Jimmy Bowskill

A professional musician since his pre-teen years – Jimmy was so young he wasn’t allowed to sit in the bar after gigs before being driven home by his dad (“he took zero-per-cent commission”) – he’s had a long time to settle on what works for him, gear-wise: a 1968 Les Paul Custom Black Beauty, a 1969 Les Paul Standard Goldtop and a 1973 Fender Telecaster Thinline.

A professional musician since his pre-teen years – Jimmy was so young he wasn’t allowed to sit in the bar after gigs before being driven home by his dad (“he took zero-per-cent commission”) – he’s had a long time to settle on what works for him, gear-wise: a 1968 Les Paul Custom Black Beauty, a 1969 Les Paul Standard Goldtop and a 1973 Fender Telecaster Thinline.

A professional musician since his pre-teen years – Jimmy was so young he wasn’t allowed to sit in the bar after gigs before being driven home by his dad (“he took zero-per-cent commission”) – he’s had a long time to settle on what works for him, gear-wise: a 1968 Les Paul Custom Black Beauty, a 1969 Les Paul Standard Goldtop and a 1973 Fender Telecaster Thinline.

That said, he’s not quite going direct. There are definitely some pedals lurking there for times when he can’t help but step on something. “I run an MXR Dyna Comp, which is great for slide; and an MXR 108 Fuzz, which I use for the song Feeling Good only, a delay pedal for violin, and that’s it!”

That said, he’s not quite going direct. There are definitely some pedals lurking there for times when he can’t help but step on something. “I run an MXR Dyna Comp, which is great for slide; and an MXR 108 Fuzz, which I use for the song Feeling Good only, a delay pedal for violin, and that’s it!”