GALLERY: Born in the Fifties: Electric Guitars

1958 Gibson ES-350T
By the mid-1950s, electric guitar players had two choices: either a full hollowbody electric guitar or a compact solidbody. Gibson had been receiving requests from players for something in-between the two styles, so in 1955 the first Thinline electrics were developed. They were the high-end Byrdland, the ES-350T and the low-end ES-225T. The ES-350T was meant to be an affordable, less fancy version of the Byrdland with the same groundbreaking improvements and dimensions. The ES-350T adopted the cosmetic features of its full-sized predecessor, the ES-350: two P-90 pickups, laminated maple top, sides and back, rosewood fingerboard with split parallelogram inlays, and a crown headstock inlay. The stunning example shown here was made in 1958 and is one of only 43 natural models made that year (the other 104 were sunburst). This guitar sports the Patent Applied For humbucking pickups that became standard equipment on the model in 1957. It is also adorned with an attractive, but non-stock Bigsby vibrato tailpiece, instead of the W-shaped original. Credit: Tim Mullally & Dave Rogers, Dave's Guitar Shop, La Crosse, WI.

1958 Gibson Flying V
This incredible Flying V is featured on page 126 in A.R. Duchossoir's book, Gibson Electrics, The Classic Years, and it includes the near mint, original, form-fit hardshell case. Guitar courtesy of Rumble Seat Music rumbleseatmusic.com

1957 Gretsch Chet Atkins Hollowbody 6120
In 1954, the Fred Gretsch Company introduced its own artist signature guitar in response to the success of Gibson's Les Paul guitar. The virtuoso country artist Chet Atkins was chosen, and with his input the model 6120 Chet Atkins Hollowbody was born. The guitar included features requested by Atkins, such as a 24.75" scale length, metal nut and Bigsby vibrato tailpiece. It also initially sported "kitschy" western designs intended to appeal to country music fans. Atkins disliked the extra cosmetic decorations and had them gradually removed as he and the guitar became more popular. The 1957 6120 (serial # 25017) pictured here has all the traits typical to that year: Horseshoe headstock inlay (replacing steerÃ??s head of '54-'56), hump-top block fingerboard markers (replacing the rectangular blocks of '56), and a "Bar" bridge (replacing the aluminum Bigsby compensated bridge of '54-'56). De Armond single-coil pickups were still used in 1957, although they would be replaced in 1958 with the new Filtertron humbuckers Atkins preferred. Credit: Tim Mullally & Dave Rogers, Dave's Guitar Shop, La Crosse, WI.

1953 Gibson ES-295 #A15572
The Gibson ES-295 was introduced in 1952 as the full-sized, hollowbody complement to the solidbody Les Paul Model, also debuting that year. While the ES-295 shared the same flashy gold coloring of the Les Paul, along with the unique tailpiece, it was basically a fancier two pickup version of the ES-175 (the two-pickup ES- 175D did not appear until 1953). The basic features of an ES-295 included an all gold finish, two single coil P-90s with cream covers, a cream pickguard with gold floral designs, a Les Paul bridge/tailpiece combination and gold-plated metal parts. The guitar featured in this month's article is a typical 1953 ES-295 in every way except one: the color. While a tobacco sunburst finish was standard on most Gibson's from the thirties through the fifties, it is very rare to see an ES-295 in this color. The only other P-90 equipped ES-295 we know of was sold in 1999 at Eric Clapton's Christie's auction (two late cherry sunburst humbucker-equipped examples from the fifties are also known to exist). Credit: Tim Mullally & Dave Rogers, Dave's Guitar Shop, La Crosse, WI.

1958 Les Paul Goldtop
This gold beauty belongs to Ray Bellizia of Whirlwind Music Distributors. Ray bought the guitar in 1974 from a butcher shop. Two years later, it was snatched from the stage during a break in the set at a show, but was recovered after security chased the perpetrator for several blocks. Only the tuners and jack plate have been replaced. To learn more about this guitar, please visit www.whirlwindusa.com/vintage.html

1950 Fender Stratocaster #20869
This 1957 Fender Stratocaster, serial number 20869, is in a very rare custom color option called Taos Turquoise. By 1956, nonstock finishes were specified in Fender literature and in 1957 Fender began to offer a larger array of official custom colors. The Stratocaster in sunburst finish was $249.50 without tremolo and $274.50 with tremolo. Fender also added an extra 5% for a DuPont custom color or a blonde finish and $49.50 for a hard case. The guitar weighs a lightweight 7.7 lbs and the alder body has a Desert Sand finish as an undercoat, which was a stock color used on the Duo- Sonic model. The maple medium V-shaped neck with the original 7.25" fingerboard radius has the spaghetti Fender logo with "butterfly" or string tree guides for the B and treble E strings. This 1957 Strat has a 3-way pickup selector, and the single ply pickguard is held in place by eight Phillips head screws. Credit: Tim Mullally & Dave Rogers, Dave's Guitar Shop, La Crosse, WI.

1956 Gibson Les Paul Special
Here we have a very clean 1956 Gibson Les Paul Special, shown here with the original Gibsonette amp, in Johnny Thunders-approved TV Yellow finish. Originally intended as student instruments, Specials are remarkably versatile guitars, having been used by artists as diverse as Bob Marley, John Lennon, and Marc Bolan. Guitar courtesy of Nationwide Guitars nationwideguitars.com

1959 Gibson Les Paul Standard Serial #9 1942

1959 Gibson Les Paul Serial #9 1942
Imagine answering the telephone and the person on the other end says, "We have an old guitar we would like to sell." When asked to describe the guitar, they answer, "It's a Gibson electric bought new around the late '50s. It's yellow in color with a red outside edge, and it's a Les Paul model." After a road trip through the countryside, we were soon in front of a well-known vintage brown case about to be opened. Inside was an all-original, one-owner 1959 Gibson Les Paul Standard (#9 1942) with a flame-maple top and sunburst finish. This guitar was originally purchased for $260, including the hardshell case, from a music store in Iowa on July 1st, 1960. All of the original purchase agreements, strap and adjustment instructions were also included. The Lifton-style five-latch case had a "Stone case company in Brooklyn, NY" badge on the inside neck pocket. The Gibson nameplate was not on the outside of the case near the handle. This guitar weighs nine pounds, with a slightly slim C-neck profile, while the PAF humbucking pickups have double black bobbins. The neck pickup measures 8.6 while the bridge pickup measures 8. Many of the late 1950s cherry sunburst Les Paul finishes faded over time, and this one is no exception, fading to an iced tea color with a dark hue located near the toggle switch. Credit: Tim Mullally & Dave Rogers, Dave's Guitar Shop, La Crosse, WI.

1950 Fender Broadcaster #0099
This gorgeous guitar comes compliments of Johnny Edwards at Coffin Case, and is numbered #0099. This was found in an Alaskan attic, and had one prior owner.

1952 Gibson Les Paul No Serial, 1953 Gibson Les Paul Serial No. 3 0602

1952 Gibson Les Paul No Serial, 1953 Gibson Les Paul Serial No. 0602
Gibson launched their first solidbody Les Paul in 1952 priced at $210. Available in a gold finish top with natural finish back and sides, this model was better known as a Goldtop, with all-gold versions also available. Dealers began to receive the new Les Paul Model by June of 1952. These early versions from the collection both have the "Trapeze" combined bridge and tailpiece, which was originally designed to have the strings over the top. Unfortunately, this would have caused the action to be much too high due to the shallow neck pitch on early Les Pauls; Gibson's only choice was to have the strings wrapped under the bridge. This made intonation and playing difficult, and the "Trapeze" was subsequently replaced during 1953. In early 1952, Les Paul Goldtops did not have serial numbers. In 1953, a five-digit, ink stamped numbering system located on the back of the headstock was implemented. The first digit, spaced slightly to the left of the other four, signified the year of manufacture. Upon closer inspection of the 1952, notice the use of standard slot screws used on the pickguards and the bridge pickup. These early models also have taller speed knobs, which were replaced in 1953 by shorter versions. Also, note the non-existent toggle switch's rhythm and treble ring and the double ring replacement tuners. This 1952 example features an unbound Brazilian rosewood fingerboard. The 1952 Gibson logo is also positioned a bit lower on the headstock and has the dot of the "I" joined by the "G". The bridge pickup has mounting screws in the opposite corners, which were later redesigned to be inline with the pole piece adjustment screws, such as the ones on the 1953. Credit: Tim Mullally & Dave Rogers, Dave's Guitar Shop, La Crosse, WI.

1955 Gretsch Silver Jet #16622
In 1953 the Gretsch Company introduced its first solidbody electric guitar: the Duo Jet. Each guitar received a different model name relating to its striking finish, even though it remained essentially a Duo Jet. These models were the Silver Jet (Sliver Sparkle), the Roundup (Orange with western style inlays and leather trim) and the Jet Firebird (Red). This Gretsch Silver Jet has all the features common to 1955 Jets: a rosewood fingerboard with large pearloid block inlays; chrome master volume, two individual pickup volumes and master tone controls, all stamped with an arrow in the center; a small bullet shaped trussrod cover; two DeArmond single coil pickups; Melita Bridge, silver pickguard, and a chrome "G" cutout tailpiece. The feature unique to Silver Jets is the silver sparkle top made from the same material Gretsch used to cover its drums. The 1955 Gretsch catalog lists a Silver Jet for $255. Credit: Tim Mullally & Dave Rogers, Dave's Guitar Shop, La Crosse, WI.

1959 Fender Jazzmaster #38876
In late 1958 the Fender Jazzmaster was unveiled to the public. With a price tag of $329, the Jazzmaster's early ad copy read like that era's car commercials: "America's finest guitar... unequaled in performance and design features". One of the early design changes that took place during the Jazzmaster's production was the addition of a nitrate celluloid pickguard, replacing the previous gold anodized unit, featuring a crescent shaped notch at the neck pocket area allowing for easier truss rod access. Custom colors were also introduced, such as Fiesta Red, Blond, Metallic Gold, and San Marino Blue. These colors are rare and fetch a premium on today's vintage market. Fender finally ceased the original production run of the Jazzmaster in 1980. Credit: Tim Mullally & Dave Rogers, Dave's Guitar Shop, La Crosse, WI.

1959 Fender Custom Telecaster #40771
In mid-1959, Fender introduced lavishly appointed new versions of its original solidbodies: the Telecaster and Esquire. The models were named "Custom Telecaster" and "Custom Esquire" (perhaps influenced by Gibson's Les Paul Custom). These guitars retained the basic characteristics and functions of the standard versions while showing a polished, classy new look. This month's guitar has the classic appointments of a late 1959 Custom Telecaster, which include an alder body finished in 3- color sunburst, white binding around the top and back, a three-ply greenish pickguard, and a gold Fender logo with "Custom Telecaster" written below. The rest of the features match those of a standard late-1959 Telecaster: a "slab board" rosewood fingerboard with clay dots, a slim neck profile, and single line Kluson Deluxe tuning machines. Credit: Tim Mullally & Dave Rogers, Dave's Guitar Shop, La Crosse, WI.

1955 Fender Stratocaster
This guitar features a one-piece ash body with birdseye maple "D" shaped neck and clocks in at eight pounds. The neck and trem spring cavity are both dated "7-55", and masking tape in the control cavity reads "Mary 7-20-55". The bridge pickup and knobs were missing, and the pickup covers were worn through to the bobbins, so they were replaced (although the originals are still kept handy). The frets are completely original, although small by today's standards, resulting in a very lively guitar. Courtesy of Whirlwind USA, Rochester, NY

1959 Gibson Flying V
The Flying Vs and Explorers of the late fifties were made of a light colored African mahogany called Korina. McCarty chose this wood due to the popularity of blonde hued furniture at the time, and because no additional bleaching or tinting was required. Dave Rogers says of this guitar: "I purchased this guitar from the late Pete Alenov (Pete's Guitars) and as I recall, this one had been previously owned by Michael Schenker of the Scorpions. Pete was a good friend and mentor, and taught me much about the business. He also introduced me to many touring acts and opened quite a few doors for our business. I have fond memories of the man and I think of him every time I see this guitar." Credit: Tim Mullally & Dave Rogers, Dave's Guitar Shop, La Crosse, WI.

1959 Fender Telecaster
This 1959 Fender Telecaster with tweed case and matching tweed Vibrolux are both in near mint condition and are complete with the original hang tags. Guitar courtesy of Rumble Seat Music rumbleseatmusic.com

1959 Gibson Super 400 CES
In 1934 Gibson introduced the Super 400 as its top-of-the-line acoustic archtop. It was the largest and most ornate archtop guitar made at that time. By 1936 Gibson had launched its first electric archtop, the laminated, plain ES-150. Gibson continued to make only laminated electric models (except for occasional special orders) until demand from professional players became great enough to warrant adding an all solid wood electric Super 400 to the line. The Super 400 CES (Cutaway Electric Spanish) was unveiled in 1951. The Super 400 CES featured this month has all the characteristics common to a late-fifties Super 400 CES, including a rounded Venetian cutaway (until 1960), a two-piece maple neck with mahogany center strip (until 1961), a Tune-O-Matic bridge (from 1955), and humbucking pickups (from 1958). Credit: Tim Mullally & Dave Rogers, Dave's Guitar Shop, La Crosse, WI.

1958 Rickenbacker 330
This early 330 Rickenbacker has certain features that distinguish it from later incarnations. Prior to designing their own distinctive tailpieces, Rickenbacker used standard trapeze versions available in parts catalogs of the day. The single gold pickguard was soon replaced by a double level guard, which by 1964 was made of white Plexiglas. The TV knobs and open-back Grovers are other early features. The most unusual thing about this guitar is the rare Ñ?reverseÑ? Fireglo finish. Credit: Tim Mullally & Dave Rogers, Dave's Guitar Shop, La Crosse, WI.