Halkan´s Rockhouse is located in the heart of the beautiful swedish town, Stockholm. We recently went to visit Jan Hallquisth and his staff in his shop. Halkans Rock House is long time supporter of Vintage & Rare and is one of the very first shops to be on V&R. The shop has a great inventory with lots of vintage guitars, basses, amps and effects. They also do repairs. So if you are in the market of a fine vintage instrument, this is a shop to keep on your gear radar. Please see the shop tour vid and pics from that visit.
We met up with swedish vintage guitar dealer and long time supporter of Vintage & Rare, Anders Anderson, on Fuzz Guitar Show in Gothenburg 2016. On this clip Anders shows up selected pieces from his vintage guitar inventory brought to the show.
At Copenhagen Guitar Show 2013 we came across a very beautiful, rare and highly sought after 1960 Gibson Les Paul Standard Burst, Serial #02170. At the time it was for sale through swedish vintage guitar dealer Anderson Anderson. Anders has been collecting Bursts since the 70´s and is known as one of the premier vintage guitar dealers in Scandinavia for highend and collectible vintage guitars.
The 1958 – 1960 Gibson Les Paul Standards are the most collectible guitars within electric solidbody category.
Hope you will enjoy the pics and the video we did with Anders on this guitar from the show as well. The video starts with Anders showing us the 1960 Burst
See more beautiful vintage guitars on Vintage & Rare here
Wow! Have you guys been planning your next holiday? Cause we here at Vintage & Rare sure have! We are going to Umeå. The university town in northern Sweden, has become the home of one of the world’s finest vintage guitar collections. The Museum house a live venue, a music store, a recording studio, a photo studio and a restaurant. Behind the great idea is brothers Samuel and Michael Åhdén. They have been collecting one of the world’s finest privately owned collection of guitars since the 1960’s. And now the whole world has a chance to see it. Go check out the exhibition of electric guitars, basses, amps and music accessories at ‘Guitars The Museum’in Umeå. We here at Vintage & Rare are definitely going to pay it a visit very soon!
“We ask for your vigilance and assistance to assure that you are not the innocent receiver of stolen property. If you have any information on the criminals responsible for this theft please contact us. Any information leading to the arrest and conviction of the perpetrator(s) will be rewarded.”
If you find any of these instruments for sale anywhere, do not hesitate to contact debra(at)frettedamericana(dot)com or the V&R team at info(at)vintageandrare(dot)com
Below you can find the complete list of the stolen instruments:
“Let’s take everything we think we know about solid body electrifying guitars and throw it out the window. Let’s start over.”
– Leo Fender on the invention of the Telecaster.
Our world would have sounded different if it wasn’t for the Telecaster. Arguably less interesting.
Originally released in 1950 as the Broadcaster, Fender was forced to change the name to Nocaster in early 1951 after a copyright dispute from the Gretsch company who had the name “Broadkaster” registered for a line of drums. The Nocaster name only stuck for a couple of months and in the summer of ’51 the Telecaster name came to stay. It became the world’s first successful solid body electric guitar, and although it is not as widespread and popularly known as the Stratocaster, its legacy is not to be overlooked.
At its introduction the Telecaster was met with both awe and scepticism. Former Fender manager Don Randall recalls taking the Telecaster to a 1950 music trade show:
” … it was, ‘What’s that thing?’ We got all kinds of comments. ‘Do you paddle your canoe with that thing? Swat flies?’ They all laughed.”
Some people made jokes, but former Gibson president Ted McCarty recognized the Telecaster:
“We had to buck this competition from the west coast”, he said and started work on the Les Paul. Competition was in motion and the solid bodies were taking over.
The Telecaster is perhaps most known as a southern country twang and blues type guitar with a sound made famous by the likes of Albert Collins and Redd Volkaert.
But the legacy reaches far beyond that. In doubt? Just listen to Jimmy Page on Led Zeppelin’s first album. Pete Townshend’s favorite guitar is a ’52 Telecaster and Keith Richards uses a variety of Telecasters (one of which he used to club a renegade fan on stage) but he prefers his ’53 Tele named Micawber. Jeff Buckley, interestingly, used an ’83 Telecaster. This post-CBS guitar is not really considered collectible or of the pre-CBS-era quality but Buckley made it his own.
Bob Dylan was also a Tele man.
The Telecaster is the father (or mother if you will) of rock n’ roll. It is still only around 63 years old, but its legacy and influence is profound and ubiquitous. Don’t underestimate the power…
As Jeff Beck puts it:
“It’s so honest and straight forward. It challenges you.”
Mika Vandborg is a Danish Guitarist. He has released 3 solo albums “Under The Sun”, “2010” & “Wall Of Books”. He changed his solo project to “Future Garage Sale Item” in 2006 and released the record “Future Garage Sale Item” in 2007. Mika also plays guitar in Love Shop and has recorded the last two records “Frelsens Hær” and “Skandinavisk Lyst”. Mika Vandborg & Søren Andersen have together started the projetct “Guitar Event” in March 2013. He has been a steady member of Gnags since 1999 and plays both on the records and live. Mika has worked with Dicte since 2004, also here both on the records and live. Mika is also a part of the project Dicte/Hempler. Furthermore, he has played live on records and tours with many different artists and bands.
Could you please tell us a bit about how you got into playing music in the first place? Do you remember any specific moment that sparked your interest in music and when was that?
I started playing the guitar because I heard Jimi Hendrix on the radio when I was 9 years old. I called my dad and said: “What’s that” and he goes: “Oh it’s Jimi” and pulls out a record full of naked women called “Electric Ladyland” that changed my life, and I decided that I wanted to play guitar for a living.
Could you explain to us why you initially got into the genre you’re currently playing? What musicians and bands inspired you the most over the years.
Again, it all started with Jimi and then came all the blues legends, especially B.B. King and Muddy Waters (Electric Mud). Eric Clapton and Ocean Boulevard was the soundtrack to my childhood. Along with Bob Dylan, The Band, Stones, J.J. Cale, The Doors. I guess that music shaped who I am. Over the years I have had different periods with AC/DC, Led Zeppelin, Thin Lizzy, Bryan Adams, and also old school funk like Sly & The Family Stones and George Clinton.
Can you tell us about the gear you’re using, and why? What is your main guitars, amps and effects?
Vox AC 30 TB is my all time favorite amp, but I also play Marshall JMP45 and Fender Super Reverb Amp. Vox is a crazy amp, it can solve any gig and fits right in where there’s space in the music – I love it. Marshall… Well, what can I say, for rock music it’s just perfect.The Fender Super Reverb amp is very clean and cuts like a knife.
Telecaster with Bigsby 1968 or 69 don’t remember. Maybe the guitar that I play most gigs with. Like the Vox it’s an instrument with personality and big “work range”.
Stratocaster 1957 – Amazing guitar. So crystal clear and full of overtones. A dream come true guitar.
Les Paul 1968 and 1974. Full body but not heavy, because they both got pick-ups from 330 gibson from the late 60’is
Gibson SG 1968, aggressive piece of wood, full of tone and at the same time blues.
Fuzz – there’s a lot but I seem to come back and use Roger Mayer.
Does the gear you play live differ from the gear you’re using in the studio?
No, it’s the same. I got 3-4 different set-ups from big 16 loops T-rex system to old school “boards”. They are big, bigger and biggest…
In the video we did with you some time ago, you brought an amazing 1957 Fender Stratocaster – Could you eloborate a bit on the thoughts behind aquiring this guitar – any particular reason why you went for an original 1957 Strat?
I’ve always been dreaming of a real 57 Stratocaster, maybe because of Clapton. I remember trying a 57 at a gig, and I was like “this is the f…… best guitar I ever tried”. It’s the sound of the maple neck and the old wood + pick-ups that works so good together, the craftmanship is brilliant.
If people ask why the guitar is so expensive, I say: “Well it’s the Stradivarius of guitars. A Stradivarius violin costs about 4-5 million Dollars, so do you still think it’s expensive for the king of all guitars”?
Do you feel that new instruments lack anything compared to old instruments – how do you see this?
Well, I’m a sucker for old thing and history!!! But besides that, it’s like the vintage instrument gains personallity over the years. I tried many new guitars that was killers, but I would always choose a vintage. There’s a lot of talk about the wood and the years they have been stored, maybe it’s got something to do with it.
Are there any special guitars, brands or a models, that fit your specific sound or genre better than others, and if so, why?
I’m a traditional kind of guy so the big brands like Fender and Gibson fit me well, they sound like I wanna sound!
How important do you find the gear to be, in relation to the sound you’ re trying to produce?
It’s very important that the gear I use is the stuff I prefer, so I can make the sounds I dream of. But when that is said, I also find it funny when I end up playing on stuff I normally wouldn’t choose, because it makes me work differently, and have to compensate, which can be very musical and maybe open a door to something new.
Any new piece of gear in your arsenal of musical sound tools that you would like to give a thumbs up and why?
Can you please tell us about your collaboration with Guitar Events – What is it about?
Yes!!! Guitar Events is a project I have with Soren Andersen (Gleen Hughes…). It’s a band that is founded around …surprise… Electric Guitars, and lots of it.
I released 3 solo albums. The latest is called “Wall Of Books” and came out february 2013. It’s a more quiet record with a lot of slide guitar. My earlier records are “2010” and “Under The Sun”. On those records I have a lot of guest stars like Justin Hawkins (The Darkness), Mads Langer, Ida Corr, Allan Vegenfeldt and a line up of Danish top players.
Any famous last words?
Buy the guitar you dream of, you only live once (as far as I know). Well, and please check out some of my music.
If you would like to know more about Mika Vandborg, please go to:
Hi all ….. I hope the crazy world we live in these days is treating you well!!
This particular installment regards a topic that changed mid stream. I started out to write about Les Paul’s and the history behind them but it has been done so well by guys like Robbie Lawrence and Vic DaPra and as I ventured into it I realized where I was going was more of a combination of a personal journey to buy a guitar for myself and after 39 years of buying. selling, collecting and some writing as well as 50 years of playing, diving even deeper into what makes a great guitar “tick!
The story starts by my humbling myself and saying that as a smaller dealer than many this economy has hit me below the belt as hard as anyone . Guys haven’t thought about expensive gear as much since their houses went “south.” BUT … housing is going North again and I am seeing the signs!
So in order to keep the doors open at a few slow moments I too, had to thin out the herd. I had about 14 or 15 guitars. Most of the axes I sold hurt a little but I usually had a plan. I sold my 56 Strat but I have a 64 for example. I sold 1 of 4 Weissenborns BUT the one guitar that had none similar was my 50s gold top Les Paul that I had to sell. Don’t get me wrong …. no pity parties here. I still have my 1961 ES335TD Dot Neck … but as I sold off about 4 or 5 guitars I promised myself i’d set aside a little to buy a Les Paul… ok … maybe a reissue or similar. It was on that quest that my digging went deeper and I wound up finding the perfect scenario for me and a ton of reaffirmation of why we love vintage guitars and/or that quality of manufacturing and materials.
I want to start by saying that the guitar companies of today are really good companies and you get a good bang for the buck and this is by no means a criticism or comparison. They have been subjected to environmental laws like the Lacey act and in many cases it is Apples and Oranges to compare and not by their hands. But there are many differences with age and different manufacturing between an old one and a new one or people wouldn’t be paying 2k for a newer used Les Paul Standard and $350,000.00 for a 1958-60 really flamey standard. That is of course the most inflated and extreme example on the most iconic of guitars. But a 1995 Strat can be had for 9-$1200 usd and guys pay 15-40k for a 50s or 60s pre cbs one. As we all know those numbers are adjusted to the current market. They were 20-75k prior to 2008.
So … as I went looking for a Les Paul I had some time on my hands to find what exactly was available to me for not too much $Jing (money). I liked some of the reissues I played and I played a lot of them. Also in my range were some 70s possibilities or maybe a late 60s in player condition. But most that I played and saw were newer guitars. There was just an “oomph” in the body that I was used to with my gold top that I wasn’t finding. That little extra that make an old guitar 110% that we pay exponentially for just wasn’t there for me.
At that point I started researching because it also dawned on me that I know a few builders and one of them is the absolute best restoration place I have had the pleasure of dealing with. Their finish work is outrageous! Because of the nature of building me a Les Paul and also that they are not at all in that business but restoration they shall remain nameless. So as I studied further I found that everything I had been spouting out of theory regarding solid bodies for years was even more true than I knew!
I found out that there is a large sonic difference between Honduras mahogany and other woods (yes .. even other mahogany) being used today. It wound up being AS significant as Brazilian is to an old acoustic Martin when compared to Indian rosewood!
The same holds true for the finish. Nitrocellulose allows for the wood to breathe better and age too! Much more so than the polyurethane ever could. Hide Glue is a MAJOR factor. The environmental laws today allow (in the U.S.A.) the use if “titebond” otherwise known as Elmer’s yellow or wood glue but up until recently would no longer permit hide glue (It is being re-introduced and allowed again on some parts of the guitar). The problem is wood glue dries as a plastic so you now have a layer of plastic between your neck and body, and your Mahogany body and maple top diminishing the sound transference. On a really well made hide glue guitar you get more of that ax working as one entity because all sections are connected as well as possible. You knock on the headstock and the body starts vibrating uncontrollably …. ok now we’re just getting into guitar porn!
Even something one would think as small as a Brazilian fingerboard can change the sound. The warmth of the board can be discerned.. Now again … these are restrictions put on the new manufacturers and it is not their doing. Think about the sonic difference between a maple and rosewood board Strat! Ok … one form of rosewood to another is possibly not as notable but when you’re evaluating what makes an old iconic machine work so well .. no stone should be left unturned! Slightly warmer tone is one result that the board contributes to.
So … being lucky and patient enough … it took 6 years to convince my friends to build me one. Now I am not suggesting that everyone do this because there really aren’t that many great guys out there and to many, a newer Gibson fills all of their needs. BUT I am suggesting that there is a large difference to the discerning ear or studio musician and the reasons we buy the old ones are because of the way they sound and play. What I was able to find was that the materials were absolutely critical as well. I personally play player’s pieces as I still work as a musician (which explains why I have always kept a smaller business … split paths). My 64 Strat is a refin … my 61 ES335 that I mentioned is beat to death, but the old wood and time and workmanship taken are irreplaceable to me. I “beat the system” on this Les Paul, but great time and effort went into producing just a handful of guitars achieving results that were the best of both worlds.
So what I wound up with is a guitar that is only a year old but made out of country so it has Honduras Mahogany body and neck/head, Hide Glue which forms to the wood and bonds it, Nitro Finish and a Brazilian Rosewood Board and it honks like a real one! Though I wound up with a new guitar. It was built to old specs and old materials and the result was that body alive as one could hope for and the closest thing I have ever played to an original burst (’59 Les Paul) and as good or better guitar than the 50s gold top I parted with.
My point I am making is not that we should all go out and design a guitar to fit old specs. That was my process since I was trying an experiment to see how much the actual woods and workmanship of yesteryear mattered though it was a pivotal part of why I got a great guitar. My point however IS … there is a reason we buy old guitars and the reasons are many but the result is mostly the same. Like Hugh Hefner always said … “it’s in the wood!”
WE LOVE the way the old ones play and sound. I think the vintage market is on it’s way back and my excitement is renewed.
So …. if you’re a serious player and want to maximize the experience … even if they are “player’s pieces” with strays from originality to save you a ton of Euros … instead of buying 5 newer guitars to do what one can, try a vintage guitar. It’s easy. Go to your favorite dealer on Vintage and Rare and get your hands on 3 or 50!!! You’ll be hooked and you’ll be hooked to this site for life because it is now your Mistress!!! You already know WHERE to get them!! https://www.vintageandrare.com/ where you can find my site as Dan Yablonka Guitars aka “Axes Of E-Ville”
At Vintage & Rare we have assembled the finest vintage and rare guitar dealers from Spain. We have carefully selected which dealers to include in our network and we specialize in representing only the best vintage guitar dealers. If you are on the hunt for a rare Fender Stratocaster, a Gibson Les Paul or any other vintage guitar, Vintage & Rare is the place to look. Browse our website to find a variety of collectible vintage Guitars for sale in Spain. Among the top Spanish vintage guitar dealers are the following:
Our mission is to establish and develop the ultimate network/community designed for enthusiasts and retailers of vintage, rare and antique musical instruments, as well as an online network for dedicated builders of fine instruments.
Why sell through VintageAndRare?
In essence we are a gateway to vintage, rare and hand & custom built musical equipment, an easy-to-use tool and internet resource for dealers, builders, buyers and enthusiasts.
Become a partner
Gain access to our Dealers Collective and interact with other members of V&R. Doing business with your colleagues has never been easier.
Free signup service
Pick a subscription plan and sign up in 60 seconds. Upgrade, downgrade, cancel at any time.