vintage-vault

This late-’90s Masterbilt was made to mimic the feeling and look of vintage luxury.

Photo by Madison Thorn

This collaborative effort between Japanese and American guitar builders aimed for old-school quality without breaking the bank.

I recently called a rideshare to pick me up from the airport and was surprised when the driver pulled up in a Jaguar. I’d never been in one and was stunned at how quiet it was, and how the backseat was as comfortable as a living room couch, but retained a refined look. This 1998 Masterbilt prototype reminds me of that airport ride.

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The Rickenbacker 481’s body style was based on the 4001 bass, popularly played by Paul McCartney. Even with that, the guitar was too experimental to reach its full potential.

The body style may have evoked McCartney, but this ahead-of-its-time experiment was a different beast altogether.

In the early days of Beatlemania, John Lennon andGeorge Harrison made stars out of their Rickenbacker guitars: John’s 325, which he acquired in 1960 and used throughout their rise, and George’s 360/12, which brought its inimitable sound to “A Hard Day’s Night” and other early classics.

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The National New Yorker lived at the forefront of the emerging electric guitar industry, and in Memphis Minnie’s hands, it came alive.

This National electric is just the tip of the iceberg of electric guitar history.

On a summer day in 1897, a girl named Lizzie Douglas was born on a farm in the middle of nowhere in Mississippi, the first of 13 siblings. When she was seven, her family moved closer to Memphis, Tennessee, and little Lizzie took up the banjo. Banjo led to guitar, guitar led to gigs, and gigs led to dreams. She was a prodigious talent, and “Kid” Douglas ran away from home to play for tips on Beale Street when she was just a teenager. She began touring around the South, adopted the moniker Memphis Minnie, and eventually joined the circus for a few years.

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