SOLD! - 2022 Gibson CS Murphy Lab Aged '64 Trini Lopez Standard RI Ebony Black

"The return of a Legend"

From it's chunky ’64-profile neck to it's unique trapeze tailpiece, the Gibson Custom 1964 Trini Lopez Limited Edition delivers the authentic tone, looks, and feel of Trini’s original and highly collectible signature guitar. This particular reissue has the amazing Murphy Lab Ultra Light Aged Nitrocellulose Lacquer, Hide Glue Fit Long Tenon  and Rosewood Fretboard, Custombucker Alnico 3 Unpotted pickups and Paper In Oil capacitors. It has everything to make it feel and sound crazy good!

Now the main issue with the original mid-late '60s Trini Lopez guitars is that most of them had a very narrow neck at the nut and a thin neck profile. This Trini however has the standard Les Paul Historic nut width and a chunky ’64 neck profile. So if you're looking for an ES-335 type guitar that stands out in the crowd, has a nice fuller neck and killer tone, this is your axe!!

In the early 1960s, as Les Paul was leaving Gibson’s artist roster, the company recruited three of the most respected jazz guitarists to put their signatures on new “artist” model electrics.

With Johnny Smith, Tal Farlow, and Barney Kessel (plus the Everly Brothers in the acoustic line and Howard Roberts as an Epiphone artist), Gibson had more signature-model clout than all other guitar makers combined.
 
The most successful Gibson signature artist of that decade, however, was not a jazz player, and not even a virtuoso guitarist. But he was more popular with radio audiences and record buyers than any of Gibson’s jazz giants, and in some years his Gibsons outsold all other signature models. He was a young Mexican-American from Dallas named Trinidad “Trini” Lopez III and was discovered by Frank Sinatra in a nightclub in Los Angeles, where he fronted a three-piece combo playing the recently introduced Gibson Barney Kessel Custom.
In 1963, the Folk Boom was in full flower, and Lopez supercharged such folk staples as “If I Had a Hammer” and “Lemon Tree” with an infectious vocal treatment and an energetic electric guitar strumming style that he calls “the Trini beat.” The more serious folkies might have dismissed those records as opportunistic exploitations of folk music, but they represented a personal triumph for Lopez as a Latino artist who had to fight to use his own name on his earliest recordings, and they laid some of the groundwork for later Latin rock music. While folkies may have shuddered at Lopez’s treatment, pop audiences had the same positive reaction that his lounge audiences had. The result was pop stardom and not just one, but two Gibson signature models for Trini Lopez.
 
In more recent years the model had another proud player: Dave Grohl from the Foo Fighters. Dave has been seen playing his Red, Pelham Blue and Ebony Trini Lopez model on stage and in the studio countless of times and it is mainly because of him that this model has become more popular then ever before!