S., though Thomas Organ began designing and building its own “VOX” amplifiers, albeit of inferior quality.

solid-state version of Vox’s AC-100, which Pete had used in 1965. Thomas Organ V1143 “Super Beatle” solid-state amplifiers. Pedal is a Marshal Supa Fuzz.įor the Who’s first shows and tours of the USA in 1967, instead of their usual Marshall stacks, John Entwistle and Pete Townshend used U.S.-manufactured U.S. June 1967, Monterey Pop, showing two Super Beatles, with tops reversed on the chrome roller rack.