Burny Les Paul Junior

Made in Japan in the late 70's to early 80's (no serial on bunry guitars)Single P-90, wrap around bridge, Mahogany body with set mahogany neck. Double cutaway shape with a cherry type finish. One Volume and one tone.Everything is like it should be for a junior.
This thing is very close to the Gibson (some slight differences)

Even with the stock pickup and wiring, this thing is very warm yet has a real nice scream to it. Sounds like a Junior should. I imagine with a pickups upgarde and rewire job this thing would sound even better.

Finish is nice but a bit more red than expected. It is in gerat shap for the age and seems very well built. Not anymore nosie than I expected from the P-90 and overall play is nice. The neck is a bit fat compared to the Gibson SG I have but not really in a bad way.

Seems very solid, and is in great shape for the age.
I can see this thing kicking around for years.

Burny/Fernandes still make guitars in Japan, Korea, and China, but the Junior is no longer made. I have no reason to contact them but they do have a website.

If you are looking for a Les Paul Junior DC and find one of these, I say buy it! Great guitar for a less than the Gibson. I still love Gibson and I would never get rid of my SG, but this little burny is great all around.

Made in Japan, late 80s. '58-'59 style double-cutaway Burny "Rock'n'Roll version" Les Paul Junior replica. TV yellow nitro-finish with a very faint lime-green hue to it unlike the vaguely orangey lilt on my Tokai TJ-60 (different take on the same guitar) that this was bought as a back-up for. The finish on this Burny is less subtle, with less grain showing too, which makes it uglier, but more historically accurate as far as I can tell! Solid mahogany body & neck, very nice lightish wide-grain rosewood board, single dog-eared P-90, non-angled wraparound tailpiece just like the one that so angered the purist reviewer below. I see what he means about the neck though: it is wider, thinner & less comfortable than the perfect fat & round 50s profile on the Tokai version. But man can get used to the darndest things, if you ask me. I give it a high rating because it has everything it's supposed to have. I love the minimalism of this model & that's what I bought it for. Forgot to mention that it's light too.

Fits my humble r'n'r ambitions like the proverbial silk one, Jim. Growls, spits, whines & grinds those devilish Johnny Thunders licks like nobody's beeswax. So far I've played it into an all-tube Ashdown Peacemaker 60 combo with a Vintage 30/G12H30 speaker configuration, on the clean (ie good) channel with an MXR Commande Overdrive (horrible 80s plastic casing but great sound), 70s MXR Distortion+ & an original Ibanez AD-80 analog delay. Sounds like CBGB's circa 1975. Like grunge, disco, R&B & numetal were but evil spermcells swimming in papa Satan's filthy corporate nutsack. Again, just what I wanted! By comparison to the Tokai, the Burny sounds slightly less powerful, but warmer. It seems to sustain a little less well too, despite the 1-piece body (the Tokai has a 2-piece). Could be that neck again. Maybe if I'd ever been lucky enough to own a real 50's junior I'd be as indignant about the neck as our friend below, but I'm not & I don't. As for the angled or non-angled tailpiece: does it really make a difference?? I slightly favour the Tokai over this one, but it's very relative. They both sound great.

Was set up surprisingly well given that it came all the way from tropical Queensland to uhh, non-tropical Belgium. Perfectly straight neck. Just had to adjust that satanic straight tailpiece until the action jived with What I Like?. One amusing footnote: the underside of the tailpiece has a factory engraving which would suggest that our Japanese friends call it a "TAILPICE". I giggled. Immaculate condition overall. The previous owner(s) either rarely played it or were serious anal retentives. Only sign of use is the Gotoh tuners are nice & worn, which looks cool.

The fact that it's still looking positively young despite having kicked around since the days of Daddy Bush, Debbie Gibson & (my favourites) Milli Vanilli (just joking) make me reasonably confident that this shan't be an "issue".

Fernandes are still there, but as this guitar's official status was undercover, they'll deny it existed. And try to silence you. So don't even go there.

A great little rock'n'roll axe. The "Rock'n'Roll" insignia on the headstock is even done in a New York Dolls style font. How cool is that? I sold a '96 Gibson Les Paul Special to be able to afford this. One of the few astute & sensible decisions I've ever made in my life, BTW, but that's another story. I also have the Tokai I mentined & a Burny Les Paul Custom that I love. My one remaining Gibson is feeling nervous like a GI in the jungle of Burma who wakes up to find he's the last surviving member of his platoon & hears the Japs closing in around him in the brush.

Typical Japanese mid eighties quality a la Tokai, Greco, Fernandes etc i.e. Inditiguishable from Gibsons then and now. I have Both- including a historic double cut cherry. Mine is the SG shape with the groovy pick guard and dog ear P90. Two piece body is the only give away that this is a' copy'. Neck is what people are calling a 1960 type but we all know that they varied considerably. Stop tailpiece which I have changed for a more adjustable modern type though the original seemed fine.
On these guitars you pay not to have features these days right? A point that sadly seems lost on some reviewers. The features are simplicity, mahogany, P90, sublime colour etc

Sounds like every great rock song you have heard - obviously very good at that late sixties to mid seventies blues, punk, Glam think. Just listen to the NY Dolls, Stooges, Pistols etc.
Great whinny sound on lead breaks and crystal clear on chugging Rythm - try 'Vietnamese Baby' by the Dolls.

Bought it very second hand so has had an extensive make over with new bridge, new Tokai tuners and a fret polish.

Played live many times and is dependable - these are simple and robust but usual Gibson style headstock is vulnerable if dropped.

Its the one I pick up most because it has a great vintage vibe currently much in vogue (Libertines, Killers, Kaiser Chiefs, Strokes) Sounds great through my Line 6 flextone and through my bandmates Fender super sixty (all valve) and Musicman 2 x 10. My other guitars are Historic LP Junior double cut, Ric 330 VP, 4002 bass and Tokai Precision.

Made in Japan sometime in the late 80's. Solid mahogony neck and body. Volume | Tone | P-90 = 1959 Les Paul Jr Copy. TV yellow. As far as trying to copy a Les Paul Jr, not the best job. The first thing I noticed without even picking it up, the bridge is not an angled stop bar like a Jr bridge would be. It's set up straight and is a compensated tail piece. Second would be the neck. It's not at all like a real 59 neck. It's significantly wider and not at all as big as a real 50's les paul. More like a really wide 61 neck. Kind of uncomfortable, really.

I don't even know yet. I haven't plugged it in. Just got it shipped 30 minutes ago from Japan.

Set up nice. Low action. Finish is OK. Still not totally like a real TV finish. The routs around the neck|body joint are a little sketchy.

The biggest drawback would be the neck. I don't like it. It's nothing like a Les Paul JR neck. Kinda pissed that I payed so much to have it shipped here from Japan...$150 total in money orders, and then shipping the money orders, and then shipping the guitar.

Depend on it? I don't even know if I will keep it.

I had a real 1959 Les Paul jr and mistakingly sold it a year ago. I've been trying to find another neck to fit the void of the 1959 Jr neck. Many have tried, none have been approved.

I'll play it through an amp and see how it sounds and then review it again.

Burny lawsuit copy's (I thought) are supposed to be great. What the hell is everyone thinking?