Setting the Gold Standard
Throughout 2024, Taylor Guitars is celebrating its 50th anniversary. This is not just a milestone birthday, but a tribute to the innovative spirit that has always driven the company forward.
American Dreamers
n 1974, Bob Taylor and Kurt Listug, two ambitious guitar enthusiasts from San Diego, embarked on a journey that would transform the world of acoustic guitars. They met at a guitar-making shop called the American Dream, and their passion led to the founding of Taylor Guitars.
The journey was challenging, and Bob and Kurt had a lot to learn. “Things were hard for a really long time,” Kurt recalls. “We had to learn everything. How to build guitars. How to sell guitars. How to build a business.”
Relentless Innnovation
Despite the steep learning curve, innovation was a core value from the beginning. In 1976, Bob Taylor introduced an early version of Taylor’s soon-to-be-famous slim-profile, bolt-on guitar necks. This design was a departure from the bulky neck profiles common at the time and made neck resets easier.
Musicians were impressed by the slender neck profile and low action, making Taylor’s guitars remarkably easy to play. Notable artists such as Neil Young, Prince, Dan Crary, and Leo Kottke have played Taylor guitars, contributing to their reputation.
Taylor was also the first acoustic guitar company to adopt computer-numerical-controlled (CNC) mills, introducing these machines in 1990 for precise cutting, pocketing, and shaping of complex guitar components.
The Birth of the Grand Auditorium
In 1994, Taylor introduced the Grand Auditorium, a body shape with refined dimensions between a Dreadnought and Taylor’s small-bodied Grand Concert. This versatile acoustic voice offered remarkable balance across the tonal spectrum, suitable for strumming, picking, and fingerstyle playing.
The Grand Auditorium’s medium-sized body redefined the acoustic guitar to better meet the needs of modern players. Its versatility made it a popular choice among session musicians and gigging players, becoming Taylor’s best-selling body shape.
To celebrate their 50th anniversary, Taylor is releasing a collection of limited-edition guitars that highlight the best from their line over the past five decades.
The all-purpose Grand Auditorium takes center stage in this commemorative collection.
Several models are now available at authorized Taylor dealers, including the 50th Anniversary Builder’s Edition 814ce LTD, 314ce LTD, and AD14ce-SB LTD.
Builder's Edition 814ce LTD
The 50th Anniversary Builder’s Edition 814ce LTD is an ultra-refined version of the popular Builder’s Edition 814ce (released in 2023). It retains comfort-enhancing elements from the original, such as a beveled armrest, beveled cutaway, chamfered edges, and a Curve Wing bridge. A solid sinker redwood top and solid Indian rosewood body offer a harmonious blend of rich lows, sparkling highs, bold projection, and dynamic range. Features include an abalone rosette, mother-of-pearl inlays, maple binding, maple purfling, and Gotoh 510 tuners.
Street Price: $4,999.
314ce LTD
One of the best-selling U.S.-made acoustic guitars, Taylor’s 314ce gets a premium upgrade with the 50th Anniversary 314ce LTD. Taylor’s special roasting process has been applied to the solid Sitka spruce top, offering aged-in depth and sweetness from day one, along with enhanced soundboard stability and responsiveness. Paired with solid sapele back and sides, this guitar delivers a rich and versatile sonic profile with Taylor’s signature warmth, clarity, and balance. Eye-catching aesthetic touches include a tobacco shaded edgeburst and a bold firestripe faux-tortoise pickguard.
Street Price: $2,799.
AD14ce-SB LTD
The 50th Anniversary AD14ce-SB LTD combines workhorse versatility with neo-vintage aesthetics. Featuring a Sitka spruce top and walnut body, it offers a pronounced midrange with a balanced blend of warm lows and clear highs, ideal for fingerpicking and strumming. This model harks back to Taylor’s early guitars, many of which were built in the shop where Bob and Kurt met.
Street Price: $1,999.
All three Grand Auditoriums feature V-Class bracing, a groundbreaking sonic “engine” developed by Andy Powers, Taylor’s Chief Guitar Designer (and President and CEO). Andy, who joined the team in 2011, ensures that innovation continues to be a central focus.
Each guitar in the collection includes celebratory appointments, such as a commemorative 50th Anniversary label, ebony bridge pins with gold acrylic dots, and gold tuning machines and buttons.
You can explore Taylor’s full 50th Anniversary Collection of guitars here. All models are available exclusively at authorized dealers.
Plus, check out Taylor’s 50th Anniversary Timeline to learn more about the history of innovation and some of the amazing artists who have played their guitars over the past five decades.
On That’s the Price of Loving Me, “We’re Not Finished Yet” is a love letter to Wareham’s 1968 Gibson ES-335.
The singer-songwriter, 61, has crafted many such moments—most famously during the late ’80s and early ’90s, helping cement the dream-pop genre with cult-favorites Galaxie 500. Take the tenor saxophone, by Ralph Carney, that elevates the back half of “Decomposing Trees” from 1989’s On Fire, or the Mellotron-like atmosphere that bubbles up during “Spook” on This Is Our Music from 1990—both of which, notably, were recorded with journeyman producer Kramer, who’s part of Wareham’s rich sonic universe once again with the songwriter’s new solo album, That’s the Price of Loving Me.
Following This Is Our Music, the final Galaxie 500 album, Wareham and Kramer went their separate ways. The former founded the long-running indie-rock band Luna, formed the duo Dean & Britta with now-wife Britta Phillips, worked on film scores, and released a handful of solo projects. Kramer, meanwhile, grew into a hero of experimental music, playing with and producing everyone from John Zorn to Daniel Johnston. They stayed in touch, even as they drifted apart geographically, and always talked about working together again—but it took the weight of mortality to make it happen.
“[Kramer has] been saying for years, ‘It’s crazy we haven’t made a record together,’” says Wareham over Zoom, his shimmering silver hair flanked in the frame by a wall-hung cherry red Gibson SG and a poster of Rainer Werner Fassbinder’s 1975 drama Faustrecht der Freiheit. “He was living in Florida, and I was living elsewhere and doing other things. But I did lose a couple of friends over the pandemic, and it did occur to me, you can’t just say, ‘I’ll get to it’ forever. Not to be morbid, but we’re not gonna be here forever. We’re not getting any younger, are we?”
Dean Wareham's Gear
Wareham was a member of the early indie dream-pop trio Galaxie 500. After their split, he formed indie rock stalwarts Luna as well as Dean & Britta, with wife and Luna bandmate Britta Phillips.
Photo by Laura Moreau
Guitars
Amps
- Lazy J 20
- Mesa/Boogie California Tweed
Effects
- EAE Hypersleep reverb
- EAE Sending analog delay
- Dr Scientist Frazz Dazzler fuzz
- Danelectro Back Talk
- Joe Parker Raydeen overdrive
Strings, Picks, and Accessories
- Curtis Mangan nickel wounds (.010–.046)
- Dunlop Nylon .88 mm picks
- Truetone 1 Spot Pro CS12
In 2020, Dean & Britta recorded a covers album, Quarantine Tapes—the perfect opportunity, amid the agony of lockdown, to finally get Kramer involved. The producer mixed their hazy version of the Seekers’ “The Carnival Is Over,” which planted the seeds for a bigger collaboration on That’s the Price of Loving Me. At first, though, Wareham didn’t have any songs, so he gave himself a hard deadline by booking some time at L.A. studio Lucy’s Meat Market.
“What is it in a song that makes people cry? What is it that moves you? It’s something unexpected.”
“I don’t write songs every day—sometimes I don’t write songs for a whole year or something,” he says with a laugh. “The only thing that gets me to do it is booking studio time. Then I have to write some songs because it’ll be embarrassing if I show up with nothing.”
The space itself—decked out with a jaw-dropping amount of vintage guitars and amplifiers and keyboards—helped animate his sleepy-eyed and gently psychedelic songs. “I thought I had a few nice instruments,” Wareham says, “but I showed up, like, ‘Oh, your Les Paul’s from 1955? I think I’ll play this one. Your Martin is from the ’40s?’” Speed and spontaneity were essential: They worked six full days, with Kramer guiding him to capture every performance without overthinking it.
Wareham’s latest was produced by Kramer, a former member of Shockabilly, Bongwater, and the Butthole Surfers who owns the legendary underground label Shimmy-Disc. He produced all three Galaxie 500 LPs.
“[That’s] how I worked with Kramer back in the day too,” he recalls. “Maybe it kinda spoiled me—he was always like, ‘Yep, that’s it. Next!’ I got lazy about going back and redoing things. We’d make the decision and move on: keep that drum track and bass track. Maybe Britta [bass, backing vocals] would change a few things. Sometimes you’re with people who think every single thing should be replaced and made perfect, and you don’t actually have to do that. When it came time for me to overdub a guitar solo or something, Kramer would just allow me two takes generally: ‘Do it again a little differently. That’s it. That’s good.’”
“I thought I had a few nice instruments, but I showed up, like, ‘Oh, your Les Paul’s from 1955? I think I’ll play this one.’”
The material itself allowed for such malleability, with ringing chord progressions and gentle melodies often influenced by the musicians who happened to be gathered around him that day. “You Were the Ones I Had to Betray” has the baroque-pop sweetness of late-’60s Beatles, partly due to the sawing cellos of L.A. session player Gabe Noel, who also added some boomy bass harmonica to the climax. “It’s an instrument you’d mostly associate with the Beach Boys, I guess,” Wareham says. “It kinda sounds like a saxophone or something.”
Wareham, his 335, and Mesa/Boogie California Tweed at a recent Luna show, with bassist Britta Phillips in the background.
Photo by Mario Heller
It’s easy to get wrapped up in the warm hug of these arrangements, but it’s also worth highlighting Wareham’s lyrics—whether it’s the clever but subtle acrostic poetry of “The Mystery Guest” (“I’d never done that before, and it’s not that hard to do actually. Sometimes it’s just to give yourself a strange assignment to get yourself thinking in a different way”) or the hilarity of “We’re Not Finished Yet,” which scans as carnal but is actually a love letter to his semi-recently acquired 1968 Gibson ES-335.
“Sometimes it’s just to give yourself a strange assignment to get yourself thinking in a different way.”
“I read this poem about a guy polishing an antique wooden cabinet or something,” Wareham explains. “I thought, ‘That’s funny—it’s vaguely sexual, how he’s like rubbing this thing.’ I thought it would be funny if I wrote a song not about a piece of furniture but about the guitar—the experience of buying this. The lyrics in there: ‘I waxed you; I rubbed you; I reamed you.’ It all sounds like a dirty song, but it’s like, ‘No, I had to get the peg holes reamed!’ It works kind of as a love song, but that’s what it’s really about.”
Which brings us back to that idea of the unexpected. The most beautiful touches on Loving Me, crafted with his ol’ producer pal, are the ones that appear out of nowhere—like the blossoming guitar overdubs of “New World Julie” and “Dear Pretty Baby.” Kramer, he says, liked to “run two or three guitar tracks at once, where it becomes a symphony of guitars.”
These surprises, indeed, are the moments that stick with you.
YouTube It
Luna’s four-song performance on KEXP showcases Dean Wareham’s sparse, low-key indie rock vibe as well as his simple and sweet guitar embellishments.
In the ’80s, Peter Buck’s clean, chime-y arpeggios defined the sound of alt-rock to come. From R.E.M's start, his post-Roger McGuinn 12-string style served as the foundation for the band’s simple, plain-spoken approach, offering a fresh take on what an independent band could be and inspiring generations of artists to come. Buck not only found his sound quickly, he evolved throughout the band’s career. By the ’90s, R.E.M.’s sound had evolved to incorporate organic, acoustic textures, and eventually leaning into a glam- and grunge-inspired, distorted-guitar-focused sound on 1994’s Monster.
