The guitar has been lost for over 50 years and represents a rare and significant guitar to John Lennon’s history.
Beverly Hills, California (June 5, 2015) -- Julien’s Auctions, the world’s premier entertainment and music memorabilia auction house announced the upcoming sale of the most historically important guitar associated with The Beatles ever to be offered – John Lennon’s original 1962 J-160E Gibson Acoustic guitar. The guitar has been lost for over 50 years and represents a rare and significant guitar to John Lennon’s history.
It’s September of 1962 and The Beatles’ John Lennon and George Harrison each purchase jumbo J-160E Gibson acoustic guitars from Rushworth’s Music House in Liverpool for £161. Never would one imagine that the guitars would become so significantly important to the history of the Beatles nor engage such an undeniably intriguing story of its future whereabouts. When purchased by two of the members of the Fab Four the guitars were the only ones of their type in the country which were said to have been flown to England by jet from America after being specially ordered.
The two guitars were identical apart from the serial numbers. In December 1963, during The Beatles Finsbury Park Christmas Show, John’s guitar went missing and he later replaced it with a 1964 model. This guitar was lost for over 50 years and will now be offered at Julien’s Auctions Icons & Idols Rock n’ Roll Auction event on Friday, November 6, 2015 and Saturday, November 7, 2015.
The Beatles traveled from Liverpool to London’s EMI Studios on September 11, 1962, the day after receiving the guitars. The first song recorded that day was “P.S. I Love You,” followed by “Love Me Do” It was Lennon who used this guitar on many of the recordings they did in 1962 and 1963 that required an acoustic guitar.
John so loved this particular guitar that he would take it home and wrote songs on it with Paul McCartney. Beatles hits like “She Loves You,” “I Want to Hold Your Hand,” “Please, Please, Me,” “All My Loving,” “From Me to You,” “This Boy” and more were written with this guitar.
Historians and Beatles fans can also find this particular guitar on the UK singles “Please Please Me/Ask Me Why” and “From Me to You/Thank You Girl.”
No other guitar ever offered at auction can compare to the history this guitar has with The Beatles’ John Lennon. It also appeared on Please Please Me (album UK), Introducing The Beatles (album US VJ), The Early Beatles (album US Capitol), With The Beatles (album UK), Meet The Beatles (album US Capitol), The Beatles One (Album), The Beatles Anthology 1, Live At the BBC (The Beatles Album) and much more. In addition the guitar was used on the UK EPs such as The Beatles (No.1), The Beatles’ Hits, Twist and Shout and more. It can be seen in the November 22, 1963 videos of I Want to Hold Your Hand and This Boy.
Andy Babiuk author of the critically acclaimed book Beatles Gear – All The Fab Four’s Instruments From Stage To Studio recently discovered the guitar when John McCaw’s close friend and guitar instructor Marc Intravaia contacted Babiuk at his guitar shop, Andy Babiuk’s Fab Gear in Rochester, New York. “I get calls and email all the time with people telling me that they think they have an instrument owned by The Beatles and 99% of the time it’s nothing, but there was something about McCaw’s story that was intriguing,” said Babiuk, the world authority on equipment used by The Beatles.
“In April 2014 I was leaving my guitar groups weekly jam and noticed a magazine from May 2012 in the studio’s bookcase which featured a cover story titled the “George Harrison Collection.” There was a photo and bio of the J-160E which bore many similarities to mine. I saw identical marks in the same location on each guitar. Reading on the story noted that the two Beatles swapped guitars in 1963 for reasons unknown.” This is when my heart skipped a beat and the journey began. We searched for the person who could help us confirm the identity of my guitar. This led us straight to Andy Babiuk, the world’s leading expert on all Beatles gear,” said John McCaw.
After Babiuk examined the guitar, he was able to match the wood grain in the spruce top to photos of Lennon playing the guitar with The Beatles in the early 60’s. “Wood grain is like a fingerprint, no two are the same, and without a doubt it is a match,” said Babiuk. Lost for over 50 years, John Lennon’s beloved Gibson J-160E was finally found “It is one of the most important of all Lennon’s Beatles guitars, as he used this J-160E to write some of The Beatles’ biggest hits, and played the guitar on countless live performances and on many Beatle recordings,” said Babiuk. “It is without a doubt one of the most historically important guitars to ever come up for auction.”
The guitar has never been modified in any way. It has never been refinished and has had no hardware or electronic changes. In viewing 1963 videos of “I Want to Hold Your Hand” and “This Boy,” marks on the guitar further confirm its identity.
The John Lennon Gibson J-160E holds the distinction of also being the guitar that will be featured on the cover of the new Beatles Gear-The Ultimate Edition book with a street date of October 27, 2015. A percentage of proceeds from the sale of the guitar will go to Spirit Foundations, Inc., a non-profit organization founded by John and Yoko.
John Lennon has been said to be the most iconic Beatle of the group. He was the band’s most committed rock & roller, its social conscience and its slyest wit. He wrote or co-wrote many of the classic Beatles songs and performed them with such a distinct voice that he became one of the greatest singers rock n’ roll ever produced. He died on December 8, 1980 at the age of 40. To this day Lennon’s image is used by rock fans as a symbol of peace.
In an exclusive special engagement, the Lennon J-160E will go on display prior to the auction at The LBJ Presidential Library in Austin, Texas, from June 13-29 for the opening of The GRAMMY Museum and Fab Four Exhibits Ladies & Gentlemen…The Beatles Exhibition! It will then be displayed at the GRAMMY Museum in Los Angeles from July 2-September 7, 2015 and at Julien’s Auctions Beverly Hills from November 2-6, 2015.
For more information:
Julien's Auctions
On our season two finale, the country legend details his lead-guitar tricks on one of his biggest hits.
Get out the Kleenex, hankies, or whatever you use to wipe away your tears: It’s the last episode of this season of Shred With Shifty, a media event more consequential and profound than the finales of White Lotus and Severance combined. But there’ll be some tears of joy, too, because on this season two closer, Chris Shiflett talks with one of country music’s greatest players: Vince Gill.
Gill’s illustrious solo career speaks for itself, and he’s played with everyone from Reba McEntire and Patty Loveless to Ricky Skaggs and Dolly Parton. He even replaced Glenn Frey in the Eagles after Frey’s death in 2017. His singing prowess is matched by his grace and precision on the fretboard, skills which are on display on the melodic solo for “One More Last Chance.” He used the same blackguard 1953 Fender Telecaster that you see in this interview to record the lead, although he might not play the solo the exact way he did back in 1992.
Tune in to learn how Gill dialed his clean tone with a tip from Roy Nichols, why he loves early blackguard Telecasters and doesn’t love shredders, and why you never want to be the best player during a studio session.
If you’re able to help, here are some charities aimed at assisting musicians affected by the fires in L.A:
https://guitarcenterfoundation.org
https://www.cciarts.org/relief.html
https://www.musiciansfoundation.org
https://fireaidla.org
https://www.musicares.org
https://www.sweetrelief.org
Credits
Producer: Jason Shadrick
Executive Producers: Brady Sadler and Jake Brennan for Double Elvis
Engineering Support by Matt Tahaney and Matt Beaudion
Video Editor: Addison Sauvan
Graphic Design: Megan Pralle
Special thanks to Chris Peterson, Greg Nacron, and the entire Volume.com crew.
$149
Marshall 1959 Super Lead
The very definition of classic, vintage Marshall sound in a highly affordable package.
There’s only one relevant question about Marshall’s new 1959 Super Lead overdrive/distortion pedal: Does it sound like an actual vintage Super Lead head? The answer is, simply and surprisingly, yes. The significant difference I heard within the voice of this stomp, which I ran through a Carr Vincent and a StewMac Valve Factory 18 kit amp for contrast, is that it’s a lot quieter than my 1972 Super Lead.
The Super Lead, which bore Marshall’s 1959 model number, debuted in 1965 and was the amp that defined the plexi sound. That sound is here in spades, clubs, diamonds, and hearts. Like the Super Lead, the pedal is easy to use. The original’s 3-band EQ is replaced by a single, rangeful tone control. The normal dial and the volume, which together mimic the character created by jumping the first and second channels of a plexi head, offer smooth, rich, buttery op-amp driven gain and loudness. And the high-treble dial functions much like the presence control on the original amp.
The pedal is sturdy and handsome, too. A heavy-duty metal enclosure evokes the classic black-with-gold-plate plexi look and a vintage-grille-cloth motif. Switches and knobs (the latter with rubber sides for slip-free turning) are ultra solid, and—refreshingly—there’s a 9V battery option in addition to a barrel-pin connection. Whether with single-coils or humbuckers, getting beefy, sustained, historic tones took moments. I especially delighted in approximating my favorite Super Lead head setting by flooring the high treble, normal, and tone dials, and turning back the tone pots on my Flying V, evoking Disraeli Gears-era Clapton tone. That alone, to me, makes the 1959 Super Lead stomp a bargain at $149.
The Miku was introduced about 10 years ago and is based on the vocal stylings of Hatsune Miku, a virtual pop icon. But it does much more than artificial vowels and high-pitched words.
It’s tempting to think of this pedal as a joke. Don’t.
It all started a few years ago through a trade with a friend. I just wanted to help him out—he really wanted to get a fuzz pedal but didn’t have enough cash, so he offered up the Korg Miku. I had no idea then, but it turned out to be the best trade I’ve ever made.
Here’s the truth: the Korg Miku is not your typical guitar pedal. It won’t boost your mids, sculpt your gain, or serve up that warm, buttery overdrive you’ve always worshipped. Nope. This little box does something entirely different: It sings! Yes, sings in a Japanese kawaii accent that’s based on the signature voice of virtual pop icon Hatsune Miku.
At first glance, it’s tempting to dismiss this pedal as just a gimmick—a joke, a collector’s oddity, the kind of thing you buy for fun and then forget next to your Hello Kitty Strat. But here’s the twist: Some take it seriously and I’m one of those people.
I play in a punk band called Cakrux, and lately I’ve been working with a member of a Japanese idol-style girl group—yeah, it’s exactly the kind of wild mashup you’d ever imagine. Somewhere in the middle of that chaos, the Miku found its way into my setup, and weirdly enough, it stuck. It’s quirky, beautiful, occasionally maddening, and somehow … just right. After plenty of time spent in rehearsals, studio takes, and more sonic experiments than I care to admit, I’ve come to appreciate this pedal in unexpected ways. So here are a few things you probably didn’t know about this delightfully strange little box.
It’s Not Organic—and That’s OK
Most guitar pedals are chasing something real. Wah pedals mimic the human voice—or even a trumpet. Tube Screamers? They’re built to recreate the warm push of an overdriven tube amp. Cab sims aim to replicate the tone of real-world speaker setups. But the Miku? It breaks the mold. Instead of emulating reality, it channels the voice of a fictional pop icon. Hatsune Miku isn’t a person—she’s a vocaloid, a fully digital creation made of samples and synthesis. The Miku doesn’t try to sound organic, it tries to sound like her. In that sense, it might be the only pedal trying to reproduce something that never existed in the physical world. And honestly, there’s something oddly poetic about that.
A World-Class Buffer
Here’s a fun fact: I once saw a big-name Indonesian session guitarist—you know, the kind who plays in sold-out arenas—with a Miku pedal on his board. I was like, “No way this guy’s busting out vocaloid lines mid-solo.” Plot twist: He only uses it for the buffer. Yep, the man swears by it and says it’s the best-sounding buffer he’s ever plugged into. I laughed … until I tried it. And honestly? He’s not wrong. Even if you never hear Miku sing a note, this pedal still deserves a spot on your board. Just for the tone mojo alone. Wild, right?
“The Miku is one of those pedals that really shouldn’t work for your music, but somehow, it just does.”
Impossible to Tame
Most pedals are built to make your life easier. The Miku? Not so much. This thing demands patience—and maybe a little spiritual surrender. First off, the tracking can be finicky, especially if you’re using low-output pickups. Latency becomes really noticeable and your picking dynamics suddenly matter a lot more. Then there’s the golden rule I learned the hard way. Never—ever—put anything before the Miku. No fuzz, no wah, no compressor, not even a buffer! It gets confused instantly and says “What is going on here?” And don’t even think about punching in while recording. The vocal results are so unpredictable, you’ll never get the same sound twice. Mess up halfway? You’re starting from scratch. Same setup, same take, same chaotic energy. It’s like trying to recreate a fever dream. Good luck with that.
Full Range = Full Power
Sure, it’s made for guitar, but the Miku really comes to life when you run it through a keyboard amp, bass cab, or even a full-range speaker. Why? Because her voice covers way more frequency range than a regular guitar speaker can handle. Plug it into a PA system or a bass rig, and everything sounds clearer, richer, way more expressive. It’s like letting Hatsune Miku out of her cage.
The Miku is one of those pedals that really shouldn't work for your music, but somehow, it just does. Is it the best pedal out there? Nah. Is it practical? Not by a long shot. But every time I plug it in, I can’t help but smile. It’s unpredictable, a little wild, and it feels like you’re jamming in the middle of a bizarre Isekai anime scene. And honestly, that’s what makes it fun.
This thing used to go for less than $100. Now? It’s fetching many times that. Is it worth the price? That’s up to you. But for me, the Korg Miku isn’t just another pedal—it’s a strange, delightful journey I’m glad I didn’t skip. No regrets here.
Two guitars, two amps, and two people is all it takes to bring the noise.
The day before they played the coveted Blue Room at Third Man Records in Nashville, the Washington, D.C.-based garage-punk duo Teen Mortgage released their debut record, Devil Ultrasonic Dream. Not a bad couple of days for a young band.
PG’s Chris Kies caught up with guitarist and vocalist James Guile at the Blue Room to find out how he builds the band’s bombastic guitar attack.
Brought to you by D’Addario.
Devilish Dunable
Guile has been known to use Telecasters and Gretsches in the past, but this time out he’s sticking with this Dunable Cyclops DE, courtesy of Gwarsenio Hall—aka Jordan Olds of metal-themed comedy talk show Two Minutes to Late Night. Guile digs the Dunable’s lightness on his shoulders, and its balance of high and low frequencies.
Storm Warning
What does Guile like about this Squier Cyclone? Simple: its color. This one is also nice and easy on the back, and Guile picked it up from Atomic Music in Beltsville, Maryland.
Crushing It
Guile also scooped this Music Man 410-HD from Atomic, which he got just for this tour for a pretty sweet deal. It runs alongside an Orange Crush Bass 100 to rumble out the low end.
James Guile’s Pedalboard
The Electro-Harmonix Micro POG and Hiwatt Filter Fuzz MkII run to the Orange, while everything else—a DigiTech Whammy, Pro Co Lil’ RAT, and Death by Audio Echo Dream 2—runs to the Music Man. A TC Helicon Mic Mechanic is on board for vocal assistance, and a TC Electronic PolyTune 3, Morley ABY, and Voodoo Labs Pedal Power 3 Plus keep the ship afloat.
