JV Articles
The article below has been reproduced with the kind permisson of Guitar magazine (UK).
October 1998 vol 9 no. 1
The Squier JV Pages would like to thank 'Guitar magazine editor, Marcus Leadley, for allowing us to show you the original article, and for the use of other articles within these pages.
The same article is reproduced in larger type below!
Imitation may be the sincerest form of flattery, but some early Fender copies got the 'Big F' so steamed up they took legal action. Paul Day tells the torrid tale...
Fenders success story may have started in the 50's but fenders influence on design didn't become apparent until the next decade. Until then, most of the opposition tended to adopt Gibsons more traditional approach in construction. Along with moon launches and flower power, the 60's saw the relatively hip and modern Fender well to the fore, and makers world wide began to accept and absorb the company's distinctive ideas. But this was a time when being different was considered best, so no one slavishly copied the leader in minute detail-opting instead to re-interpret or at best suggest the brands most obvious attributes. Examples such as 'Futuramas', 'Watkins Rapiers' and various 'Vox' efforts offered beginners on a budget the chance to buy something that hinted at the Strats of the stars, but in no way could any be described as inch-perfect plagiarists. That particular privilage was rserved for products bearing the numerous Japanese brands which proliferated in the 70's. The guitar-making industry over there had suffered a sharp and disasterous decline during the latter half of the previous decade, but these misfortunes were swiftly and successfully reversed after an obviously inspired move into the realms of the repro.
This heralded the copy era, when the best of the US originals would be mimicked in more affordable manner under a seemingly vast variety of brand names, although many were examples of badge-engineering, and a comparatively small number of Far Eastern factories was actually responsible for the copious quantities produced. Fender's best creations still dominated the market and naturally provided the prime objects of the imitator's affections. Soon every country seemed to be swamped by a welter of surrogate Strat- and Tele- alikes, all intent on accurately aping the originals at ever lower levels of outlay; many long established makers we overwhelmed to the point of extinction.
This was a time when names such as Antoria, Aria and Ibanez gained in popularity, having previously languished in original-thinking obscurity. While almost all '70's copies claimed to be ultra authentic, as usual the reality was very different. some were certainly closer cosmetically than others, but most didn't stand up to more searching scrutiny, especially in terms of actual performance. Instead, these examples were content to aproximate the important aspects and, in view of the prices being asked, this was probably the best any buyer should have expected.
A significant step up came in 1981 with the advent of imitations bearing the 'TOKAI' banner. by this time the real thing was suffering, thanks to quantity-over quality production; the Tokai's were virtually the last straw, because these instruments trancended the term 'Copy' and were more akin to clones.
Tokai had previously dabbled in original designs but now perceived the potential of pulling out the stops to produce repros of real quality, and many accordingly mimicked the classic Fenders of the 50's and 60's. Even the logos aped the originals, although Tokai substituted alternative phrases merely to maintain authentic appearances, so 'Stratocaster' became'Springy sound' , while 'Telecaster' mutated into 'Breezy sound'. Amusing titles maybe, but the guitars were deadly serious- and Fender was justifiably jolted into action. After legal tussles Tokai was forced to amend their headstocks for the US market, but elsewhere there was no such restriction and here (UK) the only change concerned the brand logo.
In 1982 this had to be altered from an overly close pseudo-spaghetti type to a black block-letter banner, and by 1984 a revised script version was applied across the range. Tokais came in varying qualities, usually indicated by a number sticker situated on the neck heel near the body, and the higher it was, the better the build level (ranging roughly anywhere from 50 to 120). These labels can easily go missing, however making such distinctions difficult. But it's the earliest Tokais which attract the greatest interest, and these are easily identifiable via there short-lived 'to close for comfort' logos. Prices range from £200-£300 for a Tele-alike breezy sound, and up to £400 for a Springy sound Strat imitation. (may cost a little more today!).
Following Fender's failure to stem the Tokai tide, the company adopted a 'if you can't beat 'em, join 'em' policy and set up Fender Japan early in 1982. Courtesy of the Matsumoto-based Fujigen factory, the first 'official' Fender copies appeared in the UK later that same year.These were marketed under the 'Squier' brand, borrowed from the VC Squier string company acquired by Fender back in the mid-'60's. The initial imports bore no indication of this now-familiar name, just a vintage-style Fender logo, and the next selection carried merely a small mention; but soon a vintage-style Squier logo assumed it's rightful prominent position on the headstock, partnered by a small 'By Fender' decal underneath.
The Squier Strats came in '57 and '62 guises, with respective features relevant to originals of these eras. The obvious differences were an all-maple neck and eight-screw single layer white scratchplate (pickguard) on the former, while it's latter stablemate sported a separate rosewood fingerboard plus eleven-screw laminated plastic scratchplate. Both models were offered with US-made pickups and components closely approximated the originals, so the overall visual effect was very impressive-as was the feel and performance. The same attributes applied to the Squier '50's Telecaster, a suitably vintage look version with butterscotch body and black 'bakelite' scratchplate. Produced between 1982 - 84, these Squiers are now reckoned to be some of the best Fenders Produced in recent times.
A serial number with a JV or SQ prefix indicates this ideal period, and examples command increasing money; expect to pay around £300 for a nice example of the '50's Tele, while a same-state strat should be about a hunded more. Copys have continued to garner a sizable share of the market throughout the '80's and '90's. Later examples from Fender Japan, Tokai and other brands such as Fernandes still offer viable alternatives to the real thing, but in comparison to those early '80's Tokais and Squiers, many are much of a muchness and even the best can only be considered 'good' rather than 'great ', with prices to match, of course.
It's definitely worth seeking out one of these 'oldies', if only to see what all the fuss is about. But remember, there used to be a big social stigma about playing a copy, so many such Tokais ans Squiers have since been 'Fender-ised' - meaning that you may have to look harder than you think!
Below: A current Squier Strat, no longer slavishly toeing the vintage line.
Above photo courtesy: Jesters Tear 1
Below is an article from Melody Maker (July 1982) which (in the photo) shows the first 'Fender' logo JV Squier guitars. Unfortunately the second half of the article is missing.
Sorry for the small size of the article (this was the largest I could size it to).
Below is a slightly larger picture from the Melody Maker article.
Thank you to Nick Beer for supplying the article.
Above: Here is a clipping from my local newspaper here in Dorset, England, where the guitar (a '57 vintage Squier JV Stratocaster) played by Robbie Mackintosh of 'The Pretenders' was put up as a prize to raise money for the tsunami appeal. (only the relevant part of the article is shown).
