Mike Longworth

Mike Longworth (1939–2003)
A figure who made significant contributions to the reissue of the D-45 and the preservation of Martin’s history. Born in Chattanooga, Tennessee. In 1955, while still a high school student, Mike Longworth was already taking on inlay work as a job. Many of his early pieces featured an “L” inlaid in mother-of-pearl, which served as his signature to indicate his own work. Additionally, each “L” was accompanied by a number indicating the order in which it was made, providing a clue to trace the history of his work. He also had deep connections with musicians associated with the great bluegrass duo Flat & Scruggs; in fact, his third inlay commission was for Dobro player Buck “Josh” Graves, and his fourth was for mandolinist and tenor singer Curly Seckler.

Then, in 1956, he worked on a custom 1950 D-28 for Lester Flat, who was known for his trademark D-28 with a large pickguard. The fingerboard of this guitar was also inlaid with “L-5” (Longworth’s job number #5), and his own business card was affixed to the inside of the soundhole. (I can’t help but be amazed that he completed his fifth commission at the age of 17, and that the client was none other than Lester Flat.)

*Excerpt from *IMAGES of America C.F. MARTIN & CO. by Dick Boak* (Photo)

Since production of the D-45 had been discontinued from the 1950s through the late 1960s, there was a growing demand to add abalone pearl inlays to the D-28, giving it a D-45-like appearance.

Despite the passionate calls from players seeking such luxurious embellishments on Martin guitars, perhaps due to the aesthetic sensibilities of then-President Martin III (namely, the elegance born of simplicity), Martin Corporation refrained from re-producing high-end guitars with ornate decorations for a long time after the war.

Although Mike Longworth was not affiliated with Martin, he had been crafting inlaid necks and fingerboards for the company since the early 1960s. It is said that very early in his career, he sent a custom guitar he had made for himself to Martin for refinishing; upon seeing his exceptional work, a Martin sales representative began carrying his price list.

Through this series of events, Martin began occasionally commissioning Longworth to build guitars—while maintaining its official policy of “not making flashy guitars”—in order to meet customer demand.

One such example, hailed as the “ultimate piece of work,” is the 1966 D-28 built for Hank Snow. Martin III himself called Mike Longworth to commission a guitar for Hank Snow. Hank, who was also an authorized Martin dealer in Nashville, traveled to Longworth’s home to discuss the details of the custom order. The guitar was sent to Longworth before it was completed; after being adorned with exquisite abalone inlays, it was returned to Nazareth and finished by Martin. Known as “The Snow Job,” this D-28/D-45 conversion model for Hank features a pickguard with pearl inlays and a C.F. Martin logo finished in mother-of-pearl, giving it a special luster.

*Excerpted from *Martin Guitar Masterpieces* by Dick Boak (photo)

*Excerpt from *Martin Guitars: A History* (photo)

Reissue of Martin’s Flagship Model, the D-45

After completing “The Snow Job,” Martin III told Mike Longworth:
"I was offering D-45 customizations, which put pressure on them to make them."
"The fact that you were offering custom D-45 models put pressure on us to bring them back into production."

This was because people were starting to ask:

“Martin used to make the D-45, and they’re still making guitars today. So why go to the trouble of sending guitars all the way to Tennessee to have them decorated? Surely they can make the D-45 themselves?”

These voices became a major driving force behind Martin’s decision to restart production of the D-45.

And finally, in July 1968, Mike Longworth officially joined Martin to oversee the inlays for the new D-45. By that point, two sample guitars had already been built, and there were two other staff members working alongside Longworth.

The revived D-45, released as the Brazilian Rosewood model, saw production of 67 units in 1968 and 162 units in 1969—in just two years, it more than doubled the production numbers of the original D-45 (pre-war model, 91 units total).

It was embraced not only by Martin’s core audience of country and bluegrass musicians but also by rock stars such as David Crosby and Jimi Hendrix.

Since then, the D-45 has been in continuous production, and it still reigns as the “top of the guitar” today, captivating many guitar enthusiasts.

Martin’s Record Keeping (Compiling the Reference Book)

As the inlay department at Martin Guitars gained momentum, Mike Longworth transcended the role of a mere craftsman and began to take on the role of a “storyteller for Martin Guitars.”

Through responding to inquiries from Martin guitar owners and public relations activities at festivals and guitar shows across the country, he built trust as the “face” of Martin.

His extraordinary passion and knowledge of vintage Martin guitars were widely recognized, and his abilities were eventually recognized, leading to his appointment as Customer Relations Manager. Alongside his duties, he compiled a systematic record of Martin and its instruments based on old company ledgers and documents, as well as testimonies from long-time employees.

The result was *Martin Guitars: A History*, the first edition of which was published in 1975. The book was highly acclaimed as the first comprehensive reference work in the guitar industry and, after two revisions, evolved into a detailed two-volume set.

Even after his retirement in 1995, he continued to be deeply respected and loved both inside and outside the company as a member of the Martin family.Then, in 2003, shortly after he passed away at a young age, C.F. Martin & Co. honored his tremendous achievements by releasing the “D-45 Mike Longworth Commemorative Edition.” His name and legacy continue to shine brightly in the history of Martin Guitars.

The 000-28/'45 Conversion Used by Clapton

Here is one of the most iconic guitars crafted by Mike Longworth.

It is a 1966 000-28 that was converted to "Style-45" specifications, which Eric Clapton frequently used on stage and in the studio around the mid-1970s when he began his full-fledged solo career.

It is believed that this guitar came into Clapton’s possession in 1970, and it is said that modifications had already been made by that time. In fact, it appears in the portrait for the 1974 album *461 Ocean Boulevard*, where you can confirm that it was customized to the “45” specification. However, according to information later released by the auction house Christie’s, the label indicating Mike Longworth’s work was inscribed as follows:
"This instrument inlaid / by / Custom Pearl Inlay Service / 200 Hemphill Avenue / Chattanooga, Tenn. 37411 / work performed OOO-28-45 No. 67 April 11, 1976 / Mike Longworth" (Pearl inlay customization performed on April 11, 1976)

This notation reveals a discrepancy in the timing of the modifications. It remains unclear whether Mike Longworth’s signature was simply added in 1976, or if additional custom work was performed that year.

What is interesting about this is that while a 1974 photograph confirms that the bridge did not feature snowflake inlays, the cover photo of the album *Cowboy Here & There* (released in 2004), which documents his 1976 UK and US tours, clearly shows the snowflake inlays. Considering that this photo was likely taken during the tour around the time *No Reason to Cry* was recorded, it is highly probable that additional modifications were made by 1976, which is also close to the date on the label.

In the 1980s, Clapton can be seen using this guitar during the encore performance of “Good Night Irene” with Ronnie Lane on the 1983 ARMS tour. Additionally, Andy Fairweather Low played this guitar during the recording of *Unplugged* in 1992.

According to Lee Dixon, who served as Clapton’s guitar technician for many years, Clapton would request this guitar in the studio with the catchphrase, “Get me the Longworth.” This guitar was offered at the “Crossroads Guitar Auction” held in 2004, where it sold for $186,700 (approximately 20 million yen) at the time, causing quite a stir.

Inside the body, there is a signed label indicating that he worked on it. I imagine many Martin enthusiasts’ hearts will race just seeing this. The fact that the Tennessee address has been changed to Nazareth tells the story of Longworth’s journey at that time. “No. 82” is believed to indicate that this was his 82nd job.

The label also confirms that the custom work was performed in November 1968. As mentioned earlier, 1968 was the year Martin resumed production of the D-45. It is likely that while he was working on the D-45’s revival at Martin, he was also fulfilling personal commissions on the side. It is a well-known fact that a Brazilian rosewood D-45 is rare, but this particular instrument—converted to “45 Style” by his own hand in 1968—also holds immeasurable value. It is truly a one-of-a-kind, special guitar.

Coincidentally, Advance Guitars had in stock both an original 1953 D-28 for comparison and an early 1969 D-45 from the reissue run. We’ll explore the appeal of this particular instrument by comparing it to those two.

First, it is clear that the basic structure is that of a 1950s D-28.

D-28 (1953) and D-45 (1969)

Coincidentally, Advance Guitars happened to have a 1953 D-28 and a 1969 D-45 in stock. I’d like to explore the appeal of this particular instrument by comparing it with those two.

First, it’s clear that the basic framework is that of a 1950s D-28.

Martin 1953 D-28 / '45 CONVERSION' by Mike Longworth
[SPECIFICATIONS]
NECK REINFORCEMENT: T-Bar
BRACING: Non-Scalloped X-Bracing
TOP: Sitka Spruce
BACK/SIDES: Brazilian Rosewood
NECK: Mahogany
FINGERBOARD: Ebony
BRIDGE: Ivory (Replaced)
BRIDGE PLATE: Maple (Small Size)
NUT WIDTH: 43mm
SCALE: 647mm
WEIGHT: 2.10 kg

The neck reinforcement is a T-bar rod. A T-bar rod in a "45 Style" model is a special combination identical to that of the pre-war D-45.

The bracing pattern is non-scalloped X-bracing. When compared, you can see that the bracing on the D-28/'45 CONVERSION' has a slightly sharper shape, likely due to individual variations. (Top: D-28/'45 CONVERSION' Bottom: 1953 D-28)

The top is made of Sitka spruce
(Top: D-28/'45 CONVERSION' Bottom: 1953 D-28)

The pickguard features a painted tortoiseshell pattern
(Top: D-28/'45 CONVERSION' Bottom: 1953 D-28)

Body sides and back: Brazilian rosewood (Hackalanda)
(Top: D-28/'45 CONVERSION' Bottom: 1953 D-28)

The body sides and back are Brazilian rosewood (Hacalanda)
(Top: D-28/'45 CONVERSION' Bottom: 1953 D-28)

The neck is mahogany
(Top: D-28/'45 CONVERSION' Bottom: 1953 D-28)

Fingerboard: Ebony
(Top: D-28/'45 CONVERSION' Bottom: 1953 D-28)

Small-size maple bridge plate
(Top: D-28/'45 CONVERSION' Bottom: 1953 D-28)

One of the many books written by Mike Longworth

On the D-28/'45 CONVERSION, the decoration in the center of the soundhole ring has been replaced with a beautiful shell inlay. The shell used is believed to be red abalone, similar to that found on D-45s from this period. The inlay features fine, intricate cuts that shimmer in multiple directions when held up to the light, showcasing the unique beauty of natural materials. The black purfling around the outer edge of the fingerboard, seen on the 1969 D-45, is not present on this D-28/'45 CONVERSION. This is a feature it shares with the 1968 D-45 prototype. (Top: D-28/'45 CONVERSION; Bottom: 1969 D-45)

The headstock features torch inlays. Shell inlays are also embedded along the inner edge of the headstock, giving it an even more luxurious appearance than a standard D-45. The pearl inlays, crafted in the same typeface as the original “Martin & Co.” logo, are truly exceptional. They seem to further symbolize that this guitar is a D-45 custom version of the D-28Bass. And surprisingly, this headstock design bears a striking resemblance to Hank Snow’s D-28/45 (“The Snow Job”), which was one of the catalysts for the D-45 reissue. (Top: D-28/’45 CONVERSION’ Middle: 1969 D-45 Bottom: 1953 D-28)

As this is a custom conversion to D-45 specifications, abalone is lavishly used for the purfling around the entire body. When compared, the D-28/'45 CONVERSION' has finer lines and gives a more stylish impression. (Top: D-28/'45 CONVERSION' Bottom: 1969 D-45)

Interestingly, the binding material was also changed as part of this customization. While 1950s D-28s used ivoroid, this D-28/'45 CONVERSION' lacks the distinctive striped pattern typical of ivoroid. Martin switched its binding material from ivoroid to Voltalon around 1966. For this reason, it is believed that when the abalone inlays were applied to this D-28/'45 CONVERSION', the original ivory-like binding could no longer be used, so it was replaced with Voltalon, the new material of the time. (Top: D-28/'45 CONVERSION; Bottom: 1953 D-28)

This is a personal favorite of mine. The celluloid on the neck heel is likely the original ivoryoid, the body binding is Voltalon, Avalon purfling has been added, and the finishing touch is the herringbone backstrip. The herringbone backstrip is an extremely rare feature, seen on almost no other models except for a few select ones like the D-76 Bicentennial Commemorative Model produced in 1975–1976. Additionally, the green lines visible on either side of the backstrip add a stylish accent. This is a sight unique to custom-built instruments. These traces of craftsmanship, glimpsed beneath the opulent exterior, lend a sense of warmth to the instrument.

Summary

Mike Longworth, the driving force behind the revival of the legendary D-45 model. Each guitar created by his hands transcends the mere instrument; they are true “works of art” that breathe with his aesthetic sensibility, exceptional craftsmanship, and deep love for Martin Guitars.

The 1953 D-28Bass “D-45 Conversion” featured here is another instrument that shines with a particularly special luster among his body of work. Recorded as his 82nd project during the historic turning point of the D-45 reissue era, this guitar stands as a testament to the direction Martin was taking at the time and the essence of his own philosophy on guitar making.

In both sound and appearance, it is a one-of-a-kind instrument that is neither a D-28 nor a D-45. Combining lavish ornamentation with the dignified presence unique to a vintage guitar cherished over many years, this instrument quietly yet unmistakably conveys Longworth’s belief in “breathing life into musical instruments.”

We hope that by engaging with this “work” he left behind, you will gain even a glimpse of how the guitar, as an instrument, can become a rich culture through the hands of people.

ACKNOWLEDGEMENT

I would like to express my heartfelt admiration for Mike Longworth, who left behind such exceptional guitars.

-Yosuke Inoue

Afterword

In compiling this article, I was once again struck by the sheer magnitude of Mike Longworth as a figure.

I had heard his name many times before, but when I actually set out to delve deeper, I was repeatedly overwhelmed by the sheer volume of his work, the magnitude of his influence, and the depth of his love for the guitar. He was truly “vast” and “great.” As I pored over the materials, there were countless moments when my hand stopped turning the page, and I could do nothing but marvel.

While writing this article, there were many moments when not only well-known anecdotes but also facts I was learning for the first time, or previously fragmented pieces of information, suddenly came together. These “discoveries” gave me the same thrill as when I first hold a vintage guitar in my hands. And they served as a fresh reminder of the profound depth of Martin Guitars and the value of the legacy Longworth left behind.

If reading this article has helped you feel even a little closer to Mike Longworth and allowed you to discover yet another facet of the Martin guitar’s appeal, I could not be happier.

I believe that the works, words, and records he left behind are not merely “historical documents,” but continue to have a real and lasting influence on how we, living in the present, approach music and the guitar.