Epiphone Celebrates 60 Years in the Gibson Family

[![Epiphone Founder Epi Stathopoulo](/content/images/2017/01/Epi-Stathopoulo-148x300.jpg)](/content/images/2017/01/Epi-Stathopoulo.jpg)Epiphone Founder Epi Stathopoulo
*[The following history is courtesy of Epiphone:](*

Throughout 2017, Epiphone will celebrate its 60th anniversary as part of the Gibson Family of Musical Instruments, its one time rival and now partner in instrument design and manufacturing for over half a century.

On May 10, 1957, Gibson President Ted McCarty – a longtime fan of Epiphone – purchased the Epiphone Company along with its tooling, parts inventory, copyrights, and designs from the last surviving members of the Stathopoulo family, who were retiring from the music business.

“The merging of Gibson and Epiphone in May 1957 turned out to be one of the landmark events in pop culture history,” says Epiphone President Jim Rosenberg. “It paved the way for innovations that are still part of our lives today. It’s hard to imagine John Lee Hooker, The Beatles, Oasis, Gary Clark Jr., or dozens of other artists without their Epiphones.”

From the 1920s through the early 1950s, Epiphone – led for decades by its founder Epi Stathopoulo — was a leader in making a wide range of affordable professional instruments, including flattop and archtop guitars, electric Hawaiian guitars, banjos, mandolins, amps, and some of the first electric guitars, and even an electric piano. Epiphone’s offices and factories in Manhattan kept the company at the center of the growing music business where artists like Charlie Christian, Eddie Lang, and a young Les Paul were at the vanguard of a new generation of players merging jazz, blues, classical, and folk into vibrant new forms of American music.

Under Epi Stathopoulo’s guidance, Epiphone fostered a reputation among new artists working in radio and in recording studios and many of them made regular visits to Epiphone’s showroom to try new instruments and jam for passersby. During this time, Stathopoulo’s sole rival in producing professional and competitively priced instruments was Gibson, located in the sleepy college town of Kalamazoo, MI. The Epiphone and Gibson rivalry carried on through several music eras including early Vaudeville, big band jazz, western swing, and rhythm & blues. After Stathopoulo’s death in the early 1940s, his brothers Orphie and Frixo struggled to keep up with changing times as acoustic instruments were replaced by both archtop electric and solid body electric guitars like the Les Paul. Ted McCarty originally was seeking to bring Epiphone’s upright bass business to Gibson but quickly realized that bringing the brand into the Gibson fold would not only increase the prestige of the company, but would also allow Gibson to increase its number of dealers both nationally and abroad.

[![Paul McCartney](/content/images/2017/01/18_Paul-229x300.jpg)](/content/images/2017/01/18_Paul.jpg)Paul McCartney
Almost from the instant Epiphone took up headquarters with Gibson at the factories on Parsons St and Elenor St, Epiphone and Gibson began issuing what are now considered some of the most iconic electric guitar designs in pop history. Side by side, Gibson Les Paul Standards now worth up to $200,000 were glued, wired, and finished next to new Epiphone designs like the Sheraton and the Wilshire. Les Pauls that wound up with Keith Richards and Eric Clapton were made under the same roof as Casinos destined for The Beatles and the Kinks, or Texans bound for Paul McCartney and Peter Frampton. The “Jumbo” J-200s bought by Don and Phil Everly were built next to the Epiphone Excellente acoustic guitar that found its way to Washington and a young Loretta Lynn. The ‘60s era 12-string Riviera archtop that Paul Simon plays on stage and Joe Bonamassa’s vintage 335 share the same wood, the same machine heads, the same finish, and the same pickup wire that today is found in critically-acclaimed Epiphones like the Sheraton-II PRO and the Masterbilt Century Collection.

Les Paul, who shared a long history and friendship with both companies, always stressed in interviews that during this era there was little difference between a Gibson and an Epiphone. “They were identical guitars except they changed the names on them,” Les told “So (on) the Gibson line they used the same wood, the same guys building them, the same fretboards, the same everything. They made minor changes between an Epiphone and a Gibson. So if you saw a flattop coming (out of the factory) and it said Epiphone it was the same guitar as the Gibson one.”

To celebrate our 60th anniversary together, Epiphone will be releasing limited edition acoustic and electric guitars and basses and also go behind the scenes in our factories to see how Epiphone instruments are designed, built, finished, and inspected. The company will also go deeper into the strange story of how the two rival companies joined together and how easily the once-in-a-lifetime merger could just as easily have never happened.

For more information, go to

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Michael Raine is the Editor-in-Chief at Canadian Musician, Canadian Music Trade, Professional Sound, and Professional Lighting & Production magazines. He also hosts the Canadian Musician Podcast.
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