by dusty fretz » 03 Dec 2014, 00:04
I agree that the Burns Vibra Artist being adeptly demo'd with one finger looks to be wearing a white coat, which means it was a re-finish, this colour being a popular owner-initiated alternative to Burns' stock cherry. Unlike the fresh-faced 18-year old in the photo Bill has now so 'kindly' added, it isn't me or my guitar on the Watford premises, as I bought my s/h Vibra Artist in Exeter during 1963 and swapped it back to the same shop a couple of years later. It didn't travel far afterwards, cropping up for sale in Dorset 43 years later, via eBay. During my original ownership I had it refinished in white and made a few other mods, all of which helped me identify my actual oldie the second time around.
I just thought the photo showed a great example of a typical small-time music dealer of the day. The left window is littered with Selmer amps in croc or two-tone grey, plus the odd Watkins and Selmer echo, while a Gibson combo adds a touch of transatlantic luxury. Apart from a Burns Sonic and Jap cheapo, the guitar line-up also looks to be straight out of the Selmer catalgue, courtesy of Hofners, Futurama bass and a Fender Strat. Over on the other side a Burns Bison bass keeps close company with a Bigsby-loaded Les Paul goldtop, while the electric count is completed by a first generation Framus Hollywood. More Selmer and Futurama amps provide a suitable backdrop, with a Grampian Vibro-Major combo offering a less-obvious option. Solids slung from the ceiling include a couple of twin-cut Coloramas partnering a much earlier single-cutaway stablemate in two-tone Hammerite-style paint job, plus a Henry Weill-built Broadway bass to help keep the four-string fanciers happy.