![]() In the down or lead position, another sliding switch activated in or out of phase when both pickups were engaged. These were controlled by a circuit sliding switch that changed from a fatter, rhythmic sound to a more trebly lead sound, each circuit using different-value capacitors. The controls were fairly sophisticated, with two tone circuits, each with its own volume and tone control. How long these were used is unknown, but at some point (probably early on) Guild switched to “Frequency Tested” single-coils manufactured by DeArmond, as seen on the guitar shown here. Initially, the S-200 was equipped with small Guild “Anti-Hum” humbucking pickups. While all three of these first Guild solidbodies are interesting, it’s the top-of-the-line Thunderbird that usually captures the hearts of most collectors, with good reason. At a time when Fender’s flagships were the Jazzmaster and Jaguar, and Gibson’s money was on the SG, Guild came up with some guitars that seemed to have more in common with Gumby than the competition! Indeed, Tom Wheeler once described the lopsided Thunderbird as looking like “a melted Hershey bar!” All three of Guild’s new solidbodies had glued-in necks, with a groovy asymmetrical “Florentine” headstock design on the Thunderbird and Jet-Star and a reverse six-in-line on the Polara. Peter, Paul, and Mary were riding high in the pop charts, although there was this catchy harmonized pop-rock sound from overseas beginning to invade the radio airwaves.Īt second glance, the designs of Guild’s first solidbodies seem even stranger than the timing. Bob Dylan and Joan Baez were darlings of the coffeehouse scene. Young babyboomers, the driving factor in the demand for instruments, were still heavy into folk music. At first glance, ’63 seemed to be a strange time to introduce solidbodies. ![]() Seeing opportunity in the ready supply of skilled guitarmakers, Dronge started Guild – the choice of names was significant! – employing many of the old Epiphone employees.Īfter a decade of establishing a reputation for making excellent guitars, Guild decided to get into the solidbody game in 1963 with the Thunderbird S-200, the Polara S-100 and the Jet-Star S-50. In 1957, Stathopoulis sold Epiphone to long-time competitor Gibson, which is how it became Gibson’s budget brand. ![]() Epiphone had labor problems and faced a strike, and rather than yield to worker demands, Epi Stathopoulis closed up shop and moved to Philadelphia, leaving its union labor in New York. The company was created in 1952 by New York jazz guitarist Alfred Dronge from the ruins of the old Epiphone company. Prior to introducing its first solidbodies, Guild had been known for its acoustic flat-top guitars and jazz archtops favored by notable players such as Johnny Smith (“Walk, Don’t Run”), George Barnes, Charlie Byrd (Mark classicals), twangy Duane Eddy, and Richie Havens. Indeed, it could be argued that Guild Thunderbirds didn’t become popular until babyboomers began getting high (though “popular” might be too strong an adjective)! But that doesn’t keep the Guild Thunderbird from being a bona fide American guitar classic! Which makes it all that much more strange that Guild should introduce a design as radical as the S-200 Thunderbird in 1963, several years before most Americans began hearing reports of widespread use of psychotropic substances. Although a few bold players embraced them, the public apparently wasn’t ready for such a radical look. ![]() Back in 1958, when Gibson introduced its revolutionary Explorer, Flying V, and mysterious Moderne, the public – rather like Queen Victoria – was not amused. 1966 Guild Thunderbird, serial number SC 120. ![]()
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