Beautiful gold sparkle livery. The bridge looks original, the metal plate it rests upon maybe not. Tailpiece definitely not original.
The first Welson guitars imported in USA were distributed under the Beltone brand. Many people since then (not only in USA) still use to call any old Welson solidbody “a Beltone”, though only very few of those actually wore that logo.
Yet another golden beauty, also located in USA but who calls herself a Welson. Bridge obviously non original. Only one in five guitars in this series was equipped with three pickups. Pickguard is white. Black pickguards are a little bit more common than white ones, but this is in a sort of 45 :55 ratio. It seems black or white was randomly chosen, not related in any way to body color.
Quest’altra aurea bellezza si trova anch’essa in USA ma è targata Welson. Ponte ovviamente non originale. Solo un quinto delle chitarre di questa serie furono fatte in configurazione 3 pickups. Battipenna bianco. Il battipenna nero è un pochino più diffuso di quello bianco, ma è in un rapporto vicino a 45:55. La scelta fra bianco e nero era meramente aleatoria, non sembra che fosse correlata in alcun modo al colore del corpo.
The marking on the tremolo assembly reads ‘Patented’ instead of ‘Brevettato’, which testifies that the device wasn’t made before mid-1962. The generally elusive vibrato arm is there and is original, a near miracle. The bridge is a German made replacement part.
The sparkle-striped pattern is slightly off axis. Furthermore the combination of stretching and shrinking processes involved as the celluloid foil was heat-molded on body top made so that the stripes tend to follow the curvaceous shaped contour: as a result a true work of op-art was obtained.
Two-pickup Welsons aren’t that common, they accounted for approximately 10% only of all those manufactured. One of them was player by a member of the Portuguese group ‘Os Tartaros’, based in Porto. The band was a typically pre-Beatles outfit with its matching suits, its ‘ye-ye’ style and some instrumental hits heavily inspired by the Shadows.
The picture on the sleeve was obviously shot in 1963. The Welson (lead?) guitar is flanked by a matching set of two brand new Höfners, two models introduced in early 1963: on the left a 175 guitar of the very first generation (vibrato with a smaller footprint on body, non-adjustable brige), and on the right an extremely rare six-string 188 bass (a barytone with a vibrato…).
A rare Höfner 175 from 1963 with exactly same specifications and crazy red-gold brocade vinyl finish is part of our friend Ugo’s collection.
Le Welson a due pickups non sono tanto comuni, rappresentano solo circa il 10% della produzione totale. Una di esse è finita fra le mani di un chitarrista del gruppo portoghese ‘Os Tartaros’, dalla città di Porto. Questi Tartari erano un tipico complesso dell’era pre-Beatlesiana con i vestiti assortiti, il suo stile: ‘ye-ye’ e vari pezzi strumentali fortemente ispirati dagli Shadows.
La foto sul disco è evidentemente stata fatta nel 1963. La chitarra (solista?) Welson è circondata da due Höfner allora tutte nuove, con la stessa rifinitura, due modelli introdotti all’inizio del 1963: a sinistra una 175 nella primissima versione (vibrato con placca più piccola sur corpo, ponte non regolabile), e a destra un rarissimo basso 6 corde tipo 188 (una baritona con vibrato…).
Una rara Höfner 175 del 1963 con esattamente le stesse specifiche e lo stesso pazzesco rivestimento in vinile rosso/oro figura nella collezione dell’amico Ugo.
This guitar unites some interesting features:
The splendid finish is one of the most typical Welson is known for (almost certainly this marble celluloid was primarily designed to grace Meazzi drums)
Gold plated pickups. Some kind of deluxe version?
Perhaps related to this, the tuners are very rare Van Ghents with teardrop covers and cream-perloid button Body back prefigures the prevalence of black finish in the next generations.