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Not a Gibson and Not for the Faint of Heart


zombywoof

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This time it be Harmony-made Buck Owens American. These were sold through Sears from 1970 to around 1973. This one is date stamped 1970. Looks to have been sitting a very long time. It is a mess. Dirty, paint flaking off one side, and it looks like at some point a Munchkin was standing on it. Needs a nut and saddle before I can find out if it is even in the playable range but if you asked a Magic 8 Ball does it need a neck set the answer would come up "You May Rely On It." The scariest part though is what these things sell for. You can easily score a late 1950s LG-2 for less. Even scarier - my wife just downright loves this guitar.

 

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By the way there is a Gibson connection to this guitar. Buck Owens original guitar was made by Semie Moseley at Mosrite (which were built in Bakersfield, CA). Owens was working on a deal with CMI to have Gibson build a version. While Gibson patented the design it does not appear they ever manufactured the guitar and instead licensed it to Harmony which made a least 5,000 of them.

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I do recall the 'American' very well. Never owned one, but saw quite a few back in the - well, you know.... If they're fetching serious $ it goes to show you never know what's going to take off! Once refurbed, an update would be nice.

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The Bryan Adams (whom I have never listened to so am not really sure who he is) connection would seem to explain the rather ridiculous value placed on these.

 

Its Ryan not Bryan, here you can see the guitar in action, by the way, this version is much better than the album version, well imho

 

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Ryan Adams has been using one of these for a while now - the best single video I have found of it is this concert recording - https://www.youtube.com/watch?v=9_drcB6ulZw. If you seek out his Live After Deaf solo show albums (taken from his 2011 tour of Europe and the UK) you'll hear a LOT of this guitar. These are my favorite recordings of his stuff, simply because the songs are so clearly on display here. Anyway, it sounds pretty cool. I have no idea, though, if his has the stock ladder struts or if he's had it x-braced. He has a thing for Harmony Sovereigns, too ...

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Here he is on Austin city limits this year

No sign of the red white n blue one

 

Not sure if it's out to pasture , but he's obviously picked up a couple more He also had a black one. . No sign of it either here

 

He does get a fantastic live acoustic sound no doubt

The Neil Young of our time regardless of what his hairs like

 

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In 1972 my 12 year old cousin traded one to a very drunk 20 year old girl for a Honda 50 step-through that we had to retrieve from the rock pile behind her house where it had been laying horizontally for a year or two.

 

It may not have been a Harmony though, as Egmond made their version. And Egmonds are typically not so good.

 

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Speaking of Harmony Sovereigns, does anyone have any thoughts on 'em? I've had a kind of attraction/repulsion going on for the last 10 or so years....

 

 

I own two Sovereign 1260s - one from the late 1950s and one from the late 1960s. I am a big fan. About the only ladder braced dread I have played I liked better was a late 1930s Vega Profundo

 

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I also have a pair of 1260s, but not the technology to photograph/post pictures. One is original, late '60s, edging into neck reset country, otherwise relatively pristine, not bad sounding. Other has been rebraced, neck shaved a bit, refinished satin, heads changed to Grover Rotos. The bracing is X, but quite heavy. I run mediums on it to get a decent volume and avoid fret rattle, and it has a Martin wannabe tone. I think of the pair as a kind of before/after experience since they hail from the same approximate era. What intrigues me is the pin bridge on one of yours....

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I also have a pair of 1260s, but not the technology to photograph/post pictures. One is original, late '60s, edging into neck reset country, otherwise relatively pristine, not bad sounding. Other has been rebraced, neck shaved a bit, refinished satin, heads changed to Grover Rotos. The bracing is X, but quite heavy. I run mediums on it to get a decent volume and avoid fret rattle, and it has a Martin wannabe tone. I think of the pair as a kind of before/after experience since they hail from the same approximate era. What intrigues me is the pin bridge on one of yours....

 

 

The pin bridge is not original. I get a bit more sound out of of that guitar though when compared the late 1950s Blockie with the original pinless bridge. There is a nice little cottage industry out there with guys re-bracing Sovereigns. If you are a fan of X braced Sovereigns there is always the Opus line. As the older Sovereign is now due for a neck reset I will be bringing it up to the repair guy in the next couple of weeks. I am thinking of having the top refinished while I am at it.

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That Buck Owens has a certain "cool" factor zw. Hee Haw was the first T.V. show I can remember seeing in color and Bucks guitar really showed up. Looking forward to updates. The Sovereigns are as well. Funny (one of) yours is just getting to reset territory and I have never seen one that didn't need it.

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That Buck Owens has a certain "cool" factor zw. Hee Haw was the first T.V. show I can remember seeing in color and Bucks guitar really showed up. Looking forward to updates. The Sovereigns are as well. Funny (one of) yours is just getting to reset territory and I have never seen one that didn't need it.

Most need the reset, at least that I've seen. Just got lucky with mine, or exhibited a lot of patience discovering it, one. As mentioned, it's edging into reset territory now, so there's no latter-day miracle involved - maybe it's just a slow deteriorator?

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That Buck Owens has a certain "cool" factor zw. Hee Haw was the first T.V. show I can remember seeing in color and Bucks guitar really showed up. Looking forward to updates. The Sovereigns are as well. Funny (one of) yours is just getting to reset territory and I have never seen one that didn't need it.

 

 

I always figured the neck angle on these guitars was never spot on to begin with. If you hang around with these guitars long enough you get used to them and so will be a lot more forgiving than you would with a Martin or a Gibson.

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