Tony Cochran Custom
Electric Guitars
BY RICH OSWEILER
Internationally syndicated cartoonist Tony Cochran brings an entirely new
meaning to “Frankenstein-ing” a guitar: He
produces uniquely over-the-top instruments
in his Columbus, Ohio, workshop by giv-
ing closet-banished guitars an opportunity
for a new life. With a fine arts background
and a nod to the work of experimental
pop-artist Robert Rauschenberg, Cochran
approaches his instruments as functional
works of art and no two are alike. In fact,
there is probably not one that’s like any-
thing you’ve seen before.
Boostercaster The Boostercaster was selected for inclusion in GUITAR: The In- strument That Rocked The World, the traveling exhibition of the National Guitar Museum. Accord- ing to Cochran: “This guitar was found under a hidden panel in the floor of a former mental sanitarium being demolished in Weedle, Loui- siana. It was wrapped tightly in oilcloth and string. There was also a note that said ‘Better to just put it back, but I know you won’t. Do not touch booster while playing.’ What can I say … I haven’t!”
Oikcaster
“The Oikaster was used by
Sam ‘Splat’ Redcat during his
final performance in 1970,”
shares Cochran. “He was
closing the East Thompkin
Blues Festival with his violent
acid-rock/blues version of
‘Dead Man’s Curve,’ originally
performed by Jan and Dean.
It’s highly modified and not
UL approved. A combination
of rainstorm, bare feet, and a
bootleg amperage booster on
the imaginative wiring he used
for ‘big gain up top’ fried him
like a breaded chicken leg. It
used to be shiny.”
Memphiscaster
“Jack N. told me his Uncle
Donny customized this guitar from scavenged pieces
of a satellite that crashed
into his backyard sometime
during the summer of 1956.
After the modifications
were made, however, he
claimed that playing it made
him queasy and paranoid.”
Cochran continues, “Jack
traded him for a banjo, but
said he was never comfortable playing the guitar
either. I traded Jack an old
Dodge truck for the guitar,
but I won’t play it.”
