Vintage 1967 Apollo Deluxe Electric Guitar

That being said, this Apollo Deluxe was kind of the exception that proved the rule, in that it followed a reverse pattern, sort of backing into discovery. While I didn’t really know what it was when I found it, I did have some idea of what it might be, or at least ought to be! I knew that the Grecian-god-themed Apollo brand was a part of the St. Louis Music (SLM) family of instruments, so all I had to do was locate it within the pantheon (SLM’s better-known brand was Electra, another Greek god).

St. Louis Music reflects one of those hazy back-stories in American (and actually international) guitar history that involve the murky world of distributors, which few people really understand. Distributors—or “jobbers”—were part of the middleman structure in the music business that bought instruments from the manufacturers (usually what we call “mass manufacturers,” like Kay or Harmony), marked them up, and got them to the music stores,department stores, and studios where they would be retailed to you and me. They’re the wringers because the guitars they bought might say Kay, but they might just as well say Cromwell or Custom Kraft. This latter was the brand used by SLM on guitars produced for them by Kay during the 1950s and ‘60s.

Vintage 1967 Apollo Deluxe Electric Guitar

A roughly equivalent—though somewhat more Byzantine—business model developed in Japan following World War II. How much that was a result of American governorship would be an interesting subject to study. Guitar manufacturers—some of whom had been active before the War—sprang up, similar to a Kay or Harmony. They sold their products to “trading companies,” whose job was to distribute domestically and to interface with foreign importers, who would then either be a distributor in its own country, or sell to other distributors, or both. (To make things worse, the trading companies may or may not have owned an interest in the manufacturing companies; can you say CMI and Gibson?) You can see why sorting this all out is not always easy!

Japanese guitars made significant inroads into the American market as the 1960s progressed. And not coincidentally, American mass manufacturing declined accordingly, although I think this was more a combination of management stagnation and cultural chauvinism than anything else. The global economy was still emerging and Depression-era-trained managers didn’t get it. There’s very little difference (read “improvement”) between a 1962 and a 1967 Kay, Harmony, or Valco guitar.

Vintage 1967 Apollo Deluxe Electric Guitar

SLM had sourced guitars from Kay for a long time but it, too, was drawn to the Japanese makers. SLM was big enough to be important players in the music industry, big enough to see the writing on the wall. They may even have had inside information that all was not rosy at Kay, which was purchased by Seeburg in 1965 and then Valco in 1967. By 1968 both Valco and Kay had gone belly-up.

Anyhow, this model shows up in an undated SLM catalog probably from around 1967. Or at least a two-pickup version does, called the Deluxe 2235. Clearly this was inspired by—or actually meant to compete with—a Burns Bison. At that time the Japanese were copying the European guitars that had been the “budget” alternatives earlier in the ‘60s. Thus, this is an early “copy” guitar. If you’ve overcome the usual prejudices of many older guitar enthusiasts, you know that this is a pretty decent guitar, once it’s properly set up. Poor set-up was the common problem of the time for these guitars. Look, these pickups ain’t DiMarzios, the switching is kind of sucky, and Japanese wiring was really small gauge, so it may not survive well, but these have their own sound and are great fun.

Even though Kay went out of business in ’68, SLM continued to offer Custom Krafts until 1970. Whether or not those were left-over stock or assembled by SLM from parts is unknown. By 1968 they were already pretty dated designs in any case, so probably not selling well. The SLM Apollos were probably not imported in large quantities, based upon how many you see: not many!

SLM, of course, would go on to introduce The Electra guitar, a copy of the Ampeg Dan Armstrong Plexiglas guitar in 1970, and Electra would be their primary brand for electrics (Alvarez for acoustics) until 1984, and they would be a major force in the importation and distribution of guitars from Asia. This Apollo represents a fascinating clue in deciphering that process!

Nectar of the Gods (Vintage 1967 Apollo Deluxe 2235 Electric Guitar) from MyRareGuitars.com

Vintage 1984 Quest Atak-6 MK II Electric Guitar

I first encountered a Matsumoku guitar (I didn’t know what it was at the time) back in the early 1990s. I was hanging out with Mac and Joe at the Axe Factory in Southwest Philadelphia (long gone) after work one evening. They were just about to close down when a car pulled up to the curb and out came two guitar cases. One was a ‘70s Gibson Les Paul and the boys started to drool over it. The other was the most spectacular flametop guitar I’d ever seen, an Electra Endorser (recently profiled in Vintage Guitar Magazine). Without taking their eyes off the Paul, they sold me the near-mint Endorser for three bills. I walked out like the Chesshire Cat. Later I found out that beauty was made by Matsumoku.

Matsumoku Motto (or the Matsumoku Industrial Co., Ltd.) was founded in 1951 to manufacture sewing machine cabinets. They were located in an area with a long tradition of musical instrument making, so when the demand for guitars heated up in the early 1960s, it wasn’t so big a stretch to apply their woodworking talents to guitars. They began building guitars in around 1963.

Vintage 1984 Quest Atak-6 MK II Electric Guitar

Early Matsumoku guitars display that tentative awkwardness shared by most Japanese guitars of the time, but the workmanship is almost always a notch up compared to, say, Teisco, Kawai, or Zen-On. One of the early brands produced by Matsumoku was Cortez for Westheimer Music, the name that eventually gave us Cort guitars. By the middle ‘60s the factory was producing Arai and later Aria Diamond and Aria guitars. In around 1975 the luthier Nobuaki Hayashi managed guitar production and Arias became Aria Pro II. Meanwhile Matsumoku was producing guitars for St. Louis Music (SLM), including some, if not all, their late ‘60s Apollo line. When SLM changed its brand to Electra in 1970, the better models, at least, came from Matsumoku. Matsmoku also made the first Japanese Epiphones for Gibson beginning about this same time.

Another brand associated with Matsumoku was Univox, promoted heavily from 1968 on by the company known as Merson Musical Products, A Division of Unicord Incorporated, A Gulf+Western Systems Company. In 1975 the Merson part departed and the company became Unicord, Inc. In 1976 Unicord introduced the Westbury line, made by Matsumoku, which replaced Univox in ‘78. In 1979 and 1980 Matsumoku made the Washburn Wing and Stage Series guitars. In 1982 Matsumoku took over production of the D’Agostino Bench Mark series.

Vintage 1984 Quest Atak-6 MK II Electric Guitar

The Merson folks moved to Garden City Park on Long Island, New York, and became Musical Technologies, Inc. (MTI). This company would eventually bring Korg to the U.S. and still exists. In 1981 the Westone brand appeared in the U.S. This may have been a proprietary brand name owned by Matsumoku because, while it was appropriated by SLM as its brand name in 1984, other Westones continued to be sold outside the U.S. until the end. Anyhow, it appears that MTI began to sell Matsumoku-made Vantage guitars in 1982, at least.

Which finally brings us to Quest. With heavy metal riding high, a taste for weird-shaped guitars developed. In 1984 MTI introduced a new line of Matsumoku-made guitars called Quest by Vantage. These were a little more outré than the Westone/Vantage aesthetic, but why they felt they needed a new brand name remains a mystery. But included in the new line was the Quest Atak 6, kind of a take on the Ibanez Destroyer. In the brochure were the A-6 of laminated mahogany and the A-6TX with a bound ash body. This example has “Mark II” on the truss cover and is like the A-6TX but with a bound spruce top over a solid mahogany body. With an SN of C400578 this dates to March of 1894. Controls are volume and two tones, with the volume a push-pull coil tap.

The only brochure seen for Quests is from 1984. I own two and both are from mid-1984. If they lasted beyond that, it’s unknown at this time. In 1987 Matsumoku was purchased by the Singer Sewing Machine Co. and guitars were not in their future. It’s not clear if production ended immediately, or if they limped on until 1989 or even into 1990. At some point in the early 1990s the Vantage brand was transferred to the Samick company in Korea, mainly Gibson and Fender inspirations, sold by Music Industries Corporation of Floral Park, New York. These were certainly produced from 1995-97, and probably before and after.

Active sales of the Vantage brand have since ceased. Music Industries now rents instruments. I love the Quests, and many other Matsumoku guitars, but nothing is as sweet as that first kiss…er, Electra.

Matsumoku’s Atak Gains The Ad-Vantage (Vintage 1984 Quest Atak-6 MK II Electric Guitar) from MyRareGuitars.com

Back in the day, before the Internet brought cool guitars to your desktop, we used to have the pleasure of snooping out guitars in little out-of-the-way shops. Mac and Joe used to run one such parlor out on Woodland Avenue in Southwest Philly, a low-rent district for sure. After work I’d descend to the Green Line and catch either the 11 or 36 trolley, which dumped me full of anticipation in front of their store. What would I find today – a Hagstrom? A Framus?

1983 Electra Endorser X934CS Electric Guitar

One night we were hanging out near closing, when a fellow pulled his car up, ducked in and asked if we wanted to buy a Les Paul. To a guitar dealer, there are no finer words. To me (yawn), it was time to leave. Then he added, “Plus I’ve got this here Japanese Electra.” My ears perked up.

1983 Electra Endorser X934CS Electric Guitar

While Mac and Joe ogled the frankly boring mid-’70s LP, I was ogling one of the most gorgeous guitars I’d ever seen. Later I found out it was a 1983 Electra Endorser X934CS. A set-in neck with no heel. Mahogany with a carved maple cap that had flame so deep you got high staring at it. Finished in cherry sunburst, my favorite. Plus lots of that early ’80s brass for sustain. Sustain? These humbuckers, which turned out to be original and American, scream forever, enough to blister the paint off the other guitar. Besides having push-pull pots with coil taps and phase reversal. I’m a sucker for those every time. The fit and finish were impeccable.

This was my first encounter with an Electra, and I was hooked. Looking back in the pages of old Guitar Player magazines led me to St. Louis Music. A phone call led me to Tom Presley, the man who directed most of the Electra line through the 1970s and actually designed the Endorser. The Endorser actually was a straight, fancy version of part of the earlier Electra MPC line, which had the cool plug-in sound modules.

1983 Electra Endorser X934CS Electric Guitar

This guitar, indeed all of the Electras and later Westones were designed in the U.S. and built by the legendary Matsumoku factory in Matsumoku City, Japan, one of the great guitar makers. Matsumoku produced some of the higher-end Aria guitars (and some Epiphones) of the ’70s, and sold its own very fine Westones before St. Louis Music took over the brand name in ’84. Matsumoku also made sewing machines – go figure – and in 1987 or ’88 was bought by Singer, who shut down the guitar operation. The Yen was so expensive by then that it was pretty hard to export to the U.S. anyway.

1983 Electra Endorser X934CS Electric Guitar

Mac and Joe bought both guitars and continued to “ooh and aah” over the Gibson. I timidly asked how much for the Electra, and they waved their hands as if brushing a fly and said “Three bucks.” I left them to their ecstasy (mental) and, a big grin on my face, quietly slipped out with my treasure to catch the trolley back toward town. This Electra Endorser is still one of my favorite guitars to this day.

Hey, man. Wanna Buy a Les Paul? (1983 Electra Endorser X934CS Electric Guitar) from MyRareGuitars.com