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Post by majorminor on Aug 3, 2021 8:15:30 GMT -5
I'm not as plugged in to the scene as I used to be so this may be old news but apparently Gibson is making a US made Epiphone Texan guitar in Bozeman. It almost has an 1 3/4" wide nut, semi chunky neck, and on board electronics. And it's made right up the road in sucky old Montana. Hmmmm.....
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Post by aquaduct on Aug 3, 2021 9:29:07 GMT -5
Sweet. I started on an a Texan back in about '73. Technically it was my younger brother's. Folks had bought it for him to learn on and he'd promptly lost interest. So I started carting it on my bike to Marie Dedinsky's house (friends with Mom) for weekly lesson in strumming folk tunes of that time (Blowing In The Wind, etc.). Left it at Mom's when I got married and it's since gone to my brother's kid and then to a friend of his and then God knows where.
But at that time they had really small necks. Which ultimately brought me to my 335.
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Post by TKennedy on Aug 3, 2021 9:42:41 GMT -5
I moved from piano to guitar in college in 1963. After the usual Silvertone archtop with 1” action found in my uncle’s basement I transitioned to a cheap classical but in 1964 found a used Texan in a music store in Denver for $125.
I loved it, abused it, later had it converted to a fixed saddle (huge difference) and now it is back in Denver at my son’s house. I have a real soft spot for Texans. There is a sunburst 1965 in my shop right now with a broken headstock that I got from Marty.
I know Pop Wagner and Peter O played Texans and one of the Beatles right?
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Post by majorminor on Aug 3, 2021 9:50:28 GMT -5
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Post by aquaduct on Aug 3, 2021 10:15:39 GMT -5
Damned if that's not a Red Wings sticker.
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Post by billhammond on Aug 3, 2021 10:19:05 GMT -5
As heard on this not-bad tune: Ostensibly simple, featuring only McCartney playing an Epiphone Texan steel-string acoustic guitar[17] backed by a string quartet in one of the Beatles' first uses of session musicians,[18] "Yesterday" has two contrasting sections, differing in melody and rhythm, producing a sense of variety and fitting contrast.[19] The main melody is seven bars in length, extremely rare in popular song, while the bridge, or "middle eight," is the more standard form of eight bars; often two four-bar phrases combined. |
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Post by robjh22 on Aug 3, 2021 10:30:19 GMT -5
Sweet. I started on an a Texan back in about '73. Technically it was my younger brother's. Folks had bought it for him to learn on and he'd promptly lost interest. So I started carting it on my bike to Marie Dedinsky's house (friends with Mom) for weekly lesson in strumming folk tunes of that time (Blowing In The Wind, etc.). Left it at Mom's when I got married and it's since gone to my brother's kid and then to a friend of his and then God knows where. But at that time they had really small necks. Which ultimately brought me to my 335. I'm guessing you got tired of "Where Have All the Flowers Gone" and "500 Miles" even faster than I did. But I find the Beatles' association with Epiphone interesting. Isn't Epiphone just an economical version of Gibson, as the Biscayne was to the Impala, less bling, etc.? McCartney could probably afford a Gibson, at least on an installment plan. Lennon too played an Epiphone, I think, on "Get Back" and also on that great and live version of "Revolution." It looks live, at least. Maybe overdubbed. Yeah ... you can hear the electric piano but can't see it. youtu.be/BGLGzRXY5Bw |
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Post by Marty on Aug 3, 2021 10:36:40 GMT -5
By specifications that is a 1961-62 Texan. For some reason the stylized E on the pickguard is referred to a slashed C logo,?. |
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Post by millring on Aug 3, 2021 13:54:10 GMT -5
This is a rabbit trail from a thread about Texans. The way my mind works relative to the Texan: They were great guitars, but almost specifically because they were really good economy Gibsons. Many of them sounded as good or even quite a bit better than their Gibson counterpart because at that time in guitars, Gibsons were of very uneven quality. But in today's world wherein there are SO many economy Gibson copies, I would be far less likely to be interested in a Texan (unless perhaps we're talking about an old Texan). The Farida that LJ gave me is, to my ear and hands, as good as a Gibson copy gets -- at least until you're talking perhaps the $6,000 Santa Cruz or Collings (where some things -- but probably not the sound -- might be better). The thing about the Farida is that they didn't put six-shooters in the corners of their Wayfarers. When I was a kid, Wayfarers were the hippest of hip sunglasses. I, like ever other kid, wanted a pair of them. An uncle bought me a pair. Except they were made for kids and had little silver six shooters in the corners. Like a kid who wanted Wayfarers would want them adorned in such a way that screamed " KID'S SUNGLASSES! ". The other Gibson copiers all felt the need to add something to the appearance. I get it. At least on some level it's even honorable to not make an identical copy. Maybe even (as all the lawsuit Martins would attest) unethical. But the Farida has only one change of appearance from a '40s J45. The headstock. And they did a darn good job of making it aesthetically pleasing (if they ripped anyone off on IT, it wasn't Gibson -- it was Collings with their haircut headstock).  |
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Post by coachdoc on Aug 3, 2021 13:57:27 GMT -5
By specifications that is a 1961-62 Texan. For some reason the stylized E on the pickguard is referred to a slashed C logo,?. Is that because it looks like a 'C' with a slash across it?  |
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Post by robjh22 on Aug 3, 2021 14:48:30 GMT -5
This is a rabbit trail from a thread about Texans. The way my mind works relative to the Texan: They were great guitars, but almost specifically because they were really good economy Gibsons. Many of them sounded as good or even quite a bit better than their Gibson counterpart because at that time in guitars, Gibsons were of very uneven quality. But in today's world wherein there are SO many economy Gibson copies, I would be far less likely to be interested in a Texan (unless perhaps we're talking about an old Texan). The Farida that LJ gave me is, to my ear and hands, as good as a Gibson copy gets -- at least until you're talking perhaps the $6,000 Santa Cruz or Collings (where some things -- but probably not the sound -- might be better). The thing about the Farida is that they didn't put six-shooters in the corners of their Wayfarers. When I was a kid, Wayfarers were the hippest of hip sunglasses. I, like ever other kid, wanted a pair of them. An uncle bought me a pair. Except they were made for kids and had little silver six shooters in the corners. Like a kid who wanted Wayfarers would want them adorned in such a way that screamed " KID'S SUNGLASSES! ". The other Gibson copiers all felt the need to add something to the appearance. I get it. At least on some level it's even honorable to not make an identical copy. Maybe even (as all the lawsuit Martins would attest) unethical. But the Farida has only one change of appearance from a '40s J45. The headstock. And they did a darn good job of making it aesthetically pleasing (if they ripped anyone off on IT, it wasn't Gibson -- it was Collings with their haircut headstock). Tell me about that 1 x 4 (2 x 4?) to which the guitar hanger is affixed. Is that there just for the guitar hanger and future/additional guitar hangers? This is a serious question, as I am deliberating how to hang my guitars on my bunker wall, and I don't want to drive holes directly into the sheetrock only to find that I missed the stud.  |
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Post by millring on Aug 3, 2021 16:08:18 GMT -5
Tell me about that 1 x 4 (2 x 4?) to which the guitar hanger is affixed. Is that there just for the guitar hanger and future/additional guitar hangers? This is a serious question, as I am deliberating how to hang my guitars on my bunker wall, and I don't want to drive holes directly into the sheetrock only to find that I missed the stud. When I built my shop/studio, I originally built it with a gallery in the corner. Because I've always had a thing for Shaker and Windsor and all things primative, when I built the gallery I put a shaker peg rack around it. It served to hang watercolors from the artists that I represented, as well as baskets from the craftsmen I represented. I liked the look and the utility. When the sales at art fairs went crazy and the gallery became irrelevant and just a thief of space I needed for production, I closed the gallery but the peg rack remained. It's 1X4 secured to the framing of the shop. I could hang from it. The hook that holds the guitar is a rubber padded 1/4" thread tool hook. It seems to work perfectly for guitars. I've never had one get marred or even try to slip off. The rubber kind of grabs it. |
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Post by Marshall on Aug 3, 2021 16:22:05 GMT -5
I always wanted to "like" the Epi Texan as a J45 clone. But it's not. Everyone I've played is different from a J45 sound. Certainly nice. But not sonically what I was looking for.
And that sunburst is TOTALLY WRONG!
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Post by drlj on Aug 3, 2021 17:48:34 GMT -5
The Texan is a long scale guitar (25.5)unlike the J-45 that is a short scale (24.75) and this makes them very different guitars.
The Texan is closer to the Gibson Advance Jumbo than to a J-45.
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Post by david on Aug 3, 2021 20:42:47 GMT -5
I'm not as plugged in to the scene as I used to be so this may be old news but apparently Gibson is making a US made Epiphone Texan guitar in Bozeman. It almost has an 1 3/4" wide nut, semi chunky neck, and on board electronics. And it's made right up the road in sucky old Montana. Hmmmm..... It has some serious competition from the . . . Epiphone Texan and the Epiphone Masterbilt Texan, both from China for around $700 I believe: |
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