Ed Driscoll Talks To Walter Carter About Epiphone History

[parispAl]

http://www.epiphone.com/News/Features/Features/2013/Ed-Driscoll-Talks-To-Walter-Carter-About-Epiphone.aspx

 

Guitar historian Walter Carter has a new book out this month, published by Backbeat Books, called The Epiphone Guitar Book: A Complete History of Epiphone Guitars. Walter recently participated in a phone interview with Ed Driscoll where he discussed the early history of Epiphone. The 21 minute interview is posted below.[aboven,actually]

 

[rayban]

Thanks for the link...I ordered the book last night..I hope there's lots of pictures...

[DrRogerFisher]

 

Guitar historian Walter Carter has a new book out this month, published by Backbeat Books, called The Epiphone Guitar Book: A Complete History of Epiphone Guitars. Walter recently participated in a phone interview with Ed Driscoll where he discussed the early history of Epiphone.

 

Thanks for this update and the interview link.

Walter Carter was the staff historian for Gibson, and among his many books he published Epiphone: The Complete History (1995) which is out of print now, but full of historical detail, plenty of pics, miscellaneous stuff like price lists, etc. I'm a big Epi fan and loved the detailed info that book.

 

Carter's 1995 "Complete History"

 

 

After listening to the interview, it sounds like the new book retells the history, but brings it up to date since 1995, especially about the foreign manufacturing saga that Epi has continued. Interestingly, he also mentions that Epi fans were rejected by Gibby forums, and had to form their own. That's us!

 

I'll be buying this one too, and maybe provide a review. I can't learn enough about Epi guitars.

[RobinTheHood]

 

After listening to the interview, it sounds like the new book retells the history, but brings it up to date since 1995, especially about the foreign manufacturing saga that Epi has continued. Interestingly, he also mentions that Epi fans were rejected by Gibby forums, and had to form their own. That's us!

 

I'll be buying this one too, and maybe provide a review. I can't learn enough about Epi guitars.

 

The funny thing is that he didnt mention that the divide between Gibson and Epiphone has become increasingly smaller and a great deal of Gibson owners are on board with Epiphone these days...at least from what I see in forums and message boards on the internet. Epiphone's quality has increased exponentially and many Gibson owners recognize and admit to it. Many even own multiple guitars of both brands. And here we are now...back together on the forums with the Gibson owners.

[Red 333]

The funny thing is that he didnt mention that the divide between Gibson and Epiphone has become increasingly smaller and a great deal of Gibson owners are on board with Epiphone these days...at least from what I see in forums and message boards on the internet. Epiphone's quality has increased exponentially and many Gibson owners recognize and admit to it. Many even own multiple guitars of both brands. And here we are now...back together on the forums with the Gibson owners.

 

Actually, I think Carter said he didn't think Gibson Les Paul owners considered Epiphones real Les Pauls. But he also said the Epiphones could be very good guitars, more than adequate for the average player.

 

I'm certainly of the opinion that there are some Epiphones (like the Elitists) that are the equal of thier Gibson counterparts.

 

Red 333

[rayban]

My new Epiphone book is here, my new Epiphone book is here!!!!!

 

While it's a soft cover, it's still a good looking coffee table book....Looks like a complete history of the EPI...and yes, lots of cool pictures...so much for my review.

[Red 333]

Mine came Wednesday. I read the second 3/4 of the book first, which covered the Kalamazoo and import periods through today. Carter provides a good overview of the significant people, models, and events of this time frame. Especially welcome is how he fleshes out the story of Epiphone's transition from an importer of Asian-sourced guitars that were simply badged Epiphone (and often available with other brands on the headstock) to the company we know today, which designs and usually manufacturers Gibson-based and original models.

 

Because he is writing an all-inclusive overview, he keeps his information broad but brief--he is able to devote only a paragraph or two at most to even the most significant points of Epiphone history. The book is 176 pages total, 123 of which are so devoted. The rest are various appendixes and indexes, which I'll get to later. I hope one day, a publisher will let him flesh out his narrative with the kind of detail we Epiheads obsess about. Until then, I'll continue to savor his excellent articles in the excellent Vintage Guitar magazine and other places.

 

There are some nice pictures throughout, though some of the rare and odd models he describes have no accompanying illustration, unfortunately. The biggest disappointment in my mind is that there's scant information about any of the Japan-only models that were made, or the Orville and Orville by Gibson models.

 

One great feature in the appendices is an alphabetical model-by model reference of most Epiphone instruments, their identifying features, and their years of general availability. This will be a great resource to many Epifans, though caution should be used before accepting all of the information as absolute fact. For instance, the first entry I looked at, the Elitist Dot, was listed as having stair-step tuner buttons (sometime called Imperial buttons), when in fact it came with standard Grover buttons (the Elitist Sheraton had the stair-step buttons). To their credit, the publishers and author provide contact information so readers could alert them to typos or errors of this kind, for correction in future editions.

 

Carter also provides a very useful model timeline, showing when each model was introduced and discontinued. There's also a handy reference to Epiphone serial numbers throughout the years.

 

All in all, Carter packs ALOT into a very slim volume (176 pages). He is always clear and concise. The book itself is well organized, laid out, and illustrated, too. Anyone with any curiosity about Epiphone (or Gibson) history will find the book intersting and informative, and relish the appendices. I really enjoyed it, and know I will refer to it often in the future. I would love to see what Carter could have done with 176 more pages.

 

Red 333

[RobinTheHood]

 

One great feature in the appendices is an alphabetical model-by model reference of most Epiphone instruments, their identifying features, and their years of general availability. This will be a great resource to many Epifans, though caution should be used before accepting all of the information as absolute fact.

 

ppppttthh...I did it first.

[Red 333]

ppppttthh...I did it first.

 

And you did a good job, too. But Carter gets props for including a few more models than just the E-Series and S/T models.

 

And he got paid for it, so props to him for that, too!

 

Red 333

[RobinTheHood]

And you did a good job, too. But Carter gets props for including a few more models than just the E series and S/T models.

 

And he got paid for it, so props to him for that, too!

 

Red 333

 

You must be talking about the Strat & E-Series guides. Those are old hat, my friend. The Epiphonewiki has been up for two years now and includes more models than Carter's book. Unfortunately, the wiki has been down for almost a week due to some massive datacenter malfunction. I've been chewing my nails off waiting for it to come back online so that I can fix any damage or lost data.

[bobouz]

Sure would be nice if someday we could get clarification on who did what part of the construction on the AIUSA models (Sheraton & Casino). My guess is, by looking at the workmanship, that Terada applied the nitro finish & sent an almost completed guitar to Nashville, with the exception of the hardware installation & final setup. A few months back I talked to a used instrument dealer who insisted the reverse, and said a fairly raw body was shipped to Nashville, & much of the detail work was done there. Factor in that at the time, he was listing an AIUSA Sheraton for $2800. At any rate, I've ordered Carter's book & look forward to reading it.

[Red 333]

You must be talking about the Strat & E-Series guides. Those are old hat, my friend. The Epiphonewiki has been up for two years now and includes more models than Carter's book. Unfortunately, the wiki has been down for almost a week due to some massive datacenter malfunction. I've been chewing my nails off waiting for it to come back online so that I can fix any damage or lost data.

 

I didn't know about the Wiki. I did try to log on before I replied, but found it down. I will check it out. If it's up to the standards of your E-Series and S/T guides, then it's sure to be a tremendous resource. Can't wait to see it.

 

What did you think of Carter's book?

 

Red 333

[Red 333]

Sure would be nice if someday we could get clarification on who did what part of the construction on the AIUSA models (Sheraton & Casino). My guess is, by looking at the workmanship, that Terada applied the nitro finish & sent an almost completed guitar to Nashville, with the exception of the hardware installation & final setup. A few months back I talked to a used instrument dealer who insisted the reverse, and said a fairly raw body was shipped to Nashville, & much of the detail work was done there. Factor in that at the time, he was listing an AIUSA Sheraton for $2800. At any rate, I've ordered Carter's book & look forward to reading it.

 

FWIW, I was told by an Epiphone employee that the bodies arrived complete and finished, and Gibson installed the hardware and electronics. Terada produces nitro-finished guitars (the McCartney Texan, for instance), so this is certainly possible.

 

Red 333

[bobouz]

FWIW, I was told by an Epiphone employee that the bodies arrived complete and finished, and Gibson installed the hardware and electronics.

That's consistent with what I've heard and read, except for this one fellow who lists on Gbase. The AIUSA Sheraton he had was exactly like mine (sunburst w/frequensator), which of course is why his ad and price caught my eye. He had some lengthy prose about all the handwork done to the body and neck in Nashville. So I emailed & said I believed he might be incorrect on some of the assembly points. He steadfastly said no, everything about the body screams of Gibson's detailing, whereas my antenna clearly points towards Terada. Regardless, somebody bought the instrument, and most likely paid a pretty penny.

[rayban]

I found this exert on another site...can this be true?:

 

"Up for auction is an Epiphone PR795AE from the late 70s, or perhaps early 80s. When Norlin, the parent company of Gibson and Epiphone at the time, decided to shift production of Epiphone instruments from the Gibson plant in Kalamazoo, MI to Japan around 1970, they just had Japanese manufacturers put Epiphone labels on guitars they were already building for other brands."

[Red 333]

Yes. That's exactly what I referred to in my review, above (though it wasn't quite as simple as simply slapping lables on the guitars--the manufacturers built them with Epi headstocks and logos.)

 

Red 333

[zombywoof]

I found this exert on another site...can this be true?:

 

"Up for auction is an Epiphone PR795AE from the late 70s, or perhaps early 80s. When Norlin, the parent company of Gibson and Epiphone at the time, decided to shift production of Epiphone instruments from the Gibson plant in Kalamazoo, MI to Japan around 1970, they just had Japanese manufacturers put Epiphone labels on guitars they were already building for other brands."

 

Pretty much those early 1970s Epiphones were just re-badged Arias or something. I gather Norlin just licensed the Epi name.

[stein]

I didn't know about the Wiki. I did try to log on before I replied, but found it down. I will check it out. If it's up to the standards of your E-Series and S/T guides, then it's sure to be a tremendous resource. Can't wait to see it.

 

Red 333

You would be mightily impressed. The amount of info and number of guitars included is staggering.

 

There might be more there than for any brand. I don't know of anything else really like it.

[bobouz]

Pretty much those early 1970s Epiphones were just re-badged Arias or something. I gather Norlin just licensed the Epi name.

I recall looking at many of the acoustic Epis from that period, and never really liking any of them. Usually a bolt on neck with a zero fret & wide but shallow profile. Laminated tops on all the ones I saw, and generally a pretty thin tone. It was rather easy to find something significantly better from the previous decade.

[Red 333]

Pretty much those early 1970s Epiphones were just re-badged Arias or something. I gather Norlin just licensed the Epi name.

 

"The import era for Epiphone began in 1969, when CMI vice president Mark Carlucci and marketing director Bruce Bolan took a trip to the L.D. Heater distribution company (a CMI division) in Beaverton, a suburb or Portland, Oregon. Lyle Heater, founder of the company, had been importing a line of guitars under the Lyle brand made by Matsumoko, one of the more respected Japanese manufacturers. ... Carluci and Bolen simply picked 11 models from the Lyle line and had them produced with the Epiphone headstock. ... Epiphone moved from a lineup that included a total of fifty different models in 1968--including basses, banjos, and mandolins--down to eleven guitars and two bases in 1970. ... The 1970 models bore little resemblance to the Epis of just a year earlier. ... Initially, CMI steered away from familiar Epiphone[/Gibson] shapes in favor of the Fender-like 1802 and...Martin-like acoustic guitars...."

 

Walter Carter

The Epiphone Guitar Book

 

As I understand it, Aria was mainly an importer, and contracted Matsumoko to build many of the guitars it sold.

 

Red 333

[zombywoof]

For me the "Norlin Era" began in 1965 when Arnie Berlin (the "in" in Norlin) took over CMI from his father. The first thing he and his college educated bean counters did was to force Ted McCarty out. This signalled the end of not only Gibson but F.A. Reynolds, a well regarded maker of brass instruments, which also was under the CMI banner.

[Red 333]

That's consistent with what I've heard and read, except for this one fellow who lists on Gbase. The AIUSA Sheraton he had was exactly like mine (sunburst w/frequensator), which of course is why his ad and price caught my eye. He had some lengthy prose about all the handwork done to the body and neck in Nashville. So I emailed & said I believed he might be incorrect on some of the assembly points. He steadfastly said no, everything about the body screams of Gibson's detailing, whereas my antenna clearly points towards Terada. Regardless, somebody bought the instrument, and most likely paid a pretty penny.

 

I have several Gibsons as well as Elitists. In my experience, a Gibson is rarely finished as well as an Elitist. At least, that was the case when the Elitist line was larger (not just a Casino and a variant of the same) and more widely available.

 

Red 333

[bobouz]

"The import era for Epiphone began in 1969, when CMI vice president Mark Carlucci and marketing director Bruce Bolan took a trip to the L.D. Heater distribution company (a CMI division) in Beaverton, a suburb or Portland, Oregon. Lyle Heater, founder of the company, had been importing a line of guitars under the Lyle brand made by Matsumoko, one of the more respected Japanese manufacturers.

Living in Oregon since '73, I saw plenty of Lyle guitars around here, and they too were not very good at all, just like those first import Epiphones. I never had made the connection before regarding the two lines, so it now stands to reason. Probably didn't pay as much attention to detail then as now - I just knew that in terms of tone, they were a no show!

[RobinTheHood]

I didn't know about the Wiki. I did try to log on before I replied, but found it down. I will check it out. If it's up to the standards of your E-Series and S/T guides, then it's sure to be a tremendous resource. Can't wait to see it.

 

What did you think of Carter's book?

 

Red 333

 

 

You would be mightily impressed. The amount of info and number of guitars included is staggering.

 

There might be more there than for any brand. I don't know of anything else really like it.

 

Well, I have some bad news. I was informed over the weekend that the last backup was from May. MAY!!! That will set me back a long, long way. I've added tons of guitars and info over the past 8 months. The wiki is going to be in sad shape for awhile.

 

Red, I havent red the book yet. I was forwarded the guitar list in the appendix.

[RobinTheHood]

Living in Oregon since '73, I saw plenty of Lyle guitars around here, and they too were not very good at all, just like those first import Epiphones. I never had made the connection before regarding the two lines, so it now stands to reason. Probably didn't pay as much attention to detail then as now - I just knew that in terms of tone, they were a no show!

 

A year or so ago, I came across a Lyle guitar with an Epiphone headstock when I was looking up Japanese Epiphones. It looked like either a one-off/protoype or a swap. The pic was small and there was only one. I may still have the pic somewhere.