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Here's another old guitar that my friend and bandmate sometimes brings to the band house for our Saturday evening sessions.
It's a 1963 Fender Stratocaster with what's left of its original sunburst finish. Somewhere along the way, the original white pickguard was replaced with this rather gaudy reddish-brown imitation tortoiseshell guard. Personally, I'd prefer the white guard, like Buddy Holly's famous Stratocaster.
I asked my friend why old Fender finishes decay and wear off more than those on the old Gretsch or Gibson Guitars, considering that his red Gibson ES-335 is the same general age as his two old Fenders and still looks almost new.
It seems that Fender used industrial furniture-grade finishes until the 1970s, unlike the more durable (and more expensive) cabinet-grade finishes that the more traditional guitar companies like Gibson and Gretsch used.
Leo Fender was more interested in utility than aesthetics. That's why his old guitars look so beat up and still sound so good today. Whenever I encounter an old guitar that looks so ravaged and still sounds, plays, and feels so nice, I think:
"This must be an especially good guitar if it's been played and worn out this much..."
A Crossfolf Camera Presentation.
It's a 1963 Fender Stratocaster with what's left of its original sunburst finish. Somewhere along the way, the original white pickguard was replaced with this rather gaudy reddish-brown imitation tortoiseshell guard. Personally, I'd prefer the white guard, like Buddy Holly's famous Stratocaster.
I asked my friend why old Fender finishes decay and wear off more than those on the old Gretsch or Gibson Guitars, considering that his red Gibson ES-335 is the same general age as his two old Fenders and still looks almost new.
It seems that Fender used industrial furniture-grade finishes until the 1970s, unlike the more durable (and more expensive) cabinet-grade finishes that the more traditional guitar companies like Gibson and Gretsch used.
Leo Fender was more interested in utility than aesthetics. That's why his old guitars look so beat up and still sound so good today. Whenever I encounter an old guitar that looks so ravaged and still sounds, plays, and feels so nice, I think:
"This must be an especially good guitar if it's been played and worn out this much..."
A Crossfolf Camera Presentation.
Category Photography / Miscellaneous
Species Unspecified / Any
Size 960 x 1280px
File Size 210.7 kB
Wow, cool vintage strat! An American Stratocaster from the early sixties would be worth a TON, regardless of condition. The replaced faux-tortoise shell pickguard would bring the price down, but not that much. Leo designed strats to be easily-modified, so different necks and pickguards could be easily added. Thanks for the bit of history!
Leo also used alder for the bodies, for no other reason than it was readily-available and thus cheap. x3 Alder's also a hardwood, so it doesn't dent as easily as mahogany or basswood.
Leo also used alder for the bodies, for no other reason than it was readily-available and thus cheap. x3 Alder's also a hardwood, so it doesn't dent as easily as mahogany or basswood.
I'm happy to know that you like this cool old Strat, and thanks for commenting :)
You're right; apparently my friend paid $750 for this guitar in the late 1980s, and it's probably worth at least 10-15 times that much today. A mint-condition example would be worth a lot more.
You're right; apparently my friend paid $750 for this guitar in the late 1980s, and it's probably worth at least 10-15 times that much today. A mint-condition example would be worth a lot more.
You're welcome. ^^
Your friend got really lucky, this guitar will only become more sought after/valuable with time. As is, it's easily a five-figure guitar! But hey, so e things matter more than money. I'm sure that it sounds great, and is a joy to play, and to have a guitar with a natural relic look is very cool!
Thanks for sharing.
Your friend got really lucky, this guitar will only become more sought after/valuable with time. As is, it's easily a five-figure guitar! But hey, so e things matter more than money. I'm sure that it sounds great, and is a joy to play, and to have a guitar with a natural relic look is very cool!
Thanks for sharing.
I love the authentic patina of an actual old instrument, but if I buy a new guitar, I want it to look new. That way I can put my own scratches and dings on it ha!
I bought my brown Gretsch hollowbody new many years ago, and every ding, scratch, beer and BBQ stain and roach burn on it remind me of the fun times that that Brown Gretsch and I have had together.
A guitar like that is like a favourite old jacket that I've worn every day for ages; it's getting a bit rough around the edges, but it's comfortable and familiar, and it's mine. :)
I bought my brown Gretsch hollowbody new many years ago, and every ding, scratch, beer and BBQ stain and roach burn on it remind me of the fun times that that Brown Gretsch and I have had together.
A guitar like that is like a favourite old jacket that I've worn every day for ages; it's getting a bit rough around the edges, but it's comfortable and familiar, and it's mine. :)
Same. Fake distressing on a pair of jeans is one thing, but on a guitar it seems so... against the spirit of the thing. My Eastman has had a single but very busy year with me, though it stays home mostly, but it's nice to think about how every bit of the fingerboard patina and fret wear was earned.
And my lute guitar, well, her past is very mysterious, but somebody clearly really loved to play her, and to take her places too, judging by the wear. I'm glad I bought her and fixed her up to play, instead of someone buying her to be a deco wall hanger or cosplay prop. She's weird and probably crazy old, a little out of intonation, needs a neck reset, technically strung with the wrong kind of strings, has every kind of ding, dong, and finish chip, a bent tuner, headstock is literally glued back together from about 5 pieces, I put a 50 cent strap knob on her... but she still makes music.
And my lute guitar, well, her past is very mysterious, but somebody clearly really loved to play her, and to take her places too, judging by the wear. I'm glad I bought her and fixed her up to play, instead of someone buying her to be a deco wall hanger or cosplay prop. She's weird and probably crazy old, a little out of intonation, needs a neck reset, technically strung with the wrong kind of strings, has every kind of ding, dong, and finish chip, a bent tuner, headstock is literally glued back together from about 5 pieces, I put a 50 cent strap knob on her... but she still makes music.
I've seen your lute guitar, and yes; you did very well by fixing her up enough to play music with instead of her just becoming a static object. How many of those still exist in playable condition, do you suppose?
So she's not perfect or totally original anymore; she's still beautiful, and she can make music again.
So she's not perfect or totally original anymore; she's still beautiful, and she can make music again.
In Germany the vintage ones pop up on Ebay all the time (counting lute guitars and their various cousins). About 2/3s of them are sold as wallhangers only/sold by people who do not guarantee playability. The remaining ones are mostly sold by a single gentleman who also does repairs on them; he buys some of the older ones and restores them to playability. The biggest issue is that they tend to need neck resets, since they're meant for steel strings but don't have truss rods-- or you have to do what I did, and use soft, low-tensile strings so that the action isn't ridiculous.
I don't know. Probably under a thousand playable vintage ones? Maybe fewer?
I don't know. Probably under a thousand playable vintage ones? Maybe fewer?
That's a sweet Strat! Nothing like those pre-CBS Fenders, and I've played every single model! As far as finishes go, they used DuPont paint for cars for their custom colors. Gretsch finishes age very well, but their binding, typically does not. Something to do with materials used during the 60s, since that seems to be the case. I only noticed it starting in the early 2000s.
Forgive me such a late reply; I sometimes revisit my submissions to see if I missed a comment that I wanted to answer. ;)
That said, you're right about the finish and the binding on those old Gretsch guitars from roughly the latter half of the 60s.
Oddly enough, the finish on my '64 Tennessean was checked, but the binding was perfect (not that there's much binding on a Tennessean). Meanwhile, the finish on my '69 Country Gentleman wasn't even faded (it was still as dark as George's Country Gent) but the binding was shot.
Old Gretsch guitars even have an inconsistent way of aging and decaying.
That said, you're right about the finish and the binding on those old Gretsch guitars from roughly the latter half of the 60s.
Oddly enough, the finish on my '64 Tennessean was checked, but the binding was perfect (not that there's much binding on a Tennessean). Meanwhile, the finish on my '69 Country Gentleman wasn't even faded (it was still as dark as George's Country Gent) but the binding was shot.
Old Gretsch guitars even have an inconsistent way of aging and decaying.
It's all good! Even George's two CGs finishes were different. Of course a lorry took care of one of them. One of the more interesting Gretsches I played was a Princess. Basically, an early 60's Corvette finished in a pastel finish. I've been visiting New York quite a few times the past few months and part of my journey takes me past the old Gretsch building in Williamsburg. I never think to take a picture though
Hey, someone else knows that George had two CGs! There's a cute photo circa late '63 of him holding both of them. And yes, they did look a bit different; the older one had a nice curly maple top. He gave that one to a friend of his in Liverpool, and the one he used on the Sullivan Show got busted up in that touring mishap.
My favourite Gretsch George had was the 1957 6120 that he played on the rockabilly special that Carl Perkins hosted back in '84 or so. He sounded and looked very good that night.
My favourite Gretsch George had was the 1957 6120 that he played on the rockabilly special that Carl Perkins hosted back in '84 or so. He sounded and looked very good that night.
When I was a "working" musician playing in bands, my favourite gigs were at the Legion halls.
I bought many a beer for many a worn out-looking but still tough old fellow, and I enjoyed the stories that they wanted to tell.
There are three rules to playing in a Legion hall.
#1: Don't wear a hat. That's just common sense, but you wouldn't believe how many times I've had to say to a bandmate : "psst: take off yer hat; we're in a Legion hall"
#2: Pay your hosts their due respect. Thank the vets for their service. If they want to tell their stories, then listen and enjoy them.
#3: Don't ask them any questions about their service. If they aren't talking about aspects of their service, it's because they don't want to.
I bought many a beer for many a worn out-looking but still tough old fellow, and I enjoyed the stories that they wanted to tell.
There are three rules to playing in a Legion hall.
#1: Don't wear a hat. That's just common sense, but you wouldn't believe how many times I've had to say to a bandmate : "psst: take off yer hat; we're in a Legion hall"
#2: Pay your hosts their due respect. Thank the vets for their service. If they want to tell their stories, then listen and enjoy them.
#3: Don't ask them any questions about their service. If they aren't talking about aspects of their service, it's because they don't want to.
When I was working security at the nuke plant, a number of our members were also Legionnaires. We would go gown to the American Legion every Thursday (payday) and party, and sometimes go back Friday night. I got to know a number of the veterans, including a fellow who convinced me to buy my first personal computer. He passed away New Year's Day, 2009. I can't even think how different my life would have been if I had never met him.
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