A Double Sound Hole 1974 Bouzouki!
It has been a long time since I last wrote an article on my blog. Many things have changed in my personal life since my last post on April 5, 2023. However, my love for Greek traditional musical instrument making remains steadfast.
A recent purchase of an intriguing double-sound hole bouzouki from 1974 reignited my passion for research and investigation into another unknown bouzouki maker.
The bouzouki was previously purchased in Las Vegas as part of a collection of 260 guitars and amplifiers.
The detail in the design, the materials used, and the overall craftsmanship of the bouzouki reveal a manufacturer with talent and master-level skills.
The label reads: "Hand Made in London by -ANDREAS- 66 Turnpike Lane, London N8. Tel 01 388 5491."
This bouzouki was constructed in 1974 and has a serial number of #664.
Google map : Street Turnpike Lane, London N8 UK
Google map of the address : 66 Turnpike Lane, London N8 UK
Turnpike Lane, London, n8 1960s.
Accordingly to the luthier George A Smirloglou, the custom bouzouki case, where the instrument was found, was made by his father Anastasios Smirloglou and the company ASMIR (https://www.facebook.com/asmir1922)
Notably, the bridge and headstock of my bouzouki do not look as the original ones. Without any further information about "ANDREAS," I embarked on an intense research journey to find more details about the maker and to locate photos of other bouzoukia made by him.
My goal was to find bouzoukia from 1970s made by Andreas so I could gain a clearer understanding of the original headstock shape and design, as well as the shape of the bridge. This information would be invaluable for master luthier and friend, Chris Pantazelos (https://spartaninstruments.com/ ) as he restores this bouzouki to its original condition.
During my research, two of my UK-based cyber friends and bouzouki enthusiasts, Andreas Liondaris and Bambos Charalambous, provided me with substantial information regarding the luthier ANDREAS.
The oldest bouzouki I found made by the luthier, dates back to 1972, with a serial number of #650, and it carries the same label as mine.
The next bouzouki I could locate has a label from Spain and is dated 1976, two years after the construction of my bouzouki. The serial number is #679 . (From an old photo of a bouzouki player, looks as the original fretboard and fret markers have been replaced )
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Its almost clear that the luthier reallocated from UK to Spain between the years 1975-1976
Additionally, there is another bouzouki from 1979 that features the same original label design used in London, but it is now written in Spanish: .The serial number is #781
Google map of Medina de Pomar Spain
A 1979 Andreas bouzouki belonged to Bambos Charalambous
From a reliable source, his last name was Andreas Hajiyiannakou, but he was known by his nickname Andreas Spaniolos ( Andreas from Spain )
It seems that the luthier was initially a talented furniture builder based in London. He was married to his wife from Cyprus and had a child named Yiannakis (taking the name from his father, John - Yiannis). After his divorce, he moved to Spain and started constructing guitars, but he also continued making custom Greek bouzoukia. Upon moving to Spain, he acquired the nickname.
One of the main characteristics of the luthier's headstock design is that he often incorporates his first name,
"Andreas," as part of the headstock design. Using that information, I discovered another two bouzoukia made by
ANDREAS, although I do not know the year or the country (UK or SPAIN) in which they were constructed.
Recreating an Andreas style headstock and bridge
To recreate the original headstock shape and design, I paid close attention to the headstocks of the bouzoukia constructed in 1972, 1976, and 1979. The headstock most likely incorporated the name "Andreas" into the design. Additionally, the luthier often used a theme from the pickguard or capping strip as the main element of the headstock. For example, the headstock of the 1976 bouzouki features a rose as its main theme, which is also reflected in the pickguard design. Meanwhile, the 1979 bouzouki showcases a beautiful wide flower inspired by the flower on the capping strip.
Since the main theme of my bouzouki is the lyra sound hole, I borrowed the lyra design from the 1972 capping strip and incorporated it into the 1972 and 1979 headstock design, creating a unique headstock that Andreas would likely have constructed.
The creation of the headstock design will be commissioned in Greece.
1979 original headstock shape and design
S.Dimis (C) 2025. All rights reserved
A hybrid creation inspired by the 1972 and 1979 headstock design and the 1972 shape
S.Dimis (C) 2025. All rights reserved
A hybrid creation inspired by the 1979 headstock design and shape
S.Dimis (C) 2025. All rights reserved
A hybrid creation inspired by the 1972 headstock design and the 1979 shape
S.Dimis (C) 2025. All rights reserved
For the recreation of the original bridge, I found three bouzoukia made by Andreas that had the same bridge shape, leading me to the conclusion that the original bridge likely had the following design
Recreating an Andreas style fretboard
After a lot of research and hands-on inspection by the master luthier Chris Pantazelos, it's almost certain that the fret markers are not the originals since the fretboard has been replaced. The luthier ANDREAS used to incorporate a flower-vine (κλαρα) design inside the fretboard in most of his expensive bouzoukia.
The style of vine on fretboard used by ANDREAS
S.Dimis (C) 2025. All rights reserved
Inspection- under the hood
Using an inspection mirror, I examined the construction of the soundboard and the braces used. I was impressed by how clean and professional the construction "under the hood" is.
The bouzouki features three (3) braces, formed and sanded to perfection. The brace at the end of the lyra sound hole area is slightly diagonal, reminiscent of the braces found in old Neapolitan mandolins. The reinforced vertical brace, known in Greek as "tongue," starts from under the tailpiece and extends up into the last brace.
A very unique feature I noticed on this bouzouki, is the material used inside the bowl for reinforcement. Rather than the common golden wrapping paper, it consists of very thin strips of real veneer wood running vertically to the staves. This esoteric bowl lining is found in old Italian mandolins
According to the master luthier Chris Pantazelos, the sound quality of the soundboard (by testing and tapping) and the construction of the braces are well-crafted, able to produce a quality, mature, and round sound.
The bouzouki, even though it was constructed in 1974, needs no restoration of the bowl, the soundboard, or the braces, which are in excellent condition. It will need tho the reset of the neck , a new fretboard , new frets a new headstock and some small cosmetic work
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