.jpg?w=1)
.jpg?w=1)
.jpg?w=1)
拍品專文
The J-180 Everly Brothers was first introduced by Gibson in late 1962 and was produced specifically at the request of Phil and Don Everly. The design was based on the popular and zaftig J-200 but built around a slightly more diminutive body outline measuring 16 ¼ inches in width and a scale length of 24 ¾ inches. With its double faux tortoiseshell pickguard, all black finish and star pearl inlays on the fingerboard and headstock, it presented a dramatic and graphic outline on stage. For artists, this instrument excelled tonally as a rhythm guitar and was comfortable to play.
Having admired the Everly Brothers with their black acoustics from a young age, David Gilmour purchased this guitar on 26th March 1979 from George Gruhn of Gruhn Guitars, Nashville, Tennessee, for occasional home and studio use. The Gruhn inventory number was 300345 at the time of sale. Gilmour recalls using the guitar during recording of the 1979 Pink Floyd album The Wall at Producers Workshop in Los Angeles between September and early November 1979, although it is unknown whether it made it on to the final record. In a May 1983 interview with Guitar Heroes, Gilmour listed this guitar among his preferred acoustics …At the beginning we used Levins, which were quite good guitars, a bit like Martins, made in Sweden or somewhere, then we moved onto Martin D-35s and things like that and now we tend to use Ovations mostly for recording and things. I also use a Gibson Everly Brothers I’ve got and various others.
Having admired the Everly Brothers with their black acoustics from a young age, David Gilmour purchased this guitar on 26th March 1979 from George Gruhn of Gruhn Guitars, Nashville, Tennessee, for occasional home and studio use. The Gruhn inventory number was 300345 at the time of sale. Gilmour recalls using the guitar during recording of the 1979 Pink Floyd album The Wall at Producers Workshop in Los Angeles between September and early November 1979, although it is unknown whether it made it on to the final record. In a May 1983 interview with Guitar Heroes, Gilmour listed this guitar among his preferred acoustics …At the beginning we used Levins, which were quite good guitars, a bit like Martins, made in Sweden or somewhere, then we moved onto Martin D-35s and things like that and now we tend to use Ovations mostly for recording and things. I also use a Gibson Everly Brothers I’ve got and various others.