The Frankenstrat was Van Halen’s attempt to combine the sound of a classic Gibson guitar with the physical attributes of a Fender. It is now in the National Museum of American History, part of the Smithsonian Institution in Washington, D.C.
By the time Page desired an EDS-1275, they were no longer in production so he ordered a custom-made cherry 6/12.Page’s EDS-1275 has a slightly different body shape from that of the current model. Page’s also has one-piece mahogany necks rather than the current three-piece maple, and has tailpieces positioned near the bottom of the body, reportedly increasing sustain, and Patent No. or T-Top humbucking pickups.
Joe Strummer’s battered 1966 Fender Telecaster is one of the principal guitars responsible for igniting the punk rock revolution during the mid to-late Seventies. It was his main instrument throughout his tenure with the Clash and his post-Clash solo career. The iconic guitar remains one of the most popular objects in the exhibit London/New York/Los Angeles—Blank Generation: 1975–’80 at Cleveland’s Rock & Roll Hall of Fame.
John Entwistle of The Who’s go to Bass in the early seventies: “Once I realised the Thunderbird was the bass I was going to be playing for a few years, I panicked because (Gibson had) stopped making them. I went to Manny’s (NYC guitar store) and told them to buy up the whole stock, so consequently I got 10 two-pickup Thunderbirds”
Nicknamed “Hamburg“, John Lennon’s Rickenbacker 325 Capri guitar was modified with Bigsby vibrato and nonstandard control knobs. Lennon used this guitar during their first public appearance of the Ed Sullivan Show.
Handed down to Malcolm by elder brother George and Harry Vanda. The neck and middle pickups were removed and the paint was stripped to the maple top around the Let There Be Rock tour. Malcolm is seen here playing the guitar after the paint was stripped off.
Paul McCartney played this bass during the first years in the Beatles, and the last years. It could be watched in cavern videos, the revolution videoclip or Let It Be sessions. This bass was stolen in 1969.
Pete Townshend used the hollow-body on many of his post-Tommy Who recordings – Who’s Next and Quadrophenia are two stunning examples – and, after the instrument was repaired (only the neck was broken), he continued to employ it on both band and solo albums