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.
Intruducing the new Airline NEWPORT. It is Eastwood’s take on the rare National Newport Val-Pro 88 from the late 50’s and early 60’s. It features two NY Mini Humbuckers and a Piezo pickup in the bridge with a 5-way swtich. Tones of tonal variations! Available in Black or Seafoam Green. Only $1099, hardshell case included. Shipping […]
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.)
Egmond also made high quality instruments, the Egmond 2 and 3, 2V and 3V. They had 2 or 3 pickups, as the number states. 2V and 3V (V=vinyl covered body) had the body shape of a Fender Jaguar or Fender Jazzmaster. Later the Egmond 2 and 3 got the name Egmond Thunder, and the Egmond 2V and 3V got the name Egmond Typhoon. A more advanced and luxury guitar, with the same body shape as the 2V and 3V, was the Egmond Tempest. Here is a fine example of the Egmond Thunder.
Here are two examples of the Japanese made EPI Crestwood from the early 1970’s. The Epiphone ET Series guitars were solidbody guitars produced from 1970-1978 at the Matsumoku plant in Japan. In 1970, the decision was made to close down Kalamazoo production of Epiphones in favor of building them overseas in Japan. Epiphone decided to offer a new line of Japanese-built Epiphones that had more in common with other Japanese copies than previous Epiphone products.
I confess I’ve not spent much of my life ice skating. Oh, I’ve been to ice skating rinks, but I don’t know, going around in circles on sore ankles just never turned me on. And there was always that queer, loud, ballparkish organ music in the foreground, if you’re lucky (or not), played by a live organist. I might have felt differently if the musician had been a guitarist. Or, rather, a Guitorganist!
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