I posted a clip the other day with Neal Schon ripping up a solo on a UKII. I got curious and started searching for more clips and found the WHOLE CONCERT on youtube. Neal's playing the UKII through most the show.

So first, here's the show. It's absolutely great, but 90 minutes worth. I'm only half way through so far....

1980 Journey Concert

At about 20 minutes or so, Neal pulls out a doubleneck flying V. A doubleneck is something that always makes me look twice, especially if it has an octave neck. This one had a 12 string octave neck which is really cool, but then I looked a bit closer and noticed the headstock. Sure did look like a Peavey headstock, but that made no sense, especially in 1980 as the only Peavey guitar in production then was the T60 (the guitar that spawned efforts on the PF-22). I looked closer and sure enough, it was a T60 bridge, pickups, knobs and all on a pointy doublenecked octave 12 string black beauty!

I'm a fan of the T60 and know it's creator Chip Todd, so i reached out to him and asked how this thing could be and sure enough, Chip made it for Neal. I just love stories like this...

Charley Gressett asked me to make him a T-60 type doubleneck of the "Flying V" style with the top neck being a 17" scale 12-string tuned an octave high and the lower neck a conventional 25.5" scale with 3/side tuners. I did and that terrible photo of me with it shows the hectic pace at the time. Charley happened to be "testing" it when Journey visited the guitar plant and Neal Schon just flipped out. The upper neck sounded like three instruments playing, not the mandolin sound we expected. Neal was on my *** like ugly on a Rickenbacker, (my opinion only), asking me to make him one. Hartley wouldn't even supply the hardware, saying he didn't want to be forced to make them. Over the next few weeks. Neal called me about once a day, not once offering to pay for it or at least the hardware, as at his level, they weren't used to paying for anything. He called from all over as they were on tour; he even called from London, and finally talked me into making him one. We had found out by then that we couldn't reach an octave high without breaking the 6th string (a .007"diag.)as soon as you played one note. Some of you've heard Charley play, and know that it wasn't the least bit a problem for him to play it a couple of steps down; he doesn't even have to think about it. 

I made it (and another wooden case) for Neal and had it ready for him when the group came to Meridian. When endorsee groups visited the plant, a few groups, like the "Dirt Band", "Journey", "Louisiana's Le Rioux " etc. also played a free concert at the Schriner's Temple, which Mutt Peavey, Hartley's father, arranged for us. They planned a "concert" for us when they were to play the next night in Jackson (about100 miles west of Meridian), and I happened to have the black V ready. I delivered it to Neal in the afternoon behind stage at the Temple. Neal entertained me for about an hour's worth with some lovely music, from Cajun to classic, with the rest of the group and road crew having their jaws dropping. I asked him to play it for the Peavey employees, by he was hesitant, so the other members of the group talked him into it.

I don't know where his head was, but obviously not gauging his audience. In the middle of a number, he took a solo of piercing, distorted feedback and they tapped on the microphones like "Anybody out there"? . The peavey employees were mostly , middle-age, Bible-belt Baptists who were completely turned off. 

Journey were touring Europe during the "Infinity" album time and Neal called me from London and other places for over 3 weeks to repaint the V because a roadie had polished it with something that melted the black lacquer that I'd used at home since it wasn't "black guitar day" at the plant when I needed it painted. They finally sent me a framed Platinum Infinity record with an engraved plaque and a photo of Neal with the V on a strap. Unfortunately, he was wearing all black and the guitar hardly showed. Well, it worked; I painted it on my time and in my shop. Funny thing, years later, Hartley gave it space in the Peavey Museum.  Much later, Charley sent me his V and I had it in the Austin shop for the Gathering. That's where Tony played it and the picture he posted is the one from the Plat. record. 

How is it that I always end up with several paragraphs for a simple tale?
Chip

Chip Todd and the T660 - 

Neal with it - 

The first V that belonged to Charlie: 

weird I see them. let's try this way...

Chip....

Neal....

Charlie's...