So being a fan of Gibson, I of course subscribe to their Facebook page where I get regular updates on what they’re releasing. The latest is another Custom Shop guitar in the “Collectors Choice” series, Number 7. The original is owned by John Shanks, a singer/songwriter/producer, and is a 1960 model. You can get all the details here.
I know, I’ve raved about these in the past, but I’m back-stepping a little bit; not necessarily refuting what I mentioned before, as from an appreciation perspective, the Collectors Choice guitars give me shivers. They’re freakin’ gorgeous!
BUT…. with a MSRP of about $9400, which translates to $4500-$5000 street, that’s not a price I’ll pay for a Les Paul. Okay, I get that it’s made to exacting specs of the original. But it’s still a brand-new guitar. I think it’s the relic thing. I’ve never been a big fan of relics (yeah, I have one, but it’s very lightly relicked, and I got it for a steal). Or actually, let me qualify. I don’t want to pay the huge sums that some relicked guitars somehow command. The exception, of course, are the Roadworn Series guitars from Fender, which are pretty reasonably priced.
But then again, I’d rather beat the shit out of my guitars myself…
I don’t really get the Relic thing. Don’t get me wrong: I think an old ’56 Strat is a thing of beauty, but I’d rather let it get there on its own (which will never happen because I’m too careful with my guitars) than buy one knowing it’s fake-worn. I also have a hard time with these replica guitars, like this one. Wasn’t it just a typical guitar at one point? Sure, maybe it has new electronics and what not, but still it’s just a regular old custom guitar.
Of course, I have a bit of a double standard because I love some of the Vintage Reissue stuff: ’52 Tele, ’56 Strat.
Exactly what I was thinking, Dan! It was a typical guitar to start out with, then they wore it out. 🙂 I’m with you, I’d rather wear it out myself. My Yamaha APX900, after almost three years of regular gigging has got gig dings, but it’s nicely broken in and I don’t care because I know it was me who dinged it, not someone else. Besides the wear patterns on these artificially worn guitars aren’t necessarily where I’d wear ’em out.
Exactly, the wear on my guitar is MY wear. Each dent and scratch is a story.
I agree on the relic’d thing being over the top. I have never really been a fan. However, I recently got a 62 SG Jr that had been completely destroyed over the years. The rebuild brought it back to working order and then “relic-ed” the new finish. I got it in part because it wasn’t trying to be an original 62 SG Jr in mint condition. It accepted the fact that it was rebuilt and restored. It kept true to the history that had destroyed it while still being restored to a playable guitar! I bought it because it’s history, even if relic’d back into the guitar, still felt real. I can add to its history without starting over and without feeling like a fake.
I think what you guys are focusing on with the “Collector’s Choice” (and rightfully so) is that it is a new guitar pretending to have a history. Now, it may play amazingly well, but at that price, it may not feel as authentic as it should. There are no stories behind the worn feel. You aren’t adding to anything. You’re starting over with a new guitar. That has its place. It is hopefully a lot more reliable than someone’s original vintage instrument. Or at least a lot less valuable and can be taken on the road. But it still doesn’t feel authentic.
Of course a few months ago I probably just would’ve been another internet troll saying all relic’d guitars are stupid.
It’s a fine line!
It is certainly a fine line. My philosophy has always been if it feels right for you, it’s right. Some folks love relics, it just ain’t for me.
The other thing that amazes me is they’re starting to scrape the bottom of the barrel when it comes to celebrity guitars to make. Pretty soon they’ll run out of famous guitarists from back in the day and start making collector guitars named for famous groupies!
Such as? 🙂
They could start with the Pamela DesBarres Les Paul . . .