As both a dealer and appraiser of vintage fretted instruments I am faced with the daily necessity of placing dollar values on instruments. Any appraisal or price determination is to a certain degree the subjective judgment of the particular dealer or appraiser involved, however, the figures that I or any other dealer or appraiser place on instruments are firmly based on our knowledge and experience of the market involving supply, demand, and prior precedent for instruments of this type. While there is no one simple formula that a dealer or appraiser uses for evaluations, the following factors are critically important:

1. Maker
Instruments made by famous luthiers or manufacturers are far more sought after than those by lesser known makers. A great sounding guitar by an unknown luthier may have intrinsic merit and value as a utilitarian tool, but it will rarely sell for as much money as a well known model by a famous maker even if the instrument by the lesser known maker may sound better. Typically famous makers achieve recognition because their instruments are indeed superior to those of lesser known luthiers. Martin, Fender, Gibson, D'Angelico, Stromberg and other such makers did not achieve their great recognition without having justly earned it. While new luthiers are continually appearing on the scene and some produce very fine instruments, it usually takes a number of years for a maker to establish a strong enough reputation for his instruments to command high prices.

2. Model
Some models are far more sought after than others. In the case of Martin guitars, for example, dreadnought size instruments tend to bring more money than the smaller O, OO and OOO guitars, although the actual cost of manufacture varies very little with the size of the instrument. An O, OO or OOO-18 costs virtually the same amount to manufacture as a D-18, but the demand for vintage, used and new D models surpasses that of the smaller guitars such that the D models will bring more money. Similarly Fender Stratocasters and Telecasters are more sought after today than vintage Jazzmasters, Jaguars or hollowbody Coronado models of the same age. In spite of the fact that the Jazzmaster, Jaguars, and Coronados may have cost more when new, Telecasters and Stratocasters are more sought after and bring more money today. Similar examples can be stated for virtually every manufacturer.

3. Age
Older is not necessarily better, but virtually every manufacturer has had periods which buyers and players view as their "Golden Era." Pre-CBS Fenders are more sought by collectors and musicians than the later models. Martin guitars of the 1930s are held in far higher regard and command higher prices than the later models. Gibson Les Paul Standards made between mid 1958 and 1960 featuring patent applied for humbucking pickups, curly maple tops and cherry sunburst finish command far higher prices than the earlier gold top Les Paul models with single coil P-90 pickups and certainly greatly more than any of the later Les Pauls.

New instruments by major manufacturers such as Martin, Gibson, Fender and Taylor are of fine quality and without doubt are suitable for professional use on stage or in the studio, but many collectors and musicians view models of the "Golden Era" as being superior. It should be noted that a company such as Martin which has been in business since 1833 had employees during the 1930s who were routinely longer tenured with the company and more skilled at hand work than those employed today.

In the case of individual luthiers the trend in this respect is quite different. The finest instruments by any skilled hand builder are likely to be his most recent ones. Just as Stradivarius built far better violins when he was 75 years old and had many years of experience than he did when he was only 16, a skilled hand builder such as Stromberg, D'Angelico or D'Aquisto or modern builders such as Benedetto, Monteleone, Kim Walker, Steven Gilchrist and numerous others are more experienced today than they were twenty years ago. If, in fact, a hand builder's older instruments were worth more than his latest creations, that would amount to a statement on the part of buyers that in their opinion the maker had either learned nothing new in the past twenty years or had in fact actually slipped.

4. Condition
Condition needs to be evaluated in terms of cosmetics and structural concerns. Needless to say, a cosmetically clean example in original condition is worth more than the same make, model and year instrument which is highly worn although still structurally stable. Structural concerns, however, are fully as important if not more so than cosmetics. It is quite possible for a vintage instrument to have little if any playing wear but still have major structural problems. In most cases loose glue seams, warped necks or poor neck set angles can be fixed to be invisible and structurally fine. Cracks and other such structural damage are greater problems. In the hands of a skilled restorer many cracks can be made to virtually invisible, but such work is very time consuming and expensive. Re-gluing loose seams or braces or resetting a neck, in my opinion, constitutes normal maintenance and does not lower the value of the instrument.

Just as there are no violins of the 1600s and 1700s in use today which have never had maintenance such as re-gluing of loose seams and replacement of worn out fingerboards or even far more drastic work, it is essential to be aware that acoustic guitars of the 1920s and 1930s are old enough today that virtually all of them have either had or now need some maintenance to be kept in good playing order.

When I started collecting guitars in the mid 1960s it was relatively easy to find Martin and Gibson guitars of the 1930s and Gibson and Fender electrics of the 1960s in excellent playing order without need of restoration, but today an instrument of the 1970s or early 1980s is older than many of the "Golden Era" vintage instruments were when I started out.

5. Originality
As I have discussed in previous columns, originality is critically important. Obviously a forgery is not nearly as valuable as an authentic original instrument. A highly modified instrument such as a Martin D-28 which has been inlaid to resemble a Style 45 or a Gibson Goldtop Les Paul which has had the top finish stripped and redone to sunburst and P-90 pickups removed to be replaced with later humbucking pickups will not have nearly the appeal of an authentic original pearl trimmed Martin or late 1950's sunburst Les Paul.

Collectors place a great premium on a fully original pristine condition example of a prime collectible model, but such pieces are becoming increasingly more and more difficult to find as each year passes. A beautiful original pre World War II Martin with an expertly done neck set such that the work is invisible and the guitar plays perfectly will have a value virtually the same as a pristine example. Similarly, re-gluing of loose glue seams or loose braces is not a major consideration.

On the other hand, refinishing or restoration of major structural defects, however well done the job may be, will result in an instrument of lesser value than one which is pristine. Needless to say, an expert restoration of structural and cosmetic defects such that the work is virtually invisible will result in an instrument of far greater value than one which needs work or has been poorly repaired. Much of the time and effort put into instruments in the Gruhn Guitar repair department is spent undoing poor previous repairs. It is far easier to work on an open but un-repaired crack than to fix one which has been firmly glued with epoxy in the wrong position.

I am frequently asked if repairs will lower the value of an instrument. If it were true that any repairs simply resulted in depreciation, I would immediately be able to lay off seven of my most expensive employees. Needless to say I have not done so because it is my opinion that proper restoration greatly enhances the value of instruments. While I like to see instruments in totally pristine unplayed condition, the fact remains that these guitars, banjos and mandolins were made to be played and enjoyed and over the years they do become worn and need maintenance.

Worn out original frets result in a guitar which is unplayable and worth less than one which has been expertly refretted. Over the years wear, natural aging and unfortunate accidents can and will happen. The work of a truly expert restorer should be virtually invisible. It can be said as a compliment that the work of a luthier may be as distinctive as his signature such that it can be identified from across the room at a glance, but the same comment applied to the work of a repairman or restorer would be an insult. A truly superb restorer leaves no sign that he was ever there. An instrument with cracks, loose bracing, worn frets, poor neck set angle or other such problems is worth far less before restoration than afterward if the work is properly done. There are plenty of repairmen who can refret, glue loose braces and do set up work, but remarkably few who can take a crack and make it structurally stable and visually virtually invisible. At Gruhn Guitars we pride ourselves in having one of the finest repair shops in the world, but we take great pains to accurately represent all instruments we offer for sale such that repair work is disclosed.

6. Supply versus Demand
Some instruments are extremely rare but rarity is not necessarily to be equated with desirability. Instruments may be rare for a variety of reasons. Since individual luthiers build based on orders and manufacturers produce instruments based as well on dealer and customer demand, rarity can be a sign that a model was not well accepted by the public. A model can be very rare because the company received no orders do to lack of public interest. Examples of instruments which are rare because there was little if any public demand when they were made would be Gibson Victory guitars and basses and Martin pre-World War II archtop f-hole guitars.

Some instruments are rare because they were introduced ahead of their time. The Flying V and Explorer Gibsons of 1958 and 1959 are prime examples. These guitars were so radical that they were laughed at, in spite of the fact that they were very fine sounding instruments. It was not until many years later that they were recognized as being great collector's items not only for rarity but due to their historic significance and extraordinarily fine quality. Today there are not only Gibson made V's and Explorers but over the years these designs have inspired makers such as Hamer, Kramer, Ibanez, Dean and numerous Japanese, Korean and Chinese knock-offs such that there are now hundreds of thousands of instruments which owe their direct lineage to the extraordinarily rare 1958 and 1959 originals by Gibson.

Other instruments are extremely rare because they were introduced too late. The original 1922-24 Lloyd Loar-signed and dated Gibson F-5 mandolins are a prime example. The mandolin craze died after 1921, but the F-5 was not introduced until mid 1922. It would be much akin to introducing the finest buggy whip in the world after the invention of the automobile. People simply did not care how good a mandolin was. There was no demand for one until Bill Monroe introduced bluegrass music in the mid 1940s.

Today an original Loar signed F-5 will bring well over $100,000, but in 1922-24 nobody cared. Gibson flat-head Mastertone banjos of the 1930s are another such example. The demand for banjos was minuscule after the Dixieland movement died by the end of 1928. During the 1930s when the flat-head Mastertones were made there was a strong demand for arch top f-hole guitars, but it was not until Earl Scruggs popularized flat-head Mastertones during the mid 1940s onward that there was any demand for such an instrument.

Interestingly enough the sunburst Les Paul Standard of mid 1958 through 1960 is another such example. There were far more Gibson Les Pauls made during 1952, 1953 and 1954 than in 1958, 1959 or 1960. The sunburst Les Paul may well be the ultimate Les Paul model guitar, but it was introduced at a time when the demand for these instruments was falling.

It is exceedingly difficult to kick start demand by introducing a better model instrument once the demand for this style is waning. Numerous companies have tried but failed in such attempts. The fact remains that the finest mandolins and banjos were made after the demand for these instruments had passed. The vintage originals of the "Golden Era of Production" are not necessarily those made during the "Golden Era" of the music itself. Sometimes an instrument is designed for a specific type of music only to become truly popular with collectors and musicians at a later date once it is discovered that this type instrument can be used for a totally unforeseen function. Lloyd Loar did not envision chord chop rhythm to drive a five piece bluegrass band with a mandolin, but the fact remains that the F-5 took on a whole new life when Bill Monroe picked it up. Similarly Leo Fender did not anticipate what Jimi Hendrix would do with a Stratocaster nor did the Gibson design team of the 1950s envision the rock and pop scene of the 1970's to the present.

Some instruments such as D'Angelico, Stromberg and D'Aquisto guitars are rare because they are hand made masterpieces by an individual luthier who was incapable of high output. D'Aquisto had a minuscule output ranging from about seven to twelve instruments a year. D'Angelico was only slightly more prolific but lived longer and produced guitars over a greater time span resulting in more total output. Stromberg guitars of the late period from 1940 through 1955 are among the finest rhythm guitars ever made by any luthier, but the early Strombergs prior to 1940 are relatively mediocre instruments. In view of the fact that these are superb instruments made by a tiny workshop for only fifteen years, the total number of such pieces is extremely small resulting in great rarity.

Some instruments are rare due to the fact that they are limited edition "instant collectibles." Martin, Gibson, Fender, Rickenbacker, Taylor and numerous other manufacturers are producing pieces of this sort. I have written a great length on this topic in Vintage Guitar magazine as well as in previous columns. Suffice it to say that I do not consider these to be the ultimate investments. Just as I would not recommend collecting Franklin Mint replicas of Samurai swords or Civil War swords rather than having the originals, it is my opinion that instruments made as deliberate limited editions are frequently not particularly good investments.

On the other hand, it is my opinion that there are some superb new instruments being made today both by individual luthiers and manufacturers such as Martin, Fender and Gibson. The Fender Custom Shop models as well as their Masterbuilt instruments and Martin "Golden Era" guitars as well as Gibson Custom Shop Historic models are of exceptionally fine quality. How they will stack up in the future as collectibles remains to be seen.

Clearly, the instruments we view as "Golden Era" collectibles today were once production instruments made to be used and played. It is my opinion that the best new instruments produced today do indeed have the potential to be collectible in the future. It is, however, difficult to predict future values. Much depends on what the manufacturers and luthiers producing these instruments today do in the future. If, for example, a company goes out of business or lowers its standards of quality due to a change of ownership or any other reason, the higher quality instruments of today could become highly collectible in the future. If, on the other hand, new instruments twenty years from now are made to the same or even better standards of quality than the guitars of today, the current models may not appreciate nearly as much.

While rarity alone does not make an instrument desirable, in some cases obviously it is a factor for consideration. Unlike postage stamps or coins in which rarity is everything, musicians want instruments of great quality. Demand for sunburst Les Pauls is far greater than for Les Paul Customs of the same age or for numerous other models which may in fact be more rare. Gibson made over 1500 sunburst Les Pauls from mid 1958 through 1960, but there are millions of people who would like to own one and have bid up the prices such that prime examples can be over $150,000. There are, on the other hand, instruments of which less than a dozen were made but for which there is little demand resulting in prices under $1,000.

7. Sound and Playability
Obviously as a musician, sound and playability are of paramount importance; however, in evaluating vintage instruments or setting prices I do not generally take these factors into consideration. The reputation a particular make, model and age instrument has is not an accident. The pieces which command high prices have a reputation such that one of a particular make, model, and year is typically extremely good, but tone and playability are rather subjective. It should also be noted that if a guitar is not set up in good playing order and does not, as a result, sound good or play well, it can be worked on such that in all probability it will play just fine. If I have two guitars of the same make, model, and year, one of which is extremely clean but in my opinion does not sound especially great compared to another one which is in rougher physical or cosmetic condition but which I think sounds great, I will still get a higher price for the cleaner one.

8. Prior Precedent
While any evaluation is based to a considerable degree upon the knowledge and subjective judgment of the dealer or appraiser, prior precedent figures prominently. When evaluating instruments I take into account prices I have previously been able to get for similar instruments as well as prices other dealers with whom I am familiar have gotten. "Blue book" prices are based on dealer input which usually involves their prior precedent in sales. Prior precedent of "asking prices" versus actual sales figures are less relevant to me. Asking and getting are not one and the same. As I have previously stated, I do not go strictly by blue book values. It is my experience that all too often blue book prices can be either higher or lower than my own experience dictates. It should also be noted that neither do I go strictly by previous achieved prices. I take into account current market conditions. If I get an instrument which is an extremely prime example or if in my judgment the market has heated up such that an item is now in greater demand than it would have been the last time I had one, I will ask more.

Needless to say it requires a very skilled and experienced appraiser to take all of these factors into consideration. It is not possible to price guitars simply by picking up any of the so-called "blue books." Some of these books are better than others, but in my opinion none of them are totally accurate nor do I use any of them extensively for setting prices of my own inventory or in comparing appraisals. None of the blue books are helpful in identifying an instrument or determining its originality. In order to do an appraisal one must first properly identify the piece. Not only must one determine the make, model and year, but one must be certain that it is in fact original and one must determine the extent of any modification or repair.

9. Memorabilia Appeal
Instruments which have been owned and used by celebrities have memorabilia appeal. Frequently their appeal to fans of a particular performer may result in prices far higher than they would otherwise command.

The base line value for any memorabilia piece is the amount this piece would bring if it had been owned by nobody special. While there is no way to apply a simple formula or "blue book" yardstick in evaluating memorabilia, I try to take in to account the importance of the former celebrity owner, how many instruments he or she had, how extensively they used this particular instrument, and what if any track record there may be for previous instruments placed on the market which have been owned or used by this performer.

Typically, instruments owned by deceased celebrities will bring more money than those owned by living artists, but it is just as critical to determine how many instruments an artist may have had and how frequently such pieces come on the market. For example, Bill Monroe used one 1923 F-5 mandolin throughout most of his career, whereas Eric Clapton, Billy Gibbons, and Rick Nielsen of Cheap Trick, have owned hundreds of instruments. Typically, an artist who has had hundreds of pieces go through his hands will not add as much value to a guitar as an equally prominent artist who has used only a few instruments in his career, however, it is worthy of note that in a charity auction some of Eric Clapton's guitars brought astronomical prices. The ones which brought in excess of $100,000 were, however, instruments which he used a great deal. Some which he had barely touched still brought as much as $50,000 but it is my opinion that had they been offered in anything other than a celebrity auction context, they would not have brought even half that amount.

Typically, rock star instruments, particularly those associated with Jimi Hendrix, Eric Clapton and Elvis, command higher prices than country music artist memorabilia, but a guitar certifiably owned and used by Jimmie Rodgers or Hank Williams Sr., would certainly bring a great deal of money. It is at best a very subjective judgment to try to compare and contrast values imparted by prior ownership by artists such as Johnny Cash, George Jones, Marty Robbins, Hank Snow or other Opry stars.

It should be noted further that some artists sold millions of records but were not highly respected by guitar players, whereas others, such as Mike Bloomfield, never had a hit record in their entire career but are idolized by pickers. Needless to say, when selling any instrument as memorabilia it is absolutely critical to be able to document the piece with letters, preferably by the former owner as well as photos, film clips, or other documentation from family members, band members, or managers. I am offered instruments said to have been owned by Jimmie Rogers, Hank Williams Sr., Elvis, and other celebrities almost every week, but without proper documentation, I don't take the bait unless they are offered at their intrinsic value as an instrument.

Needless to say it requires a very skilled and experienced appraiser to take all of these factors into consideration. In order to do an appraisal one must first properly identify the piece. Not only must one determine the make, model, and year, but one must be certain that it is in fact original and one must determine the extent of any modification or repair. After forty years of virtual total immersion in this market I use my knowledge and "gut feel" rather than any "blue book," but I am still learning every day. I don't claim to know it all.

About the author
George Gruhn is the co-author (with Walter Carter) of Gruhn's Guide to Vintage Guitars, which is the comprehensive field guide to vintage fretted instruments, and the companion volumes Acoustic Guitars and Other Fretted Instruments and Electric Guitars and Basses. These books chronicle the history of American stringed instruments and are beautifully illustrated and exhaustively researched. His articles are published in numerous magazines.

Gruhn moved to Nashville in 1969 after getting his bachelor's degree from the University of Chicago and doing graduate work at Duke University and the University of Tennessee. In 1970, he established Gruhn Guitars, which is one of the largest dealers of vintage and used instruments in the world, located right behind Nashville's Ryman Auditorium. The "guitar guru" has been a featured columnist for Pickin', Frets, Bluegrass Unlimited, Guitar Player and Vintage Guitar. He is the former vice president of research and development for Guild Guitars, and his designs are currently featured on a line of Tacoma guitars.

"Since 1963, George Gruhn has distinguished himself as the one to see in Music City - or anywhere for that matter - if you're in the market for a vintage stringed instrument . . . He categorizes his interest in guitars - like that of his staff and most of his clientele - as beyond obsession. 'Those with a serious interest have an addiction, and we've got the goods,' Gruhn says of his customers, who include the heavyweights of popular music - Eric Clapton, Neil Young, Johnny Cash, Lyle Lovett, Vince Gill, George Harrison, and Paul McCartney, just to name a handful." - Bone Magazine

Contact Information
George Gruhn, Gruhn Guitars
Phone: 615-256-2033
Email: gruhn@gruhn.com
Web: Gruhn Guitars

This guitar is fitted with all the features you could possibly wish for, for a playing style that goes with this kind of instrument. Carefully chosen features leave a little to nothing to be wished for, which makes Rickenbacker's 325C58 Hamburg C Series an extremely well featured guitar with which you'll be thoroughly pleased. Highest grades for 325C58 Hamburg C Series's features!

The sound of 325C58 Hamburg C Series is superb to main guitars' in many ways. The reason lies in the fact that 325C58 Hamburg C Series plays extraordinary well through mostly any kind of amplifier which means that the sound is versatile, adoptable to various music styles and genres. Rickenbacker's 325C58 Hamburg C Series is easy to set up, and even easier to get used to it's unique tone that easily becomes yours.

Ready to play out of the box, Rickenbacker's 325C58 Hamburg C Series is easy to set up even further thanks to great hardware pieces she built upon. Handling and playing this kind of guitar is a pure joy as it stays in tune 90% of the time, regardless of the abuse. It feels reliable and it really is, as Rickenbacker put great deal of time and effort to produce such a good looking guitar that is behaving well, as 325C58 Hamburg C Series does.
Playing live, 325C58 Hamburg C Series will perform well and will not let you down. It is fairly reliable instrument both in studio and on stage, and will be a long term companion, as it is built to last. Rickenbacker has made a solid instrument that you will be happy with, and can depend on right from the start. Needs no backup as it has proven to be built really well.

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Vintage Guitar magazine the market bible on all things Vintage Guitar, developed the "The 42-Guitar Index" in 1991. It tracks the ongoing values of excellent condition original pre-1970 Gibson, Fender and Martin guitars. Pre 70's because those instruments are the most valuable, however guitars from after 1970 are starting to rise steadily.

The average value of an instrument in their index for 2007 is a very healthy $19,706, and that represents a staggering 438% increase since 1991. This equates to an average of 27% compounded annually.

The bulk of that growth has occurred in the past few years. Last year alone showed an amazing 54% increase. Why the sudden and massive increase? Simple, stock is drying up and these instruments have gone underground in collections world wide.

There are three main brands of guitars that lead the pack in investing circles, Gibson, Fender and Martin, all American guitars. Gibson however leads the pack in the vintage guitar market and outranks all other vintage guitar brands in terms of increase in value over the past 20 years, slightly edging out Fender and far exceeding Martins.

As an example, an all original museum quality 1959 Gibson Les Paul Standard may soon fetch over US$500,000! This particular guitar made between 1958 to 1960 is not only rare, but is also one of the greatest sounding guitars of all time and has been used on many of the finest rock albums of all time.

Fender guitars, and in particular the custom colors models are still highly desirable instruments for both players and investors. If we take a 1962 Fiesta Red Slab Stratocaster from 1996 to 2007. In 1991 they sold for an average price of $10,650. Find one now and you will have to pay an average of $41,500 - this equates to a low of $29,000 and a high of $54,000.

Martin guitars have produced similar rises in value and make excellent investments as well, but the really big money is in the Fender and Gibson models.

It may sound like rock-opera fiction, but it happens: Weekend Warrior hits garage sale and buys dusty old Fender guitar for $50 (or, cleans attic and finds the Gibson he bought in high school for $100). He visits a guitar shop in "Antiques Road Show" fashion -- and discovers the "beat-up axe" is a vintage collectible, worth $10,000. Or $20,000. Or $100,000.

The vintage guitar market has declined like other investments in this recession. But if you have cash to seed a small collection, why not start a fun hobby that's financially savvy? After all, when your 401K takes a beating, you're broke. When your vintage guitar takes a beating, it may continue to appreciate anyway, just because it looks so cool. Besides, who ever plugged a stock portfolio into a Vox amplifier and woke the neighbors?

I tapped a veteran vintage guitar expert, Wayne Sefton, owner of Midwest Buy and Sell in Chicago since 1990, for tips on what to look for when building your own collection. (His Web site is being revised; visit his MySpace page here.) Sefton has sold instruments to Wilco, Franz Ferdinand and Death Cab for Cutie. And in a 2002 Chicago Tribune article (now only available via an old Geocities link), I rated Wayne's shop as Chicago's coolest and friendliest, along with Terry Straker's Guitar Works in Evanston, Ill.

Here are Wayne's five tips for starting a valuable vintage guitar collection on a budget -- in this case, less than $5,000 per instrument, usually 10-years-old or more.

1) Buy brands collectors love. Sefton says Fender and Gibson are heritage brands bound to rise in value. Rickenbackers (played by the Beatles, Byrds and Tom Petty) are a bargain because even the rarest often sell for under $5,000. "They're great American-made guitars," Sefton says.) Avoid overseas brands.

2) Beware eBay. Guitars get bid into a frenzy there. "There's also a lot of shill bidding going on," Sefton warns. "They'll start stuff at $2,000 you can easily buy for $1,500 elsewhere." Plus, you can't pick up and play the guitar if it's halfway across the country.

3) Get an honest appraisal. Guitar Center chain stores can't do it; they may even try to give much less than your attic axe is worth. But guitar genius George Gruhn of Gruhn's Guitars in Nashville, does appraisals for the bargain price of $50. Many (including this writer) think Gruhn's is the best in the business, and so does Sefton. "I' do written appraisals for free, but that's because I'm a nice guy," he says, laughing.

4) Inspect for cracks, replacement parts and playability. A re-glued neck, refinish, or new tuners can drive a guitar's value down, Sefton says. If the guitar is all original and "mint," that's great. But so are older Fender Stratocasters and Gibson Les Pauls with that "road-worn" look. "Make sure the neck is good and playable," Sefton adds.

5) Relationships matter. Sefton takes time to educate and advise his customers, steering them toward smart investments. (Instruments I've bought on his advice have appreciated up to 300%.) "Get to know who you're dealing with," Sefton says, noting that a dealer wanting your money is far different from a dealer earning your loyalty.

Everywhere John Entwistle went, his one-of-a-kind bass guitar and "Boris the Spider" necklace usually went with him.
Now The Who bassist has gone where his belongings can't travel — he died of a heart attack in 2002 — and his beloved Buzzard bass and Boris necklace remain behind.
They're more than just mere belongings, though.
They're artifacts from the golden age of rock 'n' roll.
"He changed the face of music," said friend Steve Luongo, who drummed in The John Entwistle Band.
Those same artifacts are on display this weekend at Sidney & Berne Davis Art Center — along with other Who memorabilia, vintage rock posters from the 1960s and ’70s, signed guitars and more.
It’s probably the highest-profile event ever held at the fledgling art center, said center director Jim Griffith.
Sure, he said, they’ve had big-name Broadway actors and jazz musicians.
“But this is rock n’ roll,” he said. “It’s a whole other audience.”
In all, there will be 800-1,000 pieces in the show, said Paul Cola, a board member for The John Entwistle Foundation. The exhibit — plus an invitation-only party Sunday night — is a fundraiser for the foundation, which helps sick and poor kids get access to musical instruments and training.
The show features other rock memorabilia, including about 30 guitars signed by The Rolling Stones, Aerosmith, Sammy Hagar, James Taylor and more. All those are for sale.
But the Entwistle items, organizers said, should be the biggest draw.
Before those things arrived at the center, though, most of them lived at Luongo’s south Fort Myers house. Luongo is a former drummer for Mountain, Rat Race Choir and The John Entwistle Band (best known for “Horror Rock,” the theme song in the cartoon Van-pires”).
Recently, Luongo showed off many of those pieces to a visiting news-press.com reporter. From a back room, he hauled out a black guitar case, clicked open the latches and carefully lifted the lightweight, angular Buzzard bass into the light.
“That’s the one,” Luongo said. “That’s an old friend.”
He smiled weakly.
“I sat next to him every night and listened to it bark,” Luongo explained. “For years.”
For Luongo, these pieces are more than just memorabilia.
They’re memories.
And this weekend’s event isn’t just any show. It’s a tribute to his best friend — a man who happened to be the bass player in one of the most important rock bands of all time, The Who.
The necklace and the bass guitar will sit alongside rare 45 RPM records from Entwistle’s personal collection, outfits he wore on tour with The Who, handwritten lyrics and pen-and-ink drawings of his bandmates.
The Boris the Spider necklace, of course, gets its name from the classic Who song written by Entwistle. The bassist commissioned the pendant — the first of several — to commemorate his first hit with the band.
At his house, Luongo lifted the top off a cardboard box to reveal the spider. Its onyx body and ruby eyes gleamed in the kitchen light. “Don’t worry,” he joked. “He’s been anesthetized.”
Luongo smiled.
“He probably won’t bite you,” he said.
The Boris necklaces were special to Entwistle, said his son, Chris Entwistle of Stroud in the county of Gloucestershire, England. It’s rare to find a photo without him wearing one version of the pendant.
“The spider became very much associated with him,” his son said. “He had to play the song at every concert.”
John Entwistle wrote the lighthearted tune after chatting with friends about movie stars and wondering aloud what kind of animal would best represent them. Horror actor Boris Karloff, they decided, would be a spider.
John Entwistle wrote the song the next day.
“He said it only took him seven minutes to write” his son said.
Each piece in the show triggers countless memories, Luongo said. He’s only now gotten to the point where he can do something like this: Talk openly about his friend and immerse himself again in Entwistle’s world.
The wound still aches. While showing off the memorabilia, Luongo accidentally stumbled upon an old photo from June 27, 1987 — the day he and Entwistle met.
“Wow,” Luongo said, his voice choked, his eyes tearing. “I didn’t know this was in here.”
It gets easier with each passing year, though.
“This is the first time I can talk about him without turning into an idiot,” Luongo said. “I still can’t listen to any of our records.
“It’s painful. It’s extremely painful.”

Introduced in 2006, Guitar Center's King of the Blues is designed to offer similar life-changing opportunities for unsigned guitarists. More than just a competition to find the most technically skilled players, King of the Blues is designed to seek out the most passionate, innovative and authentic undiscovered guitar players and give them a shot at stardom. Some of today's most iconic and groundbreaking artists, including BB King, John Mayer, The Black Crowes, and Kenny Wayne Shepherd have participated at past King of the Blues events, and the winner of Guitar Center's 2007 King of the Blues, Aaron Loesch, was invited to perform at Eric Clapton's Crossroads Festival in front of over 25,000 attendees.

Guitar Center's King of the Blues champion will win an impressive package of prizes, including $25,000 cash, a featured spot in a Guitar Center ad campaign, along with a Gibson '59 Les Paul reissue guitar, a $2,500 Levi's shopping spree, a Marshall Vintage Modern 50W half stack, a Boss GT-10 Guitar Multi Effects Pedal, a feature in Guitar World magazine, worldwide distribution of their music in iTunes and more, plus endorsement deals from Ernie Ball, Marshall Amplification, VOX Amplification, and Gibson. Additional regional, district, and local prize packages will also be awarded, thanks to the generous support of Gibson, Levi's, Ernie Ball, Marshall, Boss, VOX, Guitar World, and TuneCore, all of whom are proud supporters of Guitar Center's King of the Blues.

How It Works:
Sign-ups for the preliminary rounds of the King of the Blues competition begin July 1, and run on a "first-come, first-serve" basis, with a maximum of 30 registrants per store. Contestants must sign up with a Guitar Center associate at their local store—no phone or online sign-ups are available.

Each contestant will perform live to 1 of 25 original backing tracks, developed by Grammy Award-winning producer Pete Anderson. All backing tracks are available for free download at www.guitarcenter.com www.guitarcenter.com/kingoftheblues Contestants may bring and use any 6-, 7-, or 12-string acoustic or electric guitar, lap steel or pedal steel guitar, plus any audio pedal effects that can be set up in a 5-minute time limit, all of which will be plugged into a selection of amplifiers provided by Guitar Center.

Local competitions start August 20 in all 214 Guitar Center locations nationwide. One winner from each store will be chosen to move up to district competitions (24 locations), followed by regionally hosted semi-finals (6 locations). It culminates in the final King of the Blues Grand Finals competition in Los Angeles in November, where the grand finalists will perform in front of a live audience and a panel of celebrity judges. They'll share the stage with Joe Bonamassa, who was named Best Blues Guitarist by Guitar Player Magazine's readership in their annual Reader's Choice Awards for 2008, and whose incendiary playing has resulted in numerous albums in Billboard's Top 10 blues chart.

Competition Dates:
Store Prelims: August 20th, August 27th and September 3rd
Store Finals: September 10th
District Finals: September 30th
Regional Finals: October 21st
Grand Finals: November 2009
For more information, please visit www.guitarcenter.com

These early stringed instruments were not known in the West until the 1960s when Gakki paired up with Harry Rosenbloom, a Pennsylvania music shop owner. Together, they decided to give the guitars the name of Ibanez to make it more marketable to a western audience.

By the time the 70s hit, Ibanez began making guitars modeled after popular styles that companies like Gibson and Fender were putting out. Though they were almost exact replicas, they were made with cheaper materials and were therefore inexpensive.

However, Ibanez has changed. They no longer model their guitars after other styles put out by different companies. They have their own makes and models that are endorsed by some pretty high level players.

The newer Ibanez guitars are more modern in design and style. You can find some with interesting shapes and designs. Also, artists such as Steve Vai work closely with the company to manufacture special models with their own artistic flare. (For example, Vais tree of life pattern on the fretboard).

Another modern style element includes the fact that they have slimmer necks and flatter fingerboards than the classic style guitars. This makes doing intricate and accurate speed work a lot easier. Also watch out for different models with different finishes and electronics.

An example of some of the guitars you can find include the Prestige Series guitars, the Vai Signatures, Pat Metheny Signatures, Korn Signatures, Joe Satriani Signatures, and the Andy Timmons Signature guitar. These signature guitars were designed with or by the artists themselves. Other models include the S-Series guitars, special models for left handed players, and the Artcore guitars.

There are also certain artists who use and endorse the brand. These include Joe Satriani and Steve Vai, two highly regarded instrumental rock guitarists who often tour together. Andy Timmons, Korn, Pat Metheny, George Benson, Terry Balsamo of Evanescence, Fran Cosmo of Boston, Marty Friedman, John Scofield, and Matt Roberts of 3 Doors Down.

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