In my attempts to get this site back to how I used to do
things, I will try again to share reprints of old articles on Tuesdays. I don’t know of often I will be able to do
this because it is time-consuming to find an interesting article in my files
that I haven’t shared before and to type the entire thing. I am taking
graduate-level classes to further my education, so I don’t have much extra time
after work to accomplish this goal, but I will try.
Today I have an article from the Summer of 1987 issue of the
GoodDay Sunshine fanzine.
Ron DeMarino:
Personal Luthier to John Lennon
By Paul C. Cuccinello
GoodDay Sunshine
Summer 1987
Back in 1976, an article appeared in the magazine
International Musicians and Recording World written by a gentleman named Ron
DeMarino. The reason this article was so
memorable was because Ron, a guitar technician, had written about his
experience in refinishing and repairing John Lennon’s first Rickenbacker
guitar. As a musician, guitar collector,
and avid Beatles fan since 1964, anything involving the Beatles’ musical
instruments has always intrigued me (as I’m sure it does many of you). So, after all these years, it was a pleasant
surprise to see an ad in a New York City music trade paper advertising the
services of professional luthier Ron DeMarino.
I contacted Ron and went to visit him at his showroom in Copiague, Long
Island. What follows I the fascinating
story of this man and his notable past.
Since 1965, Ron DeMarino has held a position in the music
business that many of us could only dream about: being a musical instrument consultant and
guitar technician to rock and roll’s biggest stars, including John Lennon.
Starting out as a guitarist, Ron played with the famous
Lester Lanin Orchestra for over fifteen years.
In fact, Ron has played at every presidential inaugural ball since John
F. Kennedy. During the mid-60s, Ron
turned his talents to guitar repair and collecting musical instruments. Ron was one of those individuals to have the
foresight to begin collecting early Fender Strats and Gibson Les Pauls long
before they would become today’s most valued vintage guitars. It was his expertise in vintage guitars and
amps that eventually led to his meeting John Lennon.
As a repairman and technician, Ron’s reputation for quality
workmanship spread quickly to New York studio scene in the sixties and
seventies. Working out of a small shop
in Long Island, Ron and his assistants would travel into Manhattan to meet with
musicians in some of the city’s hottest recording studios. There, he would discuss special modifications
or repairs needed for various guitars, basses, and amplifiers. This “networking” exposed Ron to musicians
who were also interested in acquiring vintage guitars and amps.
Over the years, Ron worked with such rock stars as Jeff
Beck, Steven Sills, Alice Cooper, and someone not known for his guitar playing –
Stevie Wonder. Stevie’s guitar was a
1965 Guild Starfire III- cherry red – which Ron refretted because, at times,
arrangements for guitar repairs were handled by the star’s road managers or
personal assistants. However, the high
point of Ron DeMarino’s career, no doubt, was when he became John Lennon’s
personal guitar technician and consultant, a relationship that continued through
most of the 70s.
Ron’s long and intimate relationship with John began in
1971. It was one of those “being at the
right place at the right time” situations that eventually started the “beginning
of a beautiful friendship.” The scene
took place at Manny’s Musical Instruments on West 48th Street in
Manhattan. John’s road manager, a fellow
by the name of Claude, walked into the store and asked a salesman if they had
any of Fender “tweed twin” amps. Manny never
really specialized in vintage or, at that time, “old” equipment and was not in
a position to help. Overhearing the
conversation was Fred Smith, one of Ron’s assistants, who quickly turned to
Claude and said that he worked for someone who had exactly what he was looking
for! At this point, Ron’s assistant Fred
(who later became the bass player for the group Television) was unaware of who
Claude was and why he wanted this particular amp. The two exchanged phone numbers and departed. A few days later, Ron received a call from
Claude inquiring about the amps. Ron’s
response was that although Fender “tweed twins” were very rare, he did have six
to select from, as well as dozens of other vintage amps. “Do you need a 2-power tube tweed or a
4-power tube tweed?” is what Ron asked him.
Initially, Claude was a bit confused with the question but suggested a
meeting take place. Claude then added
that he worked for John Lennon and that the amps were for John personally. Ron was somewhat suspect about this
revelation but was certainly proven wrong when only a few days later, Claude
called again and asked if Ron wouldn’t mind coming to Manhattan to meet with John.
From that point on, Ron became John’s personal guitar tech
and consultant. He accompanied John from
his Bank Street apartment in Greenwich Village to Butterfly Rehearsal Studio on
West 10th Street; to the recording studio, the Record Plant. Ron was also on stage overseeing John’s
guitars at the One-to-One concert in 1972.
In fact, part of Ron’s memorabilia collection included the yellow
hardhats and tambourines used by John and Yoko and the band.
Ron indicated that while John was very knowledgeable on the
subject of guitars, he often called Ron in to evaluate the quality and integrity
of a guitar John was interested in buying.
It seems there was always someone looking to sell something to John, and
sometimes the guitars for sale were either deliberately or otherwise
misrepresented. On one occasion, John
was rehearsing at Butterfly Studios when someone brought him a ’59 cherry-burst
Les Paul to buy. Ron was called in and
instantly tagged the instrument as a clever but complete forgery.
Apart from his Beatles’ guitars, John’s collection was
extensive. It included a number of
Martin acoustic guitars, a double-neck lap steel guitar, a true ’59 cherry
sunburst Les Paul (sold to him by Ron), a Les Paul Custom Black Beauty with
Alcino bar magnet pickups, plus, quite possibly his own favorite, a ’56 Les
Paul Junior with a Charlie Christian pickup in the neck position which was
installed by Ron.
Those of you who’ve admired John’s blond Epiphone Casino, as
played in “Let it Be” should know that this guitar was originally sunburst in
color as seen in the Tokyo concert film/Sgt. Pepper period. The so-called “blond” Casino came about
through John’s removing the sunburst finish and sanding the surface of the
guitar down to the bare wood. No
lacquer, sealer, or tint was ever used to achieve the natural or “blond” effect. Oftentimes, a customer would come to Ron
looking for a blond Casino “just like John Lennon played,” but as Ron tells
them, the guitar existed only through John’s handwork. It’s possible that John’s decision to sand
off the original finish was because he was bored with the spray-paint job he
did to the back and neck of the instrument during the Sgt. Pepper period.
Ron’s next assignment was to have been extensive work on the
Epiphone, including a proper refinishing.
Unfortunately, this never came to pass.
The most notable story Ron recounted was the work he did on
John’s original Rickenbacker 325 with Bigsby vibrato. Apparently, John wanted to very much begin
using his beloved Rickenbacker once again, but the guitar had badly
deteriorated over the years. Ron was
asked to breathe new life into it Ron’s analysis of the instrument was that the
internal wiring had been badly tampered with, the gold pickguard was cracked
and needed replacement, the Grover tuning machines needed to be replaced, and
the black finish was chipped and faded.
Unknown to Ron was that this guitar was originally natural in color but
painted black sometime after John’s first few trips to Hamburg. Ron later was to comment that the black
finish was certainly not a factory job.
Anyway, John asked Ron to refinish the guitar to a more natural color,
but Ron, believing black was, in fact, the original color, recommended john
stay with black to be historically correct.
Ron’s assumption here was understandable. Most Beatles fans associate John with the
black Rickenbacker as far back as the Ed Sullivan Show. Strangely, John never disclosed to Ron that
his Rickenbacker was originally black, as Ron surmised. So Ron finally acquiesced and created a finish
he described as honey brown. John absolutely
loved it! A new gold pickguard was actually made by Ron in his shop, a perfect
copy including an almost perfect color to match. John Hall, president of Rickenbacker Guitars,
provided Ron with original pickup wiring diagrams, and tunes were released with
an exact replacement set (Grover #98).
Ron used Fender 150 Regular gauge strings (.10-.38) in setting up the
guitar. When John first got hold of the
guitar, John had a mixed set of round wound and flatwood strings on it. Ron couldn’t recall what brand it was, and
anyway, it probably wasn’t a standard set.
It is quite possible that John would, at some point, change to a heavier
gauge string than the Fender 150s (since they tend to be a little too light for
rhythm playing on a shorter scale neck, as the Rick 325 had). It had been my contention that John used flatwood
strings on his Rickenbacker in the early days of The Beatles. Anyone out there have evidence to support me
on this?
In an appreciation of a job well done, John gave Ron the
original gold pickguard and the set of open-back Grover tuning keys that Ron
had replaced. Viewing these two pieces
of Lennon/Beatle history is a true thrill.
I asked Ron his opinion of Rickenbacker’s new 325 V59 and 325
V63 reissues of the immortal Lennon guitars, and he indicated that while materials
used on the originals were better, the overall workmanship on these guitars is
quite good.
John Lennon’s relationship with Ron DeMarino went beyond guitars
and amps. Ron and his lovely wife Joann
shared many personal moments with John and Yoko at home, in the studios, and
over dinner. Both Ron and Joann describe
Yoko as a very warm and beautiful woman.
Conversations among the couples often centered around life in general,
and Ron recalls a 3-hour conversation Joann had with John regarding John’s love
for children. Obviously, a strong
business and personal bond existed between these two men.
very interesting
ReplyDeleteVery interesting indeed. There is a small error in the transcription: "flatwood" (strings) it was actually "flatwound"
ReplyDeleteWe just lost this amazing man a couple days ago. Had the honor of having dinner with him and his son Steve, (who was my boss at the time and is a multi-talented luthier in his own right). Ronnie was probably the most talented and charming human being I’ve ever met. A humble giant among men…
ReplyDelete~DC~
While my Guitar gently weeps, so do i..I... Rest in peace,Ronny
DeleteWhat a gift to read about this brilliant, talented man, Ronny DeMarino. Stories of the great guitar players, naming their guitars, having their guitar as constant companion, sleeping with their beloved guitar, the list goes on and on . Ronny the guitar doctor will be missed, who will take care of them all as Ronny did ?
ReplyDeleteRon was my grandfather and passed a few weeks ago. Sadly, I didn't know him well and reading this has been a great comfort.
ReplyDelete