John Entwistle was the Who's legendary bass player, but was also very well known for his large bass guitar collection (you can check out many of his instruments in the highly recommended book Bass Culture: The John Entwistle Guitar Collection). So it may be unsurprising that UK music magazine Beat Instrumental persuaded him to take a look at the new Guild B-301 bass, as part of their usual monthly reviews of new gear, for the July 1977 issue.
As usual the instrument is given a good play, and a qualitative assessment made. Entwistle comes across as somewhat unimpressed, but perhaps this is not too surprising, as the single pickup passive B-301 is a long way from the active Alembic guitars that he was using in the late 1970s, but he does highlight its good build quality, something with which modern day Guild players/collectors would agree. His main complaint is the adjustability of the bridge, and is maybe a bit harsh; these were a vast improvement on the old Hagstrom bass bridges used previously. Other comments about the control knobs and the pickup mounting screws have not borne out: the pickup screws attach to a brass plate, and it's quite stable. The knobs have typically proven to be very durable over the last decades.
The article is reproduced below. Perhaps Beat Instrumental regretted such an unfavorable review, as their "policy of asking established and respected musicians to conduct instrument reviews" seems to have declined after this one!
Beat Instrumental, July 1977
Continuing our policy of asking established and respected musicians to conduct instrument reviews for us, we timorously set off to John Entwistle, armed with a new Guild B-301 bass. Fortunately for us, John agreed happily to the idea, but then immediately plugged the thing in and told us to get our notebooks out - which we did, for after all, he's the player and we're supposed to be the writers. (Pause for laughter... Ed.)
J.E: Forming opinions rapidly may not always be the best way of reviewing an instrument but when you've been playing for as long as I have, and have had the opportunity to play as many different guitars, you tend to know what to look for.
B.I: Such as?
J.E: Well, two main approaches. Firstly, what you can see, and secondly what you can hear and feel. Looking at an instrument can tell you as much about it as playing it. If it looks as if it's been well-thought out and well manufactured, at least you've got reason to suppose that it will play and sound all right. The shape of this one is pretty insignificant for example. The neck suffers from the same mistake that most so-called long neck guitars do - that is it goes from E to E flat. Why couldn't they have added one extra fret to give it a full scale? The control knobs too, they look revolting, as if they're going to shatter at any moment.
B.I: What about the bridge?
J.E: Well, it looks all right at first but (struggling to turn the screws) why have they given the bridge screws serrated edges when there's a screw slot on the top as well? Either it can be adjusted by hand or by screwdriver - and I can't even turn this one at all!
Another problem with the bridge appears to be the fact that there are no individual adjusters for each string - something which I happen to prefer?
B.I: (getting a little worried!) Is there nothing good to say about its appearance then?
J.E: Well, the heads look good, and the general overall feel of the instrument is reassuring as well. It looks well made _ apart from the criticisms I‘ve already made, and it obviously hasn't't been put together in a rush with a devil may care attitude.
B.I: Would you like to play it now?
John plugged the beast in and we sat back being treated to a private bass playing concert which had to be heard to be believed. The old cliché about being a fine bass player is too great an understatement, but it was exceptionally interesting to hear his technique out of context, so to speak.
J.E: Well, the pick-up sounds pretty good, and the action is excellent, allowing me to move quickly and cleanly around without any difficulty at all. The controls seem to give a very good variation in sound as well, and with a bit more time to work on different arrangements I think there could be some excellent differing tones available in there. On the other hand, my suspicions about the bridge have been confirmed.
B.I: In what way?
J.E: Well, like I said earlier, its looks don't exactly inspire confidence, and its construction when playing is quite appalling. The small screw at the front of the bridge should really be stuck up the designer's nose, and the two larger strings are stopping me from dampening the strings properly. And listen to this . . . (He thudded the G string) - that sounds more like a bass sitar as it's rattling against the bridge.
B.I: Anything else?
J.E: Well, while we're down this end of the guitar I think I ought to mention the pick-up. it's much too springy, These two small screws may well fall out after a time on stage with the Who for example - and that really could cause a problem or two.
B.I: What about your overall impression then?
J.E: Well, it must be understood that I'm very discerning about bass guitars in particular, and guitars in general, so I'm likely to criticise various aspects of its construction and sound which perhaps most other bass players, especially in the semi-pro field, wouldn't worry about. But being a perfectionist on matters like these is hardly a crime; I would temper my criticisms with the reminder that I am very particular... all right? But overall it's quite a good bass guitar; the sound is good, the tone easily variable, and the action and neck very good indeed, but it is a shame about the bridge, and I would seriously suggest that Guild rethink this part of the guitar. In relation to their other efforts it's not really any better than previous models except in the actual sound, but it is undoubtedly better than most of the American guitars on the market and does represent honest value for money. If only they re-designed the bridge...
B.I: Thanks very much John.
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The Hagstrom Swede bass, or model HB 903, was only built in small numbers: just 1479 basses shipped between 1971 and 1976. Unlike the current range of Hagstrom guitars, the 1950s-1980s Hagstroms were built in Sweden. This example comes from 1973 and is pretty typical: translucent cherry finish, mahogany body, mahogany neck with an ebony fretboard. It's a really nice bass, beautifully appointed with a very wide tonal range, and a great playing feel. It is relatively heavy though for a mahogany instrument, mostly due to its thick solid body. Very cool bass, and certainly one of the very best basses produced by Hagstrom.
This example of the Shaftesbury 3400 was produced by Japanese manufacturer Matsumoku who made some great quality guitars in the 1970s and 1980s. This is a slightly later example, and has some features not seen on earlier 3400s. Although nice guitars, these are not in the same league as the Gibson Les Paul it was emulating (no set neck, no carved maple top); but they are far better than many of the entry-level Les Paul copies available in the mid-1970s - for example the Shaftesbury 3400 has gold plated hardware, a solid body bound front and back, Maxon brand humbuckers and nice inlaid neck and headstock.
The Epiphone 1802T was the early name given to the Epiphone ET-270 and derived from an existing Aria guitar, also the 1802T. This was the first of the 1970s Epiphone solid bodies made in Japan by Matsumoku.The model evolved somewhat over its short production run: the very earliest examples were very similar to the Aria, sharing the same body shape, hardware, and clear-coated neck with Fender-style headstock with decal logo. By the time it was designated the Epiphone ET-270 it had been upgraded with the classic Epiphone-style headstock, with nice inlaid logo, and Epiphone 'E' motifs on the truss rod cover and scratchplate. This example from 1971 is somewhere in between with the Epiphone-style headstock, but with silk-screened logo, and no 'E's.
Shaftesbury was a brand distributed by Rose-Morris in the UK - generally imported guitars from Italy or Japan. This guitar, model 3400 was produced by Matsumoku in Japan, and was one of the earliest Les Paul copy guitars, debuting in the UK in 1969, although the same guitar was also sold as the Univox U1982 'Rhythm and Blues' by Merson in the USA as early as 1968. It was also available in different territories under different marques, most obviously the Aria 5522 (Japan), Jedson Jet 4444 (UK, Dallas Arbiter), with no doubt many more examples worldwide.
The Gibson Victory MV-X, or Victory 'Multi-Voice' 10, was so-named because of the 10 distinct switch settings: although on first glance this guitar is very much a 'super-strat', with its three-pickup 5-way switch wiring configuration, the original advertising, sounds like... all of 'em underlines that this isn't just a Stratocaster copy, having the sounds of both Gibson humbuckers and Fender single coils available with a flick of a switch. The model was short-lived, with the first instruments shipping from Kalamazoo in Summer of 1981, and the last (excluding any stragglers) leaving Nashville by early 1982. This one was stamped on August 3rd 1981 in Kalamazoo.
Scan of 1970 Epiphone guitar catalogue produced by Rosetti for the UK market. Undated but most likely from mid-late 1970, this was the first UK catalogue to show the new range of Japanese (Matsumoku) Epiphone guitars. Interestingly, these pages show the Epiphone solid bodies with a single-sided Fender-style headstock layout - a feature quickly replaced with a typical two-sided Epiphone headstock almost immediately. Epiphone electric guitars: 9520, 9525; bass guitars: 9521, 9526; acoustic guitars: 6730, 6830, 6834
Scan of 1971 Rosetti catalogue (UK) featuring guitars from from numerous manufacturers worldwide: guitars by Epiphone, Hagstrom, Levin, Hoyer, Egmond, Eros, Moridaira, Kiso-Suzuki, Schaller, and Tatra.
Scan of 1971 Selmer guitar catalogue showing the range of electric and acoustic guitars distributed by the company: guitars by Gibson, Yamaha, Selmer, Hofner and Suzuki. 1960s Selmer had always placed Hofner at the front end of their catalogues, no doubt these were the better sellers - but into the 1970s Hofner were slipping somewhat and only appear at the tail end of this publication, pride of place going to Gibson, and to a lesser extent Yamaha. In fact this is the last Selmer catalogue to include the many Hofner hollow bodies (Committee, President, Senator etc) that had defined the companies output for so many years - to be replaced in the 1972 catalogue by generic solid body 'copies' of Gibson and Fender models. A number of new Gibson models are included for the first time: the SG-100 and SG-200 six string guitars and the SB-300 and SB-400 basses.
Scan of 1968/1969 Selmer guitar catalogue (printed July 1968), showing the entire range of electric and acoustic guitars distributed by the company: guitars by Hofner, Gibson, Selmer and Giannini. Selmer were the exclusive United Kingdom distributors of Hofner and Gibson at the time, and this catalogue contains a total of 18 electric guitars, 7 bass guitars, 37 acoustics, and 2 Hawaiian guitars - all produced outside the UK and imported by Selmer, with UK prices included in guineas. This catalogue saw the (re-)introduction of the late sixties Gibson Les Paul Custom and Les Paul Standard (see page 69) and the short-lived Hofner Club 70. Other electric models include: HOFNER ELECTRICS: Committee, Verithin 66, Ambassador, President, Senator, Galaxie, HOFNER BASSES: Violin bass, Verithin bass, Senator bass, Professional bass GIBSON ELECTRICS: Barney Kessel, ES-330TD, ES-335TD, ES-345TD, ES-175D, ES-125CD, SG Standard, SG Junior, SG Special GIBSON BASSES: EB-0, EB-2, EB-3 - plus a LOT of acoustics branded Gibson, Hofner, Selmer and Giannini
Hofner Colorama was the name UK distributor Selmer gave to a series of solid and semi-solid guitars built by Hofner for distribution in the UK. The construction and specifications of the guitars varied over the period of production, but by 1961 it was a totally solid, double cutaway instrument, with a set neck, translucent cherry finish, six-in-a-row headstock, and Hofner Diamond logo pickups. Available as a single or dual pickup guitar, this sngle pickup version would have been sold in mainland Europe as the Hofner 161.
Commodore was a brand applied to a series of guitars produced in Japan at the well-respected Matsumoku plant from the late 1960s to the mid 1970s - and sold primarily (perhaps exclusively?) in the United Kingdom. The models bearing the Commodore name were all guitars available from different distributors with different branding. Although there may have been some minor changes in appointments (specifically headstock branding) most had the same basic bodies, hardware and construction. Equivalent models to the Commodore N25 (and this is by no means an exhaustive list) include the Aria 5102T, Conrad 5102T(?), Electra 2221, Lyle 5102T, Ventura V-1001, Univox Coily - and most famously the Epiphone 5102T / Epiphone EA-250.
The Hofner Colorama was the name given by Selmer to a series of solid (and semi-solid) body Hofner guitars distributed in the United Kingdom between 1958 and 1965. The Colorama name actually applied to some quite different guitars over the period, but in 1960 it was a very light, semi-solid, set necked guitar with one (Colorama I) or two (Colorama II, as seen here) Toaster pickups. Although an entry-level guitar, it was very well-built, and a fine playing guitar; certainly a step up (at least in terms of craftsmanship) from many of the Colorama guitars that would follow, and a good deal of the guitars available in Britain circa 1960.
By the end of the 1960s, a decision had been made to move Epiphone guitar production from the USA (at the Kalamazoo plant where Gibson guitars were made), to Matsumoto in Japan, creating a line of guitars and basses significantly less expensive than the USA-built models (actually less than half the price). The Matsumoku factory had been producing guitars for export for some time, but the 1820 bass (alongside a number of guitar models and the 5120 electric acoustic bass) were the first Epiphone models to be made there. These new Epiphones were based on existing Matsumoku guitars, sharing body shapes, and hardware, but the Epiphone line was somewhat upgraded, with inlaid logos and a 2x2 peghead configuration. Over the course of the 70s, the Japanese output improved dramatically, and in many ways these early 70s models are a low point for the brand. Having said this, there are a lot worse guitars out there, and as well as being historically important, the 1820 bass can certainly provide the goods when required.
Production of Bill Lawrence's Gibson Marauder began in 1974, with production peaking in 1978. But by 1980 the model was officially discontinued, though very small numbers slipped out as late as spring 1981. Over 7000 examples shipped between 1974 and 1979, and although no totals are available for 1980 and 1981, it is unlikely production reached three figures in either of these years. These final Marauders were all assembled at the Gibson Nashville plant, and had some nice features not available through the later years of production, such as a rosewood fretboard, and in this case, an opaque 'Devil Red' finish. It's a great looking and fine playing guitar!
When Epiphone production moved from Kalamazoo to the Matsumoku plant in Japan, a whole new range of electric, flattop and classic acoustic guitars was launched. Between late 1970 and 1972 the new models were launched and refined. This 'folder' catalog contains various inserts released over these years detailing four electric six-strings (ET-270, ET-275, ET-278, and thinline EA-250), three bass guitars (ET-280, ET-285, and thinline EA-260), three folk/steel acoustics, four jumbo flattop acoustics, two 12-string jumbos, four classic acoustics, and a banjo.
'Gibson Specials' was part of the June 1981 pre-owners manual series, but unlike the other folders contained a mish-mash of different guitars: limited editions, test marketing and close outs. "You will find the unusual, the brand-new, and the bargain within this folder". End of line 70s guitars like the Marauder, S-1, and L-6S Custom mixed in with brand new models the The V, The Explorer and the Flying V Bass.
Rose-Morris were selling Shaftesbury-branded Rickenbacker copy instruments from the late 1960s right through the 1970s. The 3263 bass was one of the first models, (alongside the 3261 six string and 3262 twelve string) available from late 1968 until about 1974. The earliest incarnation was a set neck bass, produced very briefly in Japan. But production quickly moved to Italy. This bolt-on neck example was built by Eko, in Recanati, using the same hardware and pickups as fitted to Eko, and Vox basses built around the same time. It's certainly a fine looking bass, and not a bad player either.
This very early, and pretty rare British-built guitar is branded Hohner London. Hohner were, of course, a German company, better known for their harmonicas and accordions, but they were keenly expanding into guitars at the birth of the 1960s. This model, along with the Hohner Amazon and (particularly) the Hohner Holborn, bear some similarity with Vox guitars of the same period; furniture manufacturer Stuart Darkins constructed bodies and necks for both brands, with Fenton Weill assembling them using their hardware and pickups. These guitars do have some hardware peculiarities, and they are not the most adjustable of instruments, but they actually play very nicely, being solidly built out of some very nice woods. Check out the video on this page.
The Vox Super Ace was a mid-priced British solid body electric guitar, produced by JMI at their factory in Dartford, Kent. It was broadly modelled on the Fender Stratocaster, and a sibling model to the dual-pickup Vox Ace. Both the Ace, and Super Ace (along with several other models), were redesigned in 1963 with a new body shape, headstock style, and pickup layout - only increasing the resemblance to the aforementioned Fender. The Super Ace had a 1963 price tag of £47 5S. It's a pretty nice playing guitar with some lovely sounds - check out the videos on this page, and in the Vintage Guitar and Bass supporting members area
The Vox New Escort was Vox's version of the Fender Telecaster, at a time when American guitars were out of reach for most British musicians. It was made by JMI in England, for the British market, and unlike the majority of other models, didn't have an Italian-made equivalent. But the New Escort wasn't a slavish Fender copy, adding Vox's stylish teardrop headstock to the tele-style body, with a stop tailpiece and two Vox V2 single coil pickups. And it's a pretty substantial, and nice playing guitar, with a very comfortable neck. Check out the images, specifications, and watch a video of it in action. There is also extra content in the vintageguitarandbass supporting members area.
Catalog scan. The 1969 Fender Lovin' Care catalog consisted of 48 pages of electric guitars, basses, amplifiers, steel guitars, acoustic guitars, banjos and keyboards. Like the previous catalog, this featured the company's guitars in a variety of interesting settings around California, from the Whiskey-A-Go-Go, to the Hollywood Bowl. Several instruments were making their first appearance amongst it's pages: the Telecaster bass, Montego and LTD jazz guitars, and the Redondo acoustic. It was the final catalog appearance, however, of the Electric XII, Bass V, Duo-Sonic, Coronado I and Coronado Bass I.
The Eko Ranger series of guitars was incredibly popular in the second half of the 1960s and through the 1970s, selling in very large numbers. The Ranger Folk was 1 1/4" smaller, and 1" shallower than the Ranger VI and XII - and with a narrower waist. Not a bad guitar; a little quiet, but pretty playable. These were great value in 1973, and because they sold so many, they are easy to find and excellent value today.
The Symphonic bass was built in the UK, by Vox parent company JMI. It was the Vox equivalent to the Fender Precision bass, and was one of the most expensive Vox guitars produced. It was actually a great playing bass, rather similar to the Precision in feel and sound, but was probably just too expensive compared to an actual Fender and consequently sold poorly. When Vox hit financial problems in 1968, unsold guitars and basses were passed on to Dallas Arbiter, who briefly sold the excess Symphonic bass stock as model 4537. This bass, although with a neck date of February 1966, was most likely one of the unsold Vox guitars sold on by Dallas Arbiter. Check out the bass, and the two video demos through 1960s Ampeg and WEM amplifiers.
The 1968 Shaftesbury 'Electric Guitars' catalog was just four pages long, and contained four guitar models: the six string Barney Kessel-style 3264; and three Rickenbacker-styled semi-acoustic models: the six-string 3261, the twelve string 3262 and the 3263 bass. Shaftesbury was the house-brand of major UK distributor Rose-Morris, and seems to have been launched as a response to the company's loss of it's distribution deal with Rickenbacker. The guitars were mid-priced, and built in (initially) Japan, and later Italy, by Eko
1970 Rose-Morris catalog, dated April 1970. It featured 6 electric guitars, 32 acoustic guitars, 3 basses and 1 steel guitar. It contains the following instruments, over 20 pages: Electric guitars: Shaftesbury 3261, 3262, 3264, 3265, 3400; Top Twenty 1970; Bass: Shaftesbury 3263, 3266; Top Twenty 1971; Acoustic guitars: Eko Rio Bravo, Rio Bravo 12, Ranchero, Ranchero 12, Colorado, Ranger, Ranger Folk, Ranger 12; Aria 1674, 1675, 1676, 1679, 1680, 1695, 'John Pearse' Jumbo, 'John Pearse' Folk; Rose-Morris 15-11, Kansas, Georgian, Florida; Suzuki 1663, 1664, 1665, 3054, 3055, 3060; Tatay 1713, 1714, 1715; Peerless 3052; Steel guitar: Aria 3425
The sixteen-page 1971 Rose-Morris catalog featured electric guitars by Rose-Morris' own brand, Shaftesbury, and budget brand Top Twenty; aswell as acoustics by Eko, Aria, and for the first time Ovation. The catalog contains the following instruments: Electric guitars: Shaftesbury 3261, 3264, 3265, 3400, 3402; Top Twenty 1970; Bass: Shaftesbury 3263, 3266; Top Twenty 1971; Acoustic guitars: Ovation: Balladeer, 12 String, Glen Campbell, Glen Campbell 12 string; Eko Rio Bravo, Rio Bravo 12, Ranger, Ranger Folk, Ranger 12, Colorado, Ranchero, Ranchero 12, Studio 'L'; Rose-Morris Florida; Aria 'John Pearse' Jumbo, 'John Pearse' Folk
A detailed look at an early 1970s Fender Precision bass guitar in custom black finish, with rosewood fretboard. 1972 list price, $307.50. The Fender Precision had been shipping since at least very early 1952 - with just one re-design circa 1957. This example, then, shows a model already two decades old, but barely changed since the '57 revamp. Fender got it right first time around, and although there are numerous minor cosmetic differences, the essence of this bass is effectively the same as it was in '52: a simple, single pickup instrument with a GREAT sound. Check out the demo video through an old Ampeg B15. It's no wonder this is the bass that everybody wants!
The Vox Stroller was the brand's entry level electric solid body guitar, fitted with just one pickup and a fixed tailpiece. Although aimed at student guitarists, it wasn't a terrible instrument, but did lack somewhat in adjustability, having no accessible truss rod and only a floating rosewood bridge. But this example is actually quite an improvement on earlier versions, with a standard 1/4" jack and a solid mahogany body. 1967 price £18 2s. JMI ceased UK guitar production in late '67, and combined with decreasing demand for the Stroller, this surely must be one of the last examples shipped.
A nice example of the Vox Clubman II bass, built by JMI in Dartford, Kent in 1963. This is a lightweight bass, short (30") scale and very easy to play. It is an early example, and as such has a thin black scratchplate and side mounted, coaxial output jack. JMI offered left handed examples of their solid body Vox guitars and basses at 10% premium. Production numbers are unclear, but left-handed examples rarely come up for sale
Not to be confused with the Gibson ES Artist launched by Gibson in 1979; this ES Artist was an early model designed by the Gibson research and development team in Kalamazoo in 1977, the instruments themselves constructed by Gibson artist Chuck Burge. It was planned for launch as a high end semi acoustic with 335-style construction (central maple block) and innovative circuitry - but was pulled at the last minute, being deemed too expensive. Apparently, several examples were produced with varying specifications, though exactly how many actually left the Kalamazoo plant is unclear. Certainly two guitars were sold to LaVonne Music by Gibson in around 1980. Read more about the development of this guitar, with details from Chuck Burge and the story of it's sale to LaVonne music
