1994 Gibson F5L - Weber signed
"Mandolin brands are a guide, not gospel! I don't drink koolaid and that Emperor is naked!"
"If you wanna get soul Baby, you gots to get the scroll..."
"I would rather play music anyday for the beggar, the thief, and the fool!"
"Perfection is not attainable; but if we chase perfection we can catch excellence" Vince Lombardi
Playing Style: RockMonRoll Desperado Bluegrass Desperado YT Channel
Too much glare on the headstock to see the script style (if any), but it looks like a snakehead straight A model to me.
Looks like an early-'20's "snakehead" Gibson A-1, if I am correct making out black finish, single ring of soundhole purfling.
I'm sure keener eyes and greater expertise will correct me if I'm wrong.
Allen Hopkins
Gibsn: '54 F5 3pt F2 A-N Custm K1 m'cello
Natl Triolian Dobro mando
Victoria b-back Merrill alumnm b-back
H-O mandolinetto
Stradolin Vega banjolin
Sobell'dola Washburn b-back'dola
Eastmn: 615'dola 805 m'cello
Flatiron 3K OM
I'm no expert, but it sure looks like one of the late Loar era blacktop snakehead A models much like the one I own.
1924 Gibson A Snakehead
2005 National RM-1
2007 Hester A5
2009 Passernig A5
2015 Black A2-z
2010 Black GBOM
2017 Poe Scout
2014 Smart F-Style Mandola
2018 Vessel TM5
2019 Hogan F5
That hair... LOL! I keep trying to look at the mandolin, but his haircut keeps drawing my eyes away.
Yup, definitely a Gibson snakehead, but I can't get any more specific than that.
1994 Gibson F5L - Weber signed
"Mandolin brands are a guide, not gospel! I don't drink koolaid and that Emperor is naked!"
"If you wanna get soul Baby, you gots to get the scroll..."
"I would rather play music anyday for the beggar, the thief, and the fool!"
"Perfection is not attainable; but if we chase perfection we can catch excellence" Vince Lombardi
Playing Style: RockMonRoll Desperado Bluegrass Desperado YT Channel
I wonder how history would have differed if he kept the A1...
"They arrived at the bluegrass jam with a scroll AND f-holes! Oh, the sacrilege!"
"Nah, that Feb. 18th F5 is overvalued. Shouldn't be over $2K in a reasonable offer. Oh, but that A1? I'd pay $250K for that thing, man!"
"Well, it has some top sinkage and large cracks at the transverse brace, but still, for $50,000 and a bit of work, that's a steal!"
"What did Lloyd Loar even do, again? Made that frilly thing with the strap hook? Meh."
--Tom
Yeaaahhh... I don't think so, Tom.
Now if he'd been able to keep that hair... THAT would have changed music history!
That ain't Bill, it's Larry from The 3 Stooges.
Last edited by Emmett Marshall; Mar-26-2015 at 9:20pm. Reason: removed all relevant information
Weber F5 Bitteroot Octave - "...romantic and very complicated."
My instruments professionally maintained by...RSW
https://www.youtube.com/watch?v=B7UmUX68KtE
So does anybody know where his snakehead ended up?
From AlanN - "That ain't Bill, it's Larry from The 3 Stooges.". Alan,i was thinking exactly the same thing !!. I'd have liked to have seen those guys playing Bluegrass - still funny even today,
Ivan
Weber F-5 'Fern'.
Lebeda F-5 "Special".
Stelling Bellflower BANJO
Tokai - 'Tele-alike'.
Ellis DeLuxe "A" style.
Larry Fine played the violin.
When 'good enough' is more than adequate.
It is an interesting thought. I don't think the answer is clear black and white. Assuming that Bill developed the mandolin's role in Bluegrass exactly the same way (big assumption), it is not inconceivable at some point he would try and F5 and be able to tell it is more suited to his style of playing.
If we forego the assumption, would could envision the possibility that the role of the mandolin in bluegrass to develop slightly differently, such that the oval hole and its advantages were predominant.
Or not.
Cool picture.
Bill Monroe was born in 1911, so he would have been 21 in 1932. He was already living in Indiana, and playing professionally, at least part-time. That year he and brother Charlie took jobs as professional square dancers for WLS; within a couple years the Monroe Brothers were full-time musicians, working at a variety of radio stations, and Bill probably had acquired the F-7 Gibson he played up until he bought his Loar (he also played an Epiphone, quite possibly a variety of mandolins).
The Monroe Brothers' first available recordings date from around 1936, and Bill's playing already shows signs of the distinct style he was to develop. I have the Monroe Brothers double-LP set that RCA reissued, and the mandolin on it is pretty definitely an f-hole Gibson by sound, so I'm assuming it's the F-7.
Whatever happened to the "snakehead" in the pic, it probably was sold or traded, or just left behind. It would be wonderful to find it and to learn its provenance, but I doubt that's a possibility. Maybe someone's playing it now, with no idea of its history -- hope so, anyway.
Allen Hopkins
Gibsn: '54 F5 3pt F2 A-N Custm K1 m'cello
Natl Triolian Dobro mando
Victoria b-back Merrill alumnm b-back
H-O mandolinetto
Stradolin Vega banjolin
Sobell'dola Washburn b-back'dola
Eastmn: 615'dola 805 m'cello
Flatiron 3K OM
That's a great photo. Assuming that is Charlie Monroe top left....what brand of guitar is he holding? Could it be a Larson Bros with the wide top binding and those headstock and bridge inlays?
The rest of the family definitely was showing the future hairline that ran in the gene pool..
writing about music
is like dancing,
about architecture
haha... that is the first thing I was drawn to as well!That hair... LOL! I keep trying to look at the mandolin, but his haircut keeps drawing my eyes away.
Robert Fear
http://www.folkmusician.com
"Education is when you read the fine print; experience is what you get when you don't.
" - Pete Seeger
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