In the midst of his explorations of Japanese guitar culture, our columnist stumbled upon a vintage collector who also happens to be part of the Pokémon design team.
So, how many of you know about Pokémon, the popular video-game and card series? I missed out on the initial Pokémon craze of the ’90s, and its continuation while I later was toiling my way through college, but when my son was in kindergarten around 2016, we started to play Pokémon Go—another game in the Pokémon series—on my smartphone.
The game is impressive because it encourages you to venture outside, and man, did we ever get around! I discovered all sorts of parks, monuments, and landmarks in my area, and we got a lot of steps in.
One part of Pokémon is that you try to virtually “catch” all these crazy, animated creatures (the actual Pokémon) that you find around you, seen through the lens of your phone. Basically, you “throw” a small ball-shaped container at them to trap them, and on chance, you may catch them. If caught, you can then keep them in your collection until you let them out to fight other Pokémon. (Actually, it all sounds sort of horrible after I wrote that.) Anyhoo, the games are developed in Japan, and that’s where the next part of the story unfolds.
Many years ago, I became friendly with Hiroyuki Noguchi, the author of the excellent book, Bizarre Guitars. He was one of the first people to document the history of guitar production in Japan. His book is an excellent read (if you can read Japanese) and it has some awesome photos. Eventually I came to learn that almost all the guitars pictured in his book came from the collection of one man!
That collector, “Ashura” Benimaru Itoh, is the craziest cat in Japan, and the competition didn’t even come close. Noguchi took me to Itoh’s home during one of my trips there. Itoh lives in a big house in Tokyo. It dwarfs the surrounding domiciles, and right off, you knew this guy was loaded. And, it was a good thing his house is so large, because there are guitars everywhere! In the kitchen, bathroom, hallways, library.... It’s the most insanely cool and cluttered space I’ve ever encountered. Guitars are stacked like cord wood along the walls, and believe me when I say, these are all rare guitars. But it wasn’t just the house or the guitars. Itoh is known as the “Leopard Man,” because all of his clothes are covered in leopard spots. And if the fabric doesn’t come with spots, then he paints on his own!“He showered me with gifts, took me out for a grand feast, and talked guitar history until the day dimmed.”
And, there’s more! Itoh was also one of the early design artists for.... You ready? POKÉMON!! Crazy, right? The catchphrase for Pokémon is, “Gotta catch ’em all!,” and this dude has caught them all when it comes to rare, vintage guitars. He showered me with gifts (I have all sorts of rare Pokémon stuff that I don’t know what to do with), took me out for a grand feast (where I ate the cooked eyeball out of a fish), and talked guitar history until the day dimmed.
He has quite a few gems in his collection, but there was one model that I really wanted to have in my hands—and that was the Guyatone LG-60. This is a late ’50s model that lovingly emulates my favorite Valco Dual and Triple Tone guitars. The Guyatone versions had art-deco design accents, such as the stacked pickguards with pinstripes, and came in two colors: honey blonde and black. I had rarely seen the LG-60 in the U.S., and not many have ever made it over here. The pickups look like humbuckers (they’re single-coils) and have gold, sparkle accents. A lack of truss rod and a very big neck are hallmarks of the model, along with a pickup selector, two volume knobs, and one tone knob. The LG-60 also features a set-neck design. Eventually, I found a LG-60 of my own that’s almost identical to Itoh’s version, except mine features an old Bigsby and a different headstock design.
Sometime, I want to talk to you all about eccentric guitar collectors, and believe me when I say, I’ve met a bunch! But Itoh is the king, the legend, the Leopard Man. And that dude has caught ’em all!
The Dave Grohl DG-335 pays tribute to the longtime six-string mainstay of Dave’s world-spanning tours with the Foo Fighters.
Dave Grohl with his Epiphone Dave Grohl DG-335
The Dave Grohl DG-335 features the combination of ES-335 and the Trini Lopez model features Dave requested and that fans expect, including a semi-hollow ES body made of layered maple/poplar, with bound diamond-shaped sound holes, a one-piece mahogany neck with an elliptical C profile, a Trini Lopez style headstock with Grover Mini Rotomatic tuners, a laurel fretboard, and split diamond inlays. The pickups are Dave’s preferred Gibson USA Burstbucker models, with a Burstbucker 2 in the neck and a Burstbucker 3 in the bridge position. They’re wired to CTS potentiometers, Mallory capacitors, and a Switchcraft 3-way toggle switch and 1/4” output jack. The Dave Grohl DG-335 is one of the most requested models in Epiphone’s history, and Epiphone is X-Static to offer this exceptional guitar to players worldwide. An Epiphone Dave Grohl hardshell case is also included.
Foo Fighters will resume their Everything or Nothing at All global stadium tour on May 1 in Dallas, TX. The tour takes its name from the chorus of “Nothing at All,” from Foo Fighters’ universally acclaimed 11th album But Here We Are. Released June 2, 2023 on Roswell Records/RCA Records, But Here We Are has garnered some of the best critical notes of the band’s storied career, while its singles “Rescued” and “Under You” have cemented the band’s tally of more #1s than any other artist on Rock and Alternative Radio.
For more information, please visit epiphone.com.
Our columnist considers why we love to accumulate so much gear.
I’ve got stuff. Lots of stuff. It fills up my home and my shop. One of the many things that I’ve collected over the years are backstage passes. My occupation has taken me to a lot of shows—sometimes two or three a night. I’d come home and throw the evening’s pass into a box on a shelf in my coat closet. When the box got full, instead of tossing it, I’d put it away and start another one. This went on for decades. I probably just saved those passes for the same reason I’ve wound up with a lot of things—I like stuff. But not just any stuff. I like good stuff, quality stuff, interesting stuff. As a consequence, I have a lot of it. I’m betting a lot of you do too. Maybe you started young, by collecting trading cards. Maybe you came to it later in life. Maybe you’re thinking of tossing off the anchor and sailing away free.
In my dreams, I have a grand garage sale. I see table after table of NOS tubes, capos, cords, pedals, and straps, all laid out neatly and tagged with reasonable prices. There would be cabinets full of tools and electronic gizmos from ages past. I imagine a spread of guitars on stands and amplifiers lined up neatly like buildings on a boulevard—all plugged in and ready to demo. I’d say goodbye to all those years of guitar and automobile magazines organized neatly on my bookshelves, along with books about those two subjects. There would be a section for microphone and music stands, photo lights, cameras, and microphones. It would be a picker’s dream come true. Somehow this exercise gives me a warm and fuzzy feeling, and I’m not sure why, because I love my stuff.
So, why do we cling to these artifacts? You might say it’s your hobby, or if you are a pro, they are work tools. But that’s not the whole story. When I started playing, guitarists didn’t have collections. Professionals had one or two main guitars and maybe a 12-string. If you broke a string onstage, you’d either change it while talking to the audience or grab your one backup guitar. Studio cats might have accumulated a small array of stringed instruments (like banjos or mandolins) that they could deploy as needed in order to secure more work, but even some of the legends would borrow when the situation called for something different. Running parallel with the normalization of mass consumerism, it has become acceptable to own more than one or two guitars—maybe even 20.
"When I started playing, guitarists didn’t have collections. Professionals had one or two main guitars and maybe a 12-string."
That’s probably why when you think of the classic acts, you naturally picture those players with a certain guitar. John Lennon had his black Rickenbacker and George Harrison had his Gretsch. Paul McCartney is forever associated with Höfner. Clapton you have to define by era, but a few, like his “Fool” SG and his Bluesbreaker Les Paul—superseded by his now ubiquitous Stratocaster—were and are touchstones. When you think David Gilmour, you see a Strat. Likewise Rick Nielsen with his Hamer “Explorer” and Randy Rhoads on a white Les Paul. As different as they are stylistically, Elvis Costello, Thurston Moore, and J Mascis converge on the Jazzmaster. I could go on. For the first 40 years of its existence, the electric guitar wasn’t much of a collectible. But as we stand here today, most of us have a gaggle of guitars that may or may not be a collection.
So, do we or don’t we have collections? When I use a good piece of gear, whether it’s a guitar or a chisel, I feel joy. It’s a feeling that goes beyond mere possession, and it’s not just that the widget works. It’s recognizing that years of experience have led me to the point of knowing what quality is and why it’s important. I’ve read that holding on to physical things is hanging on to the past when we should be living in the present. I’m not going to dispute that, but my stuff and I have a grip on each other that’s more like a friendship than a psychological hardship. I’m not a working pro, but music has been my life since I was 12, and I don’t apologize for that.
Should I pare down my tools? Would I be happier without a selection of fine instruments? Perhaps purging the tonnage of stuff that anchors me down would open up a whole new take on life, but I’m not ready. Maybe you’ve thought about this too, but I wouldn’t worry too much. Chalk it up to whatever you like, but I’m fine with it for now, and I adore finding new things that make my life a little easier, and maybe a little more joyous.