Vintage Guitar - September 2018 - Open - 14

READER MAIL
LARSON LINEAGE

STRAWBS' SAVOR
Thank you for the feature on Dave Cousins
"First Fret," August '18). I first heard the Strawbs'
Ghosts album in 1975, and it remains in heavy
rotation in my home. 2004's Déjá Fou is also a
favorite. I had the good fortune to see them at
a Chicago Irish bar a few years ago, with only
about a dozen people in attendance. As I sat 10
feet from the three players onstage, I marveled
at the easy interaction between them as they
played some of my favorites from both albums,
and others. "Too complex for America," indeed.
Leonard J. Brenner
Wilmette, Illinois

MORE FUN
"LES PAUL"
I've been a subscriber for
five years and like Vintage
Guitar so much I quit reading
all the others. I especially enjoy
articles on oddball guitars, and used to
find really cool stuff hanging in pawn shops.
I once found a bolt-neck/Cherry Sunburst/
fully bound Les Paul knock-off. It had trapezoid inlays with a segmented diamond on
the headstock, a bridge that looked very much
like a Tune-O-Matic, and an asymmetrical
black-plastic panel that housed switches for six
or eight effects that were powered by a 9-volt
battery that would go dead in about two days.
I remember one of the effects - Whirl Wind.
I paid $50 for the guitar, and it played well. At
the time, I was convinced it was a Gibson, so I took
it apart to look for clues. It had a carved top on a
chambered body that was three layers thick and
had to weigh nine pounds, but was put together
with decent fit and finish. I later sold it for $250
to a strange vagabond guitar player who loved
it. While I long ago realized it wasn't a Gibson, I
never did learn anything more about its origin;

SEND LETTERS TO

someone
suggested
Montgomery
Ward.
Speaking
of Gibson, their
bankruptcy filing
makes me wonder whether some museum will create a Les Paul exhibit
with a sunbleached skull hanging above the
doorway.
Today, most "musicians" don't even know
what a guitar is used for, which is a shame
because eventually, alien visitors will demand
to speak to Chuck Berry after having listened
to the golden record they found on the Voyager
space probe. Imagine the disillusion when they
learn that Chuck, Gibson, and the ability to
play are all gone!
Jerry Blair
Canon City, Colorado
(Ed. Note: Jerry, if you search online for "Kay
Effector Les Paul," you'll likely find a guitar much
like you describe. The rabbit hole is there for you
to jump into, should you so choose.)

Send letters to vguitar@VintageGuitar.com, or Vintage Guitar,
Attn: Reader Mail, PO Box 7301, Bismarck, ND 58507.

VINTAGE GUITAR

14

September 2018

Illustration: Sean Thorenson.

I was honored to be invited by Vintage Guitar
to participate in Peter Kohman's "The (Way)
Back Beat" series encapsulating the Larson story
(August and September '17, April, May, August,
and September '18) and introduce VG readers
to Larsons they haven't seen until now.
My first recollection of the Larson brothers'
business was as a kid growing up in Chicago;
I listened to my family speak of the guitar my
grandfather, Carl, made for Gene Autry, and
while I thought it was awesome, that was the
extent of the family lore.
Fast-forward to 1979. I was caretaker of the
three instruments Carl made for his children
when they were smashed by vandals. That
painful incident ignited my curiosity and I
began to research the instruments made by my
grandfather and great-uncle. My investigation
ultimately led me to author four books on
Larson and Maurer guitars. The final edition,
The Larsons' Creations, Guitars and Mandolins,
was published in 2007.
It was mindblowing to realize the remarkable
quality and versatility of their instruments and
reveal the creative minds of the two brothers.
They designed and built in their own fashion
and did custom work for many clients. Peter's
series has revealed to VG readers just how many
of their ideas were well ahead of the competition.
So, thank you, Peter, and thank you VG! I can
now rest assured the Larson brothers have been
duly noted in the history of America's premier
acoustic-guitar makers.
I like to think the articles represent a fifth
Larson "book," and Peter was the perfect writer
to undertake the magnitude of collating the
material and presenting the wonderful heritage
of the now-famous Larson brothers.
Robert C. Hartman
Huntley, Illinois


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Table of Contents for the Digital Edition of Vintage Guitar - September 2018 - Open

Contents
Vintage Guitar - September 2018 - Open - Cover
Vintage Guitar - September 2018 - Open - IFC
Vintage Guitar - September 2018 - Open - 3
Vintage Guitar - September 2018 - Open - 4
Vintage Guitar - September 2018 - Open - 5
Vintage Guitar - September 2018 - Open - 6
Vintage Guitar - September 2018 - Open - 7
Vintage Guitar - September 2018 - Open - 8
Vintage Guitar - September 2018 - Open - 9
Vintage Guitar - September 2018 - Open - Contents
Vintage Guitar - September 2018 - Open - 11
Vintage Guitar - September 2018 - Open - 12
Vintage Guitar - September 2018 - Open - 13
Vintage Guitar - September 2018 - Open - 14
Vintage Guitar - September 2018 - Open - 15
Vintage Guitar - September 2018 - Open - 16
Vintage Guitar - September 2018 - Open - 17
Vintage Guitar - September 2018 - Open - 18
Vintage Guitar - September 2018 - Open - 19
Vintage Guitar - September 2018 - Open - 20
Vintage Guitar - September 2018 - Open - 21
Vintage Guitar - September 2018 - Open - 22
Vintage Guitar - September 2018 - Open - 23
Vintage Guitar - September 2018 - Open - 24
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Vintage Guitar - September 2018 - Open - 26
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Vintage Guitar - September 2018 - Open - 34
Vintage Guitar - September 2018 - Open - 35
Vintage Guitar - September 2018 - Open - 36
Vintage Guitar - September 2018 - Open - 37
Vintage Guitar - September 2018 - Open - 38
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Vintage Guitar - September 2018 - Open - 90
Vintage Guitar - September 2018 - Open - 91
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Vintage Guitar - September 2018 - Open - IBC
Vintage Guitar - September 2018 - Open - BC
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