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For a brief period—just over six months, ranging from roughly November 1971 through June of the following year—that name appeared sporadically, stamped in red ink, on top of Rhodes harp brackets.
While these dates were already considered to yield highly desirable instruments thanks to unrelated but palpable production features, the occasional presence of this stamp has advanced the theory that Buz Watson was an innovator whose work was distinguished enough to stand out from what was otherwise anonymous factory labor.
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The popular narrative concerning Buz Watson's employment at Fender is that, following Harold Rhodes' refusal to incorporate Watson's design enhancements into the tine-based piano that bore his name, the disgruntled employee up and left, taking his stamp with him and putting an abrupt end to what, nearly a half-century later, would become the most sought-after electric pianos that were ever produced.
Buz, it was said, retreated to his apartment, where, free from management overreach, he would implement his Rhodes modifications for a small private client base.
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Among the most ardent of electric piano enthusiasts, the name Buz Watson has become synonymous with the golden age of Fender Rhodes production.
Whether or not this trend can be traced to any tangible qualities within the pianos themselves, however, has proven difficult to ascertain.
While the romantic image of the idealistic craftsman eschewing corporate business constraints in order to see a vision through may have contributed to the intrigue of the man and his work, the true story of Buz Watson is quite different.
Clyde Curtis Watson was born on June 21, 1933, in San Bernardino, California.
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