b'There was a later development of the King John - aissues.Also, lots of other makers do it, so as a short neck version, the same scale length but withmatter of principle, I try not to. the bridge moved right down the body so that theEmploying people is the most difficult part of left arm stretch wasnt too much of an effort.business, any employer will tell you that. Quite I was trying to simplify things; I started to make theapart from dealing with some difficult people, range smaller, based obviously on sales, but alsoyou are absolutely responsible for the safety of on the names that I considered to be a little weak. everyone and I had two incidents of that going I stopped making the Lysander and the Olivia; Iwrong. The first time a young lad would insist upon had always felt the shape was a little odd, evenclimbing up the side of stacked pallets of snooker after occasional tweaks, so I downsized themcomponents instead of using a ladder, I had told completely. The Oberon is still popular, and Ivehim not to in no uncertain terms. He fell about ten upgraded it a few times over the years until it isntfeet onto a machine handle, which ripped deep into quite the plain guitar that I started off with. I alsothe inside of his thigh; I was the one who cut off stopped making the Goodfellow, but soon broughthis clothing and strapped him up in double quick it back again, its a very sweet design, and I love thetime. Of course it was my fault for not physically name. stopping him being stupid, and the letters and In 1983 I tried to make the manufacture easier, Isolicitors started. I was stressed before it started, came up with a new neck joint, and used the Orsinoand such things go on for months.body shape with a dark finish. I couldnt resist theThe second time was when I moved the business name Othello - the Moor of Venice, who of course,to Penrith and two employees came with me. One also had a dark finish. A great name, but the guitarof them pulled a muscle in his back at work, while was actually far too difficult to make and beforedoing something I had told him not to do. He stayed long it became just a darker version of the Orsino,off work for months then left the area with the before I stopped making it altogether. Ive neverother guys girlfriend. It eventually came to nothing liked to stain or paint natural wood; its often donebut cost me thousands of pounds in solicitors fees where the timber underneath has some visualand caused huge problems for everyone.Gareth Pearson Cooperage at AlloaTommy Emmanuel has lot to answer for;This picture was taken in the cooperage he has inspired a huge number of youngat Alloa. The shop is highly unionised and players, and has taken a lot of troublehighly organised, a small team of coopers to help some of them, Gareth Pearsonwith a strict timetable they will stick to no being one of the most obvious. I havematter what happens. The poor guy in known Gareths dad for quite a longthis picture spent about fifteen minutes time, and its a Fylde guitar that Garethholding the cask in that position amongst first played at about 15 years old. Afterthe flames and the steam, and missed seeing Tommy play, Gareth devoted justhis tea break completely. A word of about every waking moment to guitaradvice, never argue with a cooper. If he practice, and within three years or sowants to help, you wont be able to stop had become a phenomena, almosthim. And if he doesnt want to help !unbelievable in the speed of his progress. When Gareth achieves world domination, I am going to remind him that it was me who told his dad to allow him to pursue the guitar rather than carry on at school, and therefore he owes me a share of his royalties. Gareth still has his dads Fylde Caliban, plus two other guitars that I built for him specially to try and accommodate his demands. A few other makers have tried since, but I am hoping that his Fyldes still have a special place. Gareth - dont forget that your 68'