A word or two. . .

. . . here about 'coolness' and musical instruments, the relation of one to the other quite relative but very important. The 'uncool'-ness of the accordion which had become, in essence a new appendage, had long since been a non-issue to me musically. But it was an issue for audiences of popular music, not to mention for bandmates of accordionists in groups that played popular music. In other words, okay to me-uncool to them. And in truth, I was enamored with the idea of a new, and much more widely acceptable to younger audiences, instrument which was a mainstay in a preponderance of musical groups professional and unprofessional, young and old- the electronic organ. I had previously graduated from my first very own 120 bass accordion to a 'mic-ed' acoustic/electric hybrid accordion (not as sophisticated nor as expensive as the Cordovox) which had its merits: additional volume and the mere characteristic of being 'electric'. But NOW, I was ready for the electronic organ.

Remember Paul Revere and the Raiders and Paul Revere himself (stage name, I'm sure) who stood, sang and danced while banging out those gloriously wheezing chords on his Vox electronic? Well that's what I wanted, only I couldn't dance and I didn't want the HAT.

Not surprisingly to me, electronic organs were expensive. At least for an adolescent earning about $10.00 a week delivering newspapers. A then you would of course, have to buy an amplifier through which to play this wonderful instrument. After some shopping, comparing and arranging finance with my parents, I decided upon the Farfisa Fast Four and a used Ampeg bass amp with two 24-inch speakers and nary a watt of output. I do exaggerate, but it was FAR from powerful. The organ itself was off-white with chrome folding legs and gray keys (naturals) with which sharps and flats with a little more than an octave of bass keys in black instead of gray. It was GRAND. It was downright COOL!




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