The unveiling of the Epiphone product line at the 1958 NAMM show marked a significant moment for the company, with the Emperor model proudly taking center stage as its flagship offering. By 1961, Epiphone’s sales figures reached 3,798 instruments, and by 1965, the brand represented an impressive 20% of Kalamazoo’s total output. However, beyond the numbers, it was the prestige associated with Epiphone guitars that truly stood out. In the early 1960s, the Epiphone Emperor commanded a higher price tag than the top-tier Gibson Byrdland, and the Deluxe Flat-Top Excellente from 1963 surpassed the J-200 in cost, crafted from even rarer tonewoods. This era cemented Epiphone’s reputation for quality and innovation within the guitar industry.
Alt text: A detailed view of a vintage Epiphone Emperor guitar, showcasing its elegant archtop design and premium craftsmanship, highlighting the historical significance of Epiphone guitar company’s flagship model.
As folk music’s popularity surged in the 1960s, the Epiphone Guitar Company was well-positioned to cater to this growing market. In 1961, they introduced the Seville classical guitar, available with or without pickups, alongside models like the Madrid, Espana, and Entrada. Expanding their acoustic offerings, Epiphone launched the Bard 12-string guitar in 1962, famously used by Roy Orbison to compose hits like “Oh, Pretty Woman” and “Only the Lonely.” A smaller version, the Serenader, followed, and in 1963, the Troubadour steel-string flat-top guitar was released, further diversifying their acoustic range and solidifying Epiphone’s place in the acoustic guitar market.
Alt text: Iconic image of Roy Orbison playing an Epiphone Bard 12-string guitar during a performance in 1963, demonstrating the influence of Epiphone guitars in popular music and the brand’s association with legendary musicians.
While Epiphone’s acoustic models were highly regarded, their electric guitars arguably surpassed them in reputation. The Casino, introduced in 1961 with its distinctive double-cutaway design, became an iconic instrument, favored by musicians across genres. Notably, The Kinks, The Rolling Stones, and famously, all three guitar-playing Beatles embraced the Casino. Paul McCartney, known for recording “Yesterday” with his 1964 Texan, was the first of the Fab Four to acquire a Casino—a 1962 model purchased in 1964. John Lennon and George Harrison soon followed suit, adopting Casinos during the sessions for the groundbreaking “Revolver” album in the spring of 1966. The Epiphone Casino’s association with these legendary artists cemented its place in rock and roll history and highlighted the Epiphone guitar company’s contribution to electric guitar innovation.
Alt text: Classic photograph of The Beatles performing at Shea Stadium in 1965, featuring John Lennon and George Harrison with their iconic Epiphone Casino guitars, illustrating the prominent role of Epiphone guitars in the British Invasion and the band’s signature sound.
Epiphone experienced a remarkable boom from the early to mid-1960s, witnessing a fivefold increase in unit sales between 1961 and 1965. However, the emergence of guitar copies from Asia significantly impacted market share, forcing many companies to close permanently. Adding to these external pressures, internal challenges arose. Ted McCarty, a key figure, transitioned from Gibson to Bigsby. Budgets were tightened, and in 1969, Gibson’s parent company, CMI, was acquired by the Ecuadorian Company Limited (ECL). This placed the Epiphone guitar company in a precarious position. The brand was now perceived as secondary to Gibson, yet it struggled to price its instruments competitively enough to rival the influx of foreign copies.
Alt text: Archival image of the Epiphone guitar factory in Kalamazoo during the 1950s, showing the production environment and the scale of operations at the original manufacturing site of the Epiphone guitar company.
Prior to the sale to ECL, the possibility of manufacturing Epiphone products in Japan had been considered. In 1970, Epiphone production in the United States ceased, and manufacturing was relocated to Matsumoto, Japan. Initially, the Japanese-made Epiphone guitars were essentially rebranded models previously produced by the Matsumoku Company. However, over time, the models underwent gradual improvements in quality and design. In 1976, Epiphone introduced the Monticello, a line of scroll-body electric guitars, alongside the Presentation and Nova flat-top guitars, and the Genesis solid-body series. Starting in 1979, the Epiphone product range began to expand significantly. By this point, the product catalog boasted 20 steel-string flat-top guitars and electric guitars, signaling a resurgence and a renewed commitment to offering a diverse range of instruments under the Epiphone name. This move to Japanese production marked a new chapter for the Epiphone guitar company, adapting to changing market conditions and paving the way for future growth and innovation.
