My first 'proper' guitar, after learning to play on (and gig with) the Kaye that's on CD cover. With a joint Xmas and B/day present, and money I saved from gigs, I was able to acquire this guitar. I was fourteen. I've just recently had completely overhauled by my trusted luthier Vince Hall. It's never sounded better! Check out the track Take What's Mine, on my album, for a prime example.

A re-issue I bought about year back. I saw a picture, read a review, and thought: I really want one of those. It's great for slide in open G, and I sometimes tune it to C. It's one those guitars that gets played more at home than gigged

I was in a studio in London where there was an impressive collection of vintage guitars. I picked up this one and it had a sound that I'd been searching for years. That Robert Johnson sound. I ended up just wanting to play this guitar all the time, and not really that interested in the session. After leaving the studio I missed the guitar so much, that I asked the owner if he wanted to sell - and he did

I had no idea what I was getting myself into when got this guitar. I'd wanted a resonator guitar for a while, but nothing seemed to present itself. Until, I went on the National Resophonic website and saw a picture of the Reso-Rocket. I called round a few places to see if they had any in stock, so I could check it out. The only shop I could find, in the whole country it seems, was Frailers in Cheshire. Well, I wasn't prepared to go all the way up there just try it out, so I took a chance - I purchased it over the phone, without even seeing it. I clearly remember the day it was delivered; opening the case praying that it was the one I wanted. It was everything and more. I played that guitar constantly for about a year, trying to learn the techniques of the great resonator players (Son House, Bukka White, etc...). It wasn't easy, and trying to get a live, amplified sound proved to be an absolute nightmare. I spent a small fortune on mics and pick ups attempting to get a half decent sound. I persevered though and eventually found the 'Headway' system, which isn't perfect by any means, but it's the best I've heard.

Recently bought this from Tom Palmer; I mentioned to him that I was looking for a good 'workhorse' acoustic, and he said: I have just the guitar for you. You always know when you've got a good guitar, because you can't stop playing it - and I haven't stopped playing this since I've had it. It's great for my instrumentals, and the more folksy stuff; but The Blues sounds great on it too. It's a real all rounder. Trouble is though, all of these guitars I've mentioned are all great, they all have something special to offer, but I can't take them all out to a gig. It's a real dilemma every time - what guitars do I take? A nice dilemma to have though, I'm not complaining.

Tony Zemaitis built this for guitar for me when I was about 17/18. He just happened to live near by, word got round and I just had to have a guitar made by the same guitar maker as Keith Richard, Ronnie Wood, George Harrison and many, many more household names.
I have fond memories of spending whole afternoons in Tonys workshop asking him question upon question about my guitar idols and their respective guitars. I’d always been in awe of Ronnie Woods pearl front, the one he used to play in The Faces (and The Stones), even before I learnt to play guitar. I distinctly remember him playing it on Top Of The Pops, and just thinking: wow, that’s a flash guitar. Never thought I’d be having one made for me years later.
As a guitar, it plays and sounds amazing; this guitar has been with me throughout my career, it’s become part of me. From The Godfathers right through to Del Amitri, I’ve always played this guitar.
Tony unfortunately passed away a few years back, and the price of his guitars have gone through the roof. As a result, I don’t like to gig with it anymore, I don’t even keep it in the house! I did contemplate selling it, due to the ridiculous money these guitars fetch, and at one point it looked like a deal was struck - but, thankfully it all fell through. I don’t think I would have ever forgiven myself. Although the money would have been nice, that guitar is priceless to me.

Just a quick mention of amps. I’ve just recently bought a Fender Blues Junior, which is the amp of choice as I write this. For the album I used a Peavey Classic 30. That was a great sounding amp, but live it was a bit unreliable. I have, even more recently, purchased a 1975 Fender Vibro Champ off of eBay. It hasn’t arrived at the time of writing, but I have great hopes for this amp. For those that are interested in such mundane matters, I will keep you informed. I also have a Fender Blues De Ville, which is just a little to cumbersome lug about. It’s great for a big rock sound though. I’m always on the look out for interesting amps, as I feel I haven’t found ‘the one’ yet. I love the sound of my amps but I’m yet to find one that really blows me away. Bring on the Vibro Champ.