I never really thought much about Japanese guitars back in the day.  By the time they started showing up, I fancied myself a “folksinger” and was plunking on Harmony and Guild acoustics.  I didn’t pick up an electric again until late in the decade and Japanese guitars still weren’t on the menu.  But I kind of shared the standard opinion.

The truth is, of course, that Japanese guitar designers probably could have made copies of Fender Jazzmasters—and, indeed, except for a smaller size and certain details, they did with some early guitars—but they weren’t really trying to.  The Japanese weren’t really thinking about “copies” yet, like they would a decade later.  But they did have their eyes on guitars being made in England by Jim Burns!  As is obvious the moment you ogle those big pointy horns and the nifty multi-part pickguard on this Montclair.

Later, when I became interested in these strange beasts, my opinion began to change quickly.  While these guitars looked a little goofy at times, I began to learn that they weren’t so poorly made, after all.   As Jack Westheimer use to tell his associates about their role, they were there to sell guitars, not set them up.  Make sure the neck angle’s right, set the saddle intonation, adjust the action, optimize pickup height, and these guitars often turn into mean playing machines.  And they don’t sound like a Strat.  That’s the whole point!

Anyhow, I’d seen other Montclairs and really didn’t have a clue about them.  Who made them?  And for whom?  That is, until I started to look into it recently.  I still don’t know who imported/sold Montclairs.   They’re actually fairly plentiful, relatively speaking, so it must have been someone kind of significant.  But now we know a bit more about who actually built this guitar.

This Montclair is basically identical to an Ibanez Model 3904.  Montclair was just one of the labels produced by Hoshino at its Tama factory beginning in 1962.  In addition to Ibanez, other brands made by Tama included Continental, Goldentone, Tulio, Jason, and others.

According to internet sources—notoriously unreliable—Hoshino/Tama began producing guitars inspired by Burns London—especially the Burns Bison—almost from the beginning.  For sure by 1963, they produced the Models 994, 1802, 1803, 3902, and 3903, the final digit signifying the number of pickup units.  These same sources suggest that these Burns-style guitars were produced at least into 1966.  The Tama factory was closed down in 1967, so that would be the outside limit in any case.  There’s really no way to tell when this guitar was made.  I’ve assigned 1964 to it because I’m pretty certain the 3904 was in production by then.

The Burns Bison was famous for introducing the “Wild Dog” effect. I actually bought a Burns just to experience that sound.  Which was a bit underwhelming.  Actually, it was just two pickups out of phase.  I guess “wild” was a little milder in the early 1960s than today!  Oh well.  The Tama-made Montclair didn’t feature the Wild Dog effect.  But it was relatively sophisticated.  Four sliders activated each pickup, though, as was often the case in the ‘60s, the differences were more subtle than distinctive.  The two other switches let each pair of pickups alternate between solo and rhythm modes, basically toning things down with a capacitor for chording behind your lead singer.  The rollers are tone controls, the knobs volumes.  The 2-piece maple neck is reinforced with a generous piece of mahogany, an idea borrowed from classical guitars.  Plus there’s an adequate truss rod.  The body’s a big chunk of premium mahogany.

In retrospect these Montclairs were pretty decent guitars, available amazingly early, given the old prejudice against Japanese guitars.  No, it’s not a Strat or a Jazzmaster.  But if you have a yen to light up a rave on Apache or Little Deuce Coup, you could do a heckuva lot worse than plugging in a well set-up Montclair Burns Bison copy.  And you’d sure look clean and cool, Fender guitars notwithstanding.

Vintage Surf n’ Turf from MyRareGuitars.com

Vintage 1976 Burns Flyte Electric Guitar

Now, the Burns Flyte is definitely a step up from the Tux-master, but not such a very big one. James Ormston Burns (1925-1998) began designing guitars in around 1958 when he made a short scale Supersound guitar for the musician Ike Isaacs. In 1959 Burns teamed up with Henry Weill to form the Burns-Weill company, producing the rather ungainly forebears of last month’s featured Tux-master. Burns and Weills apparently weren’t a match made in heaven and they had parted ways before the year was out. In 1960 Burns struck out on his own, founding Burns London Ltd. And putting out what’s now a legendary line of soldibody electric guitars.

Probably the most famous feature on Burns guitars of the 1960s was the setting called “Wild Dog” on the Bison and some other models. I can remember not being able to wait to plug in mine when I got it. Wild Dog!! A snarl? Growl? Sharp bark? Imagine my disappointment when I learned that Wild Dog was simply a somewhat weak phase-reversal effect like you get in-between pickups on a Strat! Now there was the marketing department run amok!

Burns guitars quickly won the hearts of British guitar players…there were, indeed, few other quality options. Plus, they arrived at just about the time that teenagers were trading in their Skiffle washboards for their first electric guitars in order to play that new music from the Colonies.

Vintage 1976 Burns Flyte Electric Guitar

Meanwhile, in the former Colonies, guitars—especially electrics—had become hot commodities among the young. And there were lots of young folks, the Post-War Baby Boomers, hitting the right age to become a “market.” Savvy businessmen wanted in on the gold mine. Companies as diverse as Norlin (a brewing conglomerate) and CBS (TV, movies, and records) started buying guitar companies (Gibson and Fender, respectively).

Into the corporate feeding frenzy jumped the Baldwin Piano and Organ Company. At least it was in the musical instrument business to begin with! Initially Baldwin was a bidder for Fender, but lost out to CBS. On the rebound, Baldwin set its eyes on Burns of London and in 1965 began importing Baldwin-badged versions of Jim Burns’ guitars.

However, Baldwin’s affair with Burns was relatively short-lived. In 1966 Baldwin struck a deal to purchase Gretsch and they proved to be much better sellers in the U.S. marketplace. Baldwin held on to the Burns property until closing it down in 1970.

Vintage 1976 Burns Flyte Electric Guitar

Burns wasn’t through with guitars yet. From 1969 to 1973 Burns manufactured Hayman guitars for the music distributor Dallas-Arbiter. As part of the agreement, Jim Burns couldn’t use the Burns of London name, but somehow Burns UK was acceptable and Burns resumed making guitar in Newcastle upon Tyne in 1974. Which brings us to the Flyte.

The Flyte—originally supposed to be the Concorde (or Conchorde)—coincided with the debut of supersonic aviation. Hence the swept-wing appearance. If you appreciated weird guitarflesh, this should tickle your fancy. I keep looking at it it just keeps getting weirder, and in an especially good way! Those pickups are called Mach One Humbusters. The Dynamic Tension bridge is pretty interesting…well, no, it’s not. It’s just weird. Indeed, much like Hayman guitars before it, Flytes were well made and pretty unremarkable except for the eccentric appearance.

Vintage 1976 Burns Flyte Electric Guitar

Apparently, Burns UK Flytes were played by so-called Glam Rockers like the band Slade and Mark Bolan (who made a career of eccentric guitars, among other things). Wikipedia lists other Flyte players, but I’ve never heard of any of them, not that that signifies anything. But, you have to stretch to find Flyte fans; they never did take off.

This guitar is #172. I have no idea how many Flytes were produced, but I suspect production quantities were not enormous. They were only made for about 2 years. In around 1977 Burns UK introduced the Mirage to replace the Flyte, with re-designed Mach Two pickups. Burns UK then bit the dust.

Jim Burns gave guitars one more go with the oddly named enterprise “Jim Burns Actualizers Ltd.” From 1979-83, but that met with even less success than Burns UK and the Flyte.

Still, you have to give Burns high marks for chutzpah and if your taste, like mine, runs to the unusual, you should be sure to catch a Flyte the next time one come your way!

Ugly Mugs No. 2: Under the Radar (Vintage 1976 Burns Flyte Electric Guitar) from MyRareGuitars.com

Vintage 1965 Baldwin Burns Jazz Split-Sound Electric Guitar

I finally found my Wild Dog on, of all things, the inventory list of George Gruhn, the eminent Nashville vintage guitar dealer. Now, that may not seem odd to you, but this was a long time ago. Back then finding guitars was done by eagerly getting the first printing of the Trading Times, a weekly newsprint want-ad rag that was published all over the country in localized versions. If you’re one of those young-uns who walks around with your nose in a smart-phone, “want-ads” were notices you paid to put in the paper if you had something to sell. EBay didn’t exist. Only Al Gore used the Internet. George’s list wasn’t in the Trading Times, but in Vintage Guitar Magazine, which was the Trading Times for old guitar junkies.

Anyhow, I got this 1965 Baldwin-Burns Jazz Split-Sound from George Gruhn for what I thought was a high price at the time, but it was a relative bargain at Gruhn’s because this was the time when everyone was still looking for vintage Strats and Les Pauls (before they cost 5 to 6 figures), not Baldwin-Burns guitars. So, this wasn’t on the radar at the time. Except for someone like me. There’s a reason I’m billed as “The Different Strummer.”

Vintage 1965 Baldwin Burns Jazz Split-Sound Electric Guitar

Baldwin-Burns guitars are part of the madness that was the 1960s guitar industry. Baby Boomers like me liked guitars and corporations with money started buying up guitar manufacturers. CBS and Fender, Norlin and Gibson, etc., etc. Among the early suitors for Fender was the Baldwin Piano and Organ company of Cincinnati. When Fender went on the block in 1965 due to Leo’s health problems, Baldwin tried to buy the company. CBS outbid them and that was that. At the same time, Burns of London, owned by Jim Burns, was having financial difficulties. Burns was more guitar “genius” than business wizard. The plan was to import Burns-designed and produced guitars carrying the Baldwin name. The first units began to arrive in late 1965 and this was a very early arrival of the Jazz Split-Sound model.

Vintage 1965 Baldwin Burns Jazz Split-Sound Electric Guitar

Actually, this is pretty interesting in a number of dimensions. First of all, it’s a “Strat” configuration, although pretty liberally interpreted, with “notes” of the Burns Bison. Back in the mid-‘60s Fender’s top guitars were the Jazzmaster and Jaguar, which were most copied by both European and Japanese manufacturers. It’s early because of the head, which became a scroll design in mid-1966. Like I said, Jim Burns was a pretty good guitar designer and this has one of his Series 2 adjustable vibratos. The pickups are a pretty interesting take on a humbucker, really kind of a hybrid, with offset coils and poles. This is, no doubt, the origin of the “Split-Sound” nomination. These are pretty cool, because the “Split-Sound” meant that the neck coils captured the bass strings and the bridge coils got the trebles. I’m not really sure you can hear the subtleties, but it’s dang cool none-the-less.

Vintage 1965 Baldwin Burns Jazz Split-Sound Electric Guitar

The “Wild Dog” setting is, well, underwhelming. It’s basically an out-of-phase sound like you get in the in-between positions on a Strat, but the pickups aren’t really as hot as a Strat’s, so, while it’s cool—and pretty innovative—in a ’60s guitar, it’s really no big whoop. But good marketing!

This is, for the times, a professional grade instrument, on a par with Fender or Gibson, with an entirely unique feel, of course. Burns doesn’t get the respect he deserves in the American market, and the Baldwin—and later Ampeg—monikers didn’t help with credibility, given the consumer illusion that a brand name had to equate with the manufacturer. Which it almost never has.

Vintage 1965 Baldwin Burns Jazz Split-Sound Electric Guitar

Despite all the technical features that make this guitar desirable, there really isn’t any “Wild Dog” there. Maybe compared to a Kay or a Harmony electric. And to get Wild Dog out of a Strat, you needed toothpicks. Nada on Gibsons.

That the “Wild Dog” setting was kind of disappointing doesn’t diminish the coolness of this guitar, but it certainly wasn’t what I expected. More like “Big Whoop.” But pretty good marketing!

The Lure of the Wild Dog (Vintage 1965 Baldwin Burns Jazz Split-Sound Electric Guitar) from MyRareGuitars.com