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100% ORIGINAL and in NEAR MINT CONDITION, AMAZING UNDER THE BED COLLECTORS GRADE CONDITION with the ORIGINAL HARDSHELL CASE AND THE ORIGINAL OWNERS MANUAL
This guitar has a ONE PIECE BODY AND ONE PIECE NECK WITH LONG TENON - NO VOLUTE, NO MADE IN USA STAMP
$14000 includes domestic shipping
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Epiphone is one of American’s oldest and most revered instrument makers and since 1873, Epiphone has made instruments for every style of popular music. The name evokes both history and the spirit of invention. Epiphone has been an audible (not to mention visible!) presence in every great musical era from the mandolin craze of the early 1900s to jazz age guitars of the 1920s. From swing era archtops through post-war pop, jazz, r&b, and early rock n’ roll. From the “British Invasion” to heavy metal, punk, grunge, and thrash. And now, in the 21st century, new Epiphone technical breakthroughs such as the ProBucker™ pickup, series parallel switching, built-in KillSwitch™ pots, the Shadow NanoFlex™ and NanoMag™ pickup systems, and premier acoustic/electric guitars with the eSonic™ preamp have brought the historic name to a new generation.
The story behind Epiphone’s improbable rise from a small family repair shop to a world-wide leader in the manufacture of quality instruments could easily be transformed into the great American novel. But our story is true.
The Epiphone tale begins in the mountains of Greece and threads its way to Turkey, across the Atlantic to the immigrant gateway of Ellis Island, and into the nightclubs, recording studios, and coast-to-coast radio broadcasts of Manhattan in the 1920s and 30s. It’s the story of craftsmanship passed from father to son and the ceaseless American drive for innovation. Just a decade after Epiphone published a 46-page catalogue that included acoustic archtops, flattops, basses, electric guitars, banjos, and amplifiers, the company would be bankrupt and sold to a longtime rival, Gibson. Today, Epiphone is once again an innovator in guitar and instrument manufacturing.
The variety of musicians that walk through Epiphone’s history is equally remarkable. Jazz greats like George Van Eps, country pioneers like Hank Garland, bluesman John Lee Hooker, and scores of mandolin, archtop and steel guitar players used Epiphone instruments daily over nationwide broadcasts. There are unlikely heroes and tinkerers in the Epiphone story too, like guitar pioneer Les Paul, who worked nights in the Epiphone factory to create “the Log”, his primordial version of what would eventually be called the “Les Paul.” Beatles’ bassist extraordinaire Paul McCartney choose an Epiphone Casino as his first American made guitar and John Lennon and George Harrison quickly followed. The Casino appeared on every Beatles album from Help through Abey Road. And today, Epiphone can be heard on albums by Gary Clark, Jr., My Chemical Romance, Joe Bonamassa, Zakk Wylde, Machine Head, Dwight Yoakam, The Strokes, Slash, Jeff Waters, Paul Simon, Radiohead, The Waco Brothers, Lenny Kravitz, and Paul Weller.
If a time machine could transport today’s Epiphone players to Epiphone’s Manhattan showroom of 60 years ago when it was a gathering place for all the Big Apple’s best players, the generations would agree that Epiphone has always been the House of Stathopoulo, and today is still innovating, still delighting musicians, and still frustrating competitors with daring designs and superb quality. “Epiphone always made a good guitar,” Les Paul once said. And that after all, is what all musicians are looking for.
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The Flying V was born on a field of battle that still rages: Gibson verses Fender. In 1957 Gibson’s then-president Ted McCarty wanted some new six-strings to tussle with Leo Fender’s popular Stratocasters. Sure, the Les Paul was already making history, but McCarty wanted more contemporary reinforcements with some eye-candy appeal. After all, the Les Paul had debuted in 1952 during the height of the Korean War. It was a new era.
So Gibson’s design gurus came up with patents for both the Flying V and the Explorer. They were modern looking instruments during a period when Americans were enjoying peace and prosperity, and more leisure time than ever before. And they smacked of the day’s yen for progress. Scientists had elaborated on technology from World War II and Korea to make great leaps in rocketry. Satellites began to circle the Earth. Science fiction novels and movies were the rage.
The aerodynamic charms of both models, but especially the “swept back, forward looking”—as Z.Z. Top’s Billy Gibbons has put it—Flying V made it seem like personal jet packs were just around the corner.
The prototype Flying Vs were mahogany and deemed a bit too heavy and a bit too costly to compete with the Strat. So the first models to leave Gibson’s original factory in Kalamazoo, Michigan, during 1958 were made of the lighter and more readily available korina wood. Their sales didn’t break the sound barrier. According to Larry Meiners’ thoroughly enjoyable Flying “V”: The Illustrated History of This Modernistic Guitar, less than 100 were ordered by dealers in ’58 and ’59.
It would take another decade-and-a-half before the Flying V would have the last amplified laugh, but early sales were so slack that in 1960 the model was struck from Gibson’s catalog. Dave Davies of the Kinks tells a story about buying an original-production V from a Los Angeles guitar shop in 1964 at the fire-sale price of $60. The V’s suggested retail at the time was $247.50. Today a ’58 or ’59 V fetches between $120,000 and $145,000.
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This guitar was featured on the History Channel’s “Pawn Stars” when Les Paul’s Nephew took it in to, and I can’t believe he did this, sell it…
The guitar was then put up on ebay where it sold for $110,000 which to be honest I think is pretty cheap considering what an incredibly rare guitar this is, you don’t see Les Paul’s personal guitars pop up for sale very often!
For The History On The SG Click On GIBSON SG
The new J165 EC Rosewood is a welcome addition to Gibson’s distinguished line of LSeries Small Body acoustics. For players wanting a comfortable, small-body acoustic with the tonal characteristics of a Jumbo, the J165 models answer the call. The new J165 EC Rosewood has the same shape as Gibson’s Jumbos, but with smaller dimensions.
Nickel Grover Mini Rotomatic Tuners
Grover’s original Rotomatic tuners are an engineering marvel, with abundant style and performance exactly suited for the J165 EC Rosewood Modern Classic. With a gear ratio of 14:1, the mini Rotomatics deliver precision tuning in a durable housing that provides maximum protection for the gear and string post. All moving parts are cut for exact meshing, eliminating the possibility of slippage. A countersunk tension screw lets players regulate the tuning tension to any degree. A special lubricant inside the gear box provides smooth and accurate tuning stability.
Crown Peghead Logo
Gibson put the first crown peghead logo on an ES300 back in 1940, and it has graced the headstocks of many legendary Gibson guitars ever since, including today’s J165 EC Rosewood Modern Classic. Over the years, it has also been called a “thistle” because of the group of flowering plants with the sharp prickles, though Gibson has preferred to call it a “crown.”
Tapered Dovetail Neck Joint
The dovetail neck joint is one of the oldest—and best—ways of securely joining the neck to the body of a guitar. It is also a complex and expensive neck joint to build, but the result is a tight, locking connection that supports the neck at the proper neck-pitch angle, allowing the body and neck to become one solid piece of resonating wood, with no metal to impede vibration. This process is done entirely by hand, requiring patience and skill.
Rosewood Fingerboard with Rolled Edges and Split Parallelogram Inlays
The fingerboard of Gibson’s J-165 EC Rosewood Modern Classic is constructed from the highest grade rosewood on earth, which is personally inspected and qualified by Gibson’s team of skilled experts before it enters the Gibson factories. The resilience of this durable wood makes the fingerboard extremely balanced and stable, and gives each chord and note unparalleled clarity and bite. The J-165 EC Rosewood’s split parallelogram inlays are made of genuine mother of pearl, and are inserted into the fingerboard using a process that eliminates gaps and doesn’t require the use of fillers. The fingerboard also sports a rolled edge—instead of the usual right angle where the fingerboard surface meets the neck, Gibson Acoustic’s rolled edges are slightly beveled for an extremely smooth and comfortable feel, enhancing the playability of the J-165 EC Rosewood.
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It has the original all-mahogany body, dual P-90 pickups, and a bound rosewood fingerboard with dot inlays. A Little SG History In 1961, the Les Paul was redesigned with a thinner body and 2 sharp cutaway horns that making the upper frets more accessible while lowering production costs. The new guitar was popular, but Les Paul the guitarist did not like it and asked to have his name removed. Gibson renamed the model the “SG” which was short for “solid guitar”. SGs have been the choice of world-class artists such as Pete Townsend, Eric Clapton, Tony Iommi, and Angus Young.