The "Sunburst Lady."
They are nice enough looking guitars, but what is the big deal? Looking at the specs they have veneer tops and and often had 2 or 3 piece backs. But what about those it Dry-Zs or Brazilian boards?
I have had a couple of these and played another couple of examples and from my experience these are among the most sought out of the Japanese replicas for good reason.
One factor is the exceptional craftsmanship. With the start of CNC-based production during 1981, the 1980-1981 Greco run by Fujigen was the end of the handmade era. Fujigen had lots of experienced craftsmen by this time and spent a lot of time and effort on the premium Greco guitars.
The Dry-Z development is a
separate story of it's own involving Jun Takano of current K&T pickup company.
The luthiers must have had the run of the woodpile at Fujigen because each of the ones I have had was a very resonant and responsive guitar. I am sure wood selection for tonal properties had at least a bit to do with that.
These days they seem to sell from $2250 to over $3000 depending on where they are and the condition. I think they will only continue to appreciate over the years as more people learn about Fujigen, Grecos and the golden age of Japanese guitars.
Here are some videos (first is one of the 2 I owned) and a bunch of pictures to enjoy.
Orville by Gibson vs EGF-1200
EGF-1200 through a vintage Selmer amp
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Magazine advertisement from 1980. |
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Brazilian rosewood with mother of peal inlays. Note the vintage-size frets. |
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1980 headstock. Note the fat MOP "Greco" inlay |
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Busy flame-maple veneer |
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Two-piece back on this 1980 |
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Double-cobb tuners seen on some EGF-1200s |
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Gentle top curve |
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Top carve detail |
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Plastic shades look pretty good |
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Almost looks like a faded cherryburst here |
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Dry-Z pickups - $400 and up these days for a pair |
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Medium tenon with black shielding paint in the cavities |
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In the original "Super Real" Lifton imitation case |
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1981 headstock with the thinner "Greco" inlay |
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Some 80's Japanese band endorsing Greco |
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