At some point during the tour, the amp was fired up to check it, and it sounded terrible. Sadly, while on tour in '96 (by this time as a back up amp), the Boogie suffered a near fatal blow from an unknown source during shipping. It sounded incredible, and its real bonus was still sounding rich and thick even at low volume, making it ideal for recording demos late at night in the Garage. It was a 60-watt head which apparently didn't even have a model number (I remember looking for one several times). It was an early issue Mesa Boogie, from approximately 1977 or 1978, and its face plate said "Mesa Engineering", which predates the addition of "Boogie" to Mesa-Boogie's name. They had the red strat at the time, and so he plugged it in, pulled out both the knobs, and told Rivers to play. While on Weezer's Northern California "tour" in August '92, Jason Cropper discovered a Mesa Mk. possibly the only existing photo of its backside. The ol Mesa Boogie, have you seen this amp?. This setup was to remain for several months. This later fell out of favor, only to be re-integrated into Rivers's set-up during the recording of Pinkerton.įor an amplifier, Rivers was using his other "hold-over" from his metal years, a Randall 120 watt non-tube head powering a Randall 4x12 cabinet that looked exactly like a Marshall when the "Randall" tag was removed. There were no effects pedals in use by the band at all at this time, save for a Jim Dunlop "Crybaby" Wah Wah. The dice knobs eventually fell off, but one was saved by Karl. This made the tone completely clean even through a high-gain, metal amp, without having to step on a distortion pedal or anything like that.Īdditionally, Jason had painted the guitar in a psychedelic paint scheme with thick acrylic paint, and replaced the volume knobs with 20-sided D&D dice. The Humbucker from Hell had a coil tap wired to it, which when engaged, would make the pickup sound thinner, on an already weak output humbucker. This Stratocaster was purchased new by Jason, and heavily modified, with a new neck, a roller nut, and new pickups, a Seymour Duncan JB humbucker in the bridge, a hot-rails strat pickup in the middle, and a DiMarzio Humbucker from Hell in the neck. I had some kind scholarship from the community college where they give you work money to buy things, so I got a Telecaster, which I gave him in return for this Strat copy." He played it and I liked it, so we traded.
Karl claimed in the early 2000s that this was because Jason was assigned to acoustic guitar early on, however, in 2018, Rivers noted, "Our original guitar player Jason was a very hands-on guitar techy sorta guy.
So, almost immediately, the Charvel was replaced with a red Fender Stratocaster, which came from Jason Cropper. Several months later, after Rivers got fed up with the paint and scraped it all off. The speaker cabinet (pictured on the left side of the Blue Album garage picture) continues to be sold and resold, and has been spotted as recently as late 2000 in LA's "Recycler" Magazine. For an amplifier, Rivers used a Randall 120 watt solid state head powering a matching 4x12 Randall cabinet. The broken headstock visible inside the first album photograph of the garage is from that guitar. This guitar met its end during a Weezer practice sometime later, when it was smashed to pieces. This guitar was left over from Rivers's metal days and was only used reluctantly at this point. According to a fan who is familiar with Charvel guitars, the Model 2 didn't have a pickguard, had a bolt-on neck, only had one humbucker, and had a Jackson made Floyd Rose copy for its bridge. Rivers had a Charvel Stratocaster-style guitar, a "Model 2" that was plain white, but was repainted by Rivers in purple acrylic paint, including the headstock, which was originally black.
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