Well, well, well. What have we here? On the surface, of course, it’s a 1968 Guyatone LG-350T Sharp 5. A sight little seen in North America, but not uncommon in Japan, at least once upon a time. And if it makes you think of a little bit of a Mosrite on drugs, well then you’re not too far off the mark! Welcome to a bit about the Ventures and the early world of copy guitars!
What is it about the Japanese and the Ventures? I mean, I cut my teeth with the Ventures. They were the perfect band to learn guitar from. The Ventures took songs with often complex harmonic structures—like the wonderful Johnny Smith classic—and stripped them down to their basic melodies, gave them a simple rock groove, and played them clean. I had the sheet music to Smith’s song, but there was no way in you know where I was gong to play off that. But follow along with the Ventures’ single? You bet!
Sometimes you take a look at a guitar and the warning bells start ringing: bogus. Like those early “missing links” proposed by inventive amateur anthropologists who put gorilla skulls on anthropoid skeletons. That’s what happened to me the first time a dealer hauled this out and showed it to me. It was a Danelectro alright, but those pickups? Then I looked again. Who would stencil “Dan Armstrong Modified Danelectro” on an aftermarket pickguard? Then there were the pickups. Epoxy potted. Trademark of who, or is it whom? Dan Armstrong. Think his Ampeg see-through guitars. No, on second thought, this had the air of a mystery wrapped in an enigma with a generous dash of authenticity. So it proved to be. And so it came my way and all I had to do was put the links back together again.
I’ve always had a bit of a taste for plastic on my guitars. Oh, don’t get me wrong. I love flamed and quilted maple, rich ribbon mahogany, Brazilian rosewood, abalone pearl. But there’s something so wonderfully cheesy about the use of plastic on a guitar. I guess that’s one of the reason why I like this otherwise relatively humble Italian-made Gemelli 195/4/V from around 1965.
Back in the late 1960s—Jimi notwithstanding—the cat’s pajamas of amplifiers were solid-state. Tube amps were heavy and prone to feedback. Solid-state amps were clean, big, and loud. I ran a whole band off a humongous 350-watt Mosrite amp. The mix sucked, but we were loud! The most desirable amps at that time were made by Standel and, to a lesser extent, Kustom (depended on your kind of music). It was only later that I learned that both companies also made guitars, like this ca. 1966 Standel Model 101 Custom Deluxe Solid Body Guitar. Heavy!
It’s always dangerous to deal in stereotypes. Nevertheless, there’s often a grain of truth lurking behind them. Take guitars (what else?) from the ‘60s. Often it only takes a glance to sus where a guitar came from. Look at a Japanese electric guitar and you won’t mistake it for anything else. Or move to Europe. You’d almost never confuse a German guitar—full of engineering bells and whistles—for an Italian one (loaded with style), or vice versa. Take this c. 1965 Juliett Delux guitar.