On October 6, 1936, it was shipped to musical-instrument distributor Francis, Day and Hunter, of London, at which time it was stamped “Made in the USA” on the back of its peghead, as was typical of Gibson exports during this period.
Shortly thereafter, it was purchased by a Scottish family for a daughter whose initials were added in a circular pearl inlay on the back of the headstock (almost certainly done by the dealer rather than at the factory).
In 1930, Gibson produced five Granadas in the work-order batch from which this one originates – all had five strings with the exception of one plectrum banjo (an original Granada flathead/one-piece-flange plectrum or tenor banjo today sells for $100,000 or more, even without its original neck). Scruggs used his (work-order number 9584-3) through most of his career, and over the years it underwent several modifications, including five different necks, the last of which was made by Greg Rich at Gibson in the mid ’80s.
By the time Scruggs passed away in 2012, its flange, tension hoop, brackets, and tuners had all been replaced while its tone ring, wood rim, and resonator remained original (though the latter was refinished).
The Granada combined many features and appointments that have always appealed to bluegrass players, and is simple and tasteful compared to the ornately decorated/carved and painted upper end of Gibson’s Mastertone line of the ’30s – the Bella Voce, Florentine, and All American.
Flathead/one-piece-flange Granadas are fine instruments, unsurpassed by banjo made before or after World War II.
It went mostly unplayed until 1987, when Gruhn Guitars acquired it from the family in Glasgow, Scotland.
It recently re-entered the market and was sold to a collector in the U.
Even after the flathead tone ring and one-piece flange were introduced in late ’29, the majority of tenor and plectrum Granadas were still made with 40-hole/raised-head tone rings.
With the introduction of the one-piece flange, the peghead of the Granada was changed from Gibson’s “fiddle shape” to the “double-cut,” and its “hearts and flowers” inlay was augmented with the “flying eagle” option.
Once, Id taken my tenor neck down to dust it using a damp paper towel and was horrified to see deep red finish come off on the paper. Miller for a fairly short period of time before his father bought it in 1935.