Takes two hands and a lot of hammerin’.” (Image credit: David Perry) an unorthodox combination perhaps, but great for bottlenecking. Both neck sections are active, with a piezo pickup under the headstock and wired to the bridge pickup, making both sections playable at the same time. The top end side of the neck is tuned open, while the main section of the instrument is tuned and played traditionally. “This crazy contraption, a two-piece neck, divided by a Mini-14 flash muzzle, leaves the headstock section separate and independently tuned from the main neck. We’re presently scheming another wave of weird for Mr JB!” We have taken Bolin deliveries with some of the wackiest examples of a luthier’s surprise attack, doing the so-called ‘impossible’. “Well, as mentioned, Bolin actually enjoys getting outside the box.
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He’s made some pretty wild, outrageous stuff for you - have you ever presented him with a guitar-building challenge that even he didn’t know how to approach? It’s a remarkable talent that tags his stuff as ‘superb’." The prime element underlying the Bolin touch is exacting detail completing the productions. "Since the casual introduction in Boise, Idaho in 1983, JB always embraces the most challenging and dramatic electric guitar expressions that one might imagine. Since the casual introduction in Boise, Idaho in 1983, JB always embraces the most challenging and dramatic electric guitar expressions that one might imagine And Bolin Guitars deliver the goods every time. It’s a rare opportunity that shows up now and again that brings excellence in artist application to the party. “Bolin, yes! The productions from his shop are stunning. How did you meet him and how did you start working together? Also, what keeps you coming back for more? Some of your best-known customs were made by luthier John Bolin. I’ve conspired to play the upstart Esqy with a couple of pals, namely Brad Paisley and Redd Volkaert, both known for their amazing talents behind the infamous Telecaster, and, at the same time, they too, admire the sheer simplicity of the Esquire. It’s right down to basics with the Esquire. You’ve used a few Esquires and Esquire-derived Customs over the years - what does the Esquire offer, in your view, that the Tele doesn’t? Precious sound from this one.” (Image credit: David Perry) Lil Red still thrives and plays like melting butter. This is the ‘groove-approved’ VanTels’ axe that inspired me to grab a guitar in the first place! PAFs, correct controls and some period-perfect hot-rod pinstriping. “A pre-SG, ’61 Les Paul Standard known as Lil Red. "The additional incarnation can be seen in the vid-clip, Missin’ Yo’ Kissin when I saddled up with Austin Hanks playing the left-hand, right-hand blackened versions of a modern-day Lil Red.” We’ve enjoyed its Vibrola ghostly driven effect on the ZZ cut Vincent Price Blues. "We retrieved Lil Red from extinction thanks to our pal, Scott Thompson who tracked it after it showed up in Texas Tom Slaughter’s shop way back when. They released an instrumental single, Memo To Maxie, featuring the ’61 Les Paul, known as Lil Red, as the solo instrument.
“There was a great four-piece combo, The VanTels, in Houston, three guitars and a drummer. How did you come to acquire the original ’61 Lil Red SG?
"I’ve learned from many Strat players, noting that distinctive lingering effect from string to string, note to note.” Strats with a trem have a very different ring as the back-mounted springs add something quite different from the hardtail versions. “Definitely so! The hardtail Strat is way different from the trem models as the sound is tighter. Do you think hardtail Strats have something special going on? Your book features some great shots of your 1955 hardtail ‘La Grange’ Strat. Worn and weather-beaten, this skunk-striped, maple-necked special is another one that grooves on and on! Good combo.” (Image credit: David Perry) Straight stuff here! This particular thrasher, combined with Pearly Gates, harmonics included, put the crowning touch on La Grange.
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