I was going to do this month’s piece as a continuation of my last piece on Magnatone amplifiers. But, as life so often does, it has intruded and a piece I was going to buy for said article fell out of my grasp until next week, when it will be too late to have a new column. Hence, this piece, which will have to hold its place in the rare and oddball guitar column world until next month.
So, what could possibly take the place of an overview of the 5 major periods of collectible and not-so-collectible Maggie amps? Why something from Fender, of course.
Fender?…I can hear you say: Oddball? Fender is the Ward Cleever of the guitar world. The Mr. Suit and Tie, super reliable but nothing odd at all about them company in guitar manufacturing. Well, that’s true, if you’re taking your Tele reissue and your Silverface Twin out for a weekend ride at a club. Great stuff, but hardly oddball. But Fender did have some very cool misses along with their many hits over the years and some of these are under-appreciated gems. Some are crap—like those toxic oil tank effects units that can poison you if you open them up for maintenance, but some of the products are great vintage pieces that aren’t catching “Fender” money on the vintage market.
1967 Fender Wildwood Acoustic Guitar Ad
Case in point? This 1967 Fender Wildwood acoustic guitar. In the mid 60’s, with Roger Rossmeisl (who had earlier done some great designs for Rickenbacker) at the head of design, Fender tried to break in to Gibson and Martin territory with their Coronado models (aims at Gibson’s 335 and other hollow and semi hollow guitars) and their acoustic line (aimed at both industry standards in those fields: Gibson and Martin). The models included The Kingman, the Concert, the Malibu, Newporter, Palimino, Redondo, Shenandoah and the 12 string Villager. The Wildwood VI was essentially a top of the line Kingman with the Wildwood added.
They were both pretty much flops from the get-go. The electrics used (for the first time in Fender’s history) out-sourced pickups from DeArmond. And no matter how sweet these may sound on your Harmony hollows, they squealed up a feedback storm in the late 60’s. Remember, this was the time when amps were getting bigger and bigger…put any DeArmond-loaded guitar in front of a 100 watt stack and you’re in for trouble. But, remember, too, most people are using 40 watts and below these days, so the Coronado’s reputation as a feedback monster isn’t so cut and dried as it might seem.
But, again, they weren’t right for the market—or maybe people just weren’t ready to accept Fender as a hollow body or acoustic guitar maker. No matter what the reasons, they flopped, badly. In a last gasp attempt to keep the lines moving, Fender introduced the “Wildwood” series. These were trees that fender injected dyes into, and then used the wood in various wild and wacky colors in the guitars. Why they couldn’t have just stained spruce and mahogany is beyond me, but, hey, if they wanted to inject their own Fender Forest full of dye, what’s it to me.
All of this made for some pretty radical looking guitars. Acoustic guitars with bolt-on necks, six on a side tuners and “wild” wood on the back and sides? Very oddball. But how do they play and sound?
Well, first of all, they are the best playing acoustic I’ve ever played. Anyone who’s primarily an electric guitar player should fall in love immediately with these acoustics. The necks are pretty much the same necks off the 1966 Jazzmasters (with the block inlays). They play like…well, they play like electric guitars. Thin, fast necks, great action and responsiveness. A true joy to play.
And how do they sound? It may be an acquired taste, but I love their sound. Much brighter than, say, a Gibson Hummingbird (but, then again, the Wildwood IV is the only acoustic I’ve ever played that plays easier than a Hummingbird). And, if it’s brighter than a Gibson, it’s probably a lot brighter and not as booming as a Martin dreadnaught, right? But these Fender acoustics occupy their own sonic space very well. They cut through a mix and they have a very nicely balanced top and bottom (not a ton of mid).
So, if you’re an electric player looking for a really cool looking, sounding and great playing vintage made in the USA acoustic, you could do a LOT worse than picking up one of these oddball Fender Wildwoods. In great shape, they’ll still run you from $400-1,000, depending on the model. They aren’t your standard Fender fare—but try one out—you won’t be disappointed.
HI I INHERITED A FENDER ACOUSTIC WILDWOOD III ITS A BLOND COLOR ACOUSTIC ELECTRIC I HAVE NOT SEEN ANOTHER CAN YOU TELL ME ANYTHING ABOUT IT’S VALUE?
Hi-
I can’t tell you much about its value without seeing it…knowing the condition, and so on. I CAN tell you they are not worth much, compared to Fender electrics of the same period OR to Gibson or Martin acoustics. They tend to be VERY affordable…which is fun if you’re buying, but less fun if you’re selling. They are not super collectible. But they ARE cool instruments and under-rated in my opinion. But not worth a lot, as far as vintage gits go.
Patricia-
You say it’s “acoustic/electric”…does it have pickups? If so, it could be a Coranado and it could be worth more than the acoustics. Send me a pic, if you can at robroberge@gmail.com and I’ll see if I can help you more, re: its value.
I have a fender wildwood 1 that I bought in Orlando, FL . I believe it was in 1965 from a fender dealer (it was new) today it still looks new. It is the green tint on the back and sides. any idea what it is worth? ser#21192 on the plate on the back and 517 in side the body. Just wondering the value.
Thanks
Walter
To Walter if you want to sell your wildwood let me know. Tom 828 606 8315
I have a wildwood IV acoustic with a split on the front …can you directed me to someone who could repair or replace front Thank you Rikk Anderson
I snatched up a limited edition Kingman with the new “Wildwood” back. Mine is the “Elvis Pressley Clambake Kingman” which were a very limited run in 2012.
Spruce solid top dreadnaught, rosewood fingerboard and viking ship bridge, wildwood (tinted American beech) back, sides and headstock.
This model was not made in a cutaway version, so it is a full bodied guitar and it has that extra bass-end sound so lacking in cutaways.
Also, no electronics, so you have to use a real microphone to record. This is an acoustic guitar with no apologies to the electronic sound crowd.
As an acoustic, it is clear, crisp and it has a great classical tone, but with the Stratocaster-style headstock.
I also have a few older Fender acoustics: A 80’s era Kingman and a 70’s era Malibu, but they are not constructed with wildwood. The Kingman has a mahogany back and sides, while the Mailbu is a very rare wood for a guitar: sycamore. Its a bit brighter than most, but nice and loud (for an acoustic).
I also own a 1960’s era Villager, twelve string, spruce top and mahogany body with a walnut bridge.
Its a terrible design and has not fared well through the years.
Values? Fender acoustics are poorly regarded by collectors.
My bottom-dollar price to sell these are as follows…
Elvis Clambake Kingman (2012) $450
1980’s Kingman $250
1970’s Malibu $300
1960’s Villager $120 ( there is a reason that no one fixes these unless there’s a personal interest! )
rosengj(at)gmail(dot)com
Just over twenty years ago, I inherited my father’s Fender Wildwood II that he bought new in 1967. When I was in high school, I was fortunate enough to learn to play guitar on this thin-necked, easy-playing gem, which is probably why I stuck with it and played at least a little bit (and usually more) every single day for several years. (I remember my dad getting aggrevated when I would subconsciously strum on the guitar lightly while we were watching TV! LOL!) My dad let me take his guitar with me when I went to college and afterwards, until I bought a good guitar of my own, and I wrote many songs with it.
I recall my dad saying that he was looking at buying the Martin Hummingbird at the time, but this Fender played so well and sounded so good that he chose it instead. He was in a Country & Western band in Alaska at the time, and they played back up for Rex Allen Sr. once, when he made a local appearance. (I had a photo of myself and my sister taken with him, which I kept in the Wildwood’s case, but the guitar was stolen and the photo was missing when it was recovered.) I had some work done on it several years ago, intended to properly repair the bridge that was pulling away from the top, but, although the job was not expensive, the repair person reglued the bridge but failed to repair where one of the nuts on the adjustable bridge was sinking, choosing instead to merely shim it beneath the nut to elevate it. It looks rather make-shift and crappy, and I was prepared to pay good money and traveled several hours to New Orleans to have it repaired by someone who was supposed to know what they were doing, but I could have probably done just as good a job (or better) myself. Can anyone tell me of a GOOD guitar repair service that will do the job properly? I have done a bit of woodworking and could probably do it myself, but this ol’ guitar means alot to me, and I’d like to have her put her back like she should be, by a professional with a lot more experience with guitar repair.
Also, I’ve been told that these old Fenders are finally being appreciated and have come up in value considerably in the last few years; what is the price range for one in good (B+, A?) condition these days?