#1976 Les Paul Custom

[guitarbomb]

Jeff Buckley Guitar Gear - A Deep Dive into Grace

Jeff Buckley was a major influence on many musicians and guitarists. We take a deep dive into the gear he used.

Jeff Buckley’s Grace album is a tour de force in songwriting. It also features some exceptional guitar playing and recorded guitar tones. We take you through that gear and talk about how to grab some of those tones and integrate them into your rig. Jeff Buckley  Jeff Buckley’s album Grace is often seen as the perfect debut album by many because it is so fully formed. With the perfect balance of…

[justforbooks]

Michel Guérard

French chef who found fame with his bestelling book La Grande Cuisine Minceur, which advocated lighter dishes

The French chef Michel Guérard, who has died aged 91, was to many British diners, readers and cooks the chief exponent of nouvelle cuisine. This way of cooking gained wide acceptance in the 1970s. It broke away from classical culinary tropes in search of greater lightness, directness and invention.

Guérard was but one of a group of transformational chefs in the nouvelle cuisine movement, including Paul Bocuse, the brothers Troisgros, and his early mentor Jean Delaveyne of the Camélia restaurant in Bougival. However, it was his book La Grande Cuisine Minceur, published in 1976, that first delivered his cookery to tables worldwide (more than a million copies sold, in 13 languages) even though the recipes the book contained were in fact calibrated for customers on a diet.

The consequence was that cuisine minceur soon became confused in British eyes with nouvelle cuisine itself, which was thereafter tainted with a reputation of minuscule portions, fancy reductions and purées, and pictures on a plate.

Although his early career boasted many successes, Guérard’s name will always be joined to that of Eugénie-les-Bains, the health spa in south-western France where he began cooking in 1974, after his marriage to Christine Barthélémy, to whose family the resort belonged. It was there that he developed a range of dishes suitable for the recovery of good health; and where he established a restaurant of immeasurable class, serving imaginative food of the highest quality, around which grew up a positive village of collateral ventures including a bistro, cafes, cooking schools and hotels.

He followed up La Cuisine Minceur with the less body-conscious La Cuisine Gourmande in 1978. Enthusiasts would assert this his crowning glory, and diners who have enjoyed multiple versions of marquise au chocolat, chicken with vinegar, or countless forms of puff-pastry feuilletés should doff their caps to their original inspiration.

His books made Guérard an international celebrity before most of the general public had heard of his equally capable colleagues in France. In 1976 he featured on the front cover of Time magazine, under the headline “Hold the Butter”. In the same year, he forged an alliance with Nestlé and launched a range of frozen foods under the Findus trademark, again in anticipation of a universal trend.

Guérard was born in Vétheuil, a village to the west of Paris once home to the impressionist painter Claude Monet. Michel was the younger son of Maurice, a butcher-grazier, and Georgine, children themselves of the village butcher and grocer. When he was still an infant, the family moved to Pavilly, north of Rouen, then later to the town of Mantes-la-Jolie on the Seine. Educated at the Lycée Corneille in Rouen, when he left school at 16 he went as apprentice to the pâtissier-caterer Kléber Alix in Mantes. There is no better training for a chef than patisserie, which imparts routine, precision and delicacy. He passed his trade examination at the top of the class, just as he would achieve the prestigious award of Meilleur Ouvrier de France en Pâtisserie in 1958 as the youngest candidate that year.

Apprenticeship over, and after more classic French cooking at a former coaching inn not far from Dieppe, Guérard spent his military service in the navy at Cherbourg. He was now fit for an assault on Paris, working first at the Hôtel Meurice and then, as pâtissier, at the Hôtel de Crillon, before moving to the Paris Lido, a barnstorming mixture of burlesque and fine dining on the Champs-Élysées.

Guérard’s parents were concerned that he was not yet set up in an owner-occupied business in the family tradition. In 1965, his response was to buy from the receiver in bankruptcy a run-down bistro, Le Pot-au-Feu, in the industrial Paris suburb of Asnières. It was all he could afford. On the opposite corner was a rivet factory, the place seated only 28 people and the kitchen was tiny.

His transformation of a hang-out for locals into a destination for the capital’s high-living inhabitants was rapid, the client list soon stellar, bookings necessary months in advance. The on-trend French guide Gault-Millau described Le Pot-au-Feu as “the best suburban bistro in the world”. It gained a Michelin star in 1967 and two stars in 1969, despite the humble surroundings.

But a life of constant activity – cooking at his own restaurant, consulting on menus at the fashionable Régine’s nightclub, sleeping no more than three hours a night – was upended by two events: meeting Christine in 1972 and the compulsory purchase of his Pot-au-Feu to accommodate a slip-road.

Christine was the daughter of Adrien Barthélémy, the postwar creator of a chain of health resorts who had placed her in charge of Eugénie-les-Bains, in an unfrequented corner of France. Her meeting Guérard, his loss of premises, their failure to find a substitute in Paris, was a series of happy coincidences that led to his assuming the direction of the kitchens at Eugénie in 1974.

He never looked back, concentrating for the rest of his career on developing this resource. Its closure for business during the winter months allowed him some freedom for other ventures, be they his books, his opening a shop opposite Fauchon in Paris or at Bloomingdale’s in New York, consulting for Régine’s expansion beyond France, or buying the nearby chateau of Bachen and developing its vineyard.

Eugénie held three stars in the Michelin guide from 1977 onwards and Guérard’s influence on French restaurants was immeasurable.

He exemplified the singularities of nouvelle cuisine: plate service under silver domes; the chef-proprietor interacting with his customers as well as his chopping board; the emphasis on short cooking; the delight in sweet-acid combinations. His firm friendships with like-minded chefs, as well as their gift for the art itself, made the movement unstoppable.

Christine died in 2017. He is survived by their two daughters, Éléonore and Adeline.

🔔 Michel Etienne Robert-Guérard, chef, born 27 March 1933; died 19 August 2024

Daily inspiration. Discover more photos at Just for Books…?

[wimpydave]

I FINALLY Got a "Blonde Beauty" | 1976 Gibson Les Paul Custom Maple Fret...

[tanoguitarslab]

オススメ商品情報！

Gibson

1976 Les Paul Custom / White

刻印ナンバードPU搭載の76年製レスポールカスタム！これぞヴィンテージ・ホワイトなルックス！

●販売価格、詳細はデジマートをご覧ください!! https://www.digimart.net/cat01/shop5214/DS08111276/

[bushdog]

Gibson Les Paul Custom Tobacco Burst 1 of 288 made in 1976 – Mahar's Vintage Guitars

[i-love-guitars]

1976 Gibson Les Paul Custom 3-Pickup - Wine Red 

[sweetdreamsjeff]

Sunday Sessions: Jeff Buckley’s Guitar Gear

by JEF STONE 18th Apr 2021

Leave a Commenton Sunday Sessions: Jeff Buckley’s Guitar Gear

In this weeks Sunday Session we look at the late Jeff Buckley's guitar gear.

Jeff Buckley’s Grace album is a tour de force in songwriting and it also features some exceptional guitar playing and recorded guitar tones. In this weeks Sunday Sessions I’m going to go through that gear, and talk about how to grab some of those tones and integrate them into your own rig.

Jeff Buckley 

Jeff Buckley’s album Grace is often seen as the perfect debut album by many.

In the early 1990s boutique amplifiers and effects just weren’t a thing. Yet Jeff’s whole album is full of sweet guitar tones and to this day it inspires many guitarists to go seek out those guitar tones.

It features beautiful melodies, amazing song writing and moments of complete abandon on the guitar. What stands out the most for me personally, is the depth of guitar tones on the recordings. With just a small amount of equipment, and none of it particularly fancy, Jeff Buckley created something which still resonates with listeners to this day.

Jeffs Guitars

Most players will be familiar with the 1983 ‘Top Loader’ Fender Telecaster that Jeff wielded as his main guitar, along with a 1976 Gibson Les Paul Custom in the classic black finish, which he was also seen using frequently.

The Norlin Custom

I suspect that once he had the money, he went out and purchased the Norlin era Gibson ’76 Les Paul Custom. We know its neck was completely broken off at one point, as it was repaired in around July 1995 in Amsterdam. This guitar was featured in an exhibition at the Rock & Roll Hall Of Fame And Museum, in Ohio for two years, along with many of his possessions, handwritten lyrics, poems and some clothing.

As far as I am aware the this Les Paul Custom was completely stock with no modifications. These are great guitars and when you find a good one, they are worth holding on to.

Jeff’s Telecaster

The borrowed guitar

What is interesting is that this Telecaster was actually borrowed from Janine Nicholls, a director at a local arts institution in New York while Buckley was still playing cafe shows in 1991. This guitar is a Butterscotch 1952 style Telecaster and apart from the bridge which is a top loader and had six individual saddles, rather than three brass barrels, and that hot stacked bridge pickup its a pretty standard Telecaster to look at, just with a chrome mirrored pickguard.

The guitar was returned to its original owner, after Buckley’s tragic death in 1997 and they eventually sold it on auction in 2011, selling for over $50,000.

As we now know Muse frontman Matt Bellamy purchased the guitar in 2020 and he is now the proud owner of this instrument.

Rickenbacker 12-String

On occasion you would also see him with a Rickenbacker 360/12 “Fireglo”. Buckley bought this 12 string Rickenbacker 360 with the money from his first advance after getting signed with Sony. This 12-string was mainly kept in Open G tuning, and live he would use it on the songs ‘Last Goodbye’ and ‘Vancouver’.

The Flower Guitar

Acoustics

The Guild F-50 was his main acoustic throughout the recording and touring of Grace, and you’d often the guitar covered in duct tape to help quash feedback issues when he played it live. It’s a guitar that is similar to the twelve string model his estranged father Tim Buckley had used.

Whereas the smaller, warmer sounding Gibson L-1 which Buckley got sometime around 1994, and often used for his finger style playing. Buckley used this guitar on many of his demos and at his smaller shows.

Amplifiers

Amp wise his usual setup was a ’90s Fender Vibroverb ’63 Reissue, and live you would also see him using a Mesa Boogie Dual Rectifier Trem-o-verb Combo.

Twin Amps

And in the mid-nineties the Mesa Boogie Dual Rectifier Trem-o-verb Combo was seen as the top end of amplifiers by many and so I can see why he used one. In the studio and live he often used these two amps together, with the Fender providing the cleans and the Mesa Boogie handling all his gain tones.

Effects

Guitar Tunings and chords

Jeff is known to have used Dean Markley Blue Steel strings on his electrics, and I’d assume he played 10s. He used Open G on Last Goodbye, which is D-G-D-G-B-D and Hallelujah is achieved by using a capo at the 5th Fret which gives you  A-D-G-C-E-A.

He also uses a lot of 6th chords, where you use a standard triad (the 1st, 3rd and 5th) with the 6th added. With both major 6th and minor 6th chords featuring frequently in his repertoire.

These 6th chords have a lot more drama in them and so that major 6th has a nice pleasant welcoming warm sound, whereas the minor 6th has a much darker and more haunting sound.

For example Dream Brother uses Bb6 – Cm6 – Dm7 – Ebmaj7 and the song Grace uses Em – F#m6 – G6 – A6.

I’d suggest brushing up on your 6th chords will really help you to cop some of that tension and drama that Jeff always coaxes out of his songs.

Grace Tones

My advice would be when attempting to get some of the tones that Jeff achieved on Grace, don’t be afraid of reverb and letting it create space in your tracks.

Look for a good warm, Fender-style clean tone, and if you are using a modeller or software, look for something which has a Fender Vibroverb or similar, to achieve this. Fender has reissued these amplifier a few times, so you can find them, and I know of a few boutique amp builders that will make you one.

His driven tones are definitely that Mesa Boogie sound and again you can find these within software and modelling. Originals are loud, very loud, so if you re going to hunt one down be prepared for the volume.

The videos below discuss some of his recorded tones and how to achieve the ‘reverb’ sound, which he is famous for. You can certainly still pick up the Alesis Quadraverb models used, but there are also plenty of plugins which emulate them. Something along the lines of the Valhalla Vintage Verb will get you in the ballpark.

I hope this article helps you on your quest for great guitar tones, and if you have the time, pop Grace on your stereo and go immerse yourself the wonderful layers of guitar tones.

[itsmarjudgeloveclassicrock59]

Gibson Les Paul Custom Black (1976)

[chuck-glisson]

This was my very 1st, "Real" Guitar.

I purchased it at the Ramstein US Air Force Base, in Germany in 1976.

I was a 16 Year Old "Air Force Brat", at the time, and my father was an Air Force Master Sargeant, stationed at the nearby "Zweibrucken Air Force Base".

I worked all that summer in a Youth Program called "Summer Hire", just to make $$, to buy a Guitar, and I "Ended Up" with exactly $200.

The "Lowest Priced" guitar they had at the "Ramstein BX", was THIS Lone Mustang, and they had it listed at $225. It had been "Used" for "Demonstrating" Amps, and it had some rather noticable scratches in the pickguard & body, plus the strings needed replacing too, so I tried to "Haggle", and they agreed to "Knock Off" $25.

CHA CHENG! :)

I really didn't "Care" about originality, so over the years I have made modifications to the Guitar to improve "Sound, Performance & in MY opinion, the "Looks".

The 1st "Mod" was removing the UGLY "Olympic White" finish, and since I was a HUGE "Rory Gallagher" fan, I went with something that "He" had "Going On" with his Stratocaster, NO PAINT! I did, however, put some "Danish Oil" on it, for "Protection", and "Cosmetics".

The "Next" change, was replacing the PickUps with some used Dimarzio SDS-1 PickUps, "This" occured in 1980, so the pickUps were 78-80 models, the shop that sold them to me had "No History" on them, but at $30 for the pair of them, I had no reason to complain.

Then I replaced the Scratched White Pick Guard with a "Customized" one with the "American Flag", to "Thumb My Nose" at Def Leppard, and "Other" British Rock Guitarists who were putting the "Union Jack" all over "Their" gear.

Then I replaced the "Original" Tone and Volume knobs with "Fender Amp" knobs, because I think the "Original" Mustang knobs look ugly.

I "Defeated" the Tremolo by Threading Nuts onto the Two Tremolo Shafts on the "Inside" of the bridge, which very effectively converted the Guitar into a "Hard Tail".

The "Final" Mod was replacing the rather "Loose & Sloppy" tuners, with Wilkinson "E-Z-LOK", 1:19 Ratio Tuners, which was a VAST improvement with "Tuning & Intonation".

So how does the Mustang Play & Sound?

I never really, cared for the "Original" tone, it was too "Thin Sharp & Nasally", but when I replaced the pickUps, this guitar ROARED to life. At 9.36K ohm, the Dimarzio "SDS-1's" are in "Mild" PAF territory, "Output" wise, and have a tone that kind of reminds me of the Gibson P-90 "Soap Bar" PickUps.

With the "Out Of Phase" switching capability [ which is "Standard Eguipment" on the Mustang ], coupled with the awesome tone of the Dimarzio "SDS-1's", I can get anything from "Hot Rodded Telecaster" through "Stratocaster" sounds, to even "Phater" almost "Humbucker" tones just "Teasing" into Les Paul territory.

Versatility, would be the "Buzz Word" here.

I had the Neck Re-planed, Re-fretted, and the Action and Intonation adjusted in 1986, and since "Then" this guitar plays VERY VERY "Easy"!

[archiestephen-blog]

Week 1

I visited the Birmingham Museum and art Gallery to see the Revolution Exhibition.  The items on display that caught my eye were the custom Gibson Les Paul Electric Guitar played by Basil Gabbidon of Steel Pulse and Benjamin Zephania’s typewriter given to him in 1976. 

[elderlyinstruments]

Gibson Les Paul Custom (1976) | Elderly Instruments

From the vault: This 1976 Gibson Les Paul Custom features a bound maple top on a bound pancake mahogany body and a 3-piece maple neck, all in a sleek black finish. It’s loaded with two humbucking pickups and gold hardware, including Schaller/Gibson tuners.

Give it a spin with our 360 viewer: http://bit.ly/2swoG7P

[rupertkeplinger]

Look what the cat dragged in! A 1971 Les Paul Custom, 100% original! 🎉 A nice addition to my collection, I just need more guitar stands again 🙂 I will compare it with my 1976 Ibanez Les Paul copy and my 1982 Tokai Les Paul, all of them sounding great in their own way. . . #1971 #gibson #gibsonguitars #gibsonlespaul #guitarlove #guitar #electricguitar #guitars #guitarist #guitardaily #guitarra #vintageguitar #guitarworld #guitarplayer #guitarporn #guitarrista #gibsonusa #guitarphotography #gibsonvintage #vintagelespaul #lespaul #lespaulcustom #lespaulpride #gibsondaily #gibsoncustom #oldguitar https://www.instagram.com/rupertkeplinger/p/BuYxVnSnYJJ/?utm_source=ig_tumblr_share&igshid=1hgzlh5uygroq

[bushdog]

1976 Gibson Les Paul Custom with Adam Jones Custom Shop Case ~ Tobacco Burst  (via G-Brat's Guitars)

[holidayloading48]

Goya Guitar G15

Goya Guitars G 10 Value

Goya Guitar G-10

Goya Guitar G150

The Goya guitar information spotlighted on this page comes from different sources (and individuals via email) and will sometimes conflict. Hopefully, enough facts come through to provide enlightenment to the history of the Goya guitar. At the bottom of this page is the list of some of the sources that I used. If you have any additional information about Goya guitars or the companies that produced and distributed them - please

Goya Guitar G15 En Que Consiste La Psicologia Del Color Download Train Simulator 2009 Taraftar Tv Indir Dragon Age Inquisition Full Download Akhkharu Vampyre Magick Pdf Drag Racer V3 Download Tms Tamil Songs Lyrics Create Simple. Goya was the first classic guitar line to put the trademark name on the headstock, and also created the ball end classic guitar string. Sep 09, 2015 This guitar had two cracks on the back of the base. VTG 1956 Goya G15 Acoustic Classical Guitar 50s Gretsch Martin Sweden Orig Case You are bidding on an authentic vintage 1956 Goya classical acoustic guitar. This guitar is in very good condition.

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email me. ThanksThe guitar brand name 'Goya' existed from the mid 1950's to 1996. Nylon and steel string acoustic and acoustic/electric guitars, hollow body electric guitars, solidbody electric guitars and basses, thinline electric archtops guitars, banjos, mandolins and amplifiers. The Goya brand name was initially used by Hershman Musical Instrument Company of New York City, New York, in mid 1950's for acoustic guitars made in Sweden by Levin, particularly known for its classical guitars. NOTE: As best I can tell, 'Goya' brand guitars were made starting in 1954 and ending in 1996. The Goya brand name was initially used by the Hershman Musical Instrument Company of New York (Goya Guitars Inc.). The 'Goya' name comes from Francisco Jose de Goya, the famous 18th century Spanish painter known as the father of modern art (Francisco drew a lot of Spanish guitar players too). The distribution for Goya guitars went from Hershman to Kustom Electronics Inc. in 1970 and then over to Dude Inc. (both of Chanute, Kansas) in late 1972 as best I can tell. Most of the acoustic guitars during this perion (1954-1973) were handmade in Sweden by the Levin company (I believe the possible exceptions were the G-50 models made in the USA based on descriptions in some of my Goya catalogs). The Goya brand then went to Martin Guitars in 1974 (the same year they acquired Levin) and lasted until 1996. These Goya guitars were made in Japan, Korea and Taiwan (I've never seen a Martin 'Goya' that said made in Sweden).

Sparkle plastic covered Model 80 (ESP24 Standard) and Model 90 (EDP46) hollowbody electric 'Les Pauls' (with replaceable pickup assemblies) - made by Hagstrom - introduced mid 1959. These are relatively rare.

By 1963 company had become Goya Musical Instrument Corporation, marketing primarily Goya acoustic guitars. Goya purchased by Avnet, Inc., prior to 1966, when Avnet purchased Guild Guitars. Probably some 1970's guitars were made in Japan.

Justbroadcaster for periscope. Goldspy. Brand name purchased by C.F.Martin in late '70s with Japanese-made acoustic guitars, solidbody electric guitars, basses, banjos and mandolins imported in around 1978 and continuing through the 1980's. Brand name was then used on high-quality Korean-made acoustic and acoustic/electric guitars, banjos and mandolins. Brand name 'Goya' discontinued in 1996.

Goya instruments were originally produced in Sweden by the Levin Company that has been making guitars since the 1900's. Distributed by Hershman Musical Instruments Company of New York. Later Goya instruments were built in Korea from the early 1970's to 1996, and were distributed by the Martin Guitar Company, located in Nazareth, Pennsylvania. The Goya trademark was originally used by the Hershman Musical Instrument Company of New York City, New York in the 1950's on models built by Sweden's Levin Company (similiar models were sold in Europe under the company's Levin trademark). Levin built high quality acoustic flattop, classical, and archtop guitars as well as mandolins. A large number of rebranded Goya instruments were imported to the U.S. market. As a side note - Anders Wasén of Gothenburg, Sweden (where Levin/Goya was made) provides this additional information: H.C. Levin was from Sweden and as I was told worked in the United States as a trainee at the Martin Guitar Company. Nomachine for mac. So did his son just before World War I (as he told me himself). H.C. went back to Sweden and formed the Levin Guitar company (Goya in the US).

In the late 1950's, solidbody electric guitars and basses built by Hagstrom (also a Swedish company) were rebranded Goya and distributed in the U.S. as well. In 1963 the company changed its name to the Goya Musical Instrument Corporation.

Goya was purchased by Avnet in 1966, and continued to import instruments such as the Rangemaster in 1967. By the late 1960's, electric solidbody guitars and basses were then being built in Italy by the EKO company. Avnet then sold the Goya trademark to Kustom Electronics. It has been estimated that the later Goya instruments of the 1970's were built in Japan.

The C.F. Martin company later acquired the Levin company, and bought the rights to the Goya trademark from a company named Dude, Inc. in 1976. Martin imported a number guitar, mandolin, and banjo string instruments from the 1970's through to 1996. While this trademark is currently discontinued, the rights to the name are still held by the Martin Guitar company.

The Goya company featured a number of innovations that most people are not aware of. Goya was the first classic guitar line to put the trademark name on the headstock, and also created the ball end classic guitar string.

Levin-Era Goya models feature interior paper label with the Goya trademark in a cursive style, and designated 'Made by A.B. Herman Carlson Levin - Gothenburg Sweden.' Model and serial number appear on the label, as well as on the neck block.

Albin Hagstrom's company produced guitars in Sweden from 1957 through the early 1980's. Early distributors included the Hershman Musical Instrument Company of New York (under Goya logo) and Selmer, U.K. (under Futurama logo). Hagstrom really came into it's stride during the beat boom of the early 1960's, making functional, affordable models such as the Kent. Hagstrom also began to export widely, often badging guitars to suit the marketing brands of the customer. Thus some US Goya-brand guitars orginated at the Hagstrom plant, as did a number of British Futurama models.

The earliest known Goya guitars that I can VERIFY are from 1958. I have a 1958 Goya Guitar catalog to base that statement on. Also, all Goya guitars with labels saying 'Made by A.B. Herman Carlson Levin, Gothenburg, Sweden' have serial numbers showing a 1958 date using the 'Locksley Serial Number List.' I believe that list can be ONLY be used for Goya guitars having that label. All other Goya guitars CAN NOT use the 'Locksley Serial Number List.'

Goya Guitars G 10 Value

Goya guitars were imported from Sweden by Kustom Electronics in the late 60's to early 70's. I have a 'Kustom Goya Ad' dated 1971. I've been told that Kustom didn't put serial numbers on the Goya guitars. The Goya distributorship was then sold to Keith Dodd of Dude Inc. in the early 70s who I've been told did put serial numbers on the Goya guitars. Kustom Electronics originated in Chanute, Kansas as did Dude Inc. Around 1977 the Goya franchise was sold by Dude to the Martin Guitar Co., who began importing Goya guitars from the orient (I have a 1977 Goya Martin Guitar catalog).

Goya was a brand applied to guitars imported into the US by Hershman. From 1959 some were made by Hagstrom in Sweden, with distinctive touches including colorful plastic finishes and multiple control layouts. By the late 1950's the influence of electric guitars had spread worldwide, evidenced by other countries' contributions to the cause, and some of these did make their mark on a pre-beat boom British market. In Sweden, accordion maker Hagstrom decided it wanted a piece of the electric guitar action and launched two- and four- pickup solidbody models in 1958. These visually arresting guitars boasted banks of pushbuttons and chromed panels plus abundant sparkle and pearloid plastic - all unsurprisingly appropriate in view of their accordion-derived ancestry. Such exercises in excess even fared well in the US where Hagstroms bore the Goya brand name.

Jimi Hendrix played a psychedelic (paisley design) Goya Rangemaster, which can be seen in the 'Jimi Hendrix Electric Gypsy' book by Shapiro & Glebeek. The picture in the book has this description 'Goya - probably made in early 1968. This photograph (taken around March 1968 in the USA) shows Jimi playing this Italian-manufactured guitar - the first psychedelic guitar available on the market.' NOTE: I believe I saw the guitarist for 'Country Joe and the Fish' playing a Goya Rangemaster during a performance that was shown on 'The History of Rock 'n' Roll' shown on PBS television.

Stevie Nicks of Fleetwood Mac fame composed her first song 'I've Loved and I've Lost' with a Goya guitar, her very first guitar, given to her by her parents on her sixteenth birthday. Asked during a MTV interview, 'How long, actually, have you been composing songs?' she answered, 'Since my 16th birthday, the day I got my Goya guitar. I wrote a song that day.' Another great artist that used a Goya guitar in all her songs was Melanie. If you ever saw the 1967 movie 'The Sound of Music' then you saw Julia Andrews playing a classical Goya guitar (I believe it was a G-13 model).Another artist associated with Goya guitars is Mason Williams, who gave us the great guitar instrumental 'Classical Gas.' His second guitar was a Goya which he bought in 1958.

The Goya Rangemasters electric guitars were produced between 1965 - 1969. The 'Goya' brand name was used at various times by Hershman Musical Instrument Company of New York, an importing firm, and as was so often the case with distribution companies one brand name turns up on guitars from a number of different sources. The Rangemaster model, for example, is of Italian origin, reflecting a 1960s predilection for multiple control layouts and most likely comes from the EKO factory. The vibrato bar, however, was provided by another Goya supplier, the Hagstrom company of Sweden.' NOTE: Someone informed me that they had talked with a production manager from 'EKO' in the 60s who said they had no involvement with Goya. That same person suggested to me that the 'Polverini Brothers' in Italy made the Rangemaster guitars. It has also been suggested that Italian guitar maker Galanti made the Goya 'Panther' models. The Goya Panther and the Galanti guitars look nearly identical.

The Japanese manufacturers who started to mass produce electric guitars in the early 1960's included Fujigen Gakki which made guitars with Goya, Kent and other importer brands. Greco instruments were imported to the U.S. through Goya Guitars/Avnet. Avnet was the same major company that also acquired Guild in 1966. NOTE: The 'Greco' brand guitars as owned by the Hershman Musical Instrument Company of New York (Goya Guitars Inc.) during the 1960s are NOT the same as the Japanese made GRECO guitars made in the 70s and 80s. The Hershman 'Grecos' were made in various European countries and are listed in my Greco catalogs. I believe the 'Greco' name comes from the 16th century painter El Greco (there were no guitars around during his days). The logo for the Hershman Grecos are in the same style as the Hershman Goya logo and different than the Japanese made GRECO guitar logos. By the way, speaking of logos, the Goya logo did go through a change sometime in the 1980s when Martin owned the Goya brand - some of these guitars were made in Korea.

Today is a good day I would suppose. I ran over to one of my old friends houses whom I don't see very often. He is heading off to college Sept. 1st to finish his degree and is trying to get rid of useless shit in his house. He doesn't play guitar and had this acoustic lying around from some house party he had AGES ago. Some stupid kid left it there. I am assuming its really not that valuable, considering the kid left it, oh, at someones house. He got wind that I had started playing guitar and asked if I wanted it, told me it would be a fixer cause it had been lying around his house for, well, ages. It is indeed a fixer-upper (Well kinda..) It needs new strings and a new nut (missing it, where the hell it is, G-d only knows. But- Its a Goya by Martin Model # G310

I know nothing of this guitar, and I am probably retarded and cant find anything online really of use, ie- value, where to find parts (aka-this nut that I need) and some way to tell what year etc I have on my hands. From what I can find, they stopped making this guitar in 1992. So..Ah..Little help here? Please. Por Favor? Love Tan.

Goya Guitar G-10

Goya Guitar G150

The Guitar Illiterate.

[sweetdreamsjeff]

Jeff Buckley’s Les Paul (Copy)

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1976 Gibson Les Paul Custom

Chronologically looking, this was the second Les Paul that Jeff owned and played. However, it…

Fender Vibroverb ’63 Reissue

This was the amp that Jeff used for the most part of his career, seen on photos taken…

Unknown Guitar

Jeff was first seen using the guitar circa 1985. At that time he was in…

When Jeff was around 13 or 14 years old, he received a Paul guitar as a birthday present from his mother and his stepfather.

Then when he was about 14 (1980), for his birthday, he asked for [this part cuts of during the video, so it’s not positive that these are exact words] a guitar, a real guitar. And that’s when we all chipped in to get him the Les Paul.

I got an electric guitar at thirteen – a black Les Paul copy that sounded pretty good. Yes, that’s how it started… According to Jeff’s friend, Jason Hamel, who was kind enough to provide some details about the guitar, Jeff had this Les Paul when the two first met, in 1981. Jason also suspects that Jeff got the guitar way before his 14th birthday (1980) since only a year later he could already play some serious stuff. As he points out, it is also possible that Jeff had a guitar prior to this which he used to practice on.

Jeff was still 14 in September of 81, and he was such an incredible guitarist by that point that I would have to assume he’d been playing for years already. Don’t know if he had another guitar before that.

Be that as it may, also according to Jason, in 1982 Jeff switched to a different guitar, Ovation Viper, which he purchased at Pete’s Music. Apparently, the Les Paul had a really sharp saddle on it that kept breaking strings, so the Viper was a much-needed upgrade (thanks Jason).

As a final note, it is important to note that this is not the same guitar that Jeff used in the 90s, which was an original Gibson Les Paul Custom. Jeff’s first Les Paul, although also black in similar in appearance, was a Gibson knockoff/copy.

[anthonycalascione]

Petersen reopens with four new exhibits

The Petersen Automotive Museum in Los Angeles has reopened on a Wednesday through Sunday basis and offers free admission to healthcare workers, first responders and their guests throughout 2021. 

The reopening showcases in-person viewing of three exhibits that opened in 2020 online: “Supercars: A century of Spectacle and Speed,” which showcases the evolution of the supercar; “Extreme Conditions,” which highlights 11 custom competition, recreational, and utilitarian off-roading vehicles; and “Redefining Performance” which features Porsche’s most innovative road and race vehicles. 

Supercars

Porsches

Going to extremes

Also featured is “The Aesthetic of Motoring: 90 Years of Pininfarina,” an exhibition of four milestone examples of the evolution of the Italian design company’s styling. The cars are a 1931 Cadillac Model 452A boattail roadster, a 1947 Cisitalia 202 coupe, a 1966 Ferrari Dino Berlinetta 206 GT prototype and a 2019 Automobili Pininfarina Battista. The Dino will be part of the display only briefly and will be replaced by a 1967 Ferari 365P Berlinetta Speciale “Tre Posti.”

“With its commitment to elegant, aerodynamic design and small-scale production, Pininfarina has created some of the most innovative and revered car designs in the history of the automobile,” Petersen executive director Terry Karges is quoted in the museum’s announcement. “The new exhibit will provide visitors with a behind-the-scenes look at the company’s design history while paying homage to its innovation through these four rarely-seen vehicles.”

Paolo Pininfarina, Pininfarina Group chairman, added, “The models on display perfectly represent our identity, which today is the same as in the 1930s: the centrality of design, an aesthetic sense capable of creating timeless beauty, the obsession with quality, the force of a tradition that combines industry, technology and stylistic research.” 

Tickets must be purchased in advance through the museum website. Face masks will be required of all visitors and the museum will employ social distancing guidelines.

Greenwood Corvette at Hall of Fame

Joining the vehicles on display at the Motorsports Hall of Fame of America museum in Daytona Beach, Florida, is the “Spirit of Le Mans” Chevrolet Corvette raced by John Greenwood, who put the car on the IMSA-class pole and posted the fastest straightaway speed at the French race in 1976.

“Few cars say American motorsports louder and prouder than a big-block, ‘Stars and Stripes’ John Greenwood Corvette,” said museum president George Levy.

“Detroit brothers John and Burt Greenwood stunned the racing world with a succession of rapid Corvettes,” the museum noted in its news release. “In them, John won the 1970 and ’71 SCCA A Production national titles and took a class win with television star Dick Smothersat the 1972 12 Hours of Sebring. John also stood on the top step at the 1974 IMSA Championship Finals at Daytona International Speedway…  and captured the 1975 SCCA Trans-Am title among a bevy of other wins, poles and fastest laps.”

The “Stars and Stripes” Corvette, wearing race number 76 during the American bicentennial year, has a unique wide-body fabrication, generated more than 1,000 pounds of downforce and had a 467cid all-aluminum V8 rated at up to 725 horsepower.

New British car museum

After being delayed in 2020 because of the coronavirus pandemic, the Great British Car Journey museum plans to open in late May in the former Wire Works site in Ambergate, Derbyshire, UK. A 150-car collection is being set up as an interactive, table-led trip through the story of the British auto industry and its role in the global transportation revolution.

“The enforced break, through both ill health and the pandemic, means Great British Car Journey is coming back stronger having given us the opportunity to acquire even more fantastic British made and designed classic cars,” according to co-founder Richard Usher, former owner of Auto Windscreens and of the Blyton Park racing circuit.

In addition to the cars, the museum will offer a “Drive Dad’s Car” experience featuring more than 30 British vehicles, from an Austin Seven to a Rolls-Royce Silver Spirit, that can be driven with an instructor on an on-site driving route. 

For more information, visit the museum’s website.

AACA Museum pioneer passes

The AACA Museum in Hershey, Pennsylvania, has announced the death of Richard Taylor, one of the museum’s “founding fathers,” after a lengthy illness. 

Taylor, of Mansfield, Ohio, not only was among those pushing for the establishment of the Antique Automobile Club of America’s museum, he was its first president and used his expertise from Taylor Brothers Construction to make the best use of its resources. The museum also was one of the first museums in the US to employ geothermal climate control.

Special events this weekend

The “Driven to Win” exhibition opens March 26 at the Henry Ford Museum of American Innovation in Dearborn, Michigan.

Author and Barn Find series host Tom Cotter shares the story of his Cunningham, one of only four C3 models produced with a manual transmission, in an AACA Museum Live presentation via a Zoom webcast at 10 a.m. on March 27.

The National Packard Museum in Warren, Ohio, holds its first in-person educational programming in many months on March 27 when Charles Ohlin, director of educational services, presents “Lighting the Way: Packard Incandescent Lamp History” beginning at noon. Pre-registration is required.

The American Muscle Car Museum in Melbourne, Florida, expects more than 300 vehicles at its “Celebration of Cars” festival scheduled from 10 a.m. until 3 p.m. on March 27. Featured will be “Ragtops and Roadsters.”

The Blackhawk Museum in Danville, California, reopens on weekends starting March 27, though for the time being, tickets must be reserved in advance through the museum’s website.

Autobooks-Aerobooks in Burbank, California, features Dave Wolin and his IMSA RS and Showroom Stock racing books from 10 a.m. until 2 p.m. on March 27.

The Mustang Owner’s Museum in Concord, North Carolina, hosts a Fords on Sunday car show on March 28. Among featured vehicles will be a Mustang II drag car.

The cars may have gone to auction but Muscle Car City in Punta Gorda, Florida, still has an open gift shop and StingRays restaurant and on March 28 from 7 a.m. until 1 p.m. stages its monthly flea market.

Mark your calendar

The Kansas City Automotive Museum in Olathe, Kansas, resumes its cars and coffee events on the first and third Saturdays of the month starting April 3 at 8 a.m.

Autobooks-Aerobooks in Burbank, California, features Denny Miller and his book, Indianapolis Motor Speedway: The Eddie Rickenbacker Era, from 10 a.m. until 2 p.m. on April 3.

The Mullin Automotive Museum in Oxnard, California, reopens April 9 on a Friday through Sunday basis.

“The GM Oshawa Strike of 1937” is the subject of the Third Thursday Zoomcast presentation April 15 at 7 p.m. at the Canadian Automotive Museum.

The AACA Museum in Hershey, Pennsylvania, will offer free admission to everyone who arrives at the facility in a Ford Mustang on National Mustang Day, April 17, and with a bonus perk for the first 100 Mustangs to arrive.

DeLoreans from the Northern California DeLorean Motor Club will be featured April 17 from 10 a.m. until noon outside the Blackhawk Museum in Danville, California.

The Mustang Owner’s Museum has moved its Spring Carolina Cruise to April 24 and its California Special Mustang Day to May 1.

Beginning in May and running into September, the LeMay Family Collection in Tacoma, Washington, hosts a second Thursday “Cars and Comedy” evening starting at 6 p.m. The museum says to bring a picnic and enjoy an evening featuring local comedians.

Michael Schumacher and Paul Page will be inducted into the Indianapolis Motor Speedway Hall of Fame on May 27.

The AACA Museum in Hershey, Pennsylvania, will host a “Sizzlin’ Summer Cruise In” from 8 a.m. until 2 p.m. on June 19.

There is more than cars to see in Beaulieu, England, home to the National Motor Museum. From June 19 to August 30, the Beaulieu Palace House will showcase more than 250 sculptures in its gardens and inside the Montagu family home.

The Blackhawk Museum in Danville, California, hosts a Father’s Day car show on June 20.

Does your local car museum have special events or exhibitions planned? Let us know. Email larrye@classiccars.com. 

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