It is Friday night, and I still feel like putting on a show.
These scans illustrate my existence as an electric guitar player.
That's my mother in her choir gown, the lead soprano of the adult choir.
She talked about untold generations of our ancestors, non-smokers, non-drinkers,
being Hay, an ancient clan, being Sons and Daughters of the Gael, speaking Gaelic.
She was a wild and beautiful singer, and knew how to move around.
My parents waited until a Highland Reverend came to Canada to marry them,
and then they waited another year to have me, by natural child birth.
I was a month overdue... yeah... looking out my belly button window...
People still talk about her, from the last world war.
When she was working at the Cotton Mill, she went out to give water to German prisoners,
who were sitting in railroad box car.
When she was told she would be fired, she said it was her lunch and kept doing it.
One of those soldiers became a neighbour, and I made signs for the new Club Heidehof.
That's me with my '64 Stratocaster, using my Dad's hacksaw to cut the upper cutaway,
for easier upper fret access. The tremolo arm isn't there, still not used to it.
They took me home to get my stuff, because bands at an all-day band contest backed out,
if they thought other bands were playing the same songs better.
We were jamming to fill in, and I was asked to play along with the pro band hired to end.
The local newspaper used this photo of me for the article.
A member of our local M.P,'s family, a Forster, crumpled this up. I don't do their drugs.
That's Bill Nitransky, who started the music festival, and the Stratocaster receipt.
That's right, I saw Jimi Hendrix and had a Strat and Marshall with effects,
for over five months, before Jimi passed away...
Building lefties, using the left-handed tremolo units I ordered from Fender,
became this guitar, more about having pickups and electronics to try and combine.
That's 1958 Les Paul Humbucker pickups, and 1964 Stratocaster pickups,
wired as both guitars, with any combination, and then DiMarzios worked better.
DiMarzios weren't hand wired like Gibson and Fender, and suddenly, two pickups phased.
Their "Fat Strats", Fender clones, were a little louder, bringing them up to a Humbucker mix.
When I took out the on-board pre-amp and battery, it created a new acoustic phenomena,
however slight, and that's what I've been increasing with new bodies ever since.
This photo, by professional Port Dalhousie photographer Jo Jones,
was for their festival, and they gave me a name tag, as an organizer,
but I just used my portable amp and jammed all afternoon with different buskers.
Don't worry, I got back in time for the big buffet.
I was losing interest in this guitar, and started carving it, just to look good from offstage.
When I accidentally cut through to the 9-volt battery chamber, the acoustic phenomena grew.
I had more notes, but as I tried to even them out I lost most of them.
It was better to join both the St. Catharines Musicians Association,
and the Niagara Falls local. It cost more to pay travelling dues, and that's all I was doing.
Jimi? Elvin Jones? McCoy Tyner? John Coltrane? George Benson? Herbie Mann? Beethoven? The Ventures?
oh yeah, I carried this photo of Nicolo Paganini in my wallet, with my Jimi ticket stub.
Nicolo made a lot of royalty and Vatican authorities angry, bad for his career,
because he kept leaving to stand on street corners and play all afternoon,
not for free, but to be free. His high harmonics became my semi-solid-body harmonics.
It took an INCO engineer, using a 20" vertical saw, to cut famous Port Colborne maple,
into the one-piece, matched tops, that became the first semi-solid-body guitars.