The first appearance of the Epiphone Texan - c.1958

These guitars baffled me for some time with their odd features.  I tried to get my hands on one but I just couldn't find an early example.  This 1958 Texan ended up coming to me.

What makes these so special

is the fact that they are an enduring example of Epiphone and Gibson history.  The body and the neck on the early Texans were made in 2 different factories.  When Epiphone sold to Gibson they shipped all the leftover parts to Philadelphia to Kalamazoo.  Gibson began building guitars out of them using everything they could.  This guitar uses two parts from Philadelphia and the rest from Kalamazoo.

The first part from Philadelphia is the mostly finished neck.  The back of the neck shows off the 5 piece laminate construction and subtle V shape found on 1950s era Epiphones.  It appears that Epiphone used Mahogany-Maple-Mahogany for the main neck structure and glued Walnut wings on the sides of the headstock.  The thrust rod cover is direct from Epiphone as well housing the hex nut on the end of the rod.  These covers must have run out early because many of the Philadelphia necked texans have a plastic cover that was most likely made by Gibson.  It's rare to find these with the shaped brass cover.

The second part that Gibson decided to re-use from Philadelphia is the laminate, unkerfed lining.  I had heard stories of solid lined Texans but I had never seen it up close.  My 1954 Epiphone FT-210 Deluxe Cutaway has the same lining so it must have been in the parts shipment from Epiphone.  

The tone

One major tonal difference in these Texans and a similar year J-45/50 is the fact that these necks are designed for a longer scale length.  A longer scale length means that the strings have to be tighter in order to sound the same note.  A higher string tension generally results in 2 things: a slightly stiffer feel and a bit more volume.  

If you haven't played many late 50s J Gibsons then this difference will be unnoticeable.  Even if you have played a lot of them the feel and tone is very familiar.  The biggest difference in player experience is the smaller nut width and subtle V shaped neck.  I found the neck to be very comfortable but a bit smaller than what I'm used too.

Is a buyout era Epiphone Texan for you?

If you interest in vintage guitars find its roots in history, design and the search for great tone then they definitely deserve a hard look.  I joke with friends about how having an American made Epiphone is the quickest test for people who like guitars.  The majority of players will see the name one the headstock and associate it with the current day market.  That guy will keep on walking and buy him a Taylor.  But every once in a while this guitar will stop someone in their tracks and make him question whether it was made in New York, Philadelphia or Kalamazoo.

Do you have one of these that you would like to sell?  I'm looking for another.  Please email me about what you have for sale.

1965 Epiphone Frontier

In 1957 Gibson bought a failing manufacturer of musical instruments called Epiphone.  This company had been their biggest rival until management issues started affecting it around the late 40s.  In 1970 they moved the production of the Epiphone brand overseas and made budget instruments.  But, for about 12 years Gibson manufactured guitars in their own factory with Epiphone on the headstock.  The product line was just as high of quality or higher than their own brand.  The Epiphone Frontier (FT-110) was the same build of the Dove but had a different style motif and headstock shape.

I don't normally look for 60s era Gibson acoustics but I fell for this one really bad.  It has flame Maple back and sides, a scale length of 25.4" and of course, a lasso and cacti motif on the pickguard.  The most surprising part of this one was of course, the TONE.

This is a big, rumbly strummer through and through.  I was always told that the ADJ bridge was a tone killer but this one has a couple of secret weapons.  First, the Maple back and sides.  It's a harder wood and seems to reflect volume really well.  Second, the longer scale length.  This takes a little more string tension to get up to pitch resulting in a little more volume.  The downside is that it is a bit more tiring on the fingers.  

If you are a cowboy chord strumming songwriter then string tension is much less of an issue.  What that person needs is a guitar that will make him/her pick it up and strum some chords.  After a morning of fruitless writer's block the only thing left is to play your favorite song.  A subtle twist of a melody or chord change is all it takes to get those creative juices flowing.  

Do you have one of these that you would like to sell?  I'm looking for another.  Please email me about what you have for sale.