Introduced in 1961, it’s essentially an ES-330, a fully hollow thinline electric originally intended as a student model. The Casino is a prime example of a Gibson in Epiphone’s clothing. So Gibson, which tightly controlled the distribution of its instruments to avoid competition between local dealers, came up with a smart workaround: it slapped the Epiphone logo and ornamentation on what were essentially Gibson models and used them to provide stock to retailers previously denied Gibson products. Subsequently, when Epiphone’s bass supplies arrived at Gibson’s factories in Michigan, the company encountered a fortuitous bonus: full provisions for a line of guitars. In 1957, the East Coast–based company finally threw in the towel and sold its bass line, and the right to manufacture under the Epiphone name, to Gibson. But with the death of its dynamic leader, Epi Stathopoulo, in 1943, Epiphone’s reputation for quality and innovation began to slide.
The Epiphone and Gibson companies were fierce rivals in the Thirties, constantly trying to outdo each other’s designs.
