ALAMO
Guitars
Made
in San Antonio, TX
Rare, Collectible and so “TEXAS”*
*and
for those who don’t know- Y’all, Norwegians Use the
Word “Texas” as Slang to Mean “Crazy” –
Another “LITE
Collection To Go” (“lite” is Norwegian for small) from my large collection of
vintage guitars. Once again, I will describe this as another “AMERICANA
Collection” since these guitars were Made In America in the 1960’s.
COLLECTIONS
TO GO. FROM MINE TO YOURS.
In 1999 I began collecting guitars. I focused on buying guitars that I liked but
also on those brands that were no longer around, especially those that were
Made In The USA. I have named them
“Americana” brands.
At the same time, I believe that vintage, and some custom
handmade, guitars are still among the best investments anyone can make. Especially “niche” guitars like many of mine.
I cannot give investment advice, nor am I attempting to persuade anyone to buy
guitars as investments, but can tell you that my guitar collection has
increased in value many times over my real estate, stock, and other
investments.
But more than that, I think for those of us who love
guitars and like to have our own little “stash”, yet do not want to blow the
grocery and rent budgets, it makes sense to look at these former Made In The
USA brands as well as some high quality Made In Japan brands.
To make that easier for beginning, and seasoned,
collectors I have decided to begin offering small packages of my guitars for
sale as a group that represents the variety of products offered by a manufacturer.
“Guitar Collections To Go”
I have done the
work for you:
1.
I have found the best examples of a Brand in
the marketplace that were available when I was buying them, or as I say, “I
only sell the best guitars because I only bought the best guitars”.
2.
I had my luthier check them out, repair them
if necessary, clean them up, and set them up.
3.
I found all of the information I could about
them to include copies of catalogs, magazine reviews, and forum remarks.
And now I have gathered them
in affordable variety collections that are ready to go to your guitar room.
WHY
COLLECT ALAMO GUITARS?
Once more, a true story of
American entrepreneurship in the music industry—the story of ALAMO Guitars and
Amplifiers is one that demonstrates the influence that the electric guitar and
amplifier has had on popular culture and music history in the world but MADE IN
THE USA brands like Alamo show how the popularity of the burgeoning rock and
roll music phenomena carried over to the general population of Americans who
wanted to make their own music.
For those wishing to begin
his/her own guitar collection, this is a great place to start. These guitars are true pieces of Americana
musical history and are very representative of instruments made in the
USA. Many brands of this time period,
National, Silvertone, Kay, etc. sourced many of their guitars from outside the
USA but not Alamo. That makes collecting
a lot easier. Also, this is a comprehensive
package that is representative of the brand “Alamo” but along a single model
line. By isolating on this single model
grouping, you are able to make a more definitive statement with your
collection. This is a cross section of
the Alamo “Fiesta” model line showing different examples of the same broad
model group.
Current collectors will find
this “Lite” collection to be a perfect addition to his/her collection. It fits a great niche for a true “Americana”
brand guitar that is extremely appealing in appearance but also rare. Uniqueness and limited supply also go to make
a “collectible” more collectible.
THIS ALAMO
COLLECTION.
I am offering five (5) examples of the “Fiesta” model
series and one (1) “Fury”. Each is
different providing an excellent cross section of the history of this brand’s
models. They are listed in the order
they appear in the first group photo and are identified from left to right,
A-F.
A.
“FURY
TREMOLO” (our inv# 1800).
1.
Year: 1967.
2.
Model#: 2584T-SB.
3.
SN: 112729.
4.
Finish: Sun Burst.
5.
Body:
Hollow-core body.
6.
Headstock: 6
inline tuners with lower rounded hump.
7.
Tremolo:
Yes.
8.
Pickups: 1.
9.
Frets:
19.
10.
Condition: Good.
All original parts. Has usual
dings, scrapes, dents, and scratches found on used guitar. Looks like ferrules
have been replaced.
11.
Case: Original Hard Case (trapezoid shape).
12.
Weight:
4.88 lbs.
13.
Notes:
Rare Fury Model. Toward end of
guitar building at Alamo.
B.
“FIESTA” (our inv# 1692).
1.
Year: 1965.
2.
Model#: 2584R.
3.
SN: 122974.
4.
Finish: Red (Cherry tone).
5.
Body:
Hollow-core body.
6.
Headstock: 6
inline tuners with sharp cut lower hump.
7.
Tremolo:
No.
8.
Pickups: 1.
9.
Frets:
19.
10.
Condition: Good.
All original parts. Has usual
dings, scrapes, dents, and scratches found on used guitar. Some finish
fading.
11.
Case: Not Original.
12.
Weight:
4.72 lbs.
13.
Notes: Later
Fiesta Model. Straight cut down on
bottom bout.
C.
“FIESTA”, Mark 1 (our inv# 1665).
1.
Year: 1964.
2.
Model#: 2584R.
3.
SN: 90564.
4.
Finish: Red (Bright firetruck red tone).
5.
Body: Solid
body.
6.
Headstock: Has
3x3 tuner setup with wide headstock and hump in middle. Headstock is painted
same color as body.
7.
Tremolo:
No.
8.
Pickups: 1
9.
Frets:
20.
10.
Condition: Fair.
All original parts. Has lots of
the usual dings, scrapes, dents, and scratches found on used guitar. Some
finish fading. VERY RARE. This is a very early “Fiesta”. Shape is double-cutaway but with almost flat
top and bottom horns. Pickguard is upward, very close to neck.
11.
Case: Not Original.
12.
Weight:
5.12 lbs.
13.
Notes: VERY
RARE EARLY Fiesta Model. EXTREMELY RARE.
“Fiesta” on truss rod cover.
D.
“FIESTA” (our inv#
1664).
1.
Year: 1965.
2.
Model#: 2584W.
3.
SN: 54125.
4.
Finish: White. Extremely rare color. Black
pickguard & truss-rod cover.
5.
Body:
Hollow-core body.
6.
Headstock: 6
inline tuners with sharp cut lower hump.
7.
Tremolo:
No.
8.
Pickups: 1.
9.
Frets:
19.
10.
Condition: Very Good. All original parts. Has usual dings, scrapes, dents, and
scratches found on used guitar.
11.
Case: Not Original.
12.
Weight:
4.28 lbs.
13.
Notes: Later
Fiesta Model. Straight cut down on
bottom bout.
E.
“FIESTA” (our inv#
1693).
1.
Year: 1966.
2.
Model#: 2587SB.
3.
SN: 110866.
4.
Finish: Sun Burst.
5.
Body:
Hollow-core body.
6.
Headstock: 6
inline tuners with rounded cut lower hump.
7.
Tremolo:
No.
8.
Pickups: 3.
9.
Frets:
19.
10.
Condition: Fair.
Has lots of dings, scrapes, dents, and scratches found on well used
guitar. One non original knob.
11.
Case: Not Original.
12.
Weight:
4.61 lbs.
13.
Notes: Later
Fiesta Model. Straight cut down on
bottom bout.
F.
“FIESTA”, Mark 1 (our inv# 1695).
1.
Year: 1964.
2.
Model#: 2584R.
3.
SN: 2856.
4.
Finish: Red (Almost orange red tone).
5.
Body: Hollow-core
body.
6.
Headstock: Has
3x3 tuner setup with wide headstock and hump in middle (higher than No. C). Headstock
is painted same color as body.
7.
Tremolo:
No.
8.
Pickups: 1.
9.
Frets:
19.
10.
Condition: Good. All original parts. Has the usual dings, scrapes, dents, and
scratches found on used guitar. Some finish fading. VERY RARE.
This is a very early “Fiesta” but different from No. C. Shape is double-cutaway but with deeper top
and bottom cutaways. Pickguard is down the body not close to neck. Pickguard has
been broken but glued back together. Large scraps on back of neck toward headstock.
11.
Case: Not Original.
12.
Weight:
4.85
lbs.
13.
Notes: VERY
RARE EARLY Fiesta Model. EXTREMELY RARE.
“Fiesta” on truss rod cover.
PRICE
OF THIS COLLECTION.
$6,495.00 for
the entire collection of six rare guitars.
This
is 25% off of the sum of individual asking prices ($9,370.00)
ABOUT
ALAMO GUITARS.
As is many times usual,
success in business comes from the imagination, drive, and hard work of a
single person. Same is true for Alamo.
Charles Eilenberg is “Mr. Alamo”. Born in
Newark, NJ. Worked in radio, went into
the Navy during WWII where he worked as a communications engineer. In 1946 he
moved to San Antonio, TX to work for Southern Music, a music publishing and
manufacturing company. Opened the Alamo
Electronics manufacturing business in San Antonio soon thereafter building
small consumer electronic equipment (record players and radios). Next step was to start building instrument
cases and from there they began in 1949 to build lap steel guitars and guitar
amplifiers. That was the beginning of
ALAMO amps and guitars. In 1960, Alamo
began building “electric Spanish guitars”.
There is an excellent
chapter about ALAMO Electronics in Michael Wright’s fantastic book, GUITAR
STORIES, The History of Cool Guitars, Volume II. All collectors should own this book and its
predecessor, Volume I. You can also find
information online by looking for Michael’s article in Vintage Guitar Magazine
about “Alamo Guitars”. Alamo guitars were completely built in San Antonio,
Texas. They are true MADE IN THE USA “Americana”
guitars. All components, including the pickups
were made by Alamo in San Antonio. In
the late 1960’s (1967), tremolo systems of their own design were built for them
in Japan but installed on the guitars in San Antonio.
TIMELINE OF ALAMO GUITAR PRODUCTION.
Alamo Electronics was more
of an amplifier manufacturing business than guitars but their guitars are their
“really cool” products. Here is a brief
timeline of the production of guitars:
1.
1946. Charles Eilenberg
joins with Milton Fink, owner of Southern Music in San Antonio, TX, to start a
manufacturing business there.
2.
1947. Alamo Electronics begins
operation in a 2,000 sq ft building making radios and record players.
3.
1948. Alamo Electronics begins building cases for
musical instruments sold by the distribution arm of Southern Music.
4.
1949-1950. Alamo starting producing guitar amplifiers
and lap steel guitars at this facility.
5.
1953. Thanks to the success of its new instrument
and amplifier business, Alamo expanded to a new larger space of 6,000 sq ft,
triple in size of the original.
6.
1950’s. Alamo continued to grow and began producing
OEM instruments and amps for other companies, e.g. ALOHA, National, etc.
7.
1960. Success now required more space for the Alamo
manufacturing business and was accomplished by moving into a new 25,500 sq ft
factory, quadruple the size of the previous factory.
8.
1960: In its new
factory, Alamo began building its new line of “electric Spanish guitars” The
first model built was named the “Texan”
(Model #2590). It was reminiscent of the LP Jr. with two matched cutaways. Had “Alamo”
decal on French cut headstock which had 3 x 3 tuners. These are VERY RARE. It lasted until 1962.
9.
Next in 1962 came the “Futuramic” (Model #2587) electric
Spanish guitar. Another double cutaway like the Texan but upper horn was wider
than lower. Had “Alamo” decal on French cut headstock which had 3 x 3 tuners. 2o frets on Rosewood fingerboard. These are
VERY RARE. This was the first time the
new “Alamo Acra-Tune” custom
tailpiece/bridge system was used. It is
similar to the Danelectro bridge system but much better made.
10.
*NOTE: Confusion is the earmark of Alamo
guitars. Like here, the “Texan” came
first but had model# 2590 whereas the next model, the “Futuramic” was given the
#2587. And the Model #2590 was also used on the later Titan series. Keep this in mind because it happens from now
on with Alamo guitars.
11.
Also in 1962 came the “Fiesta” electric Spanish solid body
guitar. It featured a single cutaway body style resembling the popular Tele shape.
This was the first of several variations of the “Fiesta” model guitar.
12.
In 1963, the “Futuramic”
was dropped but the “Fiesta” remained.
Added to the guitar product line was the “Titan
Series”. These were hollow core bodied guitars.* Two models were offered, the Mark I #2589 (one pickuip) and II #2590* (two pickups).
Pickups had metal covers with a ridge in the middle. Bot on necks, 20 frets,
Rosewood fingerboards, with “Acra-Tune”.
13.
* NOTE: For the
hollow core bodies, Alamo used Swedish plywood because of its flexibility.
14.
Taken from Michael
Wright’s online article published in Vintage Guitar magazine: “Dazed and Confusion: At
this point things get a little confusing. While these undated catalogs provide
an excellent view of early Alamo instruments, there are a number of pieces
missing or which don’t conveniently fit classification. One reason for this becomes clear when you
trace this saga and note how often Alamo transferred names from one instrument
to another. Also, in terms of guitars, one suspects that the name Fiesta went
on just about everything! This perception may persist because of the holes in
our knowledge. But remember, Alamo was not producing high-end professional
gear. They were making cheap beginner instruments, so quality and consistency
were not the most important ingredients. Which is prefatory to discussing a few
guitars that show up fairly frequently, but which are not in the catalogs we
have on hand. These bear both the Titan and Fiesta names and carry a number of
features that seem to mark a transition from the early ’60s sightings and mid
and late-’60s models, so we can deduce they date from about 1963-’64.”
15.
During this time,
1963-64, the “Fiesta” model label
was attached to a variety of styles. One
was the appearance of the double cutaway in different shapes (like the ones
listed here for sale). Most notable about these variations was the “center
humped headstock” and the long curving truss rod cover. Colors were red or white.
16.
* NOTE: Again from
Wright article online: “This began a long period (1963-64) of name and
design shuffling, including the introduction of the hollow-core Titan, in 1963.
Throughout the history of Alamo, the hollow-core and solidbodies would weave in
and out of the story. Early Alamo guitars sported a variety of
three-and-three/two-and-two headstocks.”
17.
1965 was the year things
really went crazy with the design style of Alamo guitars. And the “Fiesta” came in several variations.
Again, from the Vintage Guitar article: Finally,
the ?5 line offered three Fiestas, with hollow-core bodies and an even more
radically squashed Strat/Jazzmaster body. Sort of Strat road kill. These each
had slightly different pickguard shapes depending on how many pickups, each
without the Oriental ?? but with a cutout Fiesta just below the strings. The
19-fret Rosewood fingerboards were dot-inlaid. The six-in-line heads had small
Alamo truss rod covers. These had uncovered Acra-Tune bridge/tailpiece
assemblies, with no Bigsby option. The one-pickup Fiesta had the pickup near
the bridge, with volume and tone. The Model 2584R ($64.95) came in red, the
Model 2584W in white, the Model 2584S in sunburst, and Model 2584C in cherry
sunburst. The 2-pickup Fiesta had volume and tone with a 3-way toggle near the
lower horn. The Model 2586R ($84.95) came in red, the Model 2586W in white, the
Model 2586S in sunburst, and the Model 2586C in cherry sunburst. The
three-pickup Fiesta featured the pickups in parallel, with one volume and two
tones, and three small plastic sliding on/off switches near the lower horn. The
Model 2587R ($109.95) came in red, the Model 2587W in white.
18.
1965 was the year the “Fiesta” model guitars ended-at least
in that name-but came back as the “Fury”
series.
19.
*
NOTE: Again from Wright article online: The “Fury” series
in 1967, included both hollow-core and solid body guitars, all called “Fury”. The logo was engraved in script on the
pickguard under the strings. These all had the shorter, more rounded
Strat-style heads, with the by now typical elongated truss rod cover.
Fingerboards were all Rosewood with dots. The pickguards were identical to the
previous, now defunct, “Fiesta” guitars. These were, for Alamo, fairly normal looking, aping
fairly closely a Fender Jazzmaster shape.
Some had Vibrato systems made for Alamo in Japan.
20.
1966 saw the return of
some of the original “Fiesta” model
guitars that appeared to have been left over from 1965. These are collectible in the sense that they
are unusual. No catalog or promotional
material could be found that showed the “Fiesta”
as being a line card item in 1966.
(Note-photos from Michael Wright’s books were used as reference for
dating my guitars).
21.
1967 most likely was the
year guitars were pretty much dropped from the Alamo line due to competition
from Japan and from other US builders.
22.
1970 is the year most
commonly cited as the end of Alamo Electronics and the demise of the extremely
cool “Alamo guitars and amps”.
DATING ALAMO GUITAR MODELS.
Perhaps the most frustrating aspect of Alamo
guitars is now to date them. I have used
catalogs and other written historical data and articles to date mine. Headstock design, headstock logo, body style,
and pickguard design are most likely the best way to identify models most
quickly-but remembering that accuracy and attention to detail were not
attributes readily employed by the company in its production of guitars. Yes, these guitars do have serial numbers-put
on back of headstock with those original embossed labels made popular during
the 1960’s.
TERMS AND CONDITIONS.
Please
ask all questions before bidding or buying this vintage guitar.
ALL
TRADES WILL BE CONSIDERED.
NOTE:
I am not a DEALER. This guitar comes directly from my PERSONAL COLLECTION
consisting of 1,600+ pieces. Thank you for viewing this auction and please look
at the other items I have for sale on ebay and Reverb at this time.
NOTE: The following terms and
conditions apply to the entire six-piece collection as a single lot so all
references to a single guitar applies to the entire lot. Individual returns will not be allowed, i.e.,
if you are not happy with one of the guitars, then the entire collection must
be returned. In the case of repairs
being needed, then those can be dealt with individually.
Understanding
the normal hesitation of buying a guitar without first playing it, I want to
make sure this guitar makes you happy. To accomplish that, I want you to try it
for 72 hours (three days). Play it, hold it, walk around with it on your back,
sleep with it-whatever it takes for you to make sure it is the one for you.
During that time, you can return it for a full refund of your payment price
(but of course it needs to be treated well while you have as I expect you will)
less shipping cost and you must pay the cost to ship it back to us.
If
it arrives damaged, please let me know immediately by email. Be sure to hold
onto all packing material and the box. I will contact the shipper for an
inspection. Remember that this can take up to a couple of weeks but I will rush
it along.
Minor
problems. If there is a problem with the guitar when it arrives, e.g., loose
wires etc. then I will work with you to get it repaired by someone in your
area.
A.
Payment Policy: PAYMENT DUE WITHIN 24 HOURS OF PURCHASE.
B.
Shipping Policy: I will ship to the
continental USA ONLY.
C.
Return Policy: (applies to all pieces as
a single lot).
1.
Returnable within 3 days of delivery. Items must be returned in original,
as-shipped condition with all original packaging and no signs of use. Buyer
assumes responsibility for all return shipping costs.
2.
Returns of undamaged and unmodified instruments may allowed, with permission of
Seller, for a period of up to 14 days following delivering but will be subject
to a 20% restocking fee. Items must be returned in original, as-shipped
condition with all original packaging and no signs of use. Buyer assumes
responsibility for all return shipping costs.
D.
Refunds: Buyer receives a full refund in their original payment method less any
shipping charges and restocking fees if appropriate.
E.
The guarantee:
1.
The guitar is in the cosmetic condition as described in this ad. Used guitars
will all have signs of use to include dings, dents, scratches, smudges, etc.
2,
The guitar is in fully operational condition.
3.
Buyer has 72 hrs. to inspect the guitar or have it inspected. Any defects,
damage, misrepresentations or other problems must be reported within that time
period in writing to the Seller.
4.
In the case of damage during shipment, Buyer shall immediately inform seller of
such damage and will maintain all original packing materials and box for
inspection by the transportation company.
5.
If other problems are discovered, Seller will either arrange for repair etc. at
a location near the Buyer or request that the Buyer return the guitar to the
Seller. Items must be returned in original, as-shipped condition with all
original packaging and no signs of use. Buyer assumes responsibility for all
return shipping costs.
Seller
will correct indicated problems and ship the guitar back to the Buyer within
7-10 days of receiving it.
6.
Refund Procedure.
a.
In the event that the guitar cannot be repaired or replaced with a similar item
from Seller’s inventory, the Seller will provide a full refund in their
original payment method less any shipping charges and restocking fees if
appropriate.
b.
During this 72-hour evaluation period, the Buyer may return the guitar for any
reason by notifying Seller and receiving a Return Authorization number. Guitar
must be in the same condition as received by the Buyer. Buyer pays cost of
shipping guitar back to Seller.
c.
Returns may be allowed, with permission of Seller and issuance of RA#, after
the 72 hour evaluation period for up to 14 days total but a standard 20%
Restocking Fee will be charged for the return. Guitar must be in the same
condition as received by the Buyer. Buyer pays cost of shipping guitar back to
Seller.
NOTE:
I want each Buyer of a guitar from my collection to be pleased and happy with
his/her purchase so let me know immediately of any problems with your purchase
so that we can work it out. Thanks.
Thank
you for looking at this incredible VINTAGE guitar collection from my
collection.
Buyers
outside of the continental USA should contact us for a shipping quote before
buying this guitar. Thanks.
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