Gibson Trini Lopez Standard Semi-Hollow Body Electric Guitar (1967)
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Item #7635
Gibson Trini Lopez Standard Model Semi-Hollow Body Electric Guitar (1967), made in Kalamazoo, Michigan, sparkling burgundy finish, laminated maple body, mahogany neck with rosewood fingerboard, black tolex hard shell case.
One of Gibson's more interesting 1960s creations, the Trini Lopez guitars were the last of the early-'60s "Artist" models. The Trini Lopez signature came in two forms, Standard and Deluxe. The Deluxe was essentially a Barney Kessel with custom appointments: a double-cutaway full hollow body with a single sided headstock and diamond-shaped soundholes and inlay. This Standard is in some ways a more interesting instrument, essentially an ES-335 with similar decoration, and much more useful as a Rock'n'Roll guitar. Why the Standard model exists at all is a bit of a mystery; Lopez himself used only the Deluxe model, and seems to have little to do with this guitar. These models were introduced just at the end of 1964, and built in quantity from 1965-70.
This guitar is from 1967 and the fittings are standard for the period: all chrome-plated hardware including a trapeze tailpiece carrying a rosewood and plastic block with "TRINI LOPEZ Model" engraved on it. Like the Firebird, the headstock has no inlay, only a plain Gibson decal. It also carries the newer "witch hat" knobs just introduced at this time. This example is finished in "sparkling burgundy" opaque metallic lacquer instead of the standard cherry stain. This finish was used on a range of Gibson models in 1967-8 but is fairly rare compared to the standard catalog colors.
In an oddity we have never seen before, but typical of this somewhat confused post-McCarty period at Gibson, the red lacquer appears to have been sprayed OVER a coat of Pelham blue, which can be seen underneath in some worn spots. The headstock is marked as a second, and the finish situation may have had something to do with that.
Unlike Tal Farlow, Johnny Smith, or Barney Kessel (who also had Gibson models named after them), Trini Lopez was not a virtuoso jazz guitarist, but a pop/folk singer with a string of hit records in the just pre-Beatles era. Gibson described him as "...Probably the most exciting young star in the music business ... His style is simple, direct without gimmicks or wizardry". Lopez's main input into the design seems to have been the "diamond" cosmetics used on both models.
While the Trini Lopez standard is often described as "a 335 with a Firebird headstock", in fact the model pre-dates the introduction of the second-generation non-reverse Firebirds by more than six months; those later 'birds actually have a Trini Lopez headstock in place of the earlier sculpted "reverse" style! Less than 2,000 total of these striking guitars were made during the six-year production run, with this year (1967) being the peak with 783 shipped. This metallic red finish is quite rare, only used on a very small proportion of this model. This is a great playing guitar with a very fine sound and a particularly stylish look! Dave Grohl of Foo Fighters has used this model extensively, and his current signature Gibson is based on it.
Overall length is 43 1/2 in. (110.5 cm.), 16 1/8 in. (41 cm.) wide at lower bout, and 1 3/4 in. (4.4 cm.) in depth, measured at side of rim. Scale length is 24 3/4 in. (629 mm.). Width of nut is 1 9/16 in. (40 mm.).
A nicely original guitar, the only alteration being a well-done refret. There is some moderate checking and finish wear, mostly to the back of the neck, which shows a couple of patched areas of finish behind the 12th fret and near the nut. The finish also shows some general fade -- the deep burgundy metallic color has mellowed somewhat with a goldish tint in places. Still a great looking and playing guitar, with an original period Gibson HSC that appears to be for a 17" guitar. Excellent - Condition.
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One of Gibson's more interesting 1960s creations, the Trini Lopez guitars were the last of the early-'60s "Artist" models. The Trini Lopez signature came in two forms, Standard and Deluxe. The Deluxe was essentially a Barney Kessel with custom appointments: a double-cutaway full hollow body with a single sided headstock and diamond-shaped soundholes and inlay. This Standard is in some ways a more interesting instrument, essentially an ES-335 with similar decoration, and much more useful as a Rock'n'Roll guitar. Why the Standard model exists at all is a bit of a mystery; Lopez himself used only the Deluxe model, and seems to have little to do with this guitar. These models were introduced just at the end of 1964, and built in quantity from 1965-70.
This guitar is from 1967 and the fittings are standard for the period: all chrome-plated hardware including a trapeze tailpiece carrying a rosewood and plastic block with "TRINI LOPEZ Model" engraved on it. Like the Firebird, the headstock has no inlay, only a plain Gibson decal. It also carries the newer "witch hat" knobs just introduced at this time. This example is finished in "sparkling burgundy" opaque metallic lacquer instead of the standard cherry stain. This finish was used on a range of Gibson models in 1967-8 but is fairly rare compared to the standard catalog colors.
In an oddity we have never seen before, but typical of this somewhat confused post-McCarty period at Gibson, the red lacquer appears to have been sprayed OVER a coat of Pelham blue, which can be seen underneath in some worn spots. The headstock is marked as a second, and the finish situation may have had something to do with that.
Unlike Tal Farlow, Johnny Smith, or Barney Kessel (who also had Gibson models named after them), Trini Lopez was not a virtuoso jazz guitarist, but a pop/folk singer with a string of hit records in the just pre-Beatles era. Gibson described him as "...Probably the most exciting young star in the music business ... His style is simple, direct without gimmicks or wizardry". Lopez's main input into the design seems to have been the "diamond" cosmetics used on both models.
While the Trini Lopez standard is often described as "a 335 with a Firebird headstock", in fact the model pre-dates the introduction of the second-generation non-reverse Firebirds by more than six months; those later 'birds actually have a Trini Lopez headstock in place of the earlier sculpted "reverse" style! Less than 2,000 total of these striking guitars were made during the six-year production run, with this year (1967) being the peak with 783 shipped. This metallic red finish is quite rare, only used on a very small proportion of this model. This is a great playing guitar with a very fine sound and a particularly stylish look! Dave Grohl of Foo Fighters has used this model extensively, and his current signature Gibson is based on it.
Overall length is 43 1/2 in. (110.5 cm.), 16 1/8 in. (41 cm.) wide at lower bout, and 1 3/4 in. (4.4 cm.) in depth, measured at side of rim. Scale length is 24 3/4 in. (629 mm.). Width of nut is 1 9/16 in. (40 mm.).
A nicely original guitar, the only alteration being a well-done refret. There is some moderate checking and finish wear, mostly to the back of the neck, which shows a couple of patched areas of finish behind the 12th fret and near the nut. The finish also shows some general fade -- the deep burgundy metallic color has mellowed somewhat with a goldish tint in places. Still a great looking and playing guitar, with an original period Gibson HSC that appears to be for a 17" guitar. Excellent - Condition.
