I have a Bill Lewis guitar I have had for 25+ years. I am looking for other owners or anyone who knows about them? Thanks
CustomBuilt
That brings back memories. I believe they were made in the early to mid 1970s out of the shop at Broadway and Dunbar. From the late 60s until the early 80s, Bill Lewis Music was THE guitar store to visit. It wasn't the biggest but definitely the coolest at the time. They were also the best place for guitar repairs in the day.
As for the guitar, if I remember my ancient history correctly, Jimmy Page bought one. I tried a few but didn't the ultra flat fingerboard.
As for the guitar, if I remember my ancient history correctly, Jimmy Page bought one. I tried a few but didn't the ultra flat fingerboard.
quite a famous guitar... having recorded on teh Dark Side of the Moon... thats quite an achievment.
wow, that's cool!!
had heard about this gtr & seen the dsotm footage, but never knew much else aboot them
thx!!
had heard about this gtr & seen the dsotm footage, but never knew much else aboot them
thx!!
Bill Lewis gtr.
Now there is a name from the past. Bill Lewis was originally a flamenco guitar player and builder. He studied the instrument in Spain, took master classes with Andres Segovia, and spent some time working for a small guitar manufacturer there in the late 50s I believe. The company was 'Los Guitarerros de Majorca'. Years ago Bill told me that the Vancouver area builder of Selmer-type guitars, Michael Dunn and he had worked there together.
Bill also knew another Canadian luthier from the 50s, Frank Gay. Frank was from the prairies and although he started out as another flamenco player he turned to building very ornate steel string guitars, one of which he made for Webb Pierce. That was in the Opry museum for many years. Frank was the guy who turned Lenny Breau on to flamenco music, and supplied Lenny with his first Ramirez.
Lewis had worked as a design consultant to some of the big names in guitar manufacturing, and had contacts throughout the industry. Michael Gurian was an old friend, and I believe Bill helped him set up his small factory again after Mikes' tragic fire.
The Lewis guitar shop in Vancouver was a virtual Mecca to pickers in the 60s and 70s, being one of very few shops in Canada where you could actually get good, solid information on instruments and their construction.
Bill went on to form Lewis Luthiers' Supply, offering many special purpose tools to luthiers, some of which Bill had designed himself and had manufactured in Europe.
Bills' brother was apparently in the logging business, and together they started harvesting and resawing western red cedar which Bill sold worldwide as a top material. It is my understanding that Bill was instrumental in getting the material into common useage through his many contacts among classical and flamenco builders in Spain. He also sold it by the boxcar load to the Japanese Yamaki company, prompting them to put the first mass produced, entry-level steel string guitars on the market with solid cedar tops. That would have been some time around 1969. Those were also sold as Mansfields in some market areas.
Bill put together a wonderful catalogue for Lewis Luthiers' Supply, including a lot of technical information and building tips as well as just flogging product. In that, he was years ahead of the curve. He was generous with his time and knowledge, especially with younger builders.
I had known him since my days of playing the folk circuit in BC in the late sixties, so when I applied for a Canada Arts Council grant for some experimental building I wanted to do around '75, he was good enough to recommend my work to the jury. My other sponsor at the time was Sylvia Tyson, of Ian and Sylvia fame. I suspect the endorsement of those two had as much to do with me getting that grant as my own work did. ;-) As far as I know, it was the first time a luthier had been recognized as an 'artist' by the Canada Council.
By the eary 80s Bill had grown tired of the business and had sold Lewis Luthiery to a group of folks in California, where it was transformed into Luthiers' Mercantile. That firm continues Bills tradition of packing their catalogue with useful information as well as the usual sales pitches.
Bill had been a professional photographer during some phase of his incredibly varied career, and after selling the supply business he went back into that field, branching into film making.
Around '81 he was good enough to come and address a gathering of about a dozen builders and repairmen at my shop in Toronto for a 2-day seminar. Always the showman, Bill touched on just about every topic possible to imagine during those two days, and gave the group a lot to think about. Many of his approaches to luthiery were unconventional, and he had little time for the myths and legends perpetuated by magazine writers and other self-styled 'experts'.
He was a very bright man indeed, always pushing to discover how or why something or other worked or didn't, and always questioning what others accepted as 'conventional wisdom'. One of the best-read men I ever met, he could converse intelligently on almost any topic, and could entertain with personal stories and anecdotes until the sun came up.
I've only owned one of Bills' guitars personally, and that only for a short time. It was one of his flamencos, and I turned it over to a friend who could actually operate the thing. I do still have a few sets of premium wood that Bill brought me as a present back in the early 80s. I guess this thread may serve as the impetus to get me to build a special instrument in memory of a good friend and a hell of a builder.
KH
Now there is a name from the past. Bill Lewis was originally a flamenco guitar player and builder. He studied the instrument in Spain, took master classes with Andres Segovia, and spent some time working for a small guitar manufacturer there in the late 50s I believe. The company was 'Los Guitarerros de Majorca'. Years ago Bill told me that the Vancouver area builder of Selmer-type guitars, Michael Dunn and he had worked there together.
Bill also knew another Canadian luthier from the 50s, Frank Gay. Frank was from the prairies and although he started out as another flamenco player he turned to building very ornate steel string guitars, one of which he made for Webb Pierce. That was in the Opry museum for many years. Frank was the guy who turned Lenny Breau on to flamenco music, and supplied Lenny with his first Ramirez.
Lewis had worked as a design consultant to some of the big names in guitar manufacturing, and had contacts throughout the industry. Michael Gurian was an old friend, and I believe Bill helped him set up his small factory again after Mikes' tragic fire.
The Lewis guitar shop in Vancouver was a virtual Mecca to pickers in the 60s and 70s, being one of very few shops in Canada where you could actually get good, solid information on instruments and their construction.
Bill went on to form Lewis Luthiers' Supply, offering many special purpose tools to luthiers, some of which Bill had designed himself and had manufactured in Europe.
Bills' brother was apparently in the logging business, and together they started harvesting and resawing western red cedar which Bill sold worldwide as a top material. It is my understanding that Bill was instrumental in getting the material into common useage through his many contacts among classical and flamenco builders in Spain. He also sold it by the boxcar load to the Japanese Yamaki company, prompting them to put the first mass produced, entry-level steel string guitars on the market with solid cedar tops. That would have been some time around 1969. Those were also sold as Mansfields in some market areas.
Bill put together a wonderful catalogue for Lewis Luthiers' Supply, including a lot of technical information and building tips as well as just flogging product. In that, he was years ahead of the curve. He was generous with his time and knowledge, especially with younger builders.
I had known him since my days of playing the folk circuit in BC in the late sixties, so when I applied for a Canada Arts Council grant for some experimental building I wanted to do around '75, he was good enough to recommend my work to the jury. My other sponsor at the time was Sylvia Tyson, of Ian and Sylvia fame. I suspect the endorsement of those two had as much to do with me getting that grant as my own work did. ;-) As far as I know, it was the first time a luthier had been recognized as an 'artist' by the Canada Council.
By the eary 80s Bill had grown tired of the business and had sold Lewis Luthiery to a group of folks in California, where it was transformed into Luthiers' Mercantile. That firm continues Bills tradition of packing their catalogue with useful information as well as the usual sales pitches.
Bill had been a professional photographer during some phase of his incredibly varied career, and after selling the supply business he went back into that field, branching into film making.
Around '81 he was good enough to come and address a gathering of about a dozen builders and repairmen at my shop in Toronto for a 2-day seminar. Always the showman, Bill touched on just about every topic possible to imagine during those two days, and gave the group a lot to think about. Many of his approaches to luthiery were unconventional, and he had little time for the myths and legends perpetuated by magazine writers and other self-styled 'experts'.
He was a very bright man indeed, always pushing to discover how or why something or other worked or didn't, and always questioning what others accepted as 'conventional wisdom'. One of the best-read men I ever met, he could converse intelligently on almost any topic, and could entertain with personal stories and anecdotes until the sun came up.
I've only owned one of Bills' guitars personally, and that only for a short time. It was one of his flamencos, and I turned it over to a friend who could actually operate the thing. I do still have a few sets of premium wood that Bill brought me as a present back in the early 80s. I guess this thread may serve as the impetus to get me to build a special instrument in memory of a good friend and a hell of a builder.
KH
More on the Legendary Bill Lewis
Thank you for the info heres some added info I have found out over the years.
No one is sure how many were made the guess is some where between 40-60
So far I have heard that David Gilmour (Pink Floyd) has one and used it on dark side of the moon for some of the lead parts as well as others you can see the lewis on you tube in the early vids as well as his web site and gilmourish.com. Jimmy page had two and sold then last year for $250,000.00 each. Eric Clapton played one at a concert in vancouver b.c. canada in 1969 for the whole show when he was with Blind Faith. Bill designed the guitar to exceed the techniques used at the time it actually changed the way guitars were built in a lot of different ways some say revolutionized the industry.
The entire guitar was carved out of one solid piece of (cant spell LOL) hondurun mahogony, neck and body were one piece for tone and sustain, it was the first true 24 fret play, the frets were nickel silver, the fret board was exotic ebony, it was the widest and thinnest neck ever done this was achieved by and ingenious double truss rod system, the tuners were top of the line schallers, the pick ups were patented by Bills brother they are 3 silver alloy bars shielded and encased in epoxy to minimize noise this was a first. They had splitters at the side of the pick ups to split them from single to double, I think this was the first time an on board system had been used that could be switched on the fly. To this day Bills brother will not discuss how they were built. The pots were the best available not sure of the make.In the wiring, each individual wire had its own shielding as well as the cavity housing it, it was copper shielded and soldered in place with silver solder.
the two sides had been hollowed out to lighten the weight and create almost acoustic capabilities. This all made for a virtually noiseless guitar. I will attest to this as when I first got it, it scared me. It picked up all of my mistakes, and it took some time before I felt worthy of it. I have nothing but respect for my Bill Lewis guitar and consider my self very privileged to have it. I would like to acknowledge Bill for letting me keep what has become an adventure of a lifetime, as it was originally sold to me by mistake by a new employee. That is a whole other story.
CustomBuilt
If you have questions or something to add please feel free to e-mail me at clarkeles@yahoo.com
Thank you for the info heres some added info I have found out over the years.
No one is sure how many were made the guess is some where between 40-60
So far I have heard that David Gilmour (Pink Floyd) has one and used it on dark side of the moon for some of the lead parts as well as others you can see the lewis on you tube in the early vids as well as his web site and gilmourish.com. Jimmy page had two and sold then last year for $250,000.00 each. Eric Clapton played one at a concert in vancouver b.c. canada in 1969 for the whole show when he was with Blind Faith. Bill designed the guitar to exceed the techniques used at the time it actually changed the way guitars were built in a lot of different ways some say revolutionized the industry.
The entire guitar was carved out of one solid piece of (cant spell LOL) hondurun mahogony, neck and body were one piece for tone and sustain, it was the first true 24 fret play, the frets were nickel silver, the fret board was exotic ebony, it was the widest and thinnest neck ever done this was achieved by and ingenious double truss rod system, the tuners were top of the line schallers, the pick ups were patented by Bills brother they are 3 silver alloy bars shielded and encased in epoxy to minimize noise this was a first. They had splitters at the side of the pick ups to split them from single to double, I think this was the first time an on board system had been used that could be switched on the fly. To this day Bills brother will not discuss how they were built. The pots were the best available not sure of the make.In the wiring, each individual wire had its own shielding as well as the cavity housing it, it was copper shielded and soldered in place with silver solder.
the two sides had been hollowed out to lighten the weight and create almost acoustic capabilities. This all made for a virtually noiseless guitar. I will attest to this as when I first got it, it scared me. It picked up all of my mistakes, and it took some time before I felt worthy of it. I have nothing but respect for my Bill Lewis guitar and consider my self very privileged to have it. I would like to acknowledge Bill for letting me keep what has become an adventure of a lifetime, as it was originally sold to me by mistake by a new employee. That is a whole other story.
CustomBuilt
If you have questions or something to add please feel free to e-mail me at clarkeles@yahoo.com
This thread is interesting to me as I was a part of that guitar scene in the 1960s and took my first guitar lessons from Bill Lewis in The Mediterranean Shop just after he came back from his master class with Andres Segovia in California in 1964.
George Bowden was the owner of the shop as well the guitar factory in Palma de Mallorca, (Los Guitarreros de Mallorca), where he later sent Bill to pick up more knowledge of guitar building. I began to teach classical guitar in The Med Shop and when Bill came back from Spain, George sent Mike Dunn over there to the factory to do the same. Mike Dunn and Ray Nurse were interested in building guitars and lutes and both became important figures in the Canadian music and luthier world.
Bill then left The Med Shop and set up his own business on west Broadway. I was there to help paint the walls and began to teach there as well. People who were involved in that scene at the time included Barry Hall, Mike Dunn, Ray Nurse, Bill and his friend Jeff, a flamenco player from Seattle, as well as many others. I left soon after to come to Spain to teach classical guitar in Palma and am still living in Spain, although on another island. Bill moved his shop around and sent me photos of the new look. Here are a couple, one which shows part of his workshop and his handwritten note on the back. The first photo of his new store front.
I was sad to learn that he passed away at an early age.
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I'm currently writing about these past times in my autobiographical blog of how I came to Spain, and have more photos of Bill Lewis' shop which will appear soon on my blog.
Canarybird (Sharon)
George Bowden was the owner of the shop as well the guitar factory in Palma de Mallorca, (Los Guitarreros de Mallorca), where he later sent Bill to pick up more knowledge of guitar building. I began to teach classical guitar in The Med Shop and when Bill came back from Spain, George sent Mike Dunn over there to the factory to do the same. Mike Dunn and Ray Nurse were interested in building guitars and lutes and both became important figures in the Canadian music and luthier world.
Bill then left The Med Shop and set up his own business on west Broadway. I was there to help paint the walls and began to teach there as well. People who were involved in that scene at the time included Barry Hall, Mike Dunn, Ray Nurse, Bill and his friend Jeff, a flamenco player from Seattle, as well as many others. I left soon after to come to Spain to teach classical guitar in Palma and am still living in Spain, although on another island. Bill moved his shop around and sent me photos of the new look. Here are a couple, one which shows part of his workshop and his handwritten note on the back. The first photo of his new store front.
I was sad to learn that he passed away at an early age.
I'm currently writing about these past times in my autobiographical blog of how I came to Spain, and have more photos of Bill Lewis' shop which will appear soon on my blog.
Canarybird (Sharon)
Wow talk about the past
Hi Sharon let me put your memory to the test, do you remember a long haired kid who wore a brace and hobbled around the Med. and then was hanging out at Bill's shop by the name of Lolli who was always trying to get the folks there to teach him some guitar and those names, talk about de-javu when Bills guitars were first mentioned I thought of a blast from the past.
Well its okay if you dont remember me but those names and yours are still etched into my brain, which isn't bad when you consider the times along 4th avenue then and later,can't wauit to get into your blog and see what you have been up to for all these years and I send out a BIG thanks for the wonderful gift you all gave me, music has been a very important part of my life and try to play it forward, take care and all the best wish's to you my dear.ship.........aka lolli who will never forget the love you guys all gave me when I needed it the most.
Hi Sharon let me put your memory to the test, do you remember a long haired kid who wore a brace and hobbled around the Med. and then was hanging out at Bill's shop by the name of Lolli who was always trying to get the folks there to teach him some guitar and those names, talk about de-javu when Bills guitars were first mentioned I thought of a blast from the past.
Well its okay if you dont remember me but those names and yours are still etched into my brain, which isn't bad when you consider the times along 4th avenue then and later,can't wauit to get into your blog and see what you have been up to for all these years and I send out a BIG thanks for the wonderful gift you all gave me, music has been a very important part of my life and try to play it forward, take care and all the best wish's to you my dear.ship.........aka lolli who will never forget the love you guys all gave me when I needed it the most.
Dear Lolli/ Ship....
How lovely to hear that you were a part of that scene in the Mediterranean shop! I have to say I don't remember you at this moment as I read your post but it's so good to hear from someone else who remembers the great atmosphere and camaraderie we all had there.
From whom did you eventually take lessons? I'm writing about the people there in my Canarybird's Nest (canarybirdtenerife) blog and my next entry will be about Chris Jordan (classical), now known as Robert C.Jordan, and Barry Hall, the folk guitar player who was such a natural, recording his 5 string banjo record when he was about 15 years old. Did you ever get to take lessons from him? I'll also be writing more about Bill Lewis and George Bowden soon as well.
Cheers,
Sharon (Canarybird)
How lovely to hear that you were a part of that scene in the Mediterranean shop! I have to say I don't remember you at this moment as I read your post but it's so good to hear from someone else who remembers the great atmosphere and camaraderie we all had there.
From whom did you eventually take lessons? I'm writing about the people there in my Canarybird's Nest (canarybirdtenerife) blog and my next entry will be about Chris Jordan (classical), now known as Robert C.Jordan, and Barry Hall, the folk guitar player who was such a natural, recording his 5 string banjo record when he was about 15 years old. Did you ever get to take lessons from him? I'll also be writing more about Bill Lewis and George Bowden soon as well.
Cheers,
Sharon (Canarybird)
Hi Sharon
Do you remember how everyone during the spring and summer and even early fall use to hang out front, playing together. Brings back fond memories.
As for lessons, well I remember you and another girl, can't recall her name and Bill showing me things and Jeff also. I never got around to taking formal lessons at the shop, it was more often when someone was available to show me things. I was a ward of the childrens aide at that time and I can even remember that the Med. was the very first shop I bought a guitar at, he even let me make payments over time, but I am sure he paid for it himself and just didn't tell me as I was often late, but always came back to make sure I fianlly paid it off, a nice 3/4 classical that I really wish I had today.
And I do remember Chris and his banjo playing he almost got me hooked on playing it, and there was another young guy their that played mandolin but I don't recall his name, I do remember him giving me one of his that he said he wasn't playing had it till about 10 years ago and it just disappeared one day when I wasn't looking.
Well take care of yourself Sharon and I look forwarding to your blog bringing back some very great memories for me, sure wish I kept some of those older photo's, but when your young and stupid at the same time makes for a lousy combination,all the best wish's.Ship..................If you get a chance I would love to hear from you off line, you can e-mail me at my private profile.
Do you remember how everyone during the spring and summer and even early fall use to hang out front, playing together. Brings back fond memories.
As for lessons, well I remember you and another girl, can't recall her name and Bill showing me things and Jeff also. I never got around to taking formal lessons at the shop, it was more often when someone was available to show me things. I was a ward of the childrens aide at that time and I can even remember that the Med. was the very first shop I bought a guitar at, he even let me make payments over time, but I am sure he paid for it himself and just didn't tell me as I was often late, but always came back to make sure I fianlly paid it off, a nice 3/4 classical that I really wish I had today.
And I do remember Chris and his banjo playing he almost got me hooked on playing it, and there was another young guy their that played mandolin but I don't recall his name, I do remember him giving me one of his that he said he wasn't playing had it till about 10 years ago and it just disappeared one day when I wasn't looking.
Well take care of yourself Sharon and I look forwarding to your blog bringing back some very great memories for me, sure wish I kept some of those older photo's, but when your young and stupid at the same time makes for a lousy combination,all the best wish's.Ship..................If you get a chance I would love to hear from you off line, you can e-mail me at my private profile.
kksjur
just joined the forum yesterday and I run into this thread...boy talk about bringing back memories...I took lessons from Barry Hall for about 5 years on both guitar and banjo...a more talented player / teacher you couldn't ask for...Barry wrote and recorded an album " banjo virtuoso" when he was 17 years old..I'm sure he would have been a household name had the drug scene of the day not got to him. I recall Barry had a very discernable shake in his hands when he wasn't playing but put an instrument in them and it wouild magically disappear.
I also took classical lessons from Reg Block, another extremely talented teacher at Bill Lewis music...Reg convinced me to abandone my banjo and concentrate on guitar, so I put my 5 string up for sale on consignment at the store ( a beautiful MIJ Gibson copy) and it sold the same day to none other than Reg Block..kqoct..
Bill Lewis music was definitley the place for musicians to hang out in the 70's
and to see famous people there shooting the breeze was an every day occurance..I recall Bill's workshop downstairs was rather secretive and to be invited there was reserved for the chosen few...Bills brother Jack who actually ran the store ...at least thats how it appeared to me ...was a very nice guy who was always cheerful and along with his wife ( I wish I could remember her name ) made the store a great place to expand ones musical world and for me the memories are charished...:smile:
Kelly
just joined the forum yesterday and I run into this thread...boy talk about bringing back memories...I took lessons from Barry Hall for about 5 years on both guitar and banjo...a more talented player / teacher you couldn't ask for...Barry wrote and recorded an album " banjo virtuoso" when he was 17 years old..I'm sure he would have been a household name had the drug scene of the day not got to him. I recall Barry had a very discernable shake in his hands when he wasn't playing but put an instrument in them and it wouild magically disappear.
I also took classical lessons from Reg Block, another extremely talented teacher at Bill Lewis music...Reg convinced me to abandone my banjo and concentrate on guitar, so I put my 5 string up for sale on consignment at the store ( a beautiful MIJ Gibson copy) and it sold the same day to none other than Reg Block..kqoct..
Bill Lewis music was definitley the place for musicians to hang out in the 70's
and to see famous people there shooting the breeze was an every day occurance..I recall Bill's workshop downstairs was rather secretive and to be invited there was reserved for the chosen few...Bills brother Jack who actually ran the store ...at least thats how it appeared to me ...was a very nice guy who was always cheerful and along with his wife ( I wish I could remember her name ) made the store a great place to expand ones musical world and for me the memories are charished...:smile:
Kelly
Isn't it funny
How such a little shop could make such a big difference in the musical world that we live in, when this thread started I thought well there can't be to many of us left in Vancouver ( or the outskirts ) and low and behold we find new people who remember the shop and all that it had to offer, welcome aboard Roadman ( Kelly ) always great to have remembering friends along for the ride, wish I could help with Bill's wifes name, but you might try and get a hold of CanaryBird and see if she remembers.Ship
How such a little shop could make such a big difference in the musical world that we live in, when this thread started I thought well there can't be to many of us left in Vancouver ( or the outskirts ) and low and behold we find new people who remember the shop and all that it had to offer, welcome aboard Roadman ( Kelly ) always great to have remembering friends along for the ride, wish I could help with Bill's wifes name, but you might try and get a hold of CanaryBird and see if she remembers.Ship
First time post, having just moved back to Ontario from Van it's nice to see this thread...I worked at the Bill Lewis location, it is now and has been for a while Prussin Music a very vibrant music store, not quite Bill's in the guitar dept. but a very community oriented shop with a varied selection of instuments and a reputation for service, minus me of course..Still the shop has a great vibe, probably a carry over from Bill's, many times we had people coming in wondering about Bill, his wife came in once(sorry can't remember her name) and told us a few tales..one I remember is they had some security issues and they had been burglarized and the unwanted came up through the floor of the shop leaving behind the one guitar they wished would have a left, the thieves left behind an odd shaped eye sore of a guitar which wouldn't fit through the escape route, a few laughs in the after math I guess. She seemed happy reminising about the shop. This was much before my time there in 04, Prussin's still kept the Bullfrog Studio logo on a door in the renovated basement area. It's an amazing space with character in a good neighborhood, hard to find Music Shop's like this these days..the music legacy of Bill's lives on at this spot..
Bill Lewis
Hello,
I'm Bills daughter Lyra. I still have a fairly extensive collection of his instrument and am supposed to be showing them at the NAMM soon. I would love to hear stories from anyone about their experiences, teachers or time with my father. I am collecting as much information as I can. Please feel free to email me at lyralewis@yahoo.ca.
Hello,
I'm Bills daughter Lyra. I still have a fairly extensive collection of his instrument and am supposed to be showing them at the NAMM soon. I would love to hear stories from anyone about their experiences, teachers or time with my father. I am collecting as much information as I can. Please feel free to email me at lyralewis@yahoo.ca.
Jack's wife's name was Cecelia. My short term memory is suffering, but the old news seems to be holding fine. I worked for Bill in the workshop downstairs, side entrance, for about a week. Being an alumni of the MedShop experience, I was given a chance to work directly with Bill, mano a mano, but we failed find comfort in each others company. I believe he found me to be both too head strong and technically incompetent, while I found him too controlling and somewhat paranoid.
I hung around in Bill Lewis Music staring at the guitars on the wall and trying to understand them for many hours. Bill never threw me out, and eventually let me take fret measurements off one, which precipitated my first build. This was years before our aborted attempt to work together.
I continue to build guitars, among other instruments, to this day. Those were great years, and played a major part in forming me as I am. My heartfelt thanks for that!
Re-reading, I see that Bill's wife's name is also wanting. That would be Carole, I believe, at the time. I'm more sure of Jack's.
I hung around in Bill Lewis Music staring at the guitars on the wall and trying to understand them for many hours. Bill never threw me out, and eventually let me take fret measurements off one, which precipitated my first build. This was years before our aborted attempt to work together.
I continue to build guitars, among other instruments, to this day. Those were great years, and played a major part in forming me as I am. My heartfelt thanks for that!
Re-reading, I see that Bill's wife's name is also wanting. That would be Carole, I believe, at the time. I'm more sure of Jack's.
I am another proud ownerof a Bill Lewis Special. I believe it's one of his first productions. I still have my receipt from April 24,1969 in Bill's handwriting. It does not have the 'Dual-range' pick-ups. I took it into Rufus last year and the weekend Techie, Les W. (who also has one) told me that my edition has Dimarzio pick-ups. I was told that Les advertised his on E-Bay and was offered $68k, but turned it down?? Apparantly he is holding out for $80k. I will ask him next time I see him. I agree about the fact that Bill was not really a Electric R&R guy. He played a few scales for me periodically and it was definitely a Classical style. He was hoping that I would help promote his Guitar as I played in 'The Spectres' band which was quite popular around that time. He said that Paul Dean of 'The Shantelles' (sp), later of Loverboy was interested in one and asked if I was a better guitarist...Ha!....in my dreams maybe. Paul did buy one later. Clapton also ordered one and reportedly sold it for $150k.
Noteworthy: Jack Lewis also built Solid State Lewis Amps. I had a 75W Cabinet with 2 JBL D130F speakers plus a slave with the same 2 spkrs.
Noteworthy: Jack Lewis also built Solid State Lewis Amps. I had a 75W Cabinet with 2 JBL D130F speakers plus a slave with the same 2 spkrs.
Those prices are pretty stunning! I was building electric guitars in the MedShop in '68/'69, before my short stint as Bill's right hand man. I still own my #7, but not because I think it is going to be worth the big bucks. It does use some of the Bill Lewis technology, I believe, in the the control cavity. The PU's are D'Armond. My very first customer, Joe Mock, still owns and plays the Electric Guitar I made for him in the MedShop! Canadians will be aware of Joe as the guitar player in Pied Pumpkin, a '70's acoustic trio (Rick Scott/Shari Ulrich) who continue to play the occasional nostalgia gig to rave reviews. My acoustic guitars have become pretty well known the last few years, and are priced to match, but it would be a great irony if my electrics did what Bill's apparently have done. Can't see why they wouldn't, actually.
By the way, I remember when Bill took an electric to loan/give to Eric Clapton at what I believe was a Blind Faith concert at the PNE in Vancouver. I thought it pretty brazen of Bill at the time, and subsequently thought it foolish as the guitar seemed to disappear forever, but perhaps that was merely short-sighted of me, from today's view.
By the way, I remember when Bill took an electric to loan/give to Eric Clapton at what I believe was a Blind Faith concert at the PNE in Vancouver. I thought it pretty brazen of Bill at the time, and subsequently thought it foolish as the guitar seemed to disappear forever, but perhaps that was merely short-sighted of me, from today's view.
I remember that concert Bruce it was at the old cow palace ( agradome if memory serves me well ) Bill certainly had some famous faces associated with his ax's I always wished I was one of them and wish I still had the one he gave me that he repaired the neck for but it disappeared from my collection ( thief ) (I never could master all the frets he had on them.Ship.....oh and as for your acoustics Bruce they were and are very special instruments can't remember who it was from the other site that has one of yours and the description he gave of the looks and sound still make me think of it. ( or maybe it was you who told me about it dang this alziemers )
Cant believe you all missed this
as detailed a history of clapton and pink floyds' david gilmour's ownership of bill lewis guitars as you could wish for...dark side of the moon...bill lewis guitar...forever entwined!!!
Gilmourish » Bill Lewis Guitar DETAILED
I took lessons at Bill Lewis from Reg Block starting in 1972 when I was twelve, met Jamie Bowers and bought many sadly uncollectable guitars, and amps and FX from Bill Lewis music...althought they had dozens of cool used instruments hanging on the walls that would later be worth way more... I never met Bill, only Jack, who I thought was really in charge anyway... say hello! Sacha (Sfassaert@shaw.ca)
as detailed a history of clapton and pink floyds' david gilmour's ownership of bill lewis guitars as you could wish for...dark side of the moon...bill lewis guitar...forever entwined!!!
Gilmourish » Bill Lewis Guitar DETAILED
I took lessons at Bill Lewis from Reg Block starting in 1972 when I was twelve, met Jamie Bowers and bought many sadly uncollectable guitars, and amps and FX from Bill Lewis music...althought they had dozens of cool used instruments hanging on the walls that would later be worth way more... I never met Bill, only Jack, who I thought was really in charge anyway... say hello! Sacha (Sfassaert@shaw.ca)
I had Bill Lewis build me a special guitar around 1966/67 I was traveling almost constantly and so in approx. 1979/80/81 I took the guitar to Bill's music store and asked them to sell it for me. Now I am trying to locate the same Bill Lewis Classical guitar and I'm wondering if anybody knows anything about this Classical cutaway that I so foolishly sold. I am not certain how many Classical Cutaway's he made so I am just inquiring.
Any information would be greatly appreciated Thanks
Any information would be greatly appreciated Thanks
Mark Wilson
My older brother, Mark Wilson, worked at Bill Lewis Music in the late 60's, early 70's. I used to babysit Jack's daughter, and Carole Fornataro, Bill's wife, was my violin teacher.
Mark was very involved in all things Bill Lewis, a friend, employee, worker back in the shop, and fan of the guitars.
I was lucky because he felt it was his duty to expose his kid sister to music, so he took me to see any of the old blues greats that came to town. We took one of the Bill Lewis guitars to a BB King concert so BB could try it out, I hung in the background while we were backstage in the performer area. And another time I remember having breakfast at 3 a.m. at the White Lunch with the Kinks, also talking about whether they would be interested in demo-ing a Bill Lewis guitar.
Mark got hit by a car on his way home from work in December, 1971, and I remember Carole saying how she and Bill had just assumed they would be friends for the rest of their lives. How things do change; Mark dying, Bill and Carole splitting, Bill dying young.
But those were some very fine times, back in the heyday of Bill Lewis Music.
My older brother, Mark Wilson, worked at Bill Lewis Music in the late 60's, early 70's. I used to babysit Jack's daughter, and Carole Fornataro, Bill's wife, was my violin teacher.
Mark was very involved in all things Bill Lewis, a friend, employee, worker back in the shop, and fan of the guitars.
I was lucky because he felt it was his duty to expose his kid sister to music, so he took me to see any of the old blues greats that came to town. We took one of the Bill Lewis guitars to a BB King concert so BB could try it out, I hung in the background while we were backstage in the performer area. And another time I remember having breakfast at 3 a.m. at the White Lunch with the Kinks, also talking about whether they would be interested in demo-ing a Bill Lewis guitar.
Mark got hit by a car on his way home from work in December, 1971, and I remember Carole saying how she and Bill had just assumed they would be friends for the rest of their lives. How things do change; Mark dying, Bill and Carole splitting, Bill dying young.
But those were some very fine times, back in the heyday of Bill Lewis Music.
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