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.)
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.
Morris is the brand name used by a large Japanese manufacturer called Moridira. Little is known about their history, but by the mid-’70s they were a minor part of the Copy Era, though their forté seems to have been in acoustics. Many guitar fans think of the Copy Era as a time when Japanese companies made cheap knock-offs of American guitars and sold them to kids who couldn’t afford the real thing.
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