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!
How often have you ever walked into a music store—an admittedly increasingly exotic experience in this internet age—and had the salesman practically beg you to buy a guitar at a bargain basement price? My guess is not often! Nevertheless, that’s exactly what happened to me with this 1990 PBC GTS 200S!
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.
I don’t go to guitar shows much any more. I should, because I have a lot of friends who ply the floor, but I’ve been on a guitar diet for several years now. And my friends always find something goofy for me to buy. That’s how I ended up with this mysterious and rare Takamine solidbody guitar from 1984. What the heck is this?! I didn’t know and the dealer who knew enough to bring it to me didn’t know either, but he knew I would have to have it!
These days Epiphone guitars are almost ubiquitous. If a band plays Gibson-style guitars, they’re most likely to be slinging Epis. I’m not sure why, but I suspect it’s because the quality is pretty good, the sound is decent, the look is there, and, if some scumbag should manage to ease a case out of the back of your van when you’re looking the other way, you’re only out an Epi. In other words, the Gibson stays back at home. This is only the latest twist in a tale full of deliciously ironic symbiosis. Another turn is reflected by this extremely rare 1988 Epiphone Spotlight.