Volbeat’s Rob Caggiano later appropriated the body shape for his Shadowcaster signature model. The 90s had some strange designs for Jackson, such as the JJ doublecut, a blocky, traditional signature instrument for Scott Ian, and the Outcaster, which evolved out of the Surfcaster and had a lipstick single-coil in the neck position. Or the JTX STD and its shred T-style look?
#JACKSON SERIAL NUMBER NHJ SERIES#
Who remembers the mahogany-bodied Fusion Series of ’94? Those took a bolt-on build, a double-cutaway Dinky-esque body and shrunk the scale to a Gibson-esque 24.75”. To root around on the digital archives of Jackson catalogues, it is striking to see the brand’s evolution from niche custom shop concern to production line behemoth.ĭesigns came and went. Jackson’s artist collaborations were invaluable when spec’ing out the future for high-performance electric guitars. As thrash accelerated into death metal, Jackson’s R&D kept pace, debuting the Warrior in 1989, a specialist’s instrument – metal or GTFO – and another neck-through. The mid-80s saw the arrival of the King V, a symmetrical, long-winged V favoured by the likes of Megadeth’s Dave Mustaine, Anthrax’s Scott Ian and, later, Trivium’s Corey Beaulieu. Megadeth’s Marty Friedman was the Kelly’s most-famous player. In 1983, Jackson launched the Kelly, a sharp-pointed offset that once upon an event horizon could have been an Explorer, but like the Rhoads before it, this was a totally different strain of modernism than that which was guiding Ted McCarty’s hand in the Gibson workshop of the 50s. With the popularity of thrash metal, the shapes got sharper. And that really was the sound and the feel that I was actually always looking for.” “It was the first kind of hybrid, if you like, of a Strat and a Les Paul. “It just had a slightly richer sound,” said Phil Collen, speaking to Guitarist magazine in 2014. Arguably, the most significant, the Soloist, did not look all that different from the Charvel Superstrats, but its pointed headstock gave it a more aggressive vibe, and the build – a maple through-neck centre block with poplar wings – gave it an all-new tone. Through the early 80s, the new designs kept coming. (Image credit: Mick Hutson/Redferns)Īgain, the cross-pollination of ideas and spec between Jackson and Charvel lines made innovation second nature. Megadeth's Dave Mustaine and Marty Friedman onstage IN 1990, with Mustaine on a King V and Friedman using the Kelly. The V shape catches the eye, but it’s the neck-through fundamentals of the Rhoads and J0001 that is of most interest, drawing a clear line between the bolt-on build of Charvel and the novel Jackson approach. Featuring an un-recessed double-locking Floyd Rose vibrato, a dual-humbucker format with a single volume control and three-way pickup selector, it was being developed around the same time as Rhoads’ Concorde, and similarly features a neck-through construction. Like the Rhoads, this design had been seen on custom-built prototypes J0001 was built in 1983, listed as a Pointy V and reportedly built for KK Downing of Judas Priest. Officially – i.e., by serial number – that honour goes to a more symmetric V with a conventional arrow-head headstock, the J0001. Was Concorde the first Jackson guitar, though? Yes and no.
(Image credit: Jackson Guitars) The First Wave Unveiled in 2020, the Custom Shop 40th Anniversary J0001 was an exacting replica of the J0001 V, one of the most important builds in Jackson history. The Concorde’s asymmetrical V-shape was revolutionary, and this weaponised descendent of Gibson’s Flying V was the first to take the Jackson name on the headstock, launching the brand. The first version was on the heavy side take two hit the bullseye. Rhoads had even sketched out an outline and given the guitar a name, the Concorde.
Ozzy Osbourne’s new guitarist, Randy Rhoads, was a rising star and looking for a second V to complement a polka-dot model that Karl Sandoval (another Charvel alumnus) had built him. If the first generation of Charvel instruments were the archetypal Superstrats, their DNA recognisably Fender, the first Jackson model torched the rulebook. Jackson had joined the Charvel shop in 1978 – the same year that Charvel made Van Halen his famous Bumblebee electric – and by the year’s end he had taken over the business and the Charvel brand.
#JACKSON SERIAL NUMBER NHJ MODS#
These mods were groundbreaking but typical of an era in which there was no shortage of expertise and imagination. His DiMarzios were squealing – could Charvel fix it? Sure, and in a trick learned from Bob Luly, the man who made the Rolling Stones their first sound system, Wayne Charvel potted Van Halen’s pickups in wax. The likes of Eddie Van Halen would visit the shop.
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