Ray Benson’s Gibson ES-355
Anyone with a taste for real country music - in particular, Western swing - will recognize this guitar. Even though Asleep At The Wheel...
The Fender “High-Powered” Twin
1958-’59 Fender Twin
Preamp tubes: one 12AY7, two 12AX7
Output tubes: four 5881 (6L6 equivalents), fixed bias
Rectifier: GZ34 (5AR4) tube
Controls: Volume, Volume, Treble, Bass, Middle, Presence
Output:...
Dave Gant’s Amp Collection
Dave Gant grew up in Ada, Oklahoma, and while the city of 17,000 will never be confused with Memphis or Nashville in terms of...
Name that Twang
The fledgling Guild company scored a coup when it signed Johnny Smith to an endorsement deal in 1956. Perched atop the jazz-guitar scene at...
Duane Eddy
(Ed. Note: Duane Eddy was featured in the June ’95 issue of VG, following the release of his Twang Thang box-set anthology, which included...
Paul Bigsby’s Myrtlewood Guitars
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Few things are as satisfying as a guitar with a good story to tell. Some vintage guitars might be beautiful and/or valuable, but boring...
1962 Premier E-727
One of the least un-derstood aspects of American guitar history is the role of musical instrument distributors. It’s one thing to be able to...
The (Way) Back Beat: A Pretty Girl is Like a Melody
There are many ways for an advertiser to attract attention, and in the history of 19th- and 20th-century print hucksterisim there have been few...
The (Way) Back Beat: A Pretty Girl is Like a Melody
Fretted-instrument advertising in the 20th century relied heavily on “glamor” or “cheesecake.”
Electric instruments and accessories, in particular, are still marketed to a primarily male...
The (Way) Back Beat: A Pretty Girl is Like a Melody
Last month, we began looking at some of the more entertaining fretted instrument advertising of the 20th century, in what could be loosely called...