By basic lines, this is what happened to my life untill march 2005, when the “Our vintage soul” Book came to the public. Some things has changed, I got new fellows and made ground for my feet.
The editing of “Our Vintage Soul” allowed me to meet a large audience of famous artists like Roger Waters and Nick Mason (unbelieveable emotions), Joe Zawinul, Jack Bruce, Stewart Copeland, Billy Cobham, Carl Palmer, Willy Nile, a many others…and as often happens, I got the proof that the more people are virtous and related to VIP’s status, the more are modest and friendly when personally met. Some as David Gilmour, Bruce Springsteen and Pete Townshed collected my signed book through common friends and they rewarded me with cards and gifts hoping someday to meet me.
Moreover, from 2008 I have Michela by my side; a wonderful girl that shares with me a lot of common interests like music, sport, love for musical instruments and many other passions.
I spent the last four years trying to improve my collection, always with the essential aid of Vincenzo: some instruments got changed, some others were put in better shape, switching parts and cases to improve the collection’s prestige.
By that time I received precious help from Luigi Spezzacatena too, and his active collaboration was crucial to rise my collection as well as in the managing of the Vintage shows at Naima Club in Forlì. Personal troubles and disputing forced our ways to part each other…but human and professional respect remains strong.
The success of the collection and the book, as well as Floyd Machine performances, has worked to put myself pretty under the spot. This condition is welcomed by one side, since it guarantees me a well-introduced status among many people from all over the world: by the other side, it eased nasty experiences to rise up. What is going on is that in this “bizzarre” vintage world there are people who buy and sell, trade, expertize and judge instruments using my name as “warranty” of full originality of the items they are dealing.
I totally dismissed this behaviour.
Here I take the chance to point out to everybody that I arranged the sale of some items out of my collection to improve it, but everything which had ever been parted from my property came out along with a full statement, highly detailed with features and serials, signature and certified date: no instrument which comes to the market spending my name as warranty that doesn’t feature side certificate statement has been ever officially checked by me, nor even got under survey.
I strongly want to get loud about it since even in recent times not only I heard my name associated along with instruments that I’ve never seen, but even around flawed or downgraded ones about which I should have nevertheless qualified their Vintage pedigree.
Another enterprise was on my desk during these years: I had the dream to try to put together all the people involved in the vintage world in Italy into an association. I firmly believe that our Country holds a real treasure of unvaluable historic and artistic prestige and that everybody should finally know that “old” guitars, amps, electric and acoustic intruments are pure art, not just simple brokering and easy business’ subjects. I keep believing that if we should ever have our strength, our knowledges and finally our intruments joined together, our notions could get improved and then eased to the public. We could even finally demonstrate to the US experts – that legittimatelly keep the world leading in this particular “culture” – that we are second to none.
In prospect was also the “Our Vintage Soul” project, that aimed to create a one-of-a-kind showview of the complete solid bodies fender’s production, with the inside details of any of them. The hope to lead the rise of this “culture” in Italy, trying to put together the large number of italian collectors under an association and making a colleptive brand of it, finally jammed against the chilling reality of people that at the end revealed themselves jealous, envious, hipocrite, basically just business-oriented and, like many policymakers, ready to switch team to take profits and favours.
Even the Vintage and used guitar Show events that I stubbornlly managed for years, collecting weariness and balance’s deficits, while getting success and approvation among the attendance, they offered a good chance to vintage guitar’s people to spread pennyworth criticism.
With the help of Vincenzo and Luigi, I strongly sponsorized these projects hoping that vintage buddies understand that my efforts were unselfish. But finally I realized that this dream to get all together on top of the vintage world will never take place, and got all a quit. A nice co-operation of italian – even european – vintage experts and fans, a location, fun and training meetings, a global display show in some major italian towns, along with demos and stage performances, media involving… bare utopia.
All these struggling finally set me up to focus my efforts in this website which is nevertheless important for all the people who get inspiration and information, as well as to congratulate and to ask me some tips.
I’d like to point out that I’m a real collector, not a mercenary: my collection is not on the market.
For this reason I’m looking to find a definitive location to host my collection in the future: the “Fender Museum”. It is my ultimate wish, under appropriate official statements, to gift the collection to a town, county or even country that would display it by my name as a real international museum, turning revenues to a special-needs sanatory in Italy.
I’ve spotted some mistakes on the “Our Vintage Soul” 1st book due to the grafic workout in printing schedule that will be resumed with an appropriate note in the second book. I’d wish to thank: Vincenzo Atzori, Matteo Camorani, Claudio Dini and Michela Taioli for their help in managing this website. This is the Team that is currently working on the “Our Vintage Soul” 2nd layout. that pubblication will feature most of the first job’s structure, covering further items of my collection, but will also offer a large ammount of close shots of details as well as deep licterature; definitivelly the ultimate Fender book!
I’d wish to recall the Floyd Machine experience, that recently switched some elements in the band keeping high standards and collecting great success in stage performances.
During the last two years my collection became a “traveling museum” and many italian town hosted it picking up large attendance and fans from all over the world.
The website will keep updated and developed enhancing its clearness and sobriety: I prefer it easy to navigate and matter-worth rather than a mix of radical effects and stunning graphics, since I consider my collection some kind of an artistic and storic heritage of the humanity.