An era ended on May 10, 1957 when the legendary Epiphone company of New York was sold to Chicago Musical Instruments (CMI) and became a division of Gibson. Although the acquisition was made by Gibson president Ted McCarty to acquire Epiphone's upright bass business he soon realized that by using the trusted Epiphone name on a second Gibson made line of guitars he could open up new dealerships in territories where the rights to selling Gibsons were protected.

In this way McCarty would be able to have more guitars available to the consumer in more locations.

Looking back it is universally agreed that the late 1950s was the quintessential golden age of Gibson solidbody electric guitar production. Everything about the guitars produced in this era we revere and even today nearly 40 years later are striving to duplicate.

The first Gibson-made Epiphone solidbodies were designated as Moderne guitars like the famed Gibson Moderne trio. The Epiphone Moderne, as were the Gibson models, was intended to be finished in black. The body style was based on the Fender Telecaster but had larger symmetric double cutaways. Like the Les Paul Jr. model, it had a glued in unbound neck with dot markers.

By the time the instrument was introduced in the summer of 1958, the deluxe model was renamed the Crestwood while the budget model was called the Coronet.

The top of the line Epiphone Crestwood carried a list price at $247.50. Its symmetric double-cutaway, mahogany body measured a full 1 3/4 deep and had square edges making it look surprisingly like a double cutaway Telecaster but with a Gibson feel. The guitar was appointed with two Epi New York pickups, a stop tailpiece and a tune-o-matic bridge. Either a black or white asymmetric pickguard was used depending on the contrasting body color. The name Crestwood was inconspicuously printed on a rectangular piece of plastic placed between the rhythm pickup and the neck. Epiphone radio-style adjustment knobs, a contrasting rhythm/treble poker chip and gold-plated metal parts completed the picture.

Upon its introduction in 1958 the Crestwood was available in either black or a well defined dark brown to yellow sunburst.The 24 3/4-inch scale rosewood neck joined the body after the 22nd fret giving the player full access to every fret and had a wide, slim "V" profile. Most often, unused Epiphone necks acquired by Gibson from leftover factory stock were used. The headstock was appointed with a metal Epiphone peghead logo plate, a black truss rod cover, gold-plated, single-line Kluson tuners and had an inked on serial number following the Gibson numbering system of the 1950s.

The guitar plays like a hybrid Les Paul, Les Paul Jr, and Telecaster with a somewhat shallower neck angle than the former guitars. Its wide neck and low action lend to easy playing.The New York-style pickups sound particularly good, especially in the middle position which has a big, clean, humbucking sound. I was never particularly fond of these pickups on hollow body Epis but on the Crestwood they sound great.

I have only seen brown alligator soft cases for the few examples I have encountered but I imagine hard shell cases were available.

The budget line Coronet was also introduced in 1958 and was basically the same guitar as the Crestwood but with only one New York pickup in the treble position, three on a plate plastic button klusons, and a wrap around stop tail piece as on a Les Paul Jr. model. In addition to sunburst, the Coronet was also available in black with a contrasting white pickguard, giving it a striking appearance. The Coronet carried a list price of $120. Considering what the consumer was getting this was one hell of a deal.

By 1959 a cherry finish was standard as on the other Gibson budget solidbodies but the Coronet hosted some all new, ultra cool features. A single P-90 pickup with a creamy white dogear cover replaced the NY pickup. The P-90 in the treble position sounds absolutely GREAT! The cherry body now wore a symmetric white butterfly shaped pickguard with a matching white truss rod cover. The symmetry of this design is simple, functional, and elegant. I know of only two P-90 equipped Coronets and these, in my opinion, are King.

By late 1959 the Epiphones again were modified to have thinner bodies with more rounded edges. By the early 1960s the bodies became even thinner (like the SG), asymmetrical, and the edges became even rounder.

The original Epiphone Crestwoods and Coronets are true rarebirds. With their thick Tele-esque bodies, Gibson necks, and great pickups they are striking to look at and a joy to play. Not many of these guitars were made in the short life span of this variation, however, from time to time, they do come up for sale so check 'em out.

 By Elliot Mechanic