The Epiphone Crestwood Guitar holds a special place in the hearts of vintage guitar enthusiasts. Often overshadowed by its Gibson counterparts, the Crestwood, particularly the deluxe model, offers a unique blend of style, sound, and playability that has captivated players for decades. This article explores the history, evolution, and enduring appeal of the Epiphone Crestwood guitar, with a special focus on the coveted Crestwood Deluxe.
For many, the allure of the Epiphone Crestwood guitar began with iconic musicians. Punk rock aficionados might recognize the Crestwood Deluxe as the instrument of choice for Deniz Tek of Radio Birdman. Images of Tek wielding this distinctive guitar, with its unusual headstock, in raw, energetic performances sparked curiosity and admiration. Interestingly, the same model was also favored by Fred “Sonic” Smith of the MC5, adding to the guitar’s rock and roll pedigree. These early sightings cemented the Crestwood Deluxe as a guitar with a rebellious spirit and a powerful sound, much like Johnny Ramone’s association with the Mosrite guitar. However, finding a Crestwood Deluxe proved to be as challenging as tracking down a MK II Mosrite, adding to its mystique and desirability.
The story of the Epiphone Crestwood guitar is intertwined with the history of the Epiphone company itself. By the mid-1950s, under the leadership of Ted McCarty, Gibson was experiencing a golden age of sales and innovation. Epiphone, a long-standing rival since 1873, had built a strong reputation in the archtop jazz guitar market. Models like the Emperor, Deluxe, Broadway, and Triumph were highly regarded, even by some professional musicians who considered them superior to Gibson’s offerings. However, post-World War II sales declines made Epiphone vulnerable, leading to its acquisition by Gibson in 1957.
This acquisition presented both opportunities and challenges for Gibson. The goal was to create a new line of solid-body guitars that could be manufactured efficiently in the Kalamazoo factory alongside Gibsons, utilizing existing resources and production techniques. Crucially, these new guitars needed to be visually distinct from Gibson’s flagship Les Paul and SG models. Gibson aimed to tap into a broader market, competing with Fender and providing instruments to dealers who didn’t carry the Gibson brand, all while preserving the Gibson name’s prestige. The first Epiphone solid-body guitars emerged in 1958: the Crestwood, Wilshire, Coronet, and Olympic.
1961 Epiphone Crestwood advertisement showcasing its features
The initial Epiphone Crestwood guitar featured a symmetrical double-cutaway mahogany body, a departure from Gibson’s single-cutaway Les Paul. It was equipped with two “New York” pickups, a three-per-side headstock, and a large pickguard prominently displaying the Epiphone logo. Gibson initially utilized leftover parts from the Epiphone acquisition, including these “New York” pickups, until supplies diminished. The Crestwood debuted with a two-tone sunburst finish, with a cherry finish option becoming available within a year. Early models had a thicker, slab body, mirroring the Gibson Les Paul Junior at 1 3/4 inches. However, in 1959, the body was slimmed down to 1 3/8 inches, and this thinner version was designated the Crestwood Custom. These early Crestwoods with three-a-side headstocks featured inked serial numbers, similar to solid-body Gibsons of the era.
The Epiphone Crestwood guitar continued to evolve through the early 1960s. In late 1959, the body edges were rounded for a more comfortable feel, and the pickguard was redesigned. A significant change occurred in 1961 when the “New York” pickups were replaced with Gibson mini-humbuckers. These pickups were physically similar in size and shape to the “New York” pickups but offered a different tonal character. Dot fretboard markers were replaced with more elegant pearl oval inlays. The headstock logo became inlaid, and serial numbers were stamped, further aligning the Epiphone production techniques with Gibson’s. Throughout 1962, the Crestwood maintained these specifications, with optional custom colors, including white, becoming available. A rosewood insert was also added to the vibrato tailpiece during this period.
A more substantial redesign arrived in 1963. All Epiphone solid-body models, including the Crestwood, received a slightly elongated upper horn on the body and a six-per-side “batwing” headstock. This headstock shape was intended to differentiate Epiphone from both Fender and Gibson. Nickel plating replaced gold plating on the hardware, reflecting a subtle shift in aesthetics.
1963 also marked the introduction of the Epiphone Crestwood Deluxe guitar. This model represented the top of the Crestwood line, essentially a moreFeature-rich version of the Crestwood Custom. The Crestwood Deluxe boasted three pickups instead of two, a larger, bound headstock for a more upscale appearance, and an ebony fretboard adorned with block Gibson “Custom” style inlays. The naming convention, with “Custom” being the standard model and “Deluxe” the fancier version, was a reversal of Gibson’s naming hierarchy, which could be confusing. In Gibson’s lineup, the Crestwood Deluxe most closely mirrored the Gibson SG Custom in terms of features and market positioning. Interestingly, despite being priced identically to the SG Custom at $455 in October 1966, the SG Custom outsold the Crestwood Deluxe by a significant margin of 7 to 1 over their production period. Consequently, only approximately 219 Epiphone Crestwood Deluxe guitars were produced between 1963 and 1967. While it remained in the catalog until 1969, sales dwindled after 1967, making it a relatively rare and highly sought-after vintage guitar today.
Despite the Epiphone brand later being associated with more affordable, offshore-produced instruments, the 1950s and 1960s Epiphone solid-body range, including the Crestwood guitar, was built to a comparable quality standard as the Gibson SG range. These guitars shared many similarities, including hardware, pickup configurations, body and neck woods, construction techniques, and controls, as they were all manufactured in Gibson’s Kalamazoo factory.
The author of the original article shares a personal connection to the Epiphone Crestwood Deluxe, having owned two examples and possessing a complete collection of Epiphone solid-body models from that era, including an Olympic, Double Olympic, Wilshire, Crestwood, and Crestwood Deluxe. He describes these guitars as lightweight and somewhat delicate in feel, yet exceptional in playability and sound. Deniz Tek’s extensive use of his Crestwood Deluxe throughout years of touring with Radio Birdman and New Race serves as a testament to their durability and suitability for the rigors of live performance.
The necks on Epiphone Crestwood guitars are generally thinner than their Gibson counterparts from the same period, a feature that many players find appealing. The combination of high-quality mahogany used by Gibson at the time and the mini-humbucker pickups results in a remarkably versatile guitar suitable for both live and recording situations. The Crestwood Deluxe, with its three pickups, expands this versatility even further. Interestingly, the author notes that the larger headstock on the Deluxe model seems to contribute to a slightly different sound compared to other Crestwood variants with mini-humbuckers. This subtle tonal difference may be attributed to the increased mass at the end of the neck, combined with the ebony fretboard, as the Deluxe is otherwise largely similar to the Wilshire and Crestwood Custom, aside from the addition of the middle pickup.
Until recently, vintage Epiphone Crestwood guitars, including the Deluxe, could be acquired for significantly less than comparable year Gibson SGs. In fact, a Crestwood Custom could often be found for less than a Gibson SG Junior. However, prices for vintage Epiphones have been steadily rising, while Gibson prices have remained relatively stable or even declined in some cases. This price appreciation may indicate a growing recognition of the quality and value of these Epiphone guitars, or perhaps a correction in the market where Gibson prices had become inflated.
The Gibson Custom Shop’s recent tribute to the Epiphone range with a limited-edition ’62 Wilshire reissue further signals a renewed interest in these vintage Epiphone solid-body guitars.
This resurgence in interest raises hopes among enthusiasts that Gibson might consider reissuing the Epiphone Crestwood Deluxe in the future, allowing a new generation of players to experience this unique and historically significant guitar.
Epiphone Crestwood Deluxe guitars side by side demonstrating body contours
The Epiphone Crestwood guitar, and especially the Deluxe, represents a fascinating chapter in guitar history. It embodies a unique blend of Epiphone’s independent heritage and Gibson’s manufacturing expertise, resulting in an instrument that stands on its own merits. For players seeking a vintage guitar with distinctive looks, versatile tones, and a connection to rock and roll history, the Epiphone Crestwood Deluxe remains a compelling and increasingly appreciated choice.
