There are some big hitters like the Beatles, the Animals, the Hollies, the Zombies, and the Kinks. But then there are some pretty obscure bands that I'd never heard of. Like, have you ever heard of Pinky Perky and the Beakles? Or how about Millie and the Embers? The Anzaks? The Black Sheep? The Palace Guard? The Guillotines? Naming some of these bands would make for a great drinking game.
Also, there on page 6 was one of my favorite old Vox guitars: the V241 Bulldog! The Bulldog was a straight-ahead rock 'n' roll offering from a time when Vox axes were mostly odd-shaped (think Phantom or Mark VI teardrop) and outfitted with increasingly complex controls and electronics. The Bulldog simply had three pickups, a 3-way switch, a single volume knob, and two tone controls. When you compare the Bulldog to the '66 Vox V251 Guitar Organ—which had more knobs and switches than a NASA control panel—it's truly a lesson in economy.
Borrowing heavily from the Mosrite Ventures guitar, the Bulldog sports a similar carved top, a side jack, a zero fret, a large aluminum nut, and a vibrato that feels like a combination of a Mosrite and a Bigsby. There are all sorts of chrome accents, and, typical for the time, the Bulldog came equipped with a bridge mute, which you can press down on the strings in lieu of palm muting. Sunburst was the only finish option. The fretboard is a lovely ebony slab with tiny fret dots, and the neck—which doesn't feel exactly like a Mosrite—plays fast. I also really dig the headstock, which is like an offset V that blends well with the large Vox logo.
You know how it feels when you hold a guitar and you know that it's a real, robust, reliable instrument? That's how the Bulldog feels.
The biggest difference between the Bulldog and the Ventures model is its sound. The old Mosrite guitars had some rather aggressive pickups and the Bulldog pickups are a bit sedate in comparison. I think that's why I eventually sold mine. For me, it was kind of limited in the tone department. But still, it has a place in semi-clean surf music.
The Vox Bulldogs were built in Italy by the Eko Company. In a way, these guitars were almost "overbuilt," because they used high quality woods and components, like a truss rod with their "Double-T" channel design that is rugged and works well. You know how it feels when you hold a guitar and it's a real, robust, reliable instrument? That's how the Bulldog feels.
I suppose Vox guitars were never really that popular in the U.S., which may have been due more to the price than the sound. At $399, the Bulldog was one of the most expensive guitars in the Vox catalog! In 1966, a Fender Stratocaster went for around $300, and a Telecaster was closer to $200. But guess what? The Mosrite Ventures model cost $398! The original Mosrite was a dollar cheaper than the Vox copy. Crazy, huh?
The Vox Bulldog faded from the lineup shortly after its initial release. In subsequent years, it sort of morphed into the V262 Invader, which retained the Mosrite shape but became much more complex, with features like a built-in tuner and effects such as boosters, percussion, and wah. That Mosrite, I could argue, was one of the most influential electric guitar designs ever. It inspired guitar builders from all over the world, and the amount of Mosrite copies made back in the day was really something. But rather than argue, I'm going to research some of the old bands in the Vox catalog. I wonder where Millie and the Embers are now.…
Back around 2010, I began researching Japanese guitars in earnest, simply because I was discovering that there was too much speculation, misinformation, and plain-old ignorance floating around, and I found the fire to uncover the truth burning inside me. I started by reaching out to some Japanese internet connections via email, with the hope that we could communicate and that I'd make more contacts.
This Firstman Liverpool Deluxe may look like a battle axe, but it's chock full of warm, surfy clean tones.
Eventually, I found my way to a blog that was operated by a fellow named Kazy. He wrote in Japanese and English, and much of the content related to Mosrite guitars and his connections to Semie Mosely and Nokie Edwards. It turned out that Kazy was the nickname of Kazuo Morioka, and he became one of the most amazing sources I've ever encountered.
The guy was an excellent pianist, and was an early player of electrified pianos and organs. He shunned a cushy job with his family-owned pharmaceutical business to work for Kawai as a demo player, and went on to own a chain of music stores across Japan. He worked with all the early Japanese guitar companies and seemed to know all their employees and histories. After talking with Kazy, I developed a notebook full of numbers, emails, and connections all over Japan.
Mihara preferred a clean but strong sound, so that's what you'll find with one of these old Liverpool guitars.
Kazy spoke perfect English and had even lived in the U.S., near Seattle, for many years. He was friends with Semie Mosely, and together they produced a line of guitars in Japan that were called Mosrite Avengers. Kazy was also great friends with Nokie Edwards, who I missed meeting in person by one day while we were both visiting Kazy in Japan.
This month, I'll highlight one of Kazy's most extreme guitar designs. Kazy started electric guitar production in the late '60s using the brand name Firstman. He had the stellar idea to connect with popular Japanese bands and make custom guitars that would give them a signature look onstage. I suppose it was similar to groups wearing matching outfits in that era.
This Firstman Liverpool was the first, made in collaboration with Tsunaki Mihara of the Blue Comets. In the late '60s, the band had a huge hit called "Blue Chateau." They even played on The Ed Sullivan Show! Kazy and Mihara collaborated over every detail and put all kinds of considerations into the pickup frequency, attack and decay, coil winds, etc. Even the violin body shape was chosen because of its inherent resonance and projection, but, of course, with a more extreme Japanese design aesthetic. The deep, lightweight hollowbody is a rather large 15" across the lower bout, and came with some resplendent details, such as full-body binding and chrome accents. Plus, there was a totally posh scroll headstock.
Columnist Frank Meyers interviews Firstman founder and guitar designer Kazuo Morioka.
Mihara preferred a clean but strong sound, so that's what you'll find with one of these old Liverpool guitars. This guitar projects like a vintage Gibson hollowbody and has simple tone/volume knobs and a 3-way switch. I suppose these shapely black beauties present a menacing first impression, but they have a sweet sound that matches well with surf music and instrumentals.
Two Liverpool guitars were produced as prototypes, and a lot of handiwork went into them. According to Kazy, everything was carved and shaped by hand, from the arched tops and backs to the necks to the scroll headstocks. Kazy and Mihara received these guitars, and then, after the Blue Comets would play shows, there would be orders placed to make regular factory production runs.
A few variations on this guitar were produced, including a Liverpool Junior and a Liverpool Special, and they all came in black. Alas, Firstman guitar production didn't last long, ceasing in 1970. Once again, we're left with these interesting examples of ingenuity and effort, like time capsules waiting to be discovered again by future generations.
Blue Comets "Blue Chateau" (Ed Sullivan Show in 1968)
Tsunaki Mihara plays his Liverpool Deluxe with the Blue Comets as they perform "Blue Chateau" on The Ed Sullivan Show.
