How would you feel if you got a gig playing on your local television station and your gear didn’t work? Well, in a way, that’s what happened to me and this 1965 Teisco TRG-2L guitar! Sort of.
Yeah, man, that’s why we get into guitars, isn’t it? All of which is evident in this cool Summer o’ Love 1967 Fender Coronado XII Wildwood!
Early Alamos were somewhat inspired by Rickenbacker guitars, but by 1965 their designs had clearly gone over the top. In fact, it’s safe to say that, even in a whacky pack like that of the mid-’60s, Alamo guitars were among the boldest in America! Like this 1965 Alamo Fiesta Model 2586R!
The minute I laid eyes on this c. 1965 Wandré Modele Karak – that is, once I was able to get beyond the knockout shape – I thought “motorcycle.” Take a gander at that vibrato. Look like a motorcycle chevron? And what’s up with that neck? It’s tooled from aluminum, which makes it weird enough. But just like motorcycles have all the works exposed on the outside, this aluminum neck stretches its whole length- head to vibrato – on the outside of the guitar! Even the head frame shouts motorbike. So, is there a two-wheel connection?
I don’t remember exactly when I’d heard about Messenger guitars. But many years later, having a nice collection of guitars with aluminum necks seemed like just what I needed! I needed a Messenger.
Accordions. If you play guitar, you probably don’t think much about them. But from several perspectives they played an important role in giving the guitar a boost to prominence that it now enjoys. A role that is nicely evidenced by this very swell c. 1967 Galanti Grand Prix electric guitar.
In 1967 Lipsky introduced a line proto-copies carrying the Domino brand name. Most were inspired by European models such as the EKO Violin guitar. Among the offerings were two models sporting a California cache, the #502 Californian, an asymmetrical copy of a Vox Phantom, and the #CE82 Californian Rebel (wouldn’t California Rebel have made more sense?) shown here.
Now, these are known as Shaggs models because they’re what the Shaggs played, not because of some big corporate endorsement deal! No one knows who sold the Avalon brand. Mailorder? An area music store? An auto supply store? All possible. Nor who made them. Nothing like them shows up in the reference books. I’m not even sure when they were made, but 1967 or ’68 is a good guess. Japanese guitarmakers were competing with the Europeans early on in the 1960s and some of the earliest ‘copying’ was of European models.
Not much is known about Sekova guitars. They were imported from Japan by U.S. Musical Merchandise of New York City, one of many music distributors that once thrived in that fair city. Who actually made Sekovas in Japan also remains a mystery, but it’s similar to a Greco 921. Greco. Grecian. Geddit? Many, if not all, Grecos were built by the great Fuji Gen Gakki factory, the company that made most classic Ibanez guitars, so perhaps that’s where this originated.
Most guitar aficionados know the story of Les Paul’s “log”. Remember, back in the ’40s, Les figured all he needed for the perfect electric guitar was a neck attached to a chunk of wood with some pickups on it. He built his log and it worked. But his audiences were disturbed by its look, so he cut up an Epiphone archtop and attached the sides to his log, satisfying his fans. Whether or not a guitar teacher in Green Bay, WI, named Dave Helland knew about Les’ log, he too arrived at a similar conclusion. “Heck”, thought Dave, “You could put a neck on a 2-by-4 and have a guitar.” And when one day he met up with the folks from the Holman-Woodell guitar factory in Neodesha, KS, that’s just what he did. The La Baye 2×4 Six, Four and Twelve were born. La Baye because, if you know your geography, his hometown sits on a – well, look at a map!
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