1993 ESP George Lynch Skulls & Snakes GL
We all know that guitars are made to create music, but I’m pretty sure this one was also designed with the intent to confuse and upset anyone who happened to vote for Ronald Reagan. A single master volume is the only control featured on this model, meaning you’ll spend less time fiddling with settings and more time banging out riffs that are sure to prompt your mom’s friends to clutch their pearls.
The Skulls and Snakes model is still in production today, but this young-vintage example from 1993 is of the era when George was doing his very finest work. A pair of Arcane pickups combined with the discerning quality of the ESP Custom Shop make this guitar a dream for the Lynch fan and Indiana Jones enthusiast alike.
1944 Gibson J-45
Against all odds, the Second World War was the final goofy act of the American flat top guitar’s golden age. Gibson’s output during this time was riddled with strange and sometimes erratic features, materials, and construction techniques. (Find a copy of John Thomas’ recent book “Kalamazoo Gals” for a fantastic insight on this era.) Somehow, though, these “Banner-era” Gibsons are among the most consistently excellent acoustic guitars ever built, regardless of brand or vintage.
This particular example is equipped with a mahogany top, a wartime consideration that provides a distinctly warmer response when compared to the model’s usual spruce tops. The neck profile on these banner instruments can be a source of contention with some players; they tend to be extremely deep with a bulky shoulder which is oftentimes too much for most of us. This neck, however, has undergone a tasteful recontouring after the fact that makes it much more comfortable and manageable for even the smallest of musicians. A few modifications and some finish work mean this one probably won’t end up in a museum, but it’s a perfect player’s banner J-45 for a fraction of the price of an untouched example.
1955 Gibson J-50
Whenever I’m asked about my opinion on the most underrated and underpriced guitars in the vintage market, and I am asked often, my first thought is always of Gibson J-50s from the 40s and 50s. There is a long-held and totally unspoken belief in the acoustic community that Gibsons should be finished in sunburst and Martins should be finished natural, and any deviation from this is sacrilege.
Because of this silly narrow-mindedness, models like the J-50 have been able to slip under the radar while Southern Jumbos and J-45s skyrocket in demand and popularity. In our experience, though, the higher-end J-50s were consistently crafted with finer tonewoods and superior craftsmanship, and are always among the finest Gibsons we have in stock. This particular instrument is incredibly clean with virtually no visible play wear, and comes complete with its original brown Lifton case and case candy. The original owner added their initials to the pickguard with decals early in its life, but you certainly don’t need to be “CRS” to appreciate this one.
1962 Gibson ES-175
What do Jim Hall, Wes Montgomery, and Kid Rock all have in common? A love for the ES-175 and a severe allergy to bees. This midrange Gibson model is an unlikely jazz hero, but one that has found its way into the hands of some of the finest players around, and not just the three listed above. Unlike the higher-end L-5 and L-7, the 175 sports a laminate top that is pressed into an arched shape rather than carved.
While this was done as a cost-cutting measure by Gibson, it unintentionally made these models much more resistant to feedback at high volumes. The PAF-equipped 175s of the late 50s and early 60s are widely considered to be the highest evolution of the model, which would not come as a surprise to anyone who has been lucky enough to get their hands on one. We were fortunate to track down this guitar from its original owner, a tremendous player who took extremely good care of his instruments. This is an 100% original example, perfectly suited to the player and collector alike.
1952 Gibson Les Paul
The 1954 Strat, 1950 Broadcaster, 1937 J-200, 1961 SG. All legendary models that are most desirable in their first year of production. So what’s keeping the Les Paul off this list? A couple things, actually. For one, a poorly designed tailpiece rendered the ’52 Lesters very difficult to play for most folks. Secondly, the absolutely insane demand for ’58-’60 models are unlikely to be eclipsed by any vintage guitar ever made by any company.
While we certainly can’t satiate the demand for Bursts, the tailpiece issue is something we were able to fix with an aftermarket (and totally reversible) wrap-over tailpiece. With this sorted, ‘52s are a criminally underrated year for the Les Paul. Gibson’s P90s of the era are some of the best sounding and most dynamic pickups ever made, every bit as amazing as the ever-so-coveted PAF. Every year we lose more and more of these original ‘52s, some to fires, some to floods, even the occasional ill-informed conversion robs us of one. But the combination of old-growth woods, precise midcentury craftsmanship, and a little bit of Gibson magic ensure that these first year examples can remain a formidable tool in the arsenal of the few players who know the truth.
