Prelude
SCOOBY‑DOOBY‑DOO, WHERE ARE YOU? Time to break out the Scooby Snacks, Shaggy.Yup. It is time for another CRAVE Guitars’ grand tour. I trust that all is well with you and yours wherever you are and whatever you’re doing. A warm early autumn greeting from CRAVE Guitars. This year has passed very rapidly. Time flies (N.B. From the Latin, ‘tempus fugit’, literally meaning, ‘time flees’. Roman Poet Virgil (70‑19BCE) used it in his epic poem, ‘Georgics’ (29BCE)). Come on people, admit it, you don’t get popular culture (Scooby Doo) and Roman classical literature (Virgil) used in a single paragraph very often. Come with me. You have entered into the weird and wonderful alternate dimension of CVG, a.k.a. CRAVE Vintage Guitars.
“You don’t play a guitar with your fingers, you play it with your heart” – Carlos Santana (1947‑)
This Month at CRAVE Guitars…
Previously on… (NB. A ‘recap’ is commonly used by TV series at the start of a programme to review key moments from one or more previous episodes and to set up the episode being watched. Recaps are often complemented by a ‘next time on…’ sequence at the end of a programme. The first documented use of the ‘recap’ was the American ABC TV series, ‘The Life and Legend of Wyatt Earp’ (1955‑1961)). I digress. Again. Now, where was I? Oh yes. Previously on…
Last month, I set out the first part of a guitar history timeline from ancient times (c.3500BCE) to the end of the 19th Century (1899). The main exposition to the subject matter was also set out last month, so there is little point in reiterating it here, as what was said then applies equally to this article. Follow the link below to view/review the preceding article should you so desire (opens a new browser tab)…
August 2026 – A Timeline of Guitar History in 400+ Snippets: Part I
“Guitars – what more can I say? They rule!!!” – Zakk Wylde (1967‑)
I should mention at this point that the timeline originally comprised 400 entries. Between the first and second parts being published, this had increased to 400+ after further intensive research. A lot more had to be ditched to keep it close to the original plan. The articles’ title now read “A Timeline of Guitar History in 400+ Snippets”.
Also, Part II was originally intended to be the concluding article covering the last 125 years. However, given the size and density of the project, as well as the fact that the 20th Century in particular was an incredibly eventful period in guitar history, the decision was taken to split the entries into two roughly equal parts. Ultimately, now, the three parts together will represent a continuous piece of work, broken down for easier accessibility.
As with Part I, no AI was used in researching and writing this article; it is the result of authentic analogue biological processes. Quotes continue the theme from last month of insights into the guitar. Only a tiny smattering of images again this month.
“To stand up on a stage alone with an acoustic guitar requires bravery bordering on heroism. Bordering on insanity” – Richard Thompson (1949‑)
The Rationale for the Article
Easy one this. As you might expect, Part II is a direct continuation of the previous article and Part III will follow on next month, so no further justification is necessary.
Up to the end of the 19th Century, classical and folk music were predominant, largely determined by one’s place in the social hierarchy we call the class system. The dawn of the 20th Century saw musical genres transformed beyond all recognition, reflecting significant shifts in modern civilisation taking place globally. Democratisation of music opened up much broader access for ordinary people to experience the new musical trends emerging from the grass roots of society.
“I believe every guitar player inherently has something unique about their playing. They just have to identify what makes them different and develop it” – Jimmy Page (1944‑)
New musical genres enabled the guitar to transition from just an accompanying acoustic instrument to become central as a lead instrument, especially with the introduction of resonator and then electric guitars. The instrument became prevalent across most, if not all, modern musical forms, becoming the world’s favourite instrument in the process.
For many readers, this more contemporary period will be of more topical interest. I hope so. If you’ve read this far, I don’t want to lose you now.
“I don’t know of a guitar player that has only one guitar. They’re never happy with one. I’m never happy with just one of them. I woke up and ended up with six, even if you can only play one at a time!” – Les Paul (1915 2009)
A Timeline of Guitar History: Part II – 1900‑1959
So, without any further ado, let’s delve straight into the timeline covering the first chunk of the 20th Century with the next 150 entries. As with the last article, for those with an attention deficit, the infographic below provides a significantly abbreviated alternative version.
| 1902 | Five businessmen backed Orville H. Gibson to form the Gibson Mandolin‑Guitar Mfg. Co. Ltd. in Kalamazoo, Michigan, USA. The new company introduced its first archtop guitar, the L‑1 model. In 1926, the L‑1 name was re‑used as a flat top acoustic guitar |
| 1902 | C.F. Martin & Co. introduced the ‘OOO’ (Auditorium) model, a small‑bodied flat top acoustic guitar with a slightly shorter 24.9″ scale length (rather than Martin’s usual 25.4″ scale) |
| 1903 | Luthier Anastasios Stathopoulo and his family emigrated from Izmir in Turkey to settle in Long Island City, Queens, New York City, USA where they established a musical instrument business |
| 1904 | Chicago‑based harp manufacturer, Lyon & Healy acquired the Regal Musical Instrument Manufacturing Company |
| 1906 | Stromberg Guitars was founded by Swedish immigrant Charles A. Stromberg (1881‑1956) making banjos and mandolins in Boston, Massachusetts, USA |
| 1907 | Anastasios Stathopoulo opened a shop in New York City making banjos and mandolins. The shop was called the ‘House of Stathopoulo’ |
| 1908 | American luthier Chris Knutsen (1862‑1930), born Johan Christian Kammen in Norway, known for his harp guitars between 1895 and 1906, started making Hawaiian steel guitars in Seattle, Washington, USA. Knutsen relocated to Los Angeles, California in 1914 and began to make harp ukuleles as well as Hawaiian guitars to meet popular demand |
| 1909 | Anastasios Stathopoulo filed his only US patent for a bowl back mandolin musical instrument. The patent was granted the same year |
| 1909 | Clarence Leonidas ‘Leo’ Fender (1909‑1991) was born in Anaheim, California, USA. He would become one of the industry’s greatest pioneers and a hugely influential figure |
| 1915 | Anastasios Stathopoulo died and his son, Epaminondas (‘Epi’), took over at the company that would later become Epiphone in 1928 |
| 1915 | American department store and mail order giant Sears, Roebuck and Company introduced the Silvertone brand, used by the company until 1972. Silvertone guitars, basses and amps were manufactured for Sears by Harmony, Danelectro, Valco, Kay and Teisco |
| 1915 | Lester William Polsfuss (1915‑2009), a.k.a. Les Paul, American jazz, country, and blues guitarist, songwriter, luthier and inventor was born in Waukesha, Wisconsin, USA |
| 1916 | Fred Gretsch Jr. relocated Gretsch to a spacious 10‑story building in Williamsburg, Brooklyn, New York City, USA |
| 1916 | Sears, Roebuck and Company acquired the Harmony Company to supply ukuleles and guitars for their retail and mail order business |
| 1916 | C.F. Martin began building guitars for Oliver Ditson Co. of Boston, Massachusetts and New York, USA, including the first ‘dreadnought’ acoustic guitar named after the British Royal Navy ship, HMS Dreadnought. Martin wouldn’t use their own name on a dreadnought guitar until 1931 |
| 1917 | The first jazz track was recorded – ‘Dixie Jass Band One‑Step’ by the Original Dixieland Jass Band (ODJB) for the Victor Talking Machine Company |
| 1918 | Orville H. Gibson died of chronic endocarditis (a form of heart disease) in New York, at the age of 62 |
| 1920 | Chicago Musical Instrument Company (CMI) was founded by Russian immigrant Maurice Henry Berlin (1895-1984), based in Chicago, Illinois, USA making guitars, brass instruments and electronic organs. CMI would later acquire Gibson Guitars in 1944 |
| 1920 | The first blues vocal track was recorded in New York City by an African American singer Mamie Smith (1891‑1946) – ‘Crazy Blues’ for OKeh Records |
| 1921 | Stromberg‑Voisinet was formed by Henry ‘Kay’ Kuhrmeyer (1894‑1956), Charles G. Stromberg (1873‑1960) and Frank C. Voisinet (1876‑1937) in Chicago, Illinois, USA to build mandolins and guitars. The company would be renamed Kay in 1931 |
| 1921 | American designer and sound engineer, Lloyd Loar (1886‑1943) started working for Gibson Mandolin‑Guitar Mfg. Co. Ltd. Loar helped to design and refine the Gibson carved archtop mandolins and guitars with the aim of increasing flagging sales |
| 1921 | Gibson employee and engineer Thaddeus ‘Ted’ McHugh (1859‑1945) was credited with inventing the adjustable truss rod. A US patent was filed in 1921 and granted in 1923. McHugh also designed the height‑adjustable bridge |
| 1922 | Gibson introduced the Lloyd Loar‑designed L5 acoustic archtop jazz guitar, one of the first guitars to use f‑holes. Gibson also introduced the F5 mandolin, also designed by Lloyd Loar in the same year |
| 1923 | The first commercial country & western track was recorded in New York City by Alexander Campbell ‘Eck’ Robertson (1887‑1975) – ‘Fiddlin’ John Carson’ for OKeh Records. Robertson had recorded several tracks for Victor Talking Machine Company the previous year but these were not widely available |
| 1923 | Italian guitarist, inventor and luthier, Mario Maccaferri (1900‑1993) established his reputation as a classical guitarist and maker of classical and gipsy jazz guitars |
| 1923 | Musician, designer and engineer, Lloyd Loar began working on an experimental electrostatic pickup at Gibson before he left the company in 1924 |
| 1923 | Chicago‑based mail order and department store retailer, Montgomery Ward & Co. introduced Airline as one of its house brands. A range of Airline electric and acoustic guitars were sold between 1958 and 1968 to tap into the explosion in popular guitar‑based music. Airline is now an independent family‑owned business based in Chicago, Illinois, USA since 2024 |
| 1923 | As part of Sears, Roebuck & Company, Harmony became the largest manufacturer of musical instruments in the USA, producing over 250,000 units in a year |
| 1924 | Austrian‑Hungarian immigrant and musician, Sam Ash (1897‑1956) opened the first Sam Ash Music Store in W 48th Street in Manhattan, New York City, USA. The location became the famously so‑called ‘Music Row’. The Sam Ash retail chain went out of business in 2024 after 100 years |
| 1925 | Swiss immigrant Adolph Rickenbacher (1886‑1976) founded Rickenbacher Manufacturing Company, manufacturing metal and plastic products. The company would later become Rickenbacker |
| 1925 | Hagström was founded by Albin Hagström (1905‑1952) in Älvdalen, Dalecarlia, Sweden to make accordions from 1932. The company didn’t start making electric guitars until 1958 and basses in 1961. Hagström ceased production in 1983 (revived in 2004) |
| 1926 | Gibson introduced the flat top L‑1 acoustic guitar, famously used by legendary American delta blues guitarist and singer, Robert Johnson. The moniker L-1 had previously been used for Gibson’s first archtop guitar |
| 1927 | The National String Instrument Corporation was founded by vaudeville entertainer George Beauchamp (1899‑1941) and luthier John Dopyera (1893‑1988) in Los Angeles, California, USA to make resonator guitars |
| 1927 | John Dopyera filed for a US patent for the tricone resonator guitar. The patent was granted the same year |
| 1928 | The first signature guitar, based on the Gibson L‑1 acoustic with a deeper body, was released to recognise popular American jazz singer and guitarist, Nick Lucas (1897‑1982) |
| 1928 | Epaminondas Stathopoulo changed the name of his company to the ‘Epiphone Banjo Company’. The Epiphone name combined Epaminondas’ nickname, ‘Epi’ and the Ancient Greek word phōnē, meaning sound or voice. Epiphone stared making acoustic guitars, followed by archtop guitars from 1931 and amplifiers from 1935 |
| 1928 | American luthier, John Dopyera left National and founded the Dobro Manufacturing Company with four of his brothers. The name Dobro is a contraction of ‘DOpyera’ and ‘BROthers’ |
| 1928 | Clayton Orr ‘Doc’ Kauffman (1901‑1990) filed the world’s first patent for a mechanical vibrato unit (often erroneously called tremolo), the Vibrola. Kauffman’s US patent for an “Apparatus for producing tremolo effects” was granted in 1932 |
| 1929 | Chicago‑based Stromberg‑Voisinet advertised the first commercial electric guitar, although none are known to exist. The company ceased trading in 1931 |
| 1930 | C.F. Martin announced the OM (Orchestra Model) flat top acoustic guitar and introduced their first guitar featuring 20‑frets and a 14th fret neck‑to‑body joint. The ‘14/20’ design became widely adopted by Martin from 1934 |
| 1930 | While still working at National, George Beauchamp filed a US patent for a Dobro acoustic guitar with a single inverted resonator cone. The patent was granted in 1932 |
| 1930 | American brand Harmony Musical Instruments, part of Sears, Roebuck & Company, sold over 500,000 units, a record at the time |
| 1931 | Ro‑Pat‑In Corporation was founded by engineer Adolph Rickenbacher and inventor George Beauchamp in Los Angeles, California, USA. The company would become Rickenbacher from 1934 and Rickenbacker from 1950 |
| 1931 | Gretsch started manufacturing acoustic guitars in Brooklyn, New York City, USA |
| 1931 | Kay Musical Instrument Company was formed from the demise of instrument manufacturer Stromberg‑Voisinet by founder Henry Kay ‘Hank’ Kuhrmeyer, based in Chicago, Illinois, USA to make guitars, mandolins, banjos and ukuleles |
| 1931 | C.F. Martin started selling dreadnought 6‑string flat top acoustic guitars under its own name. Martin introduced the D‑1 and D‑2 (later renamed the D‑18 and D‑28). Martin had been making dreadnought acoustic guitars for Oliver Ditson Co. since 1916. The dreadnought rapidly became an industry standard and Martin’s design has been widely emulated today |
| 1932 | Prototyped in 1931, Ro‑Pat‑In Corporation started to manufacture a Hawaiian lap steel guitar with an electromagnetic horseshoe pickup, the Electro A‑22 (a.k.a. the ‘frying pan’, nicknamed because of its circular aluminium body and long neck). A US patent was filed in 1934 and granted in 1937. The guitar became the first solid body electric lap steel guitar. The model was discontinued in 1939 |
| 1932 | The earliest examples of mains powered guitar amplifiers started appearing following the introduction of electrolytic capacitors and rectifier vacuum tubes (valves) |
| 1932 | Renowned luthier John D’Angelico (1905‑1964) opened a workshop in Manhattan, New York City, USA to make premium acoustic jazz guitars |
| 1932 | Henri Selmer partnered with luthier Mario Maccaferri to produce acoustic ‘gypsy jazz’ guitars (closely associated with virtuoso jazz guitarist Django Reinhardt). Maccaferri designed the ‘Modèle Jazz’ with an internal resonator, steel reinforced neck, D‑shaped sound hole and a single lower squared‑off cutaway. Selmer continued production until 1952 (with oval sound holes) after Maccaferri left in 1934 |
| 1933 | Adolph Rickenbacher renamed the Ro‑Pat‑In Corporation to Electro String Instrument Corporation and instruments were re‑branded ‘Electro’ |
| 1933 | George Beauchamp was sacked by the board at National String Instrument Corporation and joined Adolph Rickenbacker at Electro String Instrument Corporation |
| 1934 | National String Instrument Corporation and Dobro Manufacturing Company merged to form the combined National Dobro Corporation |
| 1934 | The Gibson factory at Kalamazoo, Michigan, USA resumed full‑time instrument production after the height of the Great Depression |
| 1934 | American musician and inventor Paul Tutmarc (1896‑1972) founded Audiovox Manufacturing Company to manufacture lap steel guitars |
| 1934 | Gibson introduced the Super 400 (priced at $400) acoustic jazz guitar. The design heavily influenced both Stromberg and D’Angelico archtop jazz guitars, as well as Gibson’s direct competitor Epiphone |
| 1934 | Gibson launched a line of lower‑priced instruments under the Kalamazoo brand name for musicians adversely impacted by the Great Depression |
| 1935 | Gibson hired American jazz guitarist Alvino Rey (1908‑2004) to work on the design of a prototype electric guitar pickup. Gibson appointed electrical engineer Walter Fuller (1917‑1997) to develop the electromagnetic bar pickup, often called the ‘Charlie Christian’ after the jazz guitarist |
| 1935 | Epiphone introduced the Emperor Masterbuilt acoustic jazz guitar, larger than the Gibson Super 400, fuelling stiff competition for high‑end archtop jazz guitars in the US |
| 1935 | Rickenbacker introduced the solid body electric Electro‑Spanish Model B guitar made from Bakelite with a bolt‑on rounded neck, as opposed to the square necks used on Hawaiian lap steel guitars. The Model B was considered the world’s first production, solid body electric guitar |
| 1935 | Paul Tutmarc developed the first electric fretted bass guitar, the Audiovox Model 736 Bass Fiddle, some 16 years before Fender introduced the Precision bass |
| 1935 | Supro guitars was launched as a low‑cost in‑house brand by its parent, National Dobro Corporation. Supro was discontinued in 1968 when then‑parent company Valco went bankrupt. The Supro brand was revived in 2014 |
| 1935 | American salesman, Manny Goldrich (1904‑1968) founded the famous Manny’s Musical Instruments & Accessories Inc. retail store on ‘Music Row’, W 48th Street, Manhattan, New York City, USA. In 1999 Manny’s was sold to competitor Sam Ash Music |
| 1936 | Gibson introduced the Advanced Jumbo flat top acoustic guitar with Sitka spruce top and rosewood back and sides The guitar was designed by American country & western singer/songwriter Raymond Otis Whitely (1901‑1979). Only 300 were produced before Gibson replaced it with the J‑200 Super Jumbo in 1937 |
| 1936 | Gibson introduced the EH‑150 6‑string lap steel guitar and amplifier for $150, the company’s first production electric Hawaiian steel guitar |
| 1936 | Gibson released the (Electric Spanish) ES‑150 and EH‑150 amplifier for $150. The ES-150 was the first commercially available electric ‘Spanish’ guitar. The ES‑150 was basically a modified Gibson L‑50 archtop fitted with a single ‘Charlie Christian’ bar electromagnetic single coil neck pickup |
| 1937 | US Patents were granted to George Beauchamp for his electromagnetic horseshoe pickup design, originally filed in 1933 and 1934 |
| 1938 | Leo Fender, a qualified electronics technician, opened the Fender Radio Service in Fullerton, California, USA to repair radios, phonographs, amplifiers and PA systems |
| 1939 | Harry DeArmond (1906‑1999) developed the first commercially available detachable guitar pickups, the RH/RHC for ‘round hole’ flat top guitars and the FH/FHC for ‘f‑hole’ archtop guitars. DeArmond worked with Rowe Industries to bring the pickups to market. Other DeArmond pickups include the Rhythm Chief, Dynasonic and Gold Foil, popular in the 1950s‑1970s. DeArmond pickups were used on Guild, D’Angelico, Epiphone, Fender, Martin, Airline and Silvertone guitars |
| 1939 | Les Paul began building his homemade experimental electric guitar prototype, called ‘the log’. The instrument comprised a 4”x4” strip of pine, onto which he attached a neck, bridge, pickups, Epiphone hollow guitar body ‘wings’ and a ‘Doc’ Kauffman Vibrola. Les Paul presented it to the Gibson board in 1941, who rejected the concept as too unusual |
| 1940 | Les Paul signed an endorsement deal with Gibson, which included him appearing with the ES‑300 electric archtop jazz guitar in the company’s advertisements |
| 1940 | Gibson introduced the first electromagnetic pickup with adjustable pole pieces and Alnico magnets, designed by in‑house engineer Walter Fuller, intended to supersede the bar pickup. The P13 pickup was the predecessor to the P‑90 introduced after the end of WWII in 1946 |
| 1940 | Valco was formed following a restructuring of the National Dobro Corporation by a stakeholder group of former owners Victor Smith, Al Frost and Louis Dopyera. Valco manufactured guitars and amplifiers under a variety of brand names including National, Airline and Supro, as well as making guitars for other companies such as Sears Roebuck and Montgomery Ward using Harmony, Kay and Silvertone brands |
| 1943 | Leo Fender joined forces with former Rickenbacker engineer and inventor of the Vibrola tailpiece, ‘Doc’ Kauffman to create K&F Manufacturing Corporation to build lap steel guitars and amplifiers in Fullerton, California, USA |
| 1944 | Chicago Musical Instrument Company (CMI) acquired Gibson |
| 1945 | Les Paul invented and pioneered the use of echo‑delay and multi‑track studio recording techniques |
| 1945 | Schaller GmbH was founded by toolmaker and mechanic, Helmut Schaller (1923‑1999) in Postbauer‑Heng near Nuremberg, Bavaria, Germany. Schaller is a musical instrument hardware manufacturer |
| 1946 | Ampeg was founded by Everett Hull and Stanley Michaels in Linden, New Jersey, USA to manufacture transducer pickups (the ‘AMplified PEG’) for upright acoustic basses. Ampeg would later build specialist bass amplifiers |
| 1946 | ‘Doc’ Kauffman and Leo Fender parted ways and the latter founded a new business to build guitars and amplifiers called Fender Electric Instrument Company |
| 1946 | Gibson introduced its premium P‑90 single coil pickup following the end of WWII. Gibson didn’t file a US patent for the P‑90 until 1955. P‑90s came in two forms depending on mounting, the ‘dog ear’ and ‘soapbar’ variants |
| 1946 | Fender introduced the ‘woodie’ series of valve amplifiers, built up to 1948 and Fender ‘tweed’ series amplifiers, built up to 1960 |
| 1946 | Framus (Fränkische Musikinstrumentenerzeugung) was founded by Fred A. Wilfer (1917‑1996) in Erlangen Germany to resettle displaced workers from post‑WWII Luby in Czechoslovakia. The company was formed to make stringed instruments. Framus closed in 1975 and was resurrected in 1995 as part of Warwick GmbH & Co Music Equipment KG |
| 1946 | Following WWII, nylon strings widely replaced traditional gut strings on most classical instruments, including classical acoustic guitars |
| 1946 | Carvin Corporation was founded by Lowell Kiesel (1915‑2009), based in San Diego, California, USA to manufacture guitar pickups |
| 1946 | What would become the Teisco brand in 1964, Aoi Onpa Kenkyūjo was founded by guitarist Atswo Kaneko and electrical engineer Doryo Matsuda in Tokyo, Japan |
| 1946 | American former motorcycle racer, mechanic and inventor/designer, Paul Bigsby (1899‑1968) formed The Bigsby Electric Guitar Company, based in Downey, California, USA to build lap/pedal steel guitars, solid body electric guitars and accessories |
| 1947 | Gibson’s introduced the GA‑50T valve amplifier, the first amp to feature a built‑in tremolo effect |
| 1947 | Danelectro Corporation (short for ‘Daniel electric‘) was founded by electrical engineer, Nathan ‘Nat’ I. Daniel (1912‑1994), based initially in Red Bank and then in Neptune City, New Jersey, USA |
| 1948 | Gibson hired American businessman Ted McCarty (1909‑2001) from the Wurlitzer Company. He became vice president in 1949 and president of the company in 1950. McCarty rapidly expanded Gibson’s design and manufacturing capability during 1950s |
| 1948 | Paul Bigsby built a bespoke solid body electric guitar for country music artist Merle Travis. It was widely regarded as a milestone in solid body electric guitar design and was said to have heavily influenced Leo Fender’s guitars. Bigsby built two other guitars for George Grohs and Tommy ‘Butterball’ Paige |
| 1948 | Epiphone introduced the Emperor hollow body electric archtop guitar, associated with legendary jazz guitarist Joe Pass (1929-1994) |
| 1948 | Fender introduced its Champ valve amplifier, initially called the Champion 800, rated at 5W into an 8” speaker. Also widely introduced was the Princeton valve amp with 4W into an 8” speaker |
| 1948 | The Japanese brand, Teisco was introduced to sell affordable musical instruments. Teisco was one of the Japanese companies that imported budget instruments into the US and UK from 1960. In 1967, the brand was discontinued and, in 1969, the name was acquired by Kawai Musical Instruments Manufacturing Co., Ltd. The brand was revived in 2018 |
| 1949 | Leo Fender and George Fullerton started developing a prototype for a new solid body electric guitar design that would initially be called the Broadcaster. The guitar was formally re‑named the Telecaster in late 1951 |
| 1949 | Gibson introduced the hollow body ES‑175 electric archtop jazz guitar. It featured f‑holes, a single Florentine cutaway and, initially, a single P‑90 pickup |
| 1949 | Watkins Electric Music (better known as WEM) was founded by brothers Charlie and Reg Watkins in London, England to manufacture PA systems, guitar amplifiers and electric guitars. WEM also became famous for its portable Copicat tape echo effect unit |
| 1950 | Fender appointed V.C. Squier Company to supply strings for the company’s new electric guitar models |
| 1950 | Fender introduced the first mass produced solid body electric guitar, the forerunner of the Fender Telecaster, the single and dual‑pickup Fender Esquire. Fender renamed it the Broadcaster before they were forced to remove the name (the so‑called ‘Nocaster’) due to a legal dispute with Gretsch. The model was officially renamed the Telecaster in 1951. The model has been in continuous production since |
| 1950 | Gibson president, Ted McCarty was heavily involved in many pioneering guitar design innovations during Gibson’s ‘golden age’ between 1950 and 1966. McCarty oversaw the introduction of the Gibson Les Paul Model, ES‑335, Flying V, Explorer, SG and Firebird, as well as the humbucking pickup and tune‑o‑matic bridge |
| 1950 | Jennings Musical Instruments (JMI) Ltd. was founded by Thomas Walter Jennings (1917‑1978) in Dartford, Kent, England to make guitar amplifiers. The company changed its name to Jennings Musical Industries in 1956. The company would formally become VOX in 1957 |
| 1951 | Leo Fender’s Fender Electric Instrument Company was incorporated in Fullerton, California, USA |
| 1951 | Fender introduced the revolutionary solid body electric fretted Fender Precision Bass guitar alongside the newly re‑named Telecaster guitar |
| 1951 | Gibson introduced the Super 400CES (standing for Cutaway Electric Spanish), a high‑end 18”‑wide electric archtop jazz guitar |
| 1952 | Gibson introduced the Ted McCarty‑designed solid body electric guitar, the Les Paul Model gold top with a carved maple top over a mahogany body, a set mahogany neck, dual P‑90 single coil pickups and a trapeze tailpiece |
| 1952 | Jimmy D’Aquisto started work as an apprentice to master luthier John D’Angelico in Manhattan, New York City, USA |
| 1952 | Valco introduced its first solid body guitars under its National and Supro brand names. The Valco brand name never appeared on an instrument |
| 1952 | The Guild Guitar Company was founded by guitarist and music retailer Avram ‘Alfred’ Dronge (1911‑1972) in Manhattan, New York, USA. Guild employed many former Epiphone employees after the latter moved to Philadelphia following a damaging industrial dispute |
| 1952 | Fender introduced the famous Twin combo valve amplifier with two 12″ speakers and two 6L6 valves and a rated output of 25 watts. Fender also introduced the Bassman series, the first dedicated bass amplifiers |
| 1953 | Engineer and inventor, Paul Bigsby filed a US patent for the innovative Bigsby vibrato tailpiece. The patent was granted in the same year |
| 1953 | Ted McCarty designed the Tune‑O‑Matic adjustable bridge with wire retainer, first used on the Gibson Super 400 archtop jazz guitar |
| 1953 | Gretsch introduced the single cutaway 6128 Duo Jet with a chambered mahogany body, intended to compete with Gibson and Fender |
| 1954 | After a brief spell with Gibson, German luthier Roger Rossmeisl (1927‑1979) was appointed by Rickenbacker to design their electric guitars and basses |
| 1954 | Fender introduced the innovative 3‑pickup Stratocaster solid body electric guitar designed by Leo Fender, George Fullerton and Freddie Tavares. The Stratocaster has remained in continuous production to‑date |
| 1954 | Leo Fender filed a US patent for the Fender Synchronized Tremolo (vibrato). The patent was granted in 1956 |
| 1954 | Gibson introduced the upmarket black (ebony) and gold Les Paul Custom using Ted McCarty’s adjustable Tune‑O‑Matic bridge |
| 1954 | Gibson introduced the entry‑level single‑cutaway, slab‑bodied Les Paul Junior guitar with a single P‑90 bridge pickup. The Junior’s body was changed to a double‑cutaway in 1958 and was discontinued in 1963 |
| 1954 | Danelectro started production of a line of guitars using its distinctive ‘lipstick’ pickups, with covers made from actual cosmetic lipstick tubes |
| 1954 | Gibson introduced the J‑160E acoustic/electric 6‑string flat top guitar. The model was later made famous by John Lennon of The Beatles |
| 1955 | Valco introduced the National 1104 Town & Country solid body electric guitar. The Town & Country also appeared under the Airline brand |
| 1955 | Fender introduced the Tremolux valve amplifier, the first Fender amp with a built‑in tremolo effect. The design was patented in 1956 |
| 1955 | Gibson introduced the intermediate‑level single‑cutaway, slab‑bodied Les Paul Special and TV guitars with dual P‑90 pickups. The Special’s body was changed to a double‑cutaway in 1958 until it would be replaced by the Les Paul SG (Solid Guitar) Special from 1961 and SG Special from 1963 |
| 1955 | Gibson introduced their first thinline guitar model, the hollow‑body carved archtop Byrdland, named after guitarists Billy Byrd and Hank Garland. The Byrdland was based on the deeper L‑5CES and with a short 23½” scale. The guitar was available in both Florentine and Venetian cutaway form |
| 1955 | Prototyped in 1954, Gretsch introduced the single cutaway 6120 Chet Atkins Hollow Body with endorsement by American country guitarist Chet Atkins (1924‑2001). The body was changed to a double cutaway thinline design in 1962 and re‑name as the ‘6120 Nashville’ in 1964 |
| 1955 | Zemaitis guitars was founded by London‑born luthier Tony Zemaitis (1935‑2002) based in London, England. He was born as Antanas Kazimeras Žemaitis, of Lithuanian descent |
| 1956 | Fender introduced the short scale single pickup solid‑body electric Musicmaster ‘student’ guitar. It would be followed by the Duo‑Sonic (also 1956), the Mustang (1964) and the Bronco (1967) |
| 1956 | Danelectro introduced the world’s first 6‑string electric bass guitar (a.k.a. the Tic‑Tac Bass) |
| 1956 | Hartley Peavey (1941‑) built his very first amplifier constructed from surplus parts. He would later go on to found Peavey Electronics in 1965 |
| 1956 | Mosrite guitars was founded as Mosrite of California by Semie and Andy Moseley with investment from Reverend Ray Boatright. Mosrite started out to build electric guitars initially in Bakersfield and then in Los Angeles, California, USA. Mosrite went bankrupt in 1968 |
| 1956 | Aria Guitars Co. was founded by Shiro Arai (1930‑2019) in Nagoya, Japan. Aria initially retailed acoustic guitars before they started to manufacture acoustic guitars from 1964 and electric guitars from 1966 |
| 1957 | Wandrè Guitars was formed by artist and luthier, Italian Antonio Vandrè Pioli (1926‑2004). The instruments, known for their futuristic eccentric and experimental features, were sometimes referred to as ‘sound sculptures’. Wandrè guitars ceased production in 1968 |
| 1957 | Epiphone was acquired by Gibson’s parent company, Chicago‑based CMI (Chicago Musical Instruments) and the two companies were merged |
| 1957 | Gibson introduced the milestone P.A.F (Patent Applied For) humbucking pickup designed by American electronic engineer Seth E. Lover (1910‑1997) |
| 1957 | Gretsch introduced the Filter’Tron humbucking pickup designed by American inventor and engineer Joseph Raymond Butts (1919‑2003) |
| 1957 | Rickenbacker introduced the iconic 4000 series bass guitar with its distinctive neck‑through body and ‘cresting wave’ body shape, designed by Roger Rossmeisl |
| 1957 | The Ibanez brand was created in Nagoya, Aichi, Japan as a subsidiary of Hoshino Gakki Kabushiki, a.k.a. Hoshino Musical Instruments |
| 1957 | Jennings Musical Industries (JMI) was renamed VOX Amplification Ltd. The rebrand was widely regarded as the founding of VOX in the UK |
| 1958 | British amp manufacturer VOX introduced the legendary AC30 combo valve amp, rated at 30W |
| 1958 | Fender introduced the upmarket Fender Jazzmaster offset solid body electric guitar, intended to attract conservative jazz guitarists from major rival, Gibson |
| 1958 | Gibson changed the gold top Les Paul Model to the cherry sunburst Les Paul Standard with dual PAF humbucking pickups. Arguably, the iconic Les Paul Standard ‘burst is Gibson’s most famous and desirable model. It was replaced in 1961 by the Les Paul Standard SG, renamed simply as the SG in 1963 after Les Paul’s endorsement agreement with Gibson ended |
| 1958 | Gibson introduced the ES‑335 semi‑hollow thinline electric guitar with an innovative solid centre block intended to reduce feedback in high gain situations. The semi‑acoustic centre block design ironically imitated Les Paul’s failed ‘the log’ prototype (1939‑1941) |
| 1958 | Gibson introduced the ground‑breaking and futuristic Modernistic series of guitars comprising the Flying V and Explorer solid body electric guitar models. A third model was proposed (and patented), the Moderne, although no known originals are known to exist. The Moderne was finally released in 1982‑1983 (with just 143 sold) |
| 1958 | The budget Gibson Les Paul SG Junior, Special and TV models were redesigned with new slab body, double‑cutaway guitars, replacing the original single cutaway ones |
| 1958 | Airline guitars, manufactured by Valco, sold through the Montgomery Ward department store and mail‑order business, were introduced and remained for sale until 1968 when Valco went bankrupt |
| 1958 | Rickenbacker introduced the semi‑acoustic 300 series guitars designed by German luthier Roger Rossmeisl |
| 1958 | British string manufacturer Rotosound was founded by brothers James and Ron How in Blackfen, Kent, England, although the Rotosound brand name wasn’t used until 1963 |
| 1958 | Swedish manufacturer, Hagström started making electric guitars and basses |
| 1959 | Gibson introduced the lower priced Melody Maker solid‑body electric ‘student’ guitar, initially based on the outline of the Les Paul and using new covered single coil pickups |
| 1959 | Fender introduced the ‘Brownface’ series of valve amplifiers, manufactured until the style was discontinued in 1963 |
| 1959 | Burns Guitars London was founded by Alice Farrell and Jim Burns (1925‑1998) in London, England to build electric guitars and basses |
| 1959 | Japanese brand Takamine – inspired by Mount Takamine – was founded as Ozhone Musical Instrument Manufacturing in Sakashita, Gifu, Japan to make acoustic guitars. The company was renamed Takamine Musical Instruments Manufacturing Co. Ltd. in 1962 |
For those who prefer a purely visual interpretation of guitars as a counterpoint to either the infographic or the chronological listing, here is a graphical illustration of 18 key milestones in guitar evolution from 1900 to 1959.
“Doesn’t matter what guitar you play, as long as you’ve got passion!” – Eric Johnson (1954‑)
Final Thoughts on ‘A Timeline of Guitar History in 400+ Snippets: Part II’
Like the film, ‘Star Wars Episode V: The Empire Strikes Back’ (1980), this article is the meat in a timeline sandwich, so there aren’t any ‘final’ thoughts at this stage. A retrospective critique will now be reserved for the end of Part III. While it isn’t the beginning and it isn’t the end, it remains a crucial part of the guitar’s story and the validity of the entries are just as important as the other parts.
I have to admit that 1959 feels like a less than ideal intermission point. It would have been better to break at, say 1949 instead of 1959 but that would then imbalance the overall topic. In some ways, though, the end of the 1950s was a watershed in cultural, social and musical change. It is also a relevant year for the author, experiencing the world that would by home for the first time. So, 1959 it is.
“Guitars have been the obsession of my life. I first picked one up at the age of four and I’ve been a guitar junkie ever since” – Johnny Marr (1963‑)
CRAVE Guitars’ ‘Album of the Month’
This could be pretty much any album from the history of guitar music recordings. However, one had to be chosen, so I have gone for something that represents both a landmark in both guitar music as well as recording. The pick wasn’t actually an album at the time but it has become an essential collection of tracks for most guitar aficionados and for anyone with an interest in guitar history. I reckon it’s a fitting choice for this article, deriving from the first half of the 20th Century. Drum roll please. This month’s accolade goes to…
Robert Johnson – The Complete Recordings (1990): Given the expansive mythology surrounding Robert Johnson (1911‑1938), in the real world he only recorded 29 songs with 13 alternate takes in two separate occasions. The first recording sessions took place between 23 and 25 November 1936, in San Antonio, Texas, USA. The second recording sessions took place on 19 and 20 June 1937, in Dallas, Texas. This compilation album comprises 41 tracks, which represents all but one known tracks, covering a total of 107 minutes. It therefore represents a definitive milestone in the history of the blues and guitar music.
There isn’t room here to go into all the fascinating truths, myths, legends and fictions surrounding American delta blues guitarist, singer/songwriter and Mississippi native Robert Leroy Johnson and his trusty Gibson L1 acoustic guitar. Despite his limited recording portfolio recorded during his short life (he died in mysterious circumstances at the age 27, thereby unwittingly founding the infamous ’27 club’), he has become one of the most celebrated and influential of all guitarists, transcending the acoustic blues tradition of which he was part. Other virtuoso instrumentalists like jazz guitarist Charlie Christian (1916‑1942) and gypsy jazz guitarist Django Reinhardt (1910‑1953) can also be regarded as similarly influential in terms of early recorded guitarists. Without these guys, we wouldn’t have the diversity of guitar music we enjoy today.
BELIEVE IN MUSIC!
“Hello Satan, it’s time to go. Me and the devil, walkin’ side by side” – Robert Johnson (1911‑1938)
Tailpiece
Wow, this is turning into a genuine epic. It was as I was editing the original full Part II, it became obvious that it was just too much for a single article. If I was struggling to edit it due to its enormity, then readers would also have a hard time wading through so much information. There was little point in being counter‑productive. It was only very close to publication date that I decided to make the change. Without a great deal of time to reflect, I can only trust that the outcome hasn’t been overly compromised.
“Some people tell me that the worried blues ain’t bad. Worst old feelin’ I most ever had” – Robert Johnson (1911‑1938)
Please come back next month and join me for the third and now‑final part of the esteemed guitar’s timeline. Adiós por ahora, mis amigos.
Truth, peace, love, and guitar music be with you always. The CRAVEman, signing off for now. Until next time…
CRAVE Guitars’ ‘Quote of the Month’: “Unwise people all too often confuse power, money and information with wisdom, wealth and knowledge. Wise people understand the difference and live wisely”
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