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!
If you Google this brand, 95% of the info is about acoustic guitars. But here is a very cool example of one of their electrics. Espana was a brand used by Buegeleisen & Jacobson of New York City, who imported guitars from Italy in the 1960’s. Although not this model, It appears these same guitars were imported into UK with the VOX brand.
Growing up outside Toronto in the early 1970’s, El Degas was a very popular brand in most guitar shops. Made in Japan, the quality was great, the price was right, but that is about all we know about them. The internet is surprisingly thin on threads to the origins of El Degas. I’ll take some educated guesses from owning a few.
Among the popular performers of Hawaiian (and most other types of) music on the Vaudeville music hall circuit was Roy Smeck (1900-1994). Smeck was a talented instrumentalist who played guitar, banjo, ukulele, and lap steel guitar, earning the sobriquet “Wizard of the Strings.” Smeck made quite a few recordings and starred in part of the first “sound on disk” movie that was released in 1926. Like many other performers, Smeck endorsed a number of instruments by various manufacturers over the years, but is probably best known for the line of Harmonies introduced in 1927 with the pear-shaped Vita-Uke. Smeck’s name would be associated with Harmony instruments until near the end of the company’s run in 1973.