Some guitars are so unique, they acquire something of a “cult status.” I think you could say that about Veleno guitars. Not only have they been played by some famous guitar players (can you say Mark Bolan [T-Rex], Eric Clapton, Jorge Santana, Pete Haycock [Climax Blues Band], Alvin Lee, Ronnie Montrose [Edgar Winter Group], Martin Barre [Jethro Tull], Ace Frehley, Dave Peverett [Foghat], and Mark Farner, just for starters?), they’re pretty darned rare. Not to mention so darned cool!
I must admit I don’t really pay much attention to K-Pop (Korean pop music), which I only know exists because there was a story about in on NPR. These Techno song-and-dance groups are apparently manufactured by the government in order to help shape Korea’s public image. No lie. However, when the Korean performer is a guitar and shaped like a five-point (six with the neck) star—and is finished in purpleburst—it lands at the top of my agenda.
Ever since electric guitars and amplifiers were invented in the 1930s, certain folks have been interested in cutting down the amount of gear you have to schlepp to a gig. You gotta have a guitar. It’s gotta have a case to carry it in. And the amp electronics have to be housed in some sort of a cabinet. I know! Let’s combine the case and the amp electronics: Amp-in-case guitars. The primary “certain folk” was the brains behind probably the first amp-in-case guitar and the iconic version seen here, Mr. Nate (or “Nat”) Daniel, namesake of the Danelectro company.
Guitar history has yielded some very odd marriages, from a business perspective, at least. While these can be found at almost any time, perhaps the glory days of unusual conjunctions was the 1960s, when cascading demand for electric guitars among maturing Baby Boomers caused corporations, both with and without music industry experience, to realize that thar’s gold in them thar hills. Among the odder of these unions was that between Chicago’s Heads & Threads company and Norma, Noble, and even National guitars.
Recently in a television interview, Linda Ronstadt was asked what it was like on a tour bus with an all-guy band. She started to give a politic answer and then changed her mind, admitting that “they were a bunch of cowboys.” I think we all know what she meant. It was the kind of macho gestalt that led a company like Ampeg to name its immediately post-Dan-Armstrong line of guitars the, uh, Stud series. Stud, eh?! Geddit?! Har, har.
This Imperial came out of a little piece of Dickens in Philadelphia called Torresdale Music in the neighborhood with that name, in the “near northeast” as we call it, near the Burlington-Bristol Bridge (cheapest toll bridge over the Delaware River to New Jersey and back). Torresdale was a tiny, ancient corner shop just up the street from Chink’s Steaks, a legendary cheesesteak sandwich purveyor, the name of whose establishment has been the source of some local ethnic controversy. (Really good cheesesteaks consumed while sitting in 1940s-vintage wooden booths, highly recommended.)
One of the big influences on my guitar writing “career” was Dan Forte’s writing—under the nom de plume Teisco del Rey—for Guitar Player magazine back in the 1970s and ‘80s. Dan, or Teisco, took a much more tongue-in-cheeky approach to regaling the often goofy guitar designs of the 1960s, whereas I’ve always been a bit more dourly serious about the subject, but I like to think we kept the torch burning for decades for those of us who love whatever’s whacky about guitars.
Any time you identify a “first,” there’s always some other dude who shows up to spoil the party and own the claim. However, I think it’s safe to assert that the first company to use computer numerical control (CNC) carving machines to build guitars in the U.S. was Peavey Electronics.
No matter what you think of Ovation guitars, you have to hand it to them for trying, and I mean trying hard. Their application of helicopter technology to acoustic guitars is the stuff of legends. I’m always blown away by how good the synthetic materials sound when you just don’t expect them to compare to traditional timbers. I confess Ovation’s choice of aesthetics has often been baffling, but some of that is attributable to the times in which they emerged. All of the above certainly applies to Ovation’s Quixotic attempts to break open the solidbody guitar and bass market.
In a Trekkean view of the electric guitar universe, space is populated by all sorts of exotic and unique tribes and creations. You got your Fendermen and Gibsonians and other assorted “normal” beings. Then you have a whole bunch of guitars related to potatoes, like Micro-Frets and Ibanez Musicians, frequently from the 1970s, as it […]
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