Avanti guitars were probably made by the Polverini Brothers of Castelfidardo for European Crafts of Los Angeles beginning in late 1964. For this one, they chose a really cool rootbeer-barrel colored faux-rosewood plastic covering. Most early Italian guitars had either pushbutton or rocker controls adapted from accordions, but this is unusual with a fourway rotary select that let you choose each pickup individually or all at once. All in all a sensible arrangement. Whether the pickups are really humbuckers or single-coil is unknown, but they have that bright ’60s sound, and, anyhow, you really want an Avanti because it looks like rootbeer candy.
Greetings my friend and fellow strummers in this months column I will discuss that in my opinion that Artist recognition is one of the most important aspect of guitar marketing. That is a statement I truly believe, and in this column I will trace the popularity of certain guitars and the artists that I believe are responsible for their success. I will also list some guitar players and the guitars I found to be intriguing. I will list the guitars first and the artists that were associated with it. Remember my friends knowing what guitars your favorite players play is part of getting a sound similar to them, but it is only a small part of it.
Now, I don’t really think there was – or even would have been – any sinful activity associated with this guitar. And the fact that its design is based in part on a religious motif is purely coincidence. But it is a funny story how this rare 1978 Kawai KS-700 guitar was discovered, in SinCity, no less.
I’ve been earning a living with my guitars now for thirty odd years. I did a stint as a commercial artist for a couple of years when I finished high school — I say commercial artist, what I mean is I worked in a commercial art studio learning the ins and outs — but after a couple of guitar playing jobs I decided to focus on music as a career. I could earn more in a couple of nights playing than in a week of the day job.
Bigsby’s first “commercial” design for Magnatone was the Mark III, a neck-through-body semi-hollow guitar, Bigsby’s take on a Ricky Combo. We know some of these were built because one turned up a few years back at an L.A.-area yard sale (how often have you had that fantasy!). But it appears that Magnatone’s production folks made some changes and almost all that are found with solid bodies and a glued-in neck with a “tongue” extension that slips in under the neck pickup. The formica pickguard and Daka-Ware knobs are a little dated now, but back in ’56 they were strictly the cat’s pajamas!
There are a lot of guitar stories in the BigCity. A lot of them come with names like Gibson and Fender and a lot of people follow them around like mindless lemmings, genuflecting at the sound of the names. And pay out lots of money. But luckily for you and me, there are a lot of other stories down obscure alleys and behind underpasses. Providing encounters where you come face to face and you say, “I gotta have that guitar.” And even luckier for you and me, there’s a guy on the other side saying to himself, “Oh boy, have I got a sucker on the line now!” Then for a couple hundred instead of a couple thousand clams you walk away with another cool – and usually very good – axe like no one else’s. The BigCity is full of these stories. This 1985 Ibanez XV500 is one of them.