Most significantly, this version is a mahogany solidbody with a four-screw, bolt-on neck, where the original was a semi-hollow with a three-screw neck. However, there are a number of differences-both cosmetic and structural-between the 1423 and its predecessor. The rosewood fretboard is dressed with classy block inlays and the classic, slight, and snaky Silvertone script logo adorns the headstock. A white, foxtail-shaped pickguard is home to five black knobs and a chicken-head selector switch. It’s got the same single-cutaway body as the original with a sharp-looking black sparkle finish and white binding with a fine black pinstripe. And at a glance, the new 1423 looks like a straightforward reissue. The designers behind the original twin-pickup 1423 likely used Gibson’s Les Paul Jr.
One of the most interesting original offerings, the 1423 (also branded as the Harmony Jupiter H49), was made from 1959 through 1962 and it’s the inspiration for the guitar reviewed here.
And in the past year, they’ve started to revisit some of the Silvertone brand’s most loved designs. With all this renewed interest, Samick revived the Silvertone name. But since the ’90s, many vintage Silvertone guitars and amps (typically those built by Harmony and Danelectro) have gained the respect and collector attention they always deserved. Because Silvertones were relatively affordable instruments sold by Sears, Roebuck & Company from the 1930s through the early ’70s, they were viewed as stepping-stones to the Fender, Gretsch, Gibson, or Rickenbacker you’d get when you got serious.
Silvertone spent decades maligned as the ugly duckling on the electric guitar and amplifier pond.
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