Together since 1990, I've been around the world with my baby H. She's may be chipped and worn, ragged and torn but she still sounds like an Angel to me.

The Leslie 145: such a poetic name for such an emotive instrument.

Watkins Copicat, Carousel guitar and Selmer Concord 8.

Complete with "Magic Eye" tremolo speed/depth indicator.

Old 6120 sure knows how to answer back, he's heard it all before.

London's Leo Fender, Charlie Watkins.

The Selmer Truvoice Concord Eight & The Small Faces

1965/6 transitional Fender "blackface" Champ. (Kendrick speaker.)

Sam Hutton was the chief amplifier builder during Fender's golden age. Like a true craftsman, he proudly signed his work on this blackface Champ.

A Jr. in name only. Ebony fingerboard, Grover tuners, inlaid headstock and that P90 sound of killer bees. God's pickup.

A great old 70s copy leaning on a home-made amp I found on the street. As you do.

I'm not waiting on a lady...

Here's what we use when the power goes. L-R: 1) Sigma 00015-M - plays the starring role in "Simple Love". 2) Columbia gramophone playing Charlie Parker on a Savoy 78. 3) Harmony Sovereign 1270 12-string acoustic. (Seriously rebuilt.) No-name 1940s koa ukulele. The label says, Bergstroms Music, Honolulu, Territory of Hawai'i. 4)

The killer combination. That's a '63 JMI copper-plate, blue speaker, non top-boost. The strap is a Hendrix@Woodstock but in blue.

Where a '66 Electric XII and '73 Precision may lie provocatively.

The sound of music.

1973, maple neck, hang tags, ashtrays.