#1968 TEISCO GUITAR FULL#

вЂњAnd so Rory walks over and says: вЂWatch thisвЂ¦вЂ™ and he does the big Irish brogue вЂ“ вЂOh, IвЂ™ve come over from Ireland and IвЂ™ve been trying all day to find this guitar of my heroвЂ¦вЂ™ giving it all that, and in the end the ownerвЂ™s like, вЂAlright, $50вЂ™. And heвЂ™s like, вЂNo, itвЂ™s a piece of shit!вЂ™ and the owner is like, вЂNah, $500.вЂ™ вЂњAnd so he goes up to the desk, asks this really New York owner how much he wants for it вЂ“ $500. And they find the guitar in the attic of this guitar shop on like 32nd Street or something, and then John says to Rory: вЂLook man, theyвЂ™ll try to pull something here because youвЂ™re foreignвЂ¦ IвЂ™ll take the guitar over вЂ“ how much do you want to pay for it?вЂ™ And Rory says: вЂI donвЂ™t know, $50?вЂ™ вЂRight, weвЂ™ll get it for $50вЂ™. вЂњSo he met up with him, and John tells this lovely story about how they met for the first time and then went guitar shopping in New York in 1969. And he asked Clapton if he knew anywhere in New York where he could one of these guitars, and Clapton tells him to speak to this guy, John Hammond Jr, the blues player. вЂњI remember hearing the story of how he was on the Blind Faith tour in New York, and he wanted a particular guitar, an old Kay I think, because heвЂ™d seen Lonnie Johnson playing one on an album cover. And so he would say: вЂWell IвЂ™ve got to get that, because that makes a great blues sound,вЂ™ rather than a luxury Les Paul or whatever. вЂњAnd they would play cheaper guitars, because thatвЂ™s what they could afford.

вЂњRory loved collecting blues memorabilia вЂ“ vinyl, posters, photographs вЂ“ and he was fascinated by what the old blues guys would play,вЂќ Daniel explains. So much of RoryвЂ™s collection is taken up with these unusual guitars that werenвЂ™t exactly trendy at the time, and a lot of it comes back to his deep love of blues and blues history.

вЂњHeвЂ™d be looking at the Nationals, the Teiscos, the Silvertones, asking вЂWhatвЂ™s that? What does it sound like? Can I break the tremolo arm off it?вЂ™вЂќ вЂњIf he was here now, heвЂ™d be ignoring all that,вЂќ he continues, gesturing to the wall of old Gibsons and Fenders in New KingвЂ™s Road Vintage Guitar Emporium. He wouldnвЂ™t be interested in buying that yearвЂ™s new Strat or whatever. вЂњWhen he was on the road, especially in America, he would just go into pawn shops and buy loads of Kays, Harmonys, Tokais and Teiscos. вЂњI feel like this is another one of those guitars where he saw it and thought, вЂThatвЂ™s mad, nobody else is playing one, IвЂ™ll take it!вЂ™ And it probably only cost him a couple of hundred dollars, if that! вЂњThis is such a mad thing! ItвЂ™s so cool вЂ“ itвЂ™s got a handle, nobody needs a handle!вЂќ Daniel Gallagher вЂ“ RoryвЂ™s nephew вЂ“ laughs. The Japanese budget brand might have been recently reborn as a maker of oddball effects, but during the mid 1960s, it was bringing its eccentric design approach to guitars such as this offset. All but the smallest companies print catalogues in significantly larger quantities than in the previous decades.Our final leftfield electric comes from Teisco. Since the 1970s, colour printing has been the norm. Though by the mid-1960s guitar sales were at a peak, and most manufacturers were using colour, often producing lushly designed full-line catalogues containing all guitars, basses, amplifiers, banjos etc produced by the company at that time.

#1968 TEISCO GUITAR FULL#

Some of the first full colour guitar publicity was produced by Gretsch in the 1950s. Early catalogues were naturally black and white, with the occasional two-colour font or page design. Later Gretsch, Gibson and other companies followed suit.

Some of the bigger manufacturers (most notably Fender in the early 1960s) started including somewhat slimmed down catalogues in the centre pages of popular music magazines such as Downbeat. Examples include LD Heater in the US, and Bell music in the UK. Often these contained pages from the manufactures own catalogues, but sometimes they were entirely separate. What's more, some larger music stores produced their own catalogues. In the UK Boosey and Hawkes distributed Guild and Arbiter distributed Gretsch.Д¬atalogues were typically available from guitar dealers and by mail from the manufacturers themselves (or the distributors in overseas territories). Other examples include Merson, and later Ampeg, distributing Hagstrom, and Sorkin distributing Hofner in the USA. So British catalogue listings for Gibson and Hofner, for example, appeared in Selmer catalogues. UK brand VOX were distributed by the Thomas organ company in the US, whilst Vox's parent company JMI distributed Fender in the UK. For example, in the early 1960s, Selmer were the UK distributor for numerous non-UK brands: Hofner from Germany, Hagstrom from Sweden, and Gibson from the US. Guitars sold worldwide tended to have an overseas agent looking after the distribution and advertising in that particular territory.

1968 teisco guitar