b'John JamesIn 1973, there simply were no quality guitars to be found; American imports were very rare. John played a Levin, a good guitar for the time, but he fell for the Oberon as soon as I showed it to him. He still describes it as having a huge note, but you have to say that in a welsh accent to get the full effect of what he meant. When John says huge note it takes about four times longer than when you or I would say it, and note takes twice as long as huge. He also says that the Fylde guitar tidied up his playing, as he could hear every fluff, every little mistake. He is unusual for that era of players in that he reads music, and quite happily takes piano rags, lute music and welsh harp tunes and transposes them for guitar. His dry sense ofa fair bit bigger. In the late 1970s,to say that my guitars made a humour hasnt changed over theJohn drew his audience from folk,significant contribution to music in years, although he no longer includesclassical and jazz fans becausethe UK. He now concentrates on his playing with the eyebrows in hishis repertoire and attitude wereown compositions, and I think he is set. The Oberon was just about spotso wide. He has recently startedplaying better than ever.on for Johns playing, he neededplaying in public again after a long the extra fingerboard width, and thebreak and has three new guitars, short scale was a big help in someall variations of the Oberon design of the fingering, although later on heor close to it, and is kind enough did get a custom Falstaff which is 35'