It has always amused me that one of the great tempests in the teapot of guitardom has been the legendary “lawsuit” of the 1970s. You know, when Norlin (aka Gibson) sued Elger (aka Hoshino, aka Ibanez) in 1977 over trademark infringement based upon “copying” Gibson’s headstock design. There are tons of ironies in this story, but one of the most amusing aspects is that companies such as Gibson have been one of the most egregious copyists of its own guitars over the years. Witness the Korean-made Epiphone Firebird 500 seen here.
Sex always sells…or so they say. And certainly when you’re marketing an electric solidbody guitar to testosterone-heavy adolescent and young adult males, showing a bit of female flesh is sure to get attention, whether or not it will move product. Few guitar ad campaigns have pursued this strategy with more verve than the one for […]
One of the privileges of writing about guitars for as long as I have is that guitar people will talk with you. I’ve had many memorable conversations with people who’ve helped shape—often literally—the guitars we all know and love. Perhaps no conversation was more memorable than a long, detailed talk I had with Dave Wintz, […]
I don’t recall how I got his number, but when I called Dana Sutcliffe to talk about what is probably his most famous—at least known famous—guitar, he said we should do lunch. Dana lives just down the road from me in Delaware, so it was an easy meeting. I asked if he’d ever had Vietnamese pho (beef noodle soup, one of the world’s most perfect foods), and since he hadn’t and since he loves to eat, we met one day in one of South Philadelphia’s numerous pho parlors to discuss the genesis of the Alvarez Dana Scoop. It was, as it turns out, all the result of an accident.
I love ironies, those unexpected little twists and turns that make you smile. And, if there’s a guitar story that’s full of more irony than that of Kramers guitars, I don’t know about it. That’s why I love guitars like this 1983 Kramer Focus K4000. It’s a knock-off of a Kramer guitar, but a copy […]
Over many years of writing about and photographing guitars, I’ve had numerous occasion to take pictures of guitars “on location.” That means packing up rather bulky photographic gear—cameras, tripods, lights, backdrops—and voyaging near and far. Sometimes this took place at a vintage guitar shop, sometimes at a collector’s place. When it came to the subject of TeleStar guitars, I got to combine both.
Get around round round I get around/I’m a real cool head/Get around round round I get around/I’m makin’ real good bread. Back in the day, The Beach Boys were often pictured with what was sort of their “band car,” a Chevy Corvette Stingray. There was some spiritual force that inextricably linked hot rods and guitars back in the early to mid-1960s. Rock and roll and Big Daddy Roth kind of went together. Just ask Billy Gibbons. Or just consider this 1967 Gretsch Corvette 6135.
As I’ve said many times, one of the privileges of writing about off-beat guitars is that I get to do detective work and, when I’m lucky (and in time!), talk to someone who had a direct hand in bringing us the guitars in question. I had to dig hard to uncover something about Alamo guitars and I was both lucky and luckily in time with this story!
“Suppose,” enticed the email message (back when email messages were still something of a novelty), “I could get you into a strip mall that has one music store and the rest of the spaces are FILLED WITH GUITARS?” Thus began a remarkable once-in-a-lifetime adventure that involved packing up my photographic gear into jerry-rigged thrift shop suitcases, hopping onto an airplane to head west, joining Tom, a knife salesman I’d never met except on the internet and at the other end of a telephone line, and driving up to Bob’s House of Music in Wheat Ridge, CO, just north of Denver. Where I would encounter more vintage guitars—including this 1974 Carvin CM95—than anyone could ever conceive! The second Temple of Doom of my life (so far).