The Epiphone Genesis Custom

by Michael Rogers

I received my first Epiphone Genesis guitar in 1988. I received it as a sixteenth birthday present from my mom. It was my first good electric guitar. My mom purchased it as a consignment deal at Andrea Bogusko’s Music store in Wilkes-Barre, PA. It was trashed from the day I got it.

The previous owner decided they didn’t care for the wine red color and they stripped it and did an awful job refinishing it with a dark stain.

Eventually, because I took the thing everywhere with me, the neck began to crack and warp from not being lacquered, and eventually, the head stock just snapped off. I tried my best to glue it, but it was useless. I still have it. It sits in a case in a junk room in my house. I missed playing it over the years. It had a unique and distinct vibe and sound to it. I went on a tangent with Charvel and Jackson guitars for most of my adult life, but the power and sustain of the solid mahogany Genny eluded me.

Until now.

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Jackson Predator: A Guitar That Never Was But Totally Should’ve Been – Part II

The Jackson Predator

by Michael Rogers

To pick up where we left off in Part I, I had to go to eBay for some better parts for the task of resurrecting this long forgotten guitar.

The first order of business was a good neck. I found a Jackson Performer 19mm neck from a Rhoads V that totally fit the bill for a little over a hundred bucks. Yes. The Performers were the low-ball successors to the Concept Series introduced in 1994. The Performer Series guitars were introduced in 1995 and were originally manufactured in the Chushin Gakki plant in Nagano Prefecture, Japan, next to their more expensive Jackson Professional counterparts. The Performer necks of that era were the same until production was moved to Korea.

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Jackson Predator: A Guitar That Never Was But Totally Should’ve Been – Part I

The Jackson Predator
by Michael Rogers

Jackson? I thought the Predator model was a late eighties Charvel thing? It was!

Anyone who knows me knows I play guitar. They also know I’m a bit of a mad scientist when it comes to the instruments I play, too. I don’t care for the modern aesthetics of instruments. I yearn for real Indian rosewood with a compound radius beneath the fingers of my left hand. I love the sustain and punch of the old, big-block Takeuchi-made tremolos of the early to mid-nineties.

I love old Japanese guitars.

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