Eastwood's Tributes to the 1970s
by Ellen Angelico
The 1970s were a period of significant change and innovation in guitar manufacture. While Univox and Teisco vastly improved the quality of their output, Fender and Gibson did the opposite. Fender was sold to CBS in the mid-'60s, and the cost-saving measures CBS implemented deteriorated quality so noticeably that the term “pre-CBS” was coined to describe the superior guitars built during Leo Fender’s tenure. Gibson didn’t fare much better. In 1974, it became a subsidiary of Norlin Musical Instruments. Gibsons from this era are known for being extremely heavy, with bodies often made of three layers of wood glued together. No doubt this saved some money, while also inflicting back pain.
These shifting sands in guitar manufacture created fertile ground for wackiness and experimentation. Big domestic brands like Gibson threw all manner of goofy designs at the wall, hoping something besides the Les Paul would stick. Smaller domestic manufacturers like Ovation emerged with their own fresh ideas. Overseas builders released wild new creations while also copying American ones at a prolific clip. Meanwhile, guitarists across the globe began experimenting with sounds thanks to advances in technology and the proliferation of guitar effect pedals.
At Eastwood, we LOVE this period of guitar design. It’s unpredictable, eccentric, and pure fun. Quite a few of our models pay tribute to this time—here are just a few:
RD Artist
The original vintage RD Artist was a comfortable, unique guitar that looked totally strange, and only a limited number were ever produced due to lack of popularity. The Eastwood RD Artist stays true to the original with a set neck, solid body and two hot humbuckers. We've then taken it a step further adding our proprietary Transwarp Drive treble boost circuit which is available at the flip of a switch. Another way the Eastwood RD Artist differs from the original: it’s available in a left-handed version.
The RD Artist in left- and right-handed
Eastwood Flyte
Speaking of strange-looking creatures, the Burns™ Flyte certainly turned heads when it hit the scene in 1974. It was originally called the “Concorde,” and you can probably see why. Marc Bolan of the glam rock band T. Rex was a Flyte aficianado.
Marc Bolan of T. Rex with his Burns™ Flyte
Vintage Flytes are exceedingly rare and regularly list for upwards of $3,000. Want the same vibe for less? The Eastwood Flyte pays tribute to the original with the unmistakable bi-level body and pointed headstock. A bold guitar, for bold players only.
The unmistakable body style of the Eastwood Flyte
Breadwinner
Musicians in the ‘70s began to refer to guitars as “axes” which gave the designers of the original vintage Breadwinner an idea: what if a guitar looked a little like a medieval battle axe, but could still balance comfortably when seated, and offered all the upper fret access in the world? The result is this ergonomic and distinct design. Ace Frehley used a Breadwinner in the early '70s, just prior to settling on the axe he's now most closely associated with: the Les Paul.
Ace Frehley in the early '70s with his Breadwinner
Our modern Breadwinner features vintage-style mini humbuckers and a handy active-passive switch when you want the high gain and low noise only an active circuit can deliver. We love the Breadwinner so much, we offer it in three variations: the original, a twelve-string, and even an electric sitar (including a left-handed version).
Far out, man! Its the Breadwinner Sitar!
Eastwood McGeoch 1000
Guitar companies weren’t the only ones pushing boundaries in the ‘70s, players were too. One of our favorites is the late John McGeoch, known for his work in Magazine, Siouxsie and the Banshees, and Public Image. He was also closely associated with the Yamaha SG 1000, a guitar that became part of his signature sound. The Eastwood McGeoch 1000 harkens back to that iconic design with its compact body shape, dual humbuckers, and distinctive split-arrow fret markers.
The Eastwood McGeoch 1000 in repose
Univox Ripper
The 1970s saw overseas manufacturers copying U.S. guitars so much, it eventually became known as the “lawsuit era” due to companies like Gibson suing to protect aspects of their designs. Sometimes, companies took a U.S. design and turned it up to 11. That’s the case with the Univox Ripper. What appears at first glance to be your standard S-style guitar in fact has three hot humbuckers instead of single coils. The original Ripper had a 3-way pickup selector, but we decided to upgrade ours to a 5-way switch so as not to sacrifice any of those classic "in-between" sounds. It’s no wonder this guitar was called the Ripper; this thing absolutely rips.
Bad to the bone: the Univox Ripper
Hi-Flier Guitar
Another U.S. company Univox borrowed from was Mosrite, which, of course, is one of our favorite companies too. The resulting guitars were lightweight, resonant, and favored by legions of punk and rock musicians including, famously, Kurt Cobain.
Kurt Cobain and his Hi-Flier
However, like many guitars from this era, the quality can be a little hit-and-miss. We decided it was time for a reissue made with modern construction and quality, and the result is the popular Hi-Flier: available right and left-handed in a variety of cool finishes.
A flock of wild Hi-Fliers
Hi-Flier Bass
After years of making Hi-Flier guitars here at Eastwood, we decided it was time for a bass version. The Eastwood Hi-Flier Bass features two great-sounding P90-style pickups and a no-frills electronic setup. The average weight on these is just 7.5 lbs, making it an excellent choice for anyone looking for a full-scale bass on the lighter side.
The Hi-Flier Bass
Eastwood BB-02 CLIP CMPR and Eastwood BB-05 MAG DELAY
Innovation at this time wasn’t limited to guitars themselves. The first commercially available effect pedals came about in the 1960s, leading to what many describe as a “golden age” of guitar effects in the ‘70s and into the ‘80s. Effects that once could only be accessed with bulky, expensive, rack-mounted gear could now fit in the palm of your hand.
A 1970s Dyna Comp with the original box
Prior to 1972, if you wanted to add compression to your sound, you had to go to a studio. But the advent of the Dyna Comp changed the game. Our BB-02 CLIP CMPR builds on that classic circuit and adds more tonal control with the Attack and Clip knobs. You can dial in more pick attack, reduce the “swampiness” that’s common with this circuit, and increase transparency.
Digital delay came about in the ‘70s and left the bucket brigade chips of yesteryear in the dust. No longer did your delays peter out and distort; you could reverse, freeze, and pitch-shift your signal with no degradation in quality. Our BB-05 MAG DELAY pedal captures the vibe of early ‘70s delay exploration and adds a gorgeous modulation circuit to boot.
Carrying the ‘70s Into the Future
The 1970s were a wild time for guitar design, equal parts innovation and audacity. From bold body shapes to cutting-edge electronics, it was an era defined by risk-taking and creativity. At Eastwood, we’re proud to carry that spirit forward. We celebrate the weird, the wonderful, and the way-out. If you’re a player who likes your instruments with a little attitude and a lot of history, you’ve come to the right place.