1962 Gibson J-160e

1962 gibson j-160e

John Lennon couldn’t quite afford his first 1962 Gibson J-160e , pressing Beatles manager Brian Epstein to co-sign for the guitar’s purchase. Epstein obliged, and ended up purchasing not just Lennon’s, but one for George Harrison as well. Both guitars ended up making rock and roll history with the Beatles, appearing on countless studio recordings, movies, and live performances. The Gibson John Lennon J-160E Peace guitar—produced in cooperation with Yoko

Ono—is a painstaking recreation of Lennon’s beloved instrument as it was in 1969, after he stripped away the 1962 Gibson J-160e psychedelic paint job he commissioned in 1967, and before he doodled caricatures of himself and Ono on the guitar’s body during their infamous 1969 “Bed-In” protests against the Vietnam War. Today’s gibson j160e review Peace model features the same round shoulder body design, with a Sitka spruce plywood top and mahogany back and sides, producing a full-sounding, balanced tone with warm, rich lows and crisp, presence-laden highs.

In June 1962, both George and John ordered matching Gibson’s from Rushworth’s music store in Liverpool. The 1962 Gibson J-160e guitars were shipped over from America, and picked up by George and John on 10 September 1962. They were used immediately for the recording of “Love Me Do” and “P.S. I Love You” on 11 September 1962 at EMI Studios, Abbey Road.pparently, they swapped guitars in 1963, and John’s was stolen that year… so the two would trade playing the one remaining guitar. According to Guitar Aficionado, this guitar is the only one used on every Beatles album.

In June 1962, both George and John ordered matching Gibson’s from Rushworth’s music store in Liverpool. The 1962 Gibson J-160e guitars were shipped over from America, and picked up by George and John on 10 September 1962. They were used immediately for the recording of “Love Me Do” and “P.S. I Love You” on 11 September 1962 at EMI Studios, Abbey Road.

Apparently, they swapped guitars in 1963, and John’s was stolen that year… so the two would trade playing the one remaining guitar. According to Guitar Aficionado, this 1962 Gibson J-160e is the only one used on every Beatles album.

Gibson J 160e Price

gibson j 160e price

In 1954 Gibson J 160e Price introduced a flat top jumbo acoustic – electric guitar and called it the gibson j-160e , the guitar gained popularity in 1962 when George Harrison & John Lennon from the beatles made it their standard acoustic guitar until 1968.Although the gibson j-160e was made famous by the beatles it does not have that distinguished full tone sound of a jumbo guitar , they had laminated tops and ladder bracings to cut feedback hence giving it less sustain and a flatter acoustic tone .

the newer models of  Gibson J 160e Price today (Gibson J 160e Price  ) are considered superior in sound because of their solid top, back and sides which gives the guitar more sustain and an overall bigger and brighter tone compared to their vintage cousins.vintage gibson j-160The vintage j-160e guitars paved the way for their new models of today which are very competitive to the martin d-28 and in my opinion sounds brighter & better Gibson J 160e Price.Despite its poor quality tone the vintage j-160e’s are still collectible and sought after due to their history . Was also the first gibson flat top with an adjustable bridge .

In Gibson J 160e Price had a 16″ wide body , was round shouldered , adjustable bridge , trapezoid inlays on rosewood fingerboard , solid spruce top , had a mahogany back and laminated mahogany sides , ladder bracing , adjustable pole pickups , had 19 frets, teardrop pre war style pickguards , crown peghead inlays and were made in sunburst finishes .In 1955 Gibson J 160e Price started making j-160e guitars with laminated spruce tops and 20 frets Small changes were made throughout the 60s until 1969 when the j-160e was a square shouldered dreadnought guitar and had non adjustable saddles .

In 1972 the j-160e was fitted with a three point pickguard and featured small block inlays . The guitar was discontinued in 1979 .In 1991 gibson reintroduced the Gibson J 160e Price with a solid spruce top and mahogany back/sides , a p-100 stacked coil humbucking pickup , upper belly on the bridge with no adjustable saddles , were made in vintage sunburst colors and were discontinued in 1997 .On Friday, Barone will be working with The Mendition of the Quay, which features Mike Jackman of Rindge on drums.

70th Anniversary John Lennon J-160e

70th anniversary john lennon j-160e

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he recorded Seeger performing a new song with 70th Anniversary John Lennon J-160e about the spill, “God’s Counting On Me, God’s Counting On You,” aboard Seeger’s Hudson River sloop, “Clearwater,” and recently recorded another song associated with Seeger, “If I Had a Hammer,” sharing the vocals with Jardine.He’s also a professor at New York University’s Clive Davis Institute of Recorded Music, although Barone said the title’s a bit of an exaggeration.

“I teach stage presence, once a week, at NYU. It’s my neighborhood university,” he said. “I was really honored to be asked. The class is based on myblood Whenever Barone plays a new venue, he likes to work with a local band, which will back him on several songs during his set.

“The 70th Anniversary John Lennon J-160e Bongos were an instant band,” Barone said. “Their songs are really great for a band to sink their teeth into. I’ll get together with a local group and we’ll go over the songs. It brings the house down every time. It’s also giving credit to the community. Why not showcase the great musicians in each location?”

Gibson J-160e Standard Acoustic-electric Guitar

gibson j-160e standard acoustic-electric guitar

Richard Barone may not be a household name, but he’s played or produced music with Lou Reed, Donovan, Pete Seeger, Tiny Tim, the Monkees and Al Jardine of the Beach Boys, to name just a few. He first Gibson J-160e Standard Acoustic-electric Guitar drew attention as the frontman for the Bongos, a Hoboken, N.J.

band with an enthusiastic following in the 1980s. Barone then went on to a critically acclaimed solo career, releasing a distinctive album, “cool blue halo,” with songs done in a style he calls “chamber pop” that features acoustic guitar, vibes and cello, in 1987.Two more solo albums of Gibson J-160e Standard Acoustic-electric Guitar followed before Barone shifted his focus to songwriting and producing, but he’s always loved performing. On Friday, he’ll be in Peterborough for a show at Harlow’s Pub, a stop on a tour that’s taking him to venues he’s never been to before.

“When I toured, we did 300 shows a year for seven years, but I still find places where I’ve never played Gibson J-160e Standard Acoustic-electric Guitar Standard Acoustic-electric Guitar . I look for those, because it keeps it all new for me,” said Barone, who lives in New York City’s Greenwich Village, in a phone interview last week.Barone, who wrote a book titled “Frontman: Surviving the Rock Star Myth” about his years with the Bongos, has described the group’s first album as an “unusual combination of tribal rhythms, Beatlesque chord changes, and Sex Pistols overdrive.”“We were a big MTV favorite at the start of the new wave era,” he said.

The band dissolved quietly in the late ’80s, although they got back together for a recording session and a series of reunion concerts in 2006, including an outdoor event in Hoboken where they were given keys to the city.“My music’s taken many paths,” Barone said. “My solo albums were each very different, and now I’m doing my tours like a troubadour, just telling stories and doing my songs.”

Barone said it won’t be an acoustic show. “I play a Gibson J-160e Standard Acoustic-electric Guitar. It’s an acoustic electric guitar, the model John Lennon played. My sound’s a little more electric pop. I’m not a folk singer.”Barone is also a music producer, who in 2010 hosted a concert called “Reclaim the Coast” in New York City, which featured Pete Seeger, the Roches and others and benefitted the clean-up efforts after the Gulf Coast oil spill.

Gibson J-160e John Lennon

gibson j160e john lennon

Barone: The last time I was guest editor of MAGNET, in 2010, I wrote an article about Gibson‘s digital Les Paul, the HD.6-X Pro, and their “technology” Gibson J-160e John Lennon guitars. Since then, they’ve released the Les Paul X, which has robot tuning and 55 amazing pre-set sounds you can edit right on the guitar, not to mention wireless Bluetooth effect pedals.

It is literally awe-some. But this year I’ve been out on the road a lot, playing solo in clubs and, getting down to basics, the guitar that gets me through every song every night is my Gibson J-160e John Lennon , John Lennon model. Originally released in 1954, the J-160E was one of the first “electro-acoustic” guitars with a built-in P-90 pickup (same as on my 1955 Les Paul Special) and a unique construction that doesn’t allow for the same kind of resonance and vibration as a “normal” acoustic guitar, to avoid feedback. It’s tighter, with ladder bracing behind the top, and sounds more like an electric guitar. Maybe it’s because of my love of misfit instruments, but I love this  Gibson J-160e John Lennon guitar. It’s only recently I realized that on the early Beatles records, John and George are often playing these instruments plugged into Vox amps, not necessarily the electrics I imagined.

And John played Gibson J-160e John Lennon for the entire Beatles career, from 1962 on. The same guitar, even on his first solo single, “Give Peace A Chance” (he had it sanded down from its original sunburst finish). The guitar uses a primitive electronic set up really, not remotely high-tech or modern. When I do my soundcheck, sound dude often has to fiddle with the tone; the J-160 seems to be both brighter and darker than a normal Gibson J-160e John Lennon guitar. I play through an amp onstage plus give him a direct signal to work with, so there is a lot of sound, and by showtime, the thing rocks like a monster. Sound dude is blown away. Just me and my J-160E, and the sound fills the house. I couldn’t do that with any other guitar.
Sometime in 1962, George Harrison and John Lennon each purchased a J-160E’s at the same time at Rushworth’s Music Store in Whitechapel, Liverpool. Since John did not have enough money to afford his Gibson J-160e John Lennon, he asked Brian Epstein,the Beatles manager, to co-sign for the purchase.

In the end Epstein paid for both John and George’s Gibson J-160e John Lennon guitars. These guitars were often used early in The Beatles career both on stage, in the studio and in the Beatles movies.In 1967, Lennon decided to have an artist paint his J-160E with a psychedelic scene. Then in 1969 for whatever reason, he decided to strip the paint on the guitar and give it a natural finish.

gibson john lennon j-160e

gibson john lennon j-160e_

Jim Irsay’s current spending spree isn’t limited to bringing free-agent football players to Indianapolis.Three weeks after buying a 1954 electric gibson john lennon j-160e guitar originally owned and designed by Les Paul, Irsay spent $530,000 for a guitar once owned by John Lennon.

The Colts owner of gibson john lennon j-160e pursued the orange 1963 Gretsch hollow-bodied model for several years. Lennon, who played the guitar during the 1966 recording session for chart-topping Beatles hit “Paperback Writer,” gave the instrument to his cousin, David Birch, in 1967.

In this 2014 photo, Jim Irsay holds the john lennon j-160e peace played by Bob Dylan at the 1965 Newport Folk Festival. Seen in the case behind Irsay is Jerry Garcia’s “Tiger” guitar. (Photo: Michelle Pemberton / The Star)  Greenwood native Christopher McKinney, caretaker for Irsay’s collection of historic gibson john lennon j-160e guitars, befriended Birch and counts the Liverpool resident as a valued memorabilia consultant.

“Jim is a huge Beatles fan,” McKinney told The Star in 2013. “Anything that comes up Beatles that’s guitar related, we usually wind up getting.”McKinney predicted that Lennon’s Gretsch gibson john lennon j-160e would be offered at auction, which happened in November 2014. But when the guitar failed to reach its $600,000 reserve, Birch called off the auction overseen by England’s Tracks Ltd.

Richard Barone is an example to all of us who get trapped in our daily grind. He seems to be the perpetual glass-half-full kind of guy. He admits he feels pretty much the same way he did 30 years ago when Barone on lead vocals and guitar along with bassist Rob Norris and drummer Frank Giannini gave birth to the Bongos, a wonderful, jangly power-pop combo that could light up any room with its overflowing energy.

It’s difficult to believe that their new album with gibson john lennon j-160e, Phantom Train (Jem), is not really new at all. With guitarist James Mastro added to the band, it was cut in 1985 and 1986 and has languished on the shelf ever since. Barone has also kindly agreed to serve as guest editor for magnetmagazine.com all week. Read our brand new Q&A with him.

 

 

John Llennon Gibson J 160e

 john lennon gibson j 160e

This instrument bore a resemblence to the J-160e, except for it’s smaller size and Florentine cutaway. The neck of John Llennon Gibson J 160e joined the body at the 14th fret on the bass side. It was also offered without a pickup as the CF-100.

In 1954 John Llennon Gibson J 160e came up with a second acoustic-electric model which was deemed the J-160E. This was a slope-shouldered Jumbo bodied instrument.The constuction of this guitar was a departure from Gibsons typical process. First ofall, plywood was used for most of the guitars body. Instead of using X-bracing which allows the sound board (guitars top) to vibrate more freely, Gibson utilized ladder-bracing.

Ladder bracing was used on some classical John Llennon Gibson J 160e guitars and on budget guitars, such as Stella.Perhaps this may have been to emphasise the pickup or to deaden the acoustic sound to prevent body vibration being picked up. Who knows? Even with the poor quality tone the vintage j-160e’s are still quite collectible.

The John Llennon Gibson J 160e guitar had an adjustable bridge allowing the saddle to be raised or lowered by screws on opposing sides of the rosewood bridge. The pickup was a single coil P-90 without a cover. The volume and tone controls were placed on the lower bout of the guitars top. Despite the cool looking outer appearance, there were many better sounding Gibson acoustics available.

It chosen by mid 1960’s artists for it ability to be amplified. Not only was this the guitar of choice for The Beatles, but also for Peter and Gordon and Chad and Jeremy.The 1954 model had a 16-inch wide body. The rosewood fretboard of John Llennon Gibson J 160e came with trapezoid inlays. Only the top was solid and made of spruce. The back and sides were made of laminated mahogany.

The neck of John Llennon Gibson J 160e had 19 frets and joined the body at the 15th fret. This is interesting since most often dreadnaught style guitars join the body at the 14th fret. My thought is this was due to the pickup placement.On the headstock overlay, there was a crown inlay. The guitars pickguard was fashioned in Gibson’s teardrop pre war style. Gibson only offered this model with a sunburst finish.The following year another fret was added, but the guitars top was now made of laminated spruce.

In 1969, Gibson revamped the model to a square-shouldered dreadnaught style and the bridge saddle was fixed. Another change occurred in 1972 when the pickguard was altered to three-point style. The trapezoidal inlays were changed to small block inlays that same year.In 1979, the John Llennon Gibson J 160e J-160E was discontinued.

John Lennon Gibson Acoustic

John Lennon Gibson Acoustic

As a purely the John Lennon Gibson Acoustic , the Gibson J-160E isn’t really a contender – even though it probably sounds better than some of the original models – but as an investment for John Lennon fans and collectors, it could be an essential acquisition.“To say how proud I am of these new John Lennon Anniversary guitars is a huge understatement,” said Henry Juszkiewicz Chairman and CEO of Gibson Guitar. “The legacy that John Lennon has given music fans around the world is unprecedented and the friendship Gibson continues with Yoko Ono is demonstrated in these remarkable instruments that are in tribute to arguably one of the world’s greatest musicians.”

One of the coolest things about the J-15-and J-29 is that they represent genuine alternatives—not only to traditional round-shoulder Gibsons, but to each other. Rockers and bluegrass pickers itching to be heard over that dude with the pre-war D-28 will love the J-29’s high-mid presence, volume, and seemingly infinite headroom. Fingerstylists, moodier singer/songwriters, and recording guitarists will love the J-15’s dynamic breadth and dry, husky tone. Dyed-in-the-wool slope-shoulder Gibson devotees who savor the sonic nuances of vintage J-45s and Southern Jumbos may not love either guitar (though I suspect they’d favor the woody mellowness of the J-15). But the bottom line is that Gibson has expanded the sonic range of one the most attractive acoustic body shapes ever conceived.

At $1,500 bucks for the J-15 and $2,250 for the J-29 (yes, good rosewood is very expensive these days, darling), the guitars are destined to duke it out with many other excellent guitars in this competitive price bracket. But these unique and wonderful-sounding instruments seem destined to carve a niche all their own.

The Gibson J-160E is one of the first ever acoustic-electric guitar models. The first Gibson electric acoustic is attributed to Lloyd Loar although Gibson thought it was a bad idea at the time.Loar had experimented with acoustic electric guitars back in the 1920’s when he worked at Gibson and later with his own company, Vivi-tone.
Most of us have probably played acoustic guitar into a microphone. This works great in a studio setting as it picks up the guitars natural sounds. However in live performance, it can be a problem.

The microphone may pick up other instrument sounds leaking into the mic. Your guitar may bump the mic stand resulting in a non-pleasing sound and the soundman being knocked off his stool.

Plus your movement is restricted. You have to stand directly in front of the microphone.In 1951 Gibson was aware of these issues and to solve the problem created a guitar called the CF-100E. This guitar was a small bodied instrument with an ingenious single pickup at the base of the fretboard.

 

Gibson John Lennon J-160e

Gibson John Lennon J-160e

Introduced in 1954, the Gibson John Lennon J-160e was one of the first jumbo acoustic guitars available with a factory fitted built-in pick-up. Based on the round-shouldered J-45, the model was made largely from plywood and ladder braced, as if its acoustic qualities were of only secondary importance to the plugged-in sound. Of course there were no dedicated acoustic guitar pick-ups around then, so Gibson fitted an un-covered version the P-90 to the end of the fingerboard. The Beatles made the J-160E famous, using it on many of their recordings throughout the sixties; John Lennon re-finished his with a psychedelic paint job, then stripped it back to natural .

The Montana built Gibson 70th Anniversary John Lennon J-160E, finished in Vintage Sunburst, is one of a limited edition of 500 guitars and is an accurate replica of the J-160E of 1962 – which is when John and George bought their matching guitars from Rushworth’s music shop in Liverpool – including a three-layer, laminated Sitka spruce top with ladder bracing and mahogany back and sides. It also features a long discontinued but period correct (height) adjustable bridge and a P-90 single-coil magnetic pickup at the end of the fingerboard with a top-mounted volume and tone control.

The neck is constructed from solid mahogany and attached at the 15th fret, while the headstock is inlaid with Lennon’s signature. An Indian rosewood fingerboard features mother-of-pearl trapezoid inlays with Lennon’s date of birth inscribed at the 12th-fret. Tuners are vintage-style nickel Klusons with keystone buttons and the guitar comes with a special hardshell case, Certificate of Authenticity, an owner’s manual and literature for Gibson’s Gold Warranty.

The J-160E comes factory fitted with a set of Gibson 11-52 light gauge electric guitar strings which somewhat compromises the acoustic response of the instrument. Although it’s a strange sound – low in volume and depth – it’s strangely compelling, knowing that you’re hearing the same sound that Lennon and Harrison heard when they first picked up their new guitars nearly fifty years ago.

Plugged into a VOX AC-30 (what else?), the J-160E becomes a different guitar and although sounding nothing like a modern electro-acoustic, does have enough of a distinctive character to make it workable. The overall tone is thuddy and percussive rather than intricate, perfect for knocking out solid Lennon style rhythm parts and having the control knobs on the top like an electric guitar is a real treat.

 

J160e Gibson

j160e gibson

The J-29 has amazing headroom. It’s a fantastically loud guitar if you want it to be—you can positively hammer the thing with a flatpick without generating confused harmonics. You get projection and raw horsepower that rivals any dread. The trade-off for all this volume—one many players will like—is brash, bright upper mids, which can get white-hot at times. These qualities remain pronounced through the otherwise agreeable and transparent L.R Baggs Element electronics. If you’re a rock strummer, you’ll probably love the J-29’s power and presence in a band mix. Meanwhile, that dynamic sensitivity means that you don’t have to strum too vigorously to get it. That said, it can be hard to back the J-29 down into those softer, smokier moods at which the mahogany J-45 excels.

Our J-29 was set up with slightly higher action than the J-15, presumably to highlight the guitar’s ample horsepower and definition when flatpicked. While the J-29 can excel at fingerstyle—especially high-harmonic detail in open tunings—it has a fast, excitable reactivity most at home in rock, bluegrass, and country.

The custom shop’s second and third renditions are limited to 70 guitars each, one for every year since John’s birth in 1940, and both include a special 70th Anniversary Certificate personally signed by Yoko Ono and sent to the final purchaser by Certified Mail. As for construction, each version is an accurate rendition of the J-160E of 1962, a guitar originally released in 1954 as one of the world’s first successful “electro-acoustic” guitars, with built-in pickup and electronics and ready to hit the stage for the professional performing musician. Beloved by Lennon, and kept close throughout his too-short life, the 70th Anniversary John Lennon J-160E is a guitar every Beatles fan will want to make their own.

I have bought a few other higher end Gibsons all with problems as well. This J160E had Scratches and imperfections in the finish. The bridge and nut height was way too high. The nut was cut with the high E too far out to edge so the string would slide off when used. The pick-up wiring was too long and picked up interference and was not grounded properly either. After I buffed out the finish, lowered the bridge by shaving the bottom of it off .002 inch, built a new nice BONE nut and leveled and crowned the frets and fixed the grounding problem, this is one fine guitar.

This means that the wood material was good and that it was assembled well. But the quality of the employees workmanship on the finishing line was sad to say the least and bad overall, this was not a scratch and dent either. Gibson should pay me back for the work I had to put into it to bring it’s finished quality in line. Gibson Just isn’t what they use to be.