1936 Gibson Trojan

The first Trojan shipped in October of 1936 and was marked in the Gibson Shipping ledgers as "Trojan."  This guitar has now been confirmed in the old Gibson ledgers as a Trojan shipped on November 26, 1936.  A gentlemen posted about this guitar on the Gibson forum and was kind enough to send me a bunch of pictures.

The Gibson Trojan preceded the J-35 by a couple of months (October to December, 1936).  This Gibson Trojan matches all the features for a 1937 J-35 with the exception of a couple of key things.  The main difference is the lack of back binding.  J-35s were introduced with a single layer of binding on the back which this guitar lacks.

It also has 3 scalloped tone bars.  The standard J-35 would most likely have had 3 unscalloped tone bars.  I'm very curious about the tone of this guitar.  I'm going to guess that this thing is awesome.  Just wait until you scroll down and see the deep scallops.  Amazing.

The Ebony nut is cool but not entirely out of line.  It could have been Ebony or bone but either one would work.  It's just another aspect of this guitar that makes it so darn cool.

This guitar was made for export as evidenced by the "Made In USA" stamp on the back of the head stock.  This was fairly common at the time.  My 1937 Gibson L-00 had the same stamp and Grover branded open back tuners.  It also had the same pumpkin colored sunburst on the top but did have back binding.

I hope you enjoyed taking a look at this beauty.  Many thanks to the owner for letting me post about it.

Hear it:

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

Mahogany Topped Blues Guitar: 1930 Epiphone Model 0

Pre-Gibson Epiphones have weighed heavy on my mind lately.  I bought this one off the Craigslist in my parent's hometown of Galatin, TN from a bluegrasser.  He didn't have much use for a guitar like this.  I didn't even haggle!

This is a C. 1930 Epiphone Model 0.  If it is the first one that you have seen then that makes two of us.  It is constructed of solid Mahogany throughout and features X-bracing with a single tone bar, 13 frets to the body and a deep V shaped neck.  It has a light build and is very resonant.  The bridge design is interesting but works very well.  It makes sense to be able to move the saddle around to adjust for intonation.

Dating an early Epiphone flat-top

...can be difficult.  To be honest, I don't know the exact build year but I have had some help narrowing it down.  It doesn't have a label but does have a hand written serial number.  There are a pair of fellers that are cataloging pre-Gibson Epiphone flat-tops and working on a good way to date them.  They've contacted me regarding a couple of other Epis that I've had and I am excited to hear that they are working on publishing their findings.  

It seems like only super guitar nerds (like myself) end up liking these guitars.  I think that it is a shame that they aren't held in high regard by the general guitar public because they are of very high quality and rarity.  Maybe the information gathered by these Epi fellows will spark some well deserved interest in New York and Philadelphia (pre-Gibson) Epiphones.

How does this guitar record?

I have a friend who is working on his first full length album.  He has a 1951 Gibson J-50 that I am fond of and is kind enough to bring it over every once in a while to drink beer and play the blues.  This Epiphone is a good sidekick for his recording because it can do the fingerpicking (without picks) much better than a larger guitar.  Since you don't have to use picks to get great tone from her then you also don't get the pick slap or click.

"Buyout" Period Epiphone Texans: Parts Guitars?

By the dawn of the 1950s, the Epiphone company was struggling with problems in both the accounting and labor departments.  The company's product line hadn't kept up with the changing trends in guitars such as the new solid body electric (Gibson's Les Paul model?).  It had moved the production facilities from New York to Philadelphia in an attempt to avoid a problem with the labor union.  By 1957, the company's doom seemed imminent which forced its sale to their biggest competitor, Gibson, for the sum total of only $20,000.

American made Epiphone guitars (both during and before the Gibson buyout) are fantastic instruments.  Their relative obscurity and high standard of quality is a recipe for a very inspiring guitar.  I recently came across an immediate post-buyout Texan that has me intrigued (1959 Epiphone Texan with strange features).  The description states:

"Gibson FON on the neck block indicating 1952 manufacture, starts with a "Z"; solid, un-kerfed linings (no one has ever seen this on any modern Gibson instrument); the word GUITAR rubber-stamped on the inside of the back, between the neck block and the first back brace; black paint on the heel underneath the clear coat, which has been seen many times on various Gibsons in the 1960's."

 1952?

The body is easily dated using Gibson's backwards letter prefix used from 1952-1961.  They started with Z in '52 and ended with Q in '61.  These letters were stamped on the interior neck block and were proceeded by a batch number (usually 4 digits) then a unique rack number (the Xth number in that rack).  This guitar received a Z indicating that it was made in 1952.

Easy, right?  Not quite.  The description also states that this guitar has solid lining (as opposed to kerfed).  Lining is what gives the body's joints (top to rims and rims to back) a solid gluing surface.  Usually this lining is kerfed, meaning that it has small cuts vertically to make it bend without needed to be soaked in hot water and bent over a hot pipe.

Kerfed Lining

Solid Lining

Gibson phased out solid lining in favor of the kerfed style from 1933-1934.  I have never seen any flat-top Gibson guitar that used solid lining after 1934.  I would venture to say that Gibson did not build guitars using this kind of lining after 1934.  This is my opinion based on my experience so feel free to prove me wrong.  Edit:  I just acquired one of these guitars.  The lining is made of laminated Poplar.  The only other place I have seen this is on my 1954 Epiphone FT-210 Deluxe Cutaway.  I'm assuming Gibson got leftover strips of lining from Epiphone and used it?  Not sure.

(Edit)  At least Gibson phased out the use of solid lining made of Mahogany in 1934.  After acquiring a buyout period Texan I determined that this "solid lining" wasn't really solid.  In fact, it is made of laminated strips of what looks like Poplar.  The only other place I have seen this is on my 1954 Epiphone FT-210 Deluxe Cutaway.  Perhaps Gibson also acquired strips of unused lining from Epiphone as well as necks?

Gibson "J" body surplus

In the early 50s Gibson was selling some of their jumbo bodies to National.  National would manufacture a neck and bolt it on to a Gibson body calling it the National 1155.  These are great guitars for the vintage player on a budget but I am told that the necks are a bit difficult to get used to.  You'll have to decide that for yourself.

Since National ordered a bunch of J bodies from Gibson, they had more bodies than necks.  When a bunch of Epiphone necks showed up at Gibson's doorstep in 1957, the answer was simple.  They went downstairs to the parts basement and grabbed a bunch of J sized bodies.  That is how I would explain this guitar having a Z (1952) factory order number.

(Edit) .....but I'd be wrong.  After acquiring one of these, the tops were definitely made post 1955 judging by the bracing.  My next theory would be that Gibson needed finished bodies to sell to National.  Since National was bolting on the necks, Gibson needed bodies with uncut neck blocks (instead of cut for a dovetail joint).

When the Epiphone necks showed up in 1958 they were already cut for a dovetail joint.  Since the dovetail extension on the neck and the neck block were cut by two different manufacturers they differed to the point that they wouldn't fit right.  Gibson would need to use a body with an uncut neck block and cut it to fit the Epiphone neck.

So you have one of these short headstock Texans?  Send me some shots of yours.  Here is @guitaristo's (Instagram) 1958 Epiphone Texan that has recently been sold.  The serial on the blue label was an A-XXX number but he can't remember what was on the neck block.  I wonder if it was an earlier FON?

Why do these features even matter?

Although these Texans look like weird J-45s they are certainly not.  The main difference in a standard Texan and J-45 is the scale length.  Epiphone was using a 25.5" scale length so the necks were manufactured to this spec.  Gibson's traditional scale length and that of the J-45 is 24.75".  This alone makes for a tone that is probably louder and more piano-like than a J-45.  It also doesn't bend strings as well and may wear out your fingers a bit quicker.

This '58 Texan has more than just the scale length to set it apart from a J-45.  The body was probably manufactured in '52 which means that it differs from a '57 by the bracing.  The pre-'55 J bodies were made with scalloped braces while the post-'55s had straight braces.
(Edit):  Wrong again, TVG.  While the FON prefix was Y, the tops were definitely made in the late 50s.  The bracing is short and straight (unscalloped).

These buyout era features make for an interesting guitar.  Mine needs some braces reglued before it is playable again.  It was covered in 50 years of sweat and tar until I hit it with some Virtuoso cleaner.  Here are some shots of the clean up.

TVG

Artist Spotlight: Shovels and Rope and Old Gibson Guitars

Shovels and Rope

My dad quoted a "statistic" the other day about how 1/3 of kids these days primarily get their news from Facebook.  "That's crazy" I said, not feeling convicted at all.  Then I thought to myself that isn't that bad, after all, Facebook is what brought on the musical- albeit one-sided love affair between myself Shovels and Rope.  Exhibit A:

If you have just spent the past thirty minutes watching other S&R youtube videos then you are not alone.  Shovels and Rope are a husband and wife duo out of Charleston, SC.  "Rowdy" is how I described their sound to my brother as he reluctantly listened to me ramble about how much I enjoyed their music.  Cary Ann Hearst and Michael Trent also have a inclination towards old Gibson acoustic guitars.  This pair of multi-generational Kalamazoo- born six strings frequent both the videos and live performances of Shovels and Rope.

Cary Ann's Gibson LG-0

Cary Ann is playing a Gibson LG-0 made most likely between '58 and '62, judging from the straight bridge missing its pearl dots.  This was Gibson's most affordable model from about '58 to '67 (in this general configuration).  The LG-0 was ladder braced and made from solid Mahogany.  The model didn't receive a Spruce top until around '68.  These guitars have that great old guitar feel and don't commonly need repair other than a bridge reglue.  The tone is usually less desirable than one would expect from an old Gibson but with an average retail price of about $550 for one in good condition, they are a pretty good deal.  They are also good stage guitars since the bodies are a bit less resonant and therefore a bit less prone to feedback.  Cary Ann's LG-0 sports a refinished (or maybe unfinished?) headstock.  She doesn't seem to mind all that much.

Michael's Gibson ES-150

Michael Trent is often seen playing his Gibson ES-150 made between about 1940 and 1942.  I've been trying to come across this version of the 150 because of that single "P-90-esque" pickup in the bridge position.  Gibson started used this pickup on the 150 around about 1940 but discontinued it sometime in '42.  A similar pickup appears in '55 on the Silvertone Espanada.  I've seen this pickup called the Gibson "P13" pickup, which was supposedly a precursor to the P-90.

The ES-150 features an arched, solid Spruce top with tone bar bracing.  Some say that the tone bars are a bit heavier than normal Gibson archtops of the time to limit feedback.  I doubt that it is enough to tame this feedback beast.  That pickup is hot and full of tube saturating power.  I have never had the honor of playing one of these but maybe one is in my future.

"Oh, Be Joyful"

Look for for the first Shovels and Rope full length album, "Oh, Be Joyful" and give it a listen.  You may enjoy the first single of that album titled "Birmingham" which happens to be the name of my home town. I'm quite taken with this oldie, "Hell's Bells."

Here is a link to their Tumblr:  http://shovelsandrope.tumblr.com/

TVG

Black Diamond Strings

Supposedly, in the old days, Black Diamond Strings were just about the only brand you could get.  I don't have any experience with them but I've been told that these things were really "stiff."  I don't have a date for this box but the price was $2.10.  Maybe 60s?

Vintage guitars are fantastic but vintage strings, well, I don't think they peaked in the 1930s or 40s.  I did a quick google search and came up with this little ditty:

TVG