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Everything posted by bobouz

  1. There have been a number of LG models produced in recent years, beginning with the LG-2 American Eagle in 2013. There also was a limited run all-mahogany LG. I've seen your particular model, but don't recall the year. Typically, on these small run CS models, it can be difficult to find much info. I happen to have a 2013 LG2-AE, and a 1966 Epiphone Cortez (Kalamazoo-made B-25 clone). The small LG size can indeed have a very satisfying sound, along with excellent playability. Congrats & enjoy!
  2. Actually, the bridges were still plastic in 1966. The change back to rosewood occurred in 1967.
  3. The serial number indicates it was built between 1973 and 1975.
  4. Back in the '70s, I decided it was pointless to consider what an acoustic guitar might do as it ages. If I didn't like the way it sounded, right then and there, it seemed like a giant leap of faith to hope that someday a guitar's tone might develop into something more satisfying. I've since held true to that position. A guitar has to tonally be a winner in hand, right now, or have an overwhelmingly positive playability factor for me to consider it as a potential keeper. Does this guitar, as it currently presents itself, satisfy you tonally to the point that it might be difficult to find the same sound elsewhere? Does it's playability, combined with it's tone, make you want to pick it up & play? Imho, those should be the main considerations. Fullerplast or nitro, checking will frequently occur. Paddle or dovetail, a neck reset might someday be needed. If those future possibilities tend to dominate your view, it would probably be better to just move on to another instrument. Hope it all turns out to your liking.
  5. Jeff already gave you the answer above - it's either a '66 or '69. 1966 is more likely because production numbers of this model were much higher in '66 (compared to '69).
  6. Love that tone through the Fender. Is it just your neck pickup, and is the pickup a '57 classic?
  7. Sadly, every time something political sneaks in here, we get to see how poorly informed & self centered some folks are. Absolutely pathetic.
  8. Imho, buying an instrument without a fully disclosed & liberal return policy is courting disaster. I've never done it, and never will. To pull the trigger, a full refund (or reasonable restocking fee) less shipping must be part of the stated transaction. There are many honorable entities out there to buy from - why settle for less & assume all the risk?
  9. They were simply in the right place at the right time, within the ongoing evolution of music. Add to that a degree of talent & personality that made them stand out a bit taller than others in a similar crowd of boy bands. Then after their initial success, add the money, management, & studio facilities which allowed their creative minds to free-flow. Venuti & Lang, Reinhardt & Grappelli, Goodman & Christian, Bill Monroe, and so many others were part of an extended blues-tinged foundation that borrowed from elements of American Blues - all of which eventually created the opportunity for British boys to discover & emulate the recordings of people like Freddie King, Chuck Berry, John Lee Hooker, Carl Perkins, Muddy Waters, etc, etc, etc. The Beatles were not musically the best of the British bands in 1964, during a period where groups were essentially playing some very similar stuff based on the above - but they could certainly sing & harmonize, and they were "cute" to boot. It was a combination that could only have occurred in that particular moment, in that particular era. As Paul McCartney has said many times: "We were just a band."
  10. Can't tell you any more about it, but it looks very nice. Congrats & enjoy!
  11. Trying to guess BRW vs IRW based on the color & grain pattern in photos is risky business. The one sure-fire method is to assess the pores of the wood, as Dave mentioned. Solid BRW cannot be ruled out if this is truly a first-version Heritage (with a modified bridge). Interesting guitar, for sure.
  12. Something doesn't jive with this guitar. It's appearance seems to conform to the first version specs for a '65 to '67 Heritage - except for the bridge, which should be belly-up and adjustable. A stock belly-down bridge from the late '60s would date it to '68 or '69 - but it too would also have been adjustable, which it is not on this guitar. Does the label say it's a Heritage? If so, it could possibly be the early version (with solid Brazilian back & sides), but with a replacement belly-down bridge. Only problem with that, is that you'd expect to see some obvious remnants of an outline of the original belly-up bridge, which are not clearly identifiable via the photos. So essentially, there are issues here that warrant further investigation.
  13. It appears to be the same as the orange 4oz bottle, but with a new label. The rear label says it is safe for all lacquer & poly finishes.
  14. Django Reinhardt - acoustic Michael Bloomfield - electric
  15. You seem to be basing this on Les Paul's contribution to the electric guitar, but in reality, his contribution was simply one of many. Charlie Christian did more than anyone to initially bring the electric guitar to the forefront of the musical world (in terms of actually playing the instrument in a big band setting) in the late '30s and early '40s. At the time, Les Paul was a darn good guitar player who was trying to develop his own unique sound, and later built his "log" guitar on the Epiphone premisis, and then recorded with it. Paul Bigsby built a guitar for Merle Travis that looked like a solid-body LP with a Fender-ish headstock (but it actually had hollow wings). Leo Fender saw that (but said he didn't) & then built his first solid body. Gibson then jumped on the bandwagon & wanted Les Paul as an endorser, so they struck a deal, but Les actually contributed very little to the design of the Gibson LP. It's somewhat of a long & winding road, and while Les Paul played a significant part, he was just one of many who made important and lasting contributions during this period of major development. The Greatest Guitarist question is somewhat similar. There's a very long line of contributors to guitar playing that have made a lasting impact, and from which others have learned or been infuenced. I don't believe anyone's yet mentioned Chet Atkins (inspired by Merle Travis), Michael Bloomfield, Lightnin' Hopkins, and so many others. Trying to say one, or even a handful, is the "greatest" is rather pointless when you consider different playing styles, genres, and periods in history along the guitar continuum. But if I were indeed forced to name one person, the one guitarist whose contribution I value over all the others, and who I listen to today more than anyone else, it's the guy Les Paul spent years trying to emulate: Django Reinhardt.
  16. Don't know if I've ever seen a sweeter looking top on an LP. Simply gorgeous!
  17. Even when comparing multiple examples of the same model, I've typically found significant differences in sound. That was the case when I purchased an '06 ES-335, '09 ES-339, and '12 ES-330 VOS. In this case, you are comparing two different models, so it would seem even more normal to expect noticeable differences in tone. Especially in the world of hollowbodies, it's a scenario that's rather similar to acoustic guitars, in that no two pieces of wood are exactly the same, and to a certain extent, the final tone will depend on each individual body. Just go for the one that works best with the type of music you enjoy playing.
  18. I've been an acoustic player since the '70s, and then discovered the joy of electrics in 2001. From then until around 2014, I went through a lot of Gibsons from both Nashville and Memphis. In my own experience, and painting with a rather broadly generalized brush, the instruments coming out of Nashville have not benefited from consistently attentive quality control - while both Memphis and Montana have displayed more consistency with their overall build quality. So from my perspective, I would naturally be inclined to carefully inspect any instrument coming out of the Nashville plant- and in this case, it's very fortunate that BBB went in for a deeper look. A good lesson learned for us all.
  19. Quite a few years ago, I harbored a desire to own a birth-year '51 LG-3. Eventually, I found one & was quite underwhelmed. It quickly came to mind that I'd be much better served to always focus on finding the best example I could of any particular model. Haven't been motivated by the birth-year thing since.
  20. Yes, there certainly can be regional differences, but to my knowledge these two artists only had one major charting hit. I grew up in the LA area, and never heard anything else from either of them. I do know that Maurice Williams had a long & successful career, and Arthur Conley was an Otis Redding protégé, but I'm not aware of either artist recording another high charting "hit" that received widespread airplay.
  21. A few favorites: > Do You Love Me - The Contours > Sweet Soul Music - Arthur Conley > Do You Want To Dance - Bobby Freeman > Treat Her Right - Roy Head > Come Go With Me - The Del Vikings
  22. Well, then you can't buy any more Gibsons. Gibson bought the Garrison factory in Canada, and produced a line of acoustics there which were labeled Gibsons. And on the electric side, I know of at least one exclusive limited-edition Gibson 335 model that had a body made by the Terada factory in Japan (Terada has manufactured Epiphone Elitist models for Gibson since 2002).
  23. Love that SirNed's '64 Hummingbird still has it's original plastic adjustable bridge. And as a rather low-key & lazy bird watcher, I do indeed appreciate his grandpa's work.
  24. I use D'Addario PB EJ-15 extra lights. Suits my fingerpicking style to a tee on many guitars, including my J-45 Rosewood & J-50. One person's poison is another person's pleasure!
  25. Hmm, I've owned a lot of Gibsons over the years & have never come across anything like that. Scary stuff!
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