Tag Archives: Vintage Guitar Dealer

OPorto Sound Shock Event in June 2014

In June OPorto Sound Shock will once again be opening the doors for their music market in Portugal. Sound Shock is an event where musicians and music lovers can acquire, promote or trade musical matter & material. It happens inside an old market at Oporto’s historic city center. Music can be explored in different ways and one will always find something inspiring to take home.

The event will consist of:

  • Music flea market
  • Workshops and showcases
  • Jam sessions / DJ sessions
  • Live music.

To read more about Sound Shock check out www.soundshock.pt


GuitarPoint Interview with Detlef Alder from GuitarPoint

Detlef Alder talks about the challenges of being a vintage guitar dealer, the oddest vintage guitars he`s had in his shop, his favorite guitars and his advice for players looking to purchase a vintage guitar.

Hi Detlef, thank you for taking your time to speak to us. Could you please tell as a little bit about GuitarPoint? Where are you located?
We are located in the little town called Maintal near Frankfurt. I opened GuitarPoint about 10 years ago, GuitarPoint has quickly become a good address for guitar players, enthusiasts and collectors from all over the world. From the beginning we specialized in Highend-, Customshop and Vintage Guitars, from this year on we strictly deal with Vintage Guitars only!

What initially motivated you to set up a vintage music shop, and when was that?
We´ve always been dealing with vintage guitars, even though the High End & Custom Shop gear was our main business. My plan was to concentrate on the Vintage Business only, the last years before my retirement. As I decided this year not to sign any contracts with major brands anymore, it was close and the decision was easy for me to reopen GuitarPoint as a “Vintage-Only” store. We´ve already had the gear and we already had the knowledge.

What do you consider the biggest challenge for dealers of vintage music instruments today?
It is very hard to keep your Shop inventory always on a high level with instruments of excellent and mint quality. It was much easier in the past to call the distributer and order another dozen of Custom Shop instruments when you´ve sold them.
It’s also a challenge to make customers feel comfortable to buy vintage instruments.  A lot of customers would like to buy a vintage instruments, but are afraid of fakes, as they don´t have the knowledge to proof the authentic.

Do you play music yourself? If so, what do you play, for how long have you been doing it?
I´ve been playing music all of my life, I started playing clarinet in a marching band at the age of 6. Later I learned keyboard and finally I got stuck playing the guitar.

How do you choose what vintage guitars to carry?
I personally choose the vintage instruments for my store. There is a certain demand from our customers, which I have to serve, mostly for the classic Vintage Instruments such as Strats, Teles, Les Paul etc. But I’m always interested to stock some not so famous, but rare instruments nobody else carries. Sometimes if a not so desired vintage instrument is extremely clean (mint) and comes with an interesting story and complete documentation makes me buy it.

What is the oddest vintage guitar you’ve ever sold?
A ´70s Blond Rickenbacker doubleneck ? Maybe a ´60s Hofner Violinbass-doubleneck? We´ve sold a lot of odd stuff already …

Do you have any personal favorite vintage guitars in your shop? If so, why is said guitar your favorite?
Actually I´m a Les Paul guy, but the guitar for the lonely island would definitely be a Telecaster. There is a ´59 mint 6120 I could go crazy for at the moment, and that gold ´52 ES-295 I just bought as well …

Given that this is for a blog, what role has technology (the internet, your website, etc.) played in the success of your business?
Especially nowadays it is very important to show your gear to an audience worldwide. Many people don´t mind driving far to check a nice variety of Instruments, but they need to know it´s worth it. The WWW helps bringing your showcase out to the world.

Is there a general trend to the people who purchase from you, in terms of how skilled or experienced they are?
No, not really. There is the collector, there is the skilled player, there is the “normal” family guy who just fulfills a dream he couldn´t afford when he started playing. There is also the investor as well, most of them play pretty damn good by the way!

What advice would you give to somebody looking to purchase a vintage guitar?
It’s important to buy from a well-known source. Checkout the people who are selling the guitars, if you´re not experienced in vintage guitars, definitely have some expert help you checking the instrument of desire for authentic. Our company sells all instruments with a COA and a checklist of all parts. Furthermore we include a DVD with up to 50 detailed pictures of the instrument.

Famous Vinyls Covers: Guestblog by Vinylstall.com

Vinyl records have been popular during most of the 20th century. These recordings are played using a record player called phonograph. Vinyl recordings are once a favorite in the entertainment media. Over the years, the music industry has innovated and produced modern technology from cassette tapes to CDs and digital music players. Old types of music recorded on vinyl are now being revived with the integration of musical instruments. Audiophiles are into vinyl record collection because they love this vintage music format. Even the new generation musicians and music lovers are becoming interested in this old time disc recording.

Vinyl record enthusiasts have never ceased using and collecting this form of music medium. In fact, some artists and small label companies release their music using vinyl. DJs also play and spin these records in the clubs and bars because of the good sound quality. Vinyl has survived the innovation of technology and has influenced the music industry over the years. During the middle to the late years of the 20th century, there are a lot of famous vinyl covers that have been produced and distributed in the market. How can we forget the famous cover of the Rolling Stones, Sticky Fingers? Sgt. Pepper’s Lonely Hearts Club Band by the legendary Beatles has been considered the best cover of all times. For decades, label companies have also integrated famous instruments on their vinyl record covers.

During the vinyl record era, covers are very significant to express the theme of the artist’s songs. Some use their personal profiles and pictures or musical instruments like guitars, piano and saxophones.

Instruments featured in Vinyl Record Covers:

a. One of the most acclaimed albums during the 50’s is the Saxophone Colossus by Sonny Rollins. The award winning album was recorded and released in 1956 by Prestige Records and was considered the best albums issued by this recording company. The cover shows a man playing his saxophone in a blue background. It is a jazz album containing five tracks, three of which are Johnny Rollins’ compositions.

b. Another remarkable vinyl record cover is the album “Eric Clapton Slow hand” by Eric Clapton. This album includes lyrics of all songs and some art clips and photos. The front cover photo shows neck, turning keys and head of a guitar. A body of the guitar being strummed by a man is illustrated in the back cover. The album was produced in 1977 by Glyn Johns.

c. Jerry Lee Lewis also known as “The Killer” pioneered rock and roll music through a distinctive style in piano playing. His album “Who’s gonna play this old piano” released in 1972  contains eleven tracks including the hit songs “She’s Reachin For My Mind” and “Who’s gonna play this old piano”. The vinyl record cover shows an old grand piano with some lyric sheets on top of it.

Vinyl record covers were of great help to market and sell albums. The concept depends on the genre and the performer’s type of music. Most of the covers show profiles and pictures of the singer or bands. Covers for vinyl records also show musical instruments used by performers. Albums with famous musical instruments like guitars, pianos and saxophones are incorporated in the back or front cover of the musician’s album.

Vinyl is one of the greatest medium in the music industry. There is a need for us to protect and promote vinyl records to preserve the music of the past generation. You can find rare vinyl records for sale online, with the free vinyl search on http://www.vinylstall.com/

Gibson ES-335 Most Versatile Guitar Ever by Dan Yablonka Guitars

There is no way to start this article without paying a great deal of due to Gibson’s President during their “Golden Era” (1950s to early to mid 1960s) Ted McCarty. The man was a visionary and helped or invented futuristic models such as the Explorer and Flying V and had his hands dirty in the development of the Les Paul and Electric Spanish or ES series semi hollow bodies. Thanks Teddy!!

The Gibson ES-335, 345 and ES 355 guitars are probably if not THE most verstaile guitar ever … certainly amongst the top. The solid maple block running through the middle of the guitar is why it is called a “semi” hollow. It allows for the sustain of a solid body with the overtones of a hollow body and the Feedback issue is solved all in one brilliant move. This solid block however would come into play as a difference later between eras which i will soon address in the article.

The ES335 was introduced in 1958 with a market price of $267.50. I know … i know … if only today … but if it makes you feel any better .. you had to pay seperately for the case!! 😉

The very 1st releases were in sunburst or natural or what is also referred to as blond today. The early 1958s were slightly different in that they had no neck binding. Though early and unique most dealers and collectors sell or value these for slightly less than a bound model. By mid 58 this was a non issue as binding was introduced and by 1959 the model was really off and running whether 335 345 or 355. Players like BB King and Chuck Berry would help put them on the map.

Shortly after its release came the fancier models just mentioned. introduced in 1959.,…. the ES345 and 355. What set these models apart was mostly ornamentaion and the stereo option as well as a vibrola, usually a Bigsby but some sideways are seen too. The 1959 ES355 would also show off the upcoming cherry finish officially introduced in 1960 AND the fancier bound ebony fingerboard. You may have seen the early 59 ES355s and most of them were actually made from the same red anolyn die that faded out of all their other models so the 355s often took on a more reddish orange hue than its later 1960 release where they had solved the fading issue … much like in Les Pauls standards of that era. It should be noted that while stereo was a big part of these models that early ES355s were also made occasionally in mono which is a superbly collectable combo. By 1960 all 3 models were available in Cherry Red, Sunburst and Natural but natural was discontinued after 1960.

As time progressed some of the features would change and come seriously into play thus why certain eras are considered much better.

A very big one to me with ES335s was the history of the solid block. 1958-1961 “Dot Necks” (referring to their dot inlaid fingerboard) all had solid blocks through and through … but as Gibson’s production on this model would ramp up they in 1962 began cutting out the treble side of the block between pick ups allowing for a “universal” shell so that determination of model could come later in case they needed a 345 instead for example. The stereo models required a big choke and stereo splitter and this device was mounted between the pick ups so suddenly the ES335s were also cut out. This will not show from the bass side F hole but will from the treble with a light. Then earlier ones had merely a small pilot hole drilled in the block for wiring as on Dot Necks but in mid 62 you’ll see about a 1+1/2 – 2″ cut out between the pick ups TREBLE SIDE ONLY. In my opinion as a 335 owner and obsessed fan all of my adult life is that the earlier solid block had more sustain and a darker sound more like a Les Paul and the later ones a little jazzier tone. This is a very important to some … yet a little discussed turning point except between the deepest of “335 heads!”

This would be the start of a transitional era that eventually revamped many features of the model. Up to this point only minor mods like a knob change in 1960 had occurred. The changes in most cases happened in the mid 60s, These  affected many Gibsons in that way. In later 62 the PAF decals were replaced by patent number pick ups though this was mostly a formality and didn’t amount to changes made right away. Also at this time block neck markers became stock though dots were still an option. In 1963 dots were no longer offered. The next evolution would be in the mid 60s late 64 into mid 65 when the well accepted wider fingerboard would disappear ….the nickel hardware would be replaced my chrome .. the stop tailpiece was then replaced by the trapeze, “T-tops” or later humbuckers were introduced and eventually what you wound up with was still a great guitar but certainly somewhat different than the original eras.

The 60s and 70s brought players that would also give ‘cred’ to the model Eric Clapton used his 1964 on Cream’s “Badge” … one of the best and most noted guitar solos of all time. In the 70s Fusion guys would put the dot neck into the history books forever with players like Larry Carlton cutting it up on Steely Dan’s “Kid Charlemagne” and Lee Ritenour showing up on the cover of everything with his red Dot.

By the late 60s the changes were mostly the same as other models in that Norlin’s signs would show up … like the head volute … “made in USA” stamp” But all in all stayed the same until the late 70s when small additions like coil splitters were added. But there is also another point regarding the center block to be made here and that is there was also a period early in the 70s where some but not all 335s were made with a total divide in the block from bass to treble side that you actually Can see through from both side F holes … or a non solid block. This may have a good clean sound but i have played several and feedback can be an issue at high gain and volume situations.

By the nearly 1980s everyone was aware that the earlier features were the ones they wanted and much like Fender … Gibson launched into the reissue business and the reissues are a very close aesthetic version of the originals … though most would argue not on a level of the guitar’s actual playability, sonics and desirability. Which would explain why the reissues go used for about $1500-$2000 and the orignals more like $25,000- $40,000 (and more for a blond!).

I too … have payed through way too much for a blond    … but back to guitars … It is my humble opinion that the Gibson ES335 is the most versatile guitar ever. It can be used as a Rock and Roll overdrive guitar, a jazz clean guitar, BLUES guitar extrordinaire …. a country guy can use one on the treble pick up and so on.

If i had to part with all of my electric guitars and keep just one … you KNOW its going to be my 61 dot neck ES-335!!

Thanks for listening.

Dan Yablonka. Dan Yablonka Guitars.

Grinning Elk interview with Ray Mauldin from Grinning Elk

Hi Ray, thank you for taking your time to speak to us. Could you please tell as a little bit about Grinning Elk? Where are you located?
Lee and I have been attending shows together since 2000. At the time, I owned an electronics repair service and was well- established here in my hometown. Lee walked into my office one day and as we were talking, I asked him, “What exactly do you do, Man”? He answered, “I buy and sell vintage guitars”. Well, I had always been a gear junkie, having played in various bands around Atlanta for years and I thought that his answer sounded very intriguing, so I asked if I could go to a show with him sometimes. He said, “Sure” so in October 2000, we drove out to the Arlington, Texas show and on the way back, the idea of forming a company was born. Our office is in Douglasville, Ga., which is about 20 miles West of Atlanta.

What initially motivated you to set up a music store, and when was that?
We don’t have what is referred to as a “brick and mortar” store. We are primarily a web- based business and have an appointment only office where clients can set up a time to come and visit. Our office and company was officially opened in Sept. 2006.

In EU the current Gibson case “lacey act” has gotten a lot of attention, what is your perspective on shipping between US & EU? Have you had any problems regarding this case so far?
Not yet. In the last year, we have been asked to send only two guitars that had Brazilian Rosewood overseas. Both were vintage Martins and we decided that rather than take a chance on them being confiscated, we would sell them here in the U.S. Thankfully, our clients understood and the guitars sold easily here.

Do you play music yourself? If so, what do you play, for how long have you been doing it?
I have been playing bass since about 1987, which was right after I got out of the Army. Lee’s been playing guitar since the late 70’s, when he was in high school. I think he even won a talent show back then, so he obviously got an earlier start than I did. He’s a much more accomplished musician than I am. He’s taller too.

The Elk Nation….James Hetfield….could you tell us a bit more about that?
That was one of the best days of my life. It was a Sunday and I was lying on my couch, watching TV.  Metallica was playing Atlanta that night and was thinking I’d get tickets down at the arena right before the show started. Lee called me up and said, “Pull out those two Flying V’s and the ’65 Strat. We might be showing them to the guys in Metallica this afternoon”. I probably said something like “Yeah, sure we are” but he insisted that I get up off my comfortable couch and get ready.  So I begrudgingly did as he asked, thinking that this was a cruel joke because you just didn’t get to go meet Metallica on a Sunday afternoon, but sure as shootin’, two hours later, we were standing at the service entrance to Phillips Arena with those guitars in hand. James’ guitar tech, Zak took us into a room where we laid the guitars out and it wasn’t long before Hetfield walked in and started checking them out. He eventually bought the white ’75 Flying V. We later showed the Strat to Kirk Hammett, but he said it was too clean and “not vibey enough”. Go figure that one out!

What do you consider the biggest challenge for dealers of musical instruments today?
I think the most difficult part of our business today is completing a deal over the telephone or by email. It’s a challenge to sell a piece to someone that is halfway around the world with only a written description or with words spoken on the phone. We want to make sure that the guitar or bass being discussed is exactly what our client is looking for and will fit his or her needs. The last thing we want is to mail a guitar across the planet only to have it come back.  We try to do all of the legwork and preparation before the guitar goes out so that when it arrives at its new home, the customer opens the case and says “wow”. That’s our goal with every transaction.

How do you choose what products to carry?
That’s another challenge in itself. We are so picky when it comes to condition and originality, the pool of instruments we will consider buying is a small one. We want them all to be as close to new as possible and completely original. Every once in a while, we’ll purchase a guitar that might have broken solder joints or a replaced nut, but it’s a rare occasion. There’s even a term that’s been coined in our industry- “Elk clean”. I hear it all the time at the shows we attend and I’d like to think that it refers to best of the best.

What is the oddest guitar you’ve ever sold?
A few years ago, at the Philadelphia Guitar Show, we bought a 1986 Kramer Triax that was virtually unplayed. It was flip- flop pink and had its original flight case and all of the tags.  Very cool and very 80’s!

Do you have any personal favorite guitars in your shop? If so, why is said guitar your favorite?
My favorite guitars are usually basses, so at the moment, it’s a Rickenbacker 4003s8. It’s an 8- string bass in Desert Gold that was made as a “color of the year” piece in 2001. There can’t be more than one or two in the world. In terms of favorite guitars, we have the first Murphy- aged Les Paul ever made at Gibson and it’s one of the most authentic looking ’59 reissues we’ve ever seen. I think Lee’s got that one stashed away somewhere so I can’t get my hands on it.

Given that this is for a blog, what role has technology (the internet, your website, etc.) played in the success of your business?
Well, it has exposed us to the entire world. Anybody, anywhere with a little electricity, an internet connection or a smart phone can look at our inventory and buy from us. Think about it: prior to the establishment of the internet, most guitar dealers sold their gear from a store and if they did have any national or international exposure, it would have been through magazine advertisements. Now, you can place a banner on a forum and be seen by literally millions of visitors to that forum a year.  I once sold a 1967 Stratocaster to a gentleman in Belgium from my Blackberry, sitting in the parking lot of a local post office. You couldn’t do that ten years ago.

Is there a general trend to the people who purchase from you, in terms of how skilled or experienced they are?
The majority of our clients are professionals, serious collectors and higher- end musicians. They know their stuff when they call, they like what they see on our website so generally, the only thing left to discuss is price. The gear we have speaks for itself.

What advice would you give to somebody looking to purchase a guitar from you?
If you’ve never heard of us, check us out. Another important aspect of the internet is, if you consistently perform at a high level, people will say so. The various forums have become powerful mediums and people all over the world talk about their purchases, experiences, etc. If you make just one person unhappy, they will certainly say something about it somewhere. Your reputation is the most important thing your company can have. It’s everything.

Any famous last words?
Sure. It’s a Latin saying: “audentes fortuna iuvat, which means “Fortune Favors the Bold”. Or, on a lighter note, Two Elks are always better than one…

In 2010 V&R visited Arlington Guitar Show and Ray was kind enough to introduce us to some of his pieces: (The interview with Ray Mauldin starts at 1:43)

A selection of Grinning Elk pieces:
Korina Explorer R9
Gibson ES330T
Rickenbacker 660/12 Tom Petty
Gibson USA map guitar

Rumble Seat Music – Vintage Guitar Dealer Interview

Rumble Seat Music was founded in 1993 and since then has focused mainly on supplying demanding customers with only the finest quality vintage guitars and used instruments.

We here at Vintage&Rare.com were lucky enough to catch owner Eliot Michael from Rumble Seat Music for a quick word.

Hey Eliot. Thanks for taking the time to talk to us. Could you please tell us a little bit about Rumble Seat Music and where you are located? How long have you been in the business?
We are located in Ithaca, NY approximately 4 hours north of New York City. We have been in business over 20 years.

What initially led you to set up shop, and when did you get started in the guitar business?
The desire to sell the best Used and Vintage Guitars to players locally and internationally.

Do you deal more in higher end vintage guitars or more recent issue used guitars?
We deal in both high end Vintage and recent used guitars.

How about amplifiers and effects pedals?
We have a large collection but we do not sell them as our main focus.

What are some of your personal favorite guitars and amps and why?
We love 1958-60 Les Pauls for their beauty, craftsmanship, and unsurpassed tone. Pre-CBS Fender’s, early Gretsch‘s and Rickenbacker’s are also some of our favorites. We also love the sound of early 70′s Marshall amps.

What kind of instruments and gear are you carrying in your shop?
We carry only the highest quality Used and Vintage instruments.

Are you a guitarplayer yourself?
Yes…..all of us in the store play guitar.

Are there a general trend to the people who purchase from you?
We sell to all types of players……..from beginning guitarists, collectors, and professional players. We have dealt with many top touring and recording artists.

How has the Internet impacted vintage guitar collecting?
The internet has opened many doors to buy, sell, and trade vintage guitars worldwide.

What advice would you give to somebody who would like to collect vintage guitars?
Only purchase guitars from dealers who have a solid reputation and sell quality instruments that they stand behind. Most importantly buy guitars that you like!

Great. Thank you again for speaking to us.

Check out Rumble Seat Music here, on their own site, on Facebook, and on Youtube.

Interview with Nick Matsikas from Matsikas in Athens, Greece

Dionysios Matsikas is a small luthier and guitardealer in Athens, Greece, specializing in traditional hellenic instruments. Here at Vintage & Rare.com we caught up with Nick Matsikas to ask him a few questions about the shop.

Hey Nick. Thanks for taking the time to talk to us. How and when was your company started?
The company was established in 1979 from Dionysios Matsikas. He started making instruments as a hobby and from his great love for music and instrument construction, he started building Hellenic instruments at a small workshop in Athens.

What initially got him into building guitars and why specifically hellenic instruments?
Initially Dionysios Matsikas was infatuated with the idea of making these instruments and when he saw other luthiers building them, the whole idea began. He choose hellenic traditional instruments because of the impact they had on customers with their sound and because of the difficulty of making them.

How do you think your work is different from other guitar builders?
The work is very different because though these instruments may look like a guitar but they are totally different. From construction up to playing them.

Do you have one piece that is your favorite or that makes you the most proud in terms of craftsmanship, sound, look, and so forth?
We do have some custom instruments that are above the rest production and their body is made and look like a fishbone. Made from 4 different woods it is very hard to tell how all these small pieces actually builded and glued together.

Do you consider musical styles or genres when building your guitars?
We do concider hellenic style of music when building them but mainly the instrument is Ethnic and solo instrument so you can play what ever you feel like with it. Each instrument makes it’s own sound. Even of you build to instruments from the same woods the result will be still different, in sound.

What accomplished musician would you most like to see play your guitars, and why?
I would like to see all types of tringed musicians play with it because of it’s playability.

Any last thoughts?
Just try playing it and you will love it. Just as every new musician does.

That recommendation is hereby passed on. Thank you again Nick for speaking to us.

Check out Matsikas here.

Interview with Howl Guitars / Tokyo, Japan

This time the V&R Blog is travelling to the other end of the world to make an interview with Howl Guitars in Tokyo, Japan.

howl store4 howl store3 howl store2 howl store1

How many years have you been running Howl Guitars? Why is it called Howl Guitars?
About 3 years we’ve been running the business. I thought Howl sounds quite unique. Also I’m musician too, so I wanted to “ho wl” to someone or something my passion.

Is it only vintage guitars you aim at selling? Do you also do new guitars or other instruments?
No, I sell new guitars too. Other instruments like amps and tubes.

What was your first guitar? How old were you when you started playing? Did you have a band?
TELECASTER! I bought super cheap full guitar kit, me and my brother built it and painted it black. I started to play guitar when I was eight. I’m always having a band.

How do you select your luthiers from all over the world? I mean how do you chose one over another? Is it because those ones have a better market than others?
First point, of course the tone is the best priority. Then I care about quality of woods and steel materials such as bridge plate or saddle. Also out looking is very important too.

In how many countries in Europe do you have customers? What about builders and luthiers?
Mainly UK, because I used live there. Other.. French and Germany. I have never had deals with builders or luthiers in Europe.

How is the vintage guitars market in Japan at the moment?
About 4 or 5 years ago, all vintage guitars were priced the way too high. Then it just gone about 2 years ago, prices went down and down. But now the price is staying sort of normal. Japanese loves vintage guitars. Some 90’s era people said almost vintage guitar went to Japan. So vintage guitar is a very big instrument market in Japan.
Well that’s amazing.!

How has the Internet impacted vintage guitar collecting in Japan?
Massive changes. Normally, traditionally, we go to guitar shop to see, play, buy the guitar by our foot. Imagine if you have no internet at your home. You would buy guitar magazine first, then you find the guitar which is very attractive. You may make a phone call to shop due to HOLD the guitar. Then you go to the shop. Finally you can face to the guitar and play. By Appearance of the internet, these thankworthy actions have just decreased badly. Half of enquiry is from internet. I mean it’s very useful but I

What are some good resources for people interested in Japanese vintage guitars?
Digimart and J-Guitar.com are quite big instrument searching website in Japan.

HOWL GUITARS is the vintage guitar shop in Tokyo Japan. We are always welcome to any customer with wide range of selected guitars mainly from Fender Telecaster and Gretsch Guitars, and boutique amps from Matchless, TWO-ROCK, VOX, Plexi Marshall, Mesa Boogie and Dumble amps. New and used guitars are also available in the shop. We are happy to deal with you all. Feel free to contact us by e-mail or phone call for availability, details or anything about instruments. Keep your eyes on our collections!



Howl Guitars

Hiroki Muramatsu
POST CODE 180-0023
4 – 23 – 6 Kyounan-Chou Musashino-shi Tokyo Japan
TEL : +81-422-30-9196 FAX : +81-422-30-9197
MAIL: info(at)howl-co.com
Shop Closed : Tuesday / Wednesday