![]() One of the former can be seen in this circa 1975 Penco Model A-15-JD.īasically, this Penco is a “copy” of a Gibson J-200 or Super Jumbo, a giant of a guitar burned into our minds with twin pickguards in the hands of the Everly Brothers or dwarfing the golden-throated Emmy Lou Harris. Many were quite whimsical and some very innovative. ![]() In fact, it was a lawsuit filed by Norlin (Gibson) against Elger (Ibanez) over trademark infringement (headstock copying) in Philadelphia in the summer of 1977 that gave us the now-ubiquitous term “lawsuit guitar.” But when you look a little closer, Japanese guitars from this period were about way more than copying. Indeed, it was with these “copies” that many Japanese manufacturers honed their chops and became world-class guitar makers. ![]() The 1970s is often called “the Copy Era” for the dominating presence and spectacular success of Japanese “copies” of popular American guitars, most notably of the Gibson Les Paul.
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