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PPAASSTT,, PPRREESSEENNTT AANNDD FFUUTTUURREETHE EPIPHONE STORY

P A S T , P R E S E N T A N D F U T U R E : T H E E P I P H O N E S T O R Y P A S T , P R E S E N T A N D F U T U R E : T H E E P I P H O N E S T O R Y

IN THE BEGINNING

The Epiphone story does not follow astraight line. For more than a century, it hastwisted and turned through triumph,setback and comeback; hitting bothdizzying highs and crushing lows as it windsits way through the ages. The latestchapter, in 2006, finds Epiphone as one ofthe most successful and respectedinstrument manufacturers on the planet.The opening chapter begins some 130years before that, in the workshop ofAnastasios Stathopoulo.

The son of a Greek timber merchant,Anastasios would not follow his father intothe family trade, although his chosenprofession would use the same materials.He began crafting lutes, violins andtraditional Greek lioutos in 1873. A fewyears thereafter, Anastasios sailed acrossthe Aegean Sea with his family to start anew life in Turkey. By 1890, his talent andreputation had allowed him to open aninstrument factory and start a family. Firstto arrive in 1893 was a son, Epaminondas,followed later that decade by Alex,Minnie and Orpheus.

By 1903, the persecution of Greekimmigrants by the native Turks had forcedthe Stathopoulo family to move again; thistime to a residence in the lowerManhattan neighbourhood of New York.With Anastasios crafting and selling hisinstruments on the ground floor, and thefamily living directly above, the linebetween work and home life becameincreasingly blurred. Epaminondas (knownas ‘Epi’) and Orpheus (‘Orphie’) weresoon helping out in the shop and learningthe business from the ground up.

And business was good. It was Anastasios’good fortune to arrive in New York at theheight of the mandolin craze, and thisdovetailed with the popularity of histraditional Greek instruments amongst thecity’s bustling expat community. Thanks tothe success of their father’s instruments(now labelled ‘A. Stathopoulo,

manufacturer-repairer of all kinds ofmusical instruments’, and built in awarehouse on 247 West 42nd Street), theStathopoulo children enjoyed a privilegedupbringing and a good education. But allthat changed in July 1915, whenAnastasios died at the age of 52 fromcarcinoma of the breast.

EPI TAKES CHARGE

Epi was just 22 when he took charge of thefamily business. He inherited many of hisfather’s strengths – including a keenbusiness sense and fierce pride in his work– but combined this with an awareness ofthe changing times that would prove vitalin the years to come. Crucially, Epi was notjust a luthier or a businessman. He was alsoa keen musician and socialite.

Epi respected the tradition of his father’sinstruments, but recognised theimportance of moving with the times. By1917, he had changed the company’sname to the ‘House Of Stathopoulo’ andbegan adapting the product line.Mandolins were falling out of favour. In thepost-war era, banjos had started to boomalong with jazz, and Epi, with his ear to theground, recognised this early and armedhis company to deal with it. Not only didEpi introduce a line of banjos, but he alsodeveloped the instrument’s design,patenting his own tone ring and rimconstruction. It was a sign of things tocome.

And so, while the market shift causedsome companies to flounder, the House OfStathopoulo flourished. The firm’s structurewas re-organised in 1923 as its successsnowballed (Epi made himself presidentand general manager) and even its namewas revised to reflect its changing identity.This was the age of possibility, and Epineeded a brand to match. He eventuallysettled on an amalgamation of his ownnickname and a derivation of the Greekword for ‘sound’. It was the birth ofEpiphone.

In 1924, Epiphone released the RecordingSeries of banjos to universal acclaim.Indeed, the Deluxe, Concert, Bandmasterand Artist models (plus the budgetWonder model) were so popular that bythe following year, Epi had expandedproduction and bought out the Favoran

banjo firm to cope with demand. Thanksto models like the Emperor, and theendorsement of players like Carl Kress, thisside of the business continued to growalong with Epiphone’s reputation, to the

point where the company’s name waschanged once again in 1928. For now, itwould be known as the Epiphone BanjoCompany.

THE FIRST GUITARS

The stock market crash of 1929 drew a lineunder the age of prosperity. Combinedwith the sudden slump in the banjo’spopularity, it sounded the death knell formany instrument manufacturers. Onceagain, Epi was ready for the change. Atthe height of the banjo boom in 1928, hehad introduced the Recording series ofguitars, each one identified only by aletter (‘A’ through to ‘E’) and notable fortheir unusual body shape. The Recordingguitars were a combination of spruce andlaminated maple, with either an arched orflat top, depending on the price.

The market was certainly ripe, but theRecording guitars were not a success. Oneproblem was a lack of celebrityendorsement. The other was a lack of volume. The Recording guitars were toosmall and arguably too ornate,particularly in comparison to the mightysize and volume of the Gibson L-5. At leastEpi was taking notes. It wasn’t hard to seethe L-5’s influence on the new Epiphone

From 1907 to 1912 the Stathopoulo family lived and worked at 121 West 28th Street

in Manhatten

Epaminondas Stathopoulo (known as ‘Epi’) tookcharge of the family business aged just 22, and led it to great heights until his death during WWII

Establishing his first

instrument factory in 1890,

Anastasios Stathopoulo’s

earliest creations included

lutes, violins and traditional

Greek lioutos

Epi Stathopoulo anticipated the US banjo boom, and in 1924 he introduced the

Epiphone Recording Series to widespread acclaim.

Inspired by the Gibson Master Model range, Epi launched the Masterbilt line of f-holearchtops in 1931 (of which the De Luxe,

pictured here, was the most expensive). Theseguitars consolidated Epiphone’s reputation, but

sparked vicious competition with Gibson.

The stock market crash of 1929 marked a slump in the banjo’s popularity. With his ear tothe ground, Epi responded with the Recording

Series of guitars – identified by a single letter (‘A’through to ‘E’) and their distinctive body shape.

P A S T , P R E S E N T A N D F U T U R E : T H E E P I P H O N E S T O R Y

archtops that followed in 1931, with theMasterbilt Series sharing similar f-holes,pegheads, and even a similar name to theGibson Master Model range (though theindividual model names would be moreinteresting than Gibson’s serial numbersystem, including the De Luxe, Broadway,Windsor and Tudor). Despite takinginspiration from Gibson, however, theMasterbilts had their own identities. Theirintention was not to emulate the MasterModel range, but to destroy it.

EPIPHONE VERSUS GIBSON

Throughout the 1930s, the rivalry betweenEpiphone and Gibson would veer fromfriendly sparring to all-out warfare. Slightedby the introduction of the Masterbilts, andhaving emerged from its commercialslump at the start of the decade, Gibsonreturned fire in 1934 by increasing thebody width of its existing models andintroducing the king-size Super 400(named after its $400 price tag). Not to beoutdone, Epi replied the following yearwith the top-of-the-line Emperor, whichraised the stakes with a slightly wider bodyand a provocative advertising campaignfeaturing a semi-naked woman. In 1936,Epiphone struck again, increasing the size

of its De Luxe, Broadway and Triumphmodels by an inch (making them 3/8”wider than the Gibsons).

By this point, Epiphone guitars wereconsidered to be amongst the best in theworld, and Epi himself was enjoying thepatronage of some of the most respectedplayers on the scene. The Epiphoneshowroom – now returned to its earlylocation on West Street, Manhattan – wasboth the company’s HQ and a hangoutfor famous musicians. On Saturday

afternoons, Epi would simply open thedisplay cases and allow legends-in-waiting like Al Caiola and Harry Volpe tojam for the benefit of the peoplewatching on the pavement outside.Perhaps this wasn’t just an act ofbenevolence: both players would later goon to endorse Epiphone instruments,along with many others including Les Paul.

Epiphone wasn’t just gunning for Gibson.Growing aware of the success ofRickenbacker’s electric models since1932, Epi made his move on this newmarket with the introduction of the ElectarSeries (originally known as Electraphone)in 1935. The design was strong, withindividually adjustable polepieces on the

‘Master Pickup’ giving optimum output,and while Gibson had evidently beenthinking the same thing (by the followingyear they had introduced an electricHawaiian guitar), the Electar line landed aserious blow on Epiphone’s rivals, whileconsolidating their own reputation asinnovators. By the summer of 1937, Epireported that sales had doubled.

As the decade played itself out, the rivalrybetween Epiphone and Gibson showedlittle sign of abating. In 1939, the two firmsintroduced similar ‘pitch-changing’Hawaiian guitar designs. That same year,Gibson introduced a line of violins, whileEpiphone struck back with a series ofupright basses. It took the outbreak of theWorld War II, and the shutdown of USguitar production, to ring the bell on thebloodiest luthier boxing match of the age.

HARD TIMES

The war changed everything. Before thebombing of Pearl Harbour in 1941,Epiphone had been riding on the crest ofa wave. When the last of the fightingended in 1945, the company found itselfwithout its greatest asset. Tragically, Epihad died of leukemia during the war,meaning that Epiphone was handeddown to younger brothers Orphie andFrixo, who would respectively beresponsible for the financial andmechanical running of the operation.

The problems weren’t obvious to start with.Epiphone continued to clash with Gibsonvia the introduction of cutaway versions ofthe Emperor and De Luxe, and raised thebar considerably with the arrival of theelectric cutaway De Luxe. Pickupscontinued to be refined, and famousplayers continued to appear onstagearmed with Epiphone guitars. From theoutside, it seemed to be business as usual.

But cracks soon appeared, both on theproduction line and in the boardroom. TheStathopoulo brothers were not gettingalong, and in 1948, Frixo offloaded his

share to Orphie. Worse, the company waslosing the reputation for craftsmanshipand innovation built up during Epi’s reign,and the pressures for unionisationcompounded the problems. To sidestepthis last issue, the Epiphone factory movedfrom Manhattan to Philadelphia in 1953,but the fact that many of the firm’scraftsmen refused to leave New Yorkresulted in a drop in quality and the veryreal danger of bankruptcy.

THE UNION OF EPIPHONE ANDGIBSON

While Epiphone’s problems got worse asthe 1950s progressed, Gibson was goingfrom strength to strength. Its maincompetition now came from theCalifornia-based Fender Company,creator of the Telecaster and Stratocastermodels that had been released earlierthat same decade. If Gibson had aweakness, it was that their upright bassproduction had stopped before the warand never started again. So whenGibson’s general manager, Ted McCarty,received a call from Orphie askingwhether he’d be interested in buying outthe Epiphone bass business (still a hugelyrespected division of the company,despite its troubles), he didn’t need asking

twice. McCarty paid the $20,000 askingprice and Gibson took control of Epiphonein May 1957.

Gibson’s original intention was to harnessthe reputation of the Epiphone bass line.By 1957, this plan had been scrapped.Instead, McCarty wrote in a memo thatyear, the Epiphone brand would berevived and a new line of instrumentscreated. These Gibson-made Epiphoneswould then be offered to dealers whowere keen to win a Gibson contract, butstill earning their stripes (the right to sellGibson models was hotly contestedbetween dealerships at this time). It wasthe perfect solution. Dealers would get aGibson-quality product, without treadingon the toes of the traders who already soldthe real thing. The Epiphone operation

was relocated to Kalamazoo (the samecity as Gibson HQ) and work began.

A NEW BEGINNING

Epiphone wouldn’t stay in the shadow ofGibson for long. When the new line startedfiltering through in 1958, it became clearthat the brand now had three separateidentities. On one hand, Epiphone nowlisted budget-conscious versions of existingGibson models. Alongside this, however,there were also recreations of classicEpiphone designs (such as the Emperor,Deluxe and Triumph) and a selection ofnew models that had never been seenbefore. These included electrics like thesemi-hollow Sheraton and the solid-bodied Moderne Black (alongside adouble-cutaway model inspired by the

Size matters! In 1935, Epiphone launched theEmperor, a top-of-the-range f-hole archtop

whose 18 3/8” body width was clearly motivated by a desire to list a bigger guitar than Gibson. This provocative ad campaign

showed off the model’s curves…

Announced in 1935, Epiphone’s Electar range of electrics proved the company’s flair for

innovation. The ‘Master Pickup’ used on these axes was advanced for the time, with individually

adjustable polepieces.

Even during the post-war slump, Epiphone enjoyedan unparalleled reputation for its upright basses.Models such as the B-4 prompted Gibson to buy

the company for its bass operation in 1957.

Epiphone’s troubles in the 1950s led to the 1957 buy-out by Gibson (for $20,000) and the

partnership between the two companies that continues to this day



Telecaster), and flat-top acoustics like theFrontier, whose square-shouldered bodystyle was a first for Gibson (it wastraditionally a Martin design). Combinedwith the introduction of amplifiers, it wasbecoming clear that Epiphone instrumentswould be far more than the ‘sort of almostGibsons’ many had predicted.

The grand unveiling of the Epiphone linetook place at the NAMM trade show inJuly 1958, with an electric Emperor as theflagship model. The show itself wouldgenerate orders of 226 guitars and 63amps (a modest return), but over the nextfew years Epiphone would get into aswagger, shifting 3,798 units in 1961, andaccounting for 20% of the total unitsshipped out of Kalamazoo by 1965. Evenmore impressive was the prestige of theguitars themselves. In the early 1960s, the Epiphone Emperor cost significantly morethan the top-of-the-range Gibson

Byrdland, while 1963’s deluxe flat topExcellente was $100 more than the J-200,and made of rarer tonewoods.

The early 1960s brought the explosion offolk music, and Epiphone was ready tocater for it. The firm reintroduced its Sevilleclassical guitar (with and without pickups)in 1961, and complemented this with theMadrid, Espana and Entrada models. In1962, Epiphone also started listing atwelve-string guitar called the Bard, asmaller version known as the Serenader,and (in 1963) a series of steel-string flat-topped folk guitars including theTroubadour. The strength of the acousticrange was matched by a number ofelectric classics, like the double-cutawayCasino, and by the time the Beatlesappeared with three of these models (oneeach for John Lennon, Paul McCartneyand George Harrison), it seemed like therubber stamp on Epiphone’s recovery. Thecompany now listed fourteen electricarchtops, six solid-bodied electrics, threebasses, seven steel-string flat tops, sixclassicals, four acoustic archtops, threebanjos and a mandolin.

TURNING JAPANESE

The early to mid-1960s were boom time forEpiphone, with unit sales increasingfivefold between 1961 and 1965. But thegood times couldn’t last forever. The rise offoreign-made guitars had caught the USindustry napping, and by 1969, thesecheap models (often based on existingAmerican designs) had stolen some 40% ofthe Epiphone/Gibson market share andclosed many companies down entirely.

There were other problems. Gibsonmanager Ted McCarty had steppeddown, the quality of the product wasthought to have slipped, and unionproblems were simmering again. In itsweakened state, Gibson’s parentcompany CMI was bought in 1969 by theEcuadorian ECL corporation (whose experience was not in guitars, but beer)and Epiphone found itself in a

predicament – perceived to besecondary to Gibson, but too expensive tocompete with the foreign imports.

The idea of moving Epiphone productionto Japan had actually been floatedbefore the ECL takeover. By 1970, it was areality, with American production grindingto an abrupt halt and a new line ofEpiphones being exported from theJapanese town of Matsumoto. But thesewere not Epiphones as the world knewthem. On the contrary, they were justrebadged versions of models that werealready being produced by theMatsumoku Company – with littleimagination or respect for the company’spedigree.

Things had improved by 1976, when theEpiphone line was bolstered by theappearance of models like the Monticello,a series of scroll-body electrics, and thenew Presentation range of flat tops. Therewas also the Nova series of flat tops andthree new solidbodies named Genesis. By1979, the Epiphone product list wasgathering speed, with over 20 steel-stringflat tops, and plenty more besides.

THE MOVE TO KOREA

Just as Epiphone’s Far Eastern operationseemed to be finding its feet, threebombshells dropped in quick succession.The first was the rise of the electronickeyboard. The second was the rising costof Japanese production, which led toEpiphone’s relocation to Korea in 1983,and collaboration with the SamickCompany. The third took place in theGibson boardroom at the start of 1986,with three Harvard MBAs (HenryJuszkiewicz, David Berryman and GaryZebrowski) taking the company off thehands of ECL/Norlin. Reviving Gibson wasthe priority for the new owners, and withEpiphone making less than $1 millionrevenue in 1985, there seemed a danger itwould be swept under the carpet andforgotten.

Released as part of the new line in 1958, theSheraton was a daring model with shades of theGibson ES-335, and revealed that the takeover

would not spell the end of Epiphone’s creativity.

They loved them, yeah, yeah, yeah. When JohnLennon, Paul McCartney and George Harrison

each bought an Epiphone Casino in 1964, itunderlined the quality of both the instrument

and the brand.

Early Japanese Epiphones had been poor, but theoperation’s growing momentum was demonstrated

in 1976 by a number of new models, including aseries of scroll-bodied electrics

The ‘square-shouldered’ body shape wastraditionally a design used by the Martin Company.In 1958, Gibson swallowed its pride and used it asthe inspiration for the Epiphone Frontier flat top.

Proof that Epiphone was not secondary to Gibsoncame in the form of the 1963 Excellente – a deluxeflat top that actually cost $100 more than Gibson’s

esteemed J-200.


Early Japanese Epiphones

had been poor, but the

operation’s growing

momentum was

demonstrated in 1976 by

the Presentation Series 765

(a rosewood dreadnought

featuring the ‘vine of life’

peghead inlay).


But Epiphone was still buzzing withpotential. Soon enough, Juszkiewicz hadidentified it as a sleeping giant, and madethe trip to Korea to decide how it could bepushed to match the success of otherAsian brands like Charvel and Kramer. Ashe absorbed Epiphone’s pedigree,Juszkiewicz started getting results, andsoon sales were growing again.

Sales weren’t the only thing on the move.By 1988, the Epiphone product line wasevolving. Epiphone now listed a new PRSeries of square-shouldered acoustics,along with an interpretation of Gibson’s J-180, several classical guitars, a banjo anda mandolin. There was also a solidselection of Gibson-derived instruments(from flagship models like the Les Paul andSG to new archtops like the HowardRoberts Fusion) and a tip of the hat toEpiphone’s past in the form of theSheraton II.

TAKING ON THE WORLD

It was a start. But as the 1990s rolledaround, Epiphone still had work to do. Theline was more than comprehensive –offering 43 different models across arange of styles and budgets – but the lackof historic Epiphone products needed tobe addressed. The legendary instrumentsfrom Epiphone’s past should have beenleading the company’s charge into thefuture. Without them, Epiphone was still

seen by some as a faceless import; a factreflected by its modest global sales.

Taking charge of Epiphone around thistime, David Berryman identified the otherproblem that was stopping the firm fromtaking on the world. It still didn’t have itsown dedicated office or workforce.Moving fast, Berryman instigated theacquisition of an office in Seoul,appointed Jim Rosenberg as productmanager and set about addressing themisconception that Epiphone wassecondary to Gibson.

The Seoul office was a major turning point.Instead of the long-distance relationshipthat the firm had previously had with itsproduct, Epiphone was now able to roll upits sleeves and muck in with the dedicatedquality control staff at the factory. Duringthe long days and sleepless nights thatfollowed, the Epiphone product changedbeyond all recognition. Factory processeswere assessed and refined. Manufacturerswere visited and briefed on thecomponents that would make theseinstruments special, with Epiphone takinga hands-on role in the development ofeverything – from pickups, bridges, toggleswitches and fret inlays to unique featureslike the metal E logo and frequensatortailpiece. Financially and emotionally,Epiphone invested everything it had inthese new models.

It paid off. One of the first fruits ofEpiphone’s labours was a limited-editionrun of electric-acoustics, and the successof these confirmed how far the companyhad come. By the time of the 1993 NAMMshow, there were more thin-bodiedelectric-acoustics and a new range of PRs.It all hammered home the impression thatEpiphone was a leader rather than afollower.

But Epiphone was looking to the past aswell as the future. In 1993, a limited run ofRiviera and Sheratons were produced inGibson’s Nashville factory, with thecompany’s Montana plant also building

250 Excellente, Texan and Frontier flattops. These Epiphones were only intendedas a special event (it was impractical tomove production to the US permanently)but the public reaction promptedRosenberg to reissue many classic designsvia the Korean range. Those whoattended the 1994 NAMM witnessed there-introduction of legends including theCasino, Riviera, Sorrento and Rivoli bass. Inthe months that followed, word spread,and guitar luminaries including Chet Atkinsand Noel Gallagher signed up to theEpiphone cause – confirmation that thesewere instruments to be played throughchoice, not necessity.

ONWARDS AND UPWARDS

Epiphone was arguably just as successfulin the late-90s as at any point in its history.With confidence booming, this era sawthe launch of the Advanced Jumbo Seriesand the release of several importantsignature models. The John Lee HookerSheratons from the USA Collection weretasteful, toneful and utterly authentic. TheNoel Gallagher Supernovas had attitudeand edge, and became some of the mosticonic designs of the time. Then there werethe John Lennon 1965 and RevolutionCasinos. With their US birthright,unbeatable authenticity and sense of

aspiration, these models reunited Epi withthe greatest artist of all time, andunderlined the company’s own re-emergence as a rock legend.

As the new millennium came and went,the momentum continued, as Epiphoneintroduced the Elitist range andstrengthened its position in the acousticmarket with the acquisition of veteranGibson luthier Mike Voltz. Voltz’scontribution to Epiphone’s developmentcannot be overstated. While the firm hadrevived its electric range to great acclaim,there was still a sense that it needed toclaw back its former reputation for world-beating flat tops. All that changed withthe introduction of the Masterbilt range,which – along with the subsequent 2005

release of the Paul McCartney 1964 USATexan – consolidated Epi’s acousticcredentials and reacquainted the firmwith two big names from its past.

By 2003, the international demand forEpiphones was such that the companyhad opened a new factory in China. Notonly did this mark the first time thatEpiphone had its own dedicated factorysince the initial takeover by Gibson.Staffed by US managers and luthiers, it alsoarmed them with the control over theirown product that would let them takedevelopment to the next level, and givethem a massive edge over thecompetition (most of whom continued toshare workspaces).

Hot rocker Lenny Kravitz modeling the latest fashion, an Epi Riviera.

Perhaps the most iconic design of the 1990s, Noel Gallagher’s signature model was almost as

popular as Oasis themselves, and one of thedecade’s many highlights for Epiphone.

Crafted in Japan with choice tonewoods and US pickups, the launch of the Elitist Series in 2002 – including the Sheraton shown here – was conclusive proof that Epiphone is far

more than Gibson’s entry-level line.

Paul McCartney used a 1964 Epiphone Texan on Yesterday – and the iconic status of the original instrument prompted Epiphone to

launch a US reissue in 2005

EPIPHONE TIMELINE

1863 Anastasios Stathopoulos is born in Sparta,Greece to a local lumber merchant.

1873Anastasios builds his first instruments (accordingto Epiphone literature of the 1930s).

1877The Stathopoulos family moves to Smyrna inAsiatic Turkey.

1890Anastasios establishes a large instrument factoryin Syyrna which produces violins, mandolins,lutes and traditional Greek lioutos.

1893Epimanondas (‘Epi’) is born to Anastasios andhis wife Marianthe. His name is inspired by amilitary hero from ancient Greek history.

1903Following persecution of Greek immigrants bythe native Turks, the Stathopoulos family movesto New York (during the immigration process,the final ‘s’ is dropped from the family name).The family now includes sons Alex and Orpheus(‘Orphie’), and daughter Alkminie (‘Minnie’).Another son (Frixo) and daughter (Elly) are bornin America.

1915Anastasios dies, leaving Epi in charge, andushering in the new era of the Epiphonecompany (although this brand name is still someyears away). Orphie is second-in-command,while Frixo and Minnie will later become activein the company.

1917Epi begins labelling instruments with the Houseof Stathopoulo brand. The era of the tenorbanjo is beginning, and Epi is granted his firstpatent for banjo construction.

1924Combining his own name with the Greek wordfor ‘sound’, Epi registers the Epiphone brandname.

1925Epi buys the Favoran banjo company in LongIsland City (across the East River fromManhattan) and launches the EpiphoneRecording line of banjos. Their ornate designand classic tone makes them an instantsuccess.

1928Buoyed by the success of the Recording banjos,Epiphone introduces a Recording line of guitars– most of them with carved tops andspruce/maple tonewoods.

1931Epiphone introduces a full line of f-hole archtopguitars (12 models in all), with the top models(the De Luxe, Broadway and Triumph)becoming familiar Epi model names for the next40 years.

1935As the latest blow in the long-runningcompetition with Gibson, Epiphone launchesthe Emperor.

1937Epiphone unveils its innovative adjustable-polepickup (as part of the Electar series). By thispoint, the company’s reputation has led toendorsement from prominent players such asTony Mottola, Dick McDonough and GeorgeVan Eps.

1943Epi dies of leukemia, leaving brothers Orphieand Frixo in charge. Feuding between themleads Frixo to sell his stock in 1948. The companyfalls on hard times in the post-war years, and bythe mid-50s, Epiphone is making few instrumentsaside from upright basses and the Harry Volpestudent guitar.

1957Gibson's parent company, CMI, buys Epiphonefor $20,000, originally intending to harness itsupright bass operation, but ultimately revivingthe Epiphone name on guitars. A full line ofnewly designed acoustics and electrics isunveiled in 1958, and two years later Epiphoneproduction moves into Gibson’s factory inKalamazoo, Michigan.

1961Country superstar Ernest Tubb equips his entireTexas Troubadours band with Epiphones, whileMarshall Grant plays an upright Epi bass withJohnny Cash.

1963Longtime Epiphone endorsee Al Caiola gets hisown model, and plays it on his hit records of thethemes from Bonanza and The MagnificentSeven.

1964George Harrison, John Lennon and PaulMcCartney buy Casinos. Alongside All YouNeed Is Love (which features all three),McCartney uses his Casino for the solos onTicket To Ride, while Harrison uses his for thefamous runs on Hello Goodbye. McCartney alsobuys an Epiphone Texan, which he plays onYesterday.

1970In the face of foreign competition, Epiphoneproduction is moved to Japan. Through the1970s and early '80s, the Epiphone line has littlecontinuity, although it maintains respect as aquality import brand.

1983Epiphone production moves to Korea.

1986Henry Juszkiewicz, David Berryman and GaryZebrowski acquire Epiphone and Gibson. TheEpi line is soon expanded to include traditionalmodels like the Sheraton, Emperor and HowardRoberts – along with Epi versions of Gibsonclassics like the Les Paul, Flying V and Explorer.

1992Jim Rosenberg arrives as product manager tohead up the Epiphone line, and soon expands itto offer virtually every style of guitar to thevalue-conscious player. The opening of adedicated office in Seoul allows Epiphone the‘hands-on’ relationship with its product that hadpreviously been lacking.

1993Epiphone’s reputation is further enhanced bythe Nashville USA Collection – limited editionmodels that represent the first US-madeEpiphones for over 20 years.

1994Gibson’s Montana division follows suit, offering alimited edition US run of the Excellente, Frontierand Texan Epiphone flat tops. The NAMM showof that year also witnesses the re-introduction ofclassic designs including the Casino, Riviera andSorrento (all part of the new Korean range).

1995Epiphone celebrates the 80th anniversary of EpiStathopoulo's rise to head the family business.

1996With Oasis at the peak of their popularity,Epiphone build lead guitarist Noel Gallagher theiconic Supernova signature model.

1998Epiphone introduce guitar and accessory‘starter packages’, while this period also seesthe launch of the Advanced Jumbo Series.

1999John Lennon Revolution and ‘65 Casinos arelaunched as part of Epiphone’s USA Collection,alongside a pair of John Lee Hooker Sheratons.The sheer quality and flair of these signaturemodels underlines Epiphone’s growing status asa brand to be played through choice.

2002The new Elitist line is released to widespreadacclaim, while veteran Gibson luthier Mike Voltzis recruited by Epiphone to focus on acousticproduction and marketing. Voltz will proveinstrumental in establishing the new range ofMasterbilt acoustics – a series that reunitesEpiphone with its past and consolidates thecompany’s position as a leader in both theelectric and acoustic fields.

2003International demand leads to the opening of adedicated Epiphone factory in China. Staffedby US managers and luthiers, it equips thecompany to support the growing popularity ofits instruments.

2005Epiphone is reacquainted with a big name fromits past, as the Paul McCartney 1964 USA Texanis re-introduced.

2006The modern Epiphone catalogue offers greaterdiversity than ever, with new Elitist and signaturemodels rubbing shoulders with faithful reissuesand authentic versions of the Gibson line.


In 2006, Epiphone is all things to allplayers. Working musicians prize thecompany for its Gibson replicas, offeringthe quality of the most famous USmodels at competitive prices. Collectorsof vintage guitars snap up the authenticElitist reissues of the Emperor, Casino andExcellente (and many more). Recordingartists turn to the Epiphone US range forquality that rivals any guitarmanufacturer in the world, while rock ‘n’roll fanatics delight in the company’ssignature models, which in 2006 includeeverything from the Nick Valensi Rivierato the Zakk Wylde Les Paul Customs.Regardless of budget, ability or musicalleaning, today’s Epiphone line has itcovered.

Perhaps even more important,Epiphone has retained the pioneeringspirit that was always Epi Stathopoulo’scalling card. Whether through the 2006‘Guitar of the Month’ scheme (offering adifferent collector’s model each month)or through its unending quest tochallenge tradition, this is still a firm thatthrives on the risk while always deliveringthe result. Perhaps David Berryman putsit best. “Gibson is a traditionalcompany,” the Epiphone presidentnoted. “Epiphone is more of arenegade. It marches to the beat of adifferent drum. Always has.” Onesuspects that it always will.

An update of an Epiphone classic, the Nick ValensiRiviera P94 is a blast from the past with a nod to the future. Much like the Strokes man himself…

Epiphone continues to work with the brightest talents in all genres of music. Black Label Society’sZakk Wylde is just one of many luminaries with anEpiphone signature model in 2006 (in fact he has

three of them!)

In 2006, Epiphone is all

things to all players – offering

official Gibson replicas,

authentic signature models,

and faithful Elitist reissues

of models from its own

illustrious past

645 Massman Drive, Nashville, Tennessee, 37210, USA. Telephone: 001 615 871 9585 www.epiphone .com

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