Prelude

GOOD TO ‘SEE’ YOU HERE AGAIN DEAR READERS and thank you for popping in. Well, obviously, I can’t actually ‘see’ you but you hopefully get the spirit of the idiom. So, half of the year two thousand and twenty five according to the calendar of Pope Gregory XIII (1502‑1585). One criticism about his modifications to the preceding Julian calendar from 46BCE (thanks Gaius Julius Caesar 100‑44BCE) is that the pope didn’t ‘fix’ the date of Easter. It would have been easy to pick a suitably theological date and stick to it. Staying on topic, the world welcomes the new Pope Leo XIV (1955‑) to the head of the Catholic Church. However, I don’t think that the date on which Easter falls each year is a core part of his doctrinal manifesto. He probably has just a few other things to deal with. A missed opportunity, maybe. It does make a refreshing change to pass comment on religion instead of politics. I am certain that Pope Leo will add his influential voice to the masses praying for peace across our sadly savagely scarred planet.

Vintage Guitar Snobbery

This month’s subject is a pervasive and distasteful trait amongst the vintage guitar community, the ornery subject of snobbery. Few will admit to being a vintage guitar snob; they put their opinions down to years of experience and therefore their rhetoric is valid and credible while, at the same time, putting others down for their ignorant inexperience either directly or indirectly. Now, whether intended to be ironic or not that, to me, is a prime example of snobbery. How to spot a vintage guitar snob…

It may be straightforward snobbery, i.e. “mine’s bigger than yours”, “mine’s worth more than yours”, or “is that all you’ve got?” Other clear examples are the sweeping generalisations such as, “anything made after 1965 is total crap”, claiming that the only guitars worth bothering with are pre‑CBS Fenders or pre‑Norlin Gibsons, thereby dismissing everyone who can’t compete in their elevated circles as hoi polloi (NB. Greek meaning ‘the many’) scum. Mention a 1980s Gibson Sonex‑180 to one of these self‑proclaimed elitists and you will not be taken seriously. Ever. These ultra‑competitive, and usually ultra‑rich, snobs won’t accept anything other than a museum‑grade 1958 Gibson Explorer as worthy of their precious attention. Snobs want to stop someone else having something as much as they want something no‑one else can have. Whatever.

Alternatively, there is the case for inverse snobbery, a simple and dogmatic repudiation of the classic guitars hailed by the ordinary ‘pro‑snobs’ (see above), stating that anything that pristine, that rare and costing that much must, by default, be overrated and unattainable – instruments way too exclusive for a mere mortal to pick up and play, so must be imprisoned in a climate controlled vault. These so‑called ‘anti‑snobs’ are likely to reject the big American brands and proclaim that there is nothing better than a U.S.S.R.‑made ‘Ordjonikidze Tonika EGS-65’ from the late 1960s. To them, the accepted mainstream is no‑go zone. These snobs like playing in their own little sandpits, looking over at the big boys with bitter, resentful distaste. Whatever.

I realise fully that the last two paragraphs may provide prima facie proof that I am also a vintage guitar snob, even though I don’t fit neatly into either description. I have to confess that, unintentionally, I fall foul of vintage guitar snobbery from time to time but please don’t tell anyone about our dirty little secret. That in a (large) nutshell, dear friends, is what I’ll be exploring this month. Right. To work.

“There is simply no limit to the tyrannical snobbery that otherwise decent people can descend into when it comes to music” – Stephen Fry (1957‑)

Let’s get a simple definition out of the way first. A snob is a person with an exaggerated respect for elevated social position or overstated wealth who seeks to associate with social superiors and who rejects or looks down on those regarded as socially inferior or less wealthy. A snob is someone who believes that their opinions and tastes in a particular area are superior to those of other people. Snobbery, put quite simply, is what snobs do.

“We must never confuse elegance with snobbery” – Yves Saint Laurent (1936‑2008)

With the complicated world of vintage guitars, there are the musicians, enthusiasts, the ‘collecterati’, dealers, investors, onlookers, tyre‑kickers, etc. Each of these sub‑categories have their fair share of pro‑ and anti‑snobs. If one assumes that the ‘snobbery scale’ (Ed: good one) is a continuum from an absolute snob at one end to a genuine guitarist with integrity at the other, we are all somewhere along the scale, which, if plotted on a chart, the numbers would probably follow a standard deviation bell curve (a.k.a. a normal distribution).

It is all too easy to start off with a rational objective view about vintage guitars and then slip and slide imperceptibly down the slippery slope of snide snobbery (Ed: love the alliteration… for once). For those of us self‑aware enough to recognise the risk, we occasionally need a short, sharp reality check to bring us to our senses and restore our sense of perspective.

Well, recently, I undertook such a quick self‑examination. Then, after I did that, I did a quick check to see where I might be on the vintage guitar ‘snobbery scale’ (heehee). I am sad to say that recently I may have succumbed to one aspect of vintage guitar snobbery. That realisation brought my failings into rapid focus. Darn it!

“England is the most class-ridden country under the sun. It is a land of snobbery and privilege, ruled largely by the old and silly” – George Orwell (1903‑1950)

Is it OK to be a snob and keep it a hidden away? Well, yes and no. Psychologically, humans are inclined to believe that we are far better and far more sensible than we actually are. Basically, we are all biased and prejudiced to some degree, however slight. With pride (the bad sort) and self‑righteous indignation, we might well argue that we aren’t skewed. But we are. All these examples are in themselves a characteristic of a snob. None of us would stoop that low… would we? C’mon, be honest.

So, in an act of rampant redemption, I am confessing to the sin of falling into a trap of self‑denial. How on Earth did that happen and why did I not pick up on it sooner? The answer is that we don’t want to admit our own shady shortcomings, however small, to ourselves, let alone to anyone else. As I’m not a Catholic, so I don’t know how many ‘hail Marys’ to which I will now be condemned.

“It’s the people who transcend their backgrounds who are interesting to me. I have got a bit of inverted snobbery” – Viv Albertine (1954‑)

Where is all this leading you might well ask? Be patient, I’m just setting the scene in front of which the arch playwright’s tragedy will ultimately unfold. Aeschylus, Sophocles and Euripides would be proud. So, what are the capital vices of which I speak? You have a choice of seven (NB. lust, gluttony, greed, sloth, wrath, envy and pride – a.k.a. the Catholic Church’s seven cardinal sins). Well, recently, I faced a moral dilemma, a quandary and a predicament when considering a vintage guitar purchase. That conundrum exposed my own vintage guitar snobbery which, after considerable soul‑searching, resulted in having to make an economic decision. How well did I listen to the devil on one shoulder and the angel on the other? Which persuasive ‘voice’ did I eventually succumb to, and which side of the fence did I eventually fall off? Time to find out…

“Ah, beware of snobbery; it is the unwelcome recognition of one’s own past failings” – Cary Grant (1904‑1986)

Vintage Guitar Refinishing

Before we get to the specifics, what do I mean by a refinish? It may seem obvious but it is worth a quick clarification. At its simplest, a refinish means to apply a new surface covering to an object. The application may mean over‑spraying an underlying finish, for instance to obscure or protect the original surface. Alternatively, it may mean removing the entire original surface coating and replacing it with a new one. A finish may be ‘natural’, for instance a transparent lacquer to show the underlying wood grain, or painted in any colour – translucent or opaque. The superficial material used to refinish most guitars may be nitrocellulose lacquer, polyester or, more rarely, wax/oil finishes (usually only on bare wood). A refinish may attempt to mimic an original finish or it may be used to alter its appearance completely. A refinish may be purely cosmetic or it may be used to cover up damage or evidence of a previous repair.

For vintage guitars, a refinish may be on the body only (common with bolt‑on neck guitars), neck only (ditto) or a complete body and neck refinish (more common on set‑neck guitars). While the intention may be to restore or improve an object’s condition, it generally results in a reduction of the object’s value (for instance antique furniture). For many collectors, a refinish is therefore of economic as well as historical significance.

This article is essentially a story of three vintage guitars, all of which have been part of the CRAVE Guitars family over the years. As you might have guessed by now, the theme connecting these three instruments is the thorny subject of ‘refinishing’. The examples below comprise two full refinishes and one body‑only refinish. In each example the decision‑making process about whether to refinish or not was different, thereby giving a different perspective for each one. Convenient, eh?

Example Number One: 1975 Gibson Les Paul Standard – Regular readers will probably be aware that CRAVE’s 1975 Gibson Les Paul Standard was originally tobacco sunburst. When I bought it second hand c.1978 it had extensive buckle rash and I wasn’t over keen on the tobacco sunburst, so I had it refinished in natural nitrocellulose. Years later, being dissatisfied with how the natural finish was aging, I had it refinished again to its current dark cherry sunburst. At the time, it wasn’t an issue because it was still relatively new and I had no intention of keeping the guitar. I now cherish that refinished 1975 Les Paul, even though its value is probably between 30% and 60% of what it would be worth if it still had its original finish. In fact, it has become CRAVE Guitars’ chosen signature instrument despite its history.

In retrospect, had I been aware of how things would turn out, I probably wouldn’t have had it refinished. Mind you, its original condition would have deteriorated further over time. I’ve also kinda come around to tobacco sunburst, although I won’t have it refinished for a third time. Hindsight is a wonderful thing and I now know that once it had been done, it is permanent.

So it was that, with the creation of CRAVE Guitars as a serious concern, I vowed that I would avoid purchasing refinished instruments, regardless of whether there were justifiable and defensible reasons for doing so. I also vowed that I would not be guilty of refinishing any instruments while in my care. Until now, that 1975 Les Paul has been the only refinished guitar belonging to CRAVE Guitars.

For this example, the decision to refinish the Les Paul was mine to make. Regrettably, I took the decision to refinish and did it (twice!). Doh!

“Snobs are people who look down on other people, but that does not justify our looking down on them” – Frederick Buechner (1926‑2022

Example Number Two: 1984 Gibson Explorer – This tale starts off with what may seem a fairly straightforward question. What would I say now to someone now who wanted to refinish a vintage guitar? The immediate reaction would be to say, “don’t do it”. Simple? Nah. Shades of grey, as usual. As it turns out, this isn’t just a hypothetical situation. Such a circumstance actually occurred only a couple of years ago.

I reluctantly sold a black 1984 Gibson Explorer to fund another. The buyer was a Metallica fan and he wanted a ‘cheap’ 1984 Explorer which he said he was going to refurbish and refinish to match James Hetfield’s cream one. The original black finish was in reasonable condition with a lot of nitro crazing. As it wasn’t pristine, I sold it at less than it was worth (I’m not a dealer). A refinish was not an imperative and everything else was 100% original (including the case). I mentioned to the buyer that a refinish would be irreversible and it would significantly reduce its value on the vintage market. Originality wasn’t his priority, so he went ahead and did it anyway. It wasn’t my place either to tell someone what (not) to do or to refuse to sell it on those grounds. Once it was his, he was free to do whatever he wanted with it. I’d done my bit by giving him the information and he could use it (or not) to make an informed decision. The refinish was done well and he was pleased with it. Personally I wouldn’t have done it but, as Mark Twain said, “You pays your money and you takes your choice!” (from, ‘Huckleberry Finn’, 1885).

Unlike example number one, the decision to refinish the Explorer was not mine to make. The person who bought it took the decision to refinish and did it.

Example Number Three: 1966 Fender Electric XII – Now… rolling the clocks forward, in February 2025, I was confronted by a vintage guitar opportunity, which put me in an awkward decision‑making situation. It is also the example that prompted this article.

I purchased a 1966 Fender Electric XII. With my hyper‑modest income and lack of disposable capital, the only way I could afford this uber‑cool and rare item was to purchase a refinished example at between a third and a half the price of a similar model with an original finish. The vast majority of Fender Electric XIIs were in sunburst finish and the one I bought was a very fetching faded Olympic White. At first, I thought it might be original and a bargain, as it wasn’t advertised as a refinish. Once I had ascertained that it had been refinished, I found myself in a bit of a Catch‑22 because, in principle, I would not buy a refinished instrument (see above). It is an old refinish and the quality of the work is (just about) adequate. Although it might benefit from it, I am not tempted to refinish it again. Generally speaking, I appreciate a guitar’s originality and believe that instruments are better for proudly showing the scars of their trade. A refinish, arguably obscures its visible journey through time but that just starts a new period of its existence.

“Snobbishness is the desire for what divides men and the inability to value what unites them” – Joseph Epstein (1937‑)

So… I accepted that, if I wanted to own a vintage Electric XII, this was the only way I could realistically do it and I would have to revoke my own long‑held prejudicial principle. The dilemma was resolved and the Electric XII is now part of the CRAVE Guitars family. Having taken the plunge, I felt that I needed to challenge previously held bigotries and attempt to justify the refinished Fender Electric XII’s addition to CRAVE Guitars. It is only the body of the Electric XII that has been refinished. The neck retains its original natural finish.

I realised that these internal machinations might possibly make for an interesting debate in the public domain, hence this article. Would I reaffirm my dogma (NB. called confirmation bias) or would I be pragmatic, contest my own predisposition and come to terms with, and accept, the outcome? Furthermore, would I be content with the Electric XII despite it being abundantly obvious that it is not all‑original?

“You must not judge hastily or vulgarly of snobs: to do so shows that you are yourself a snob” – William Makepeace Thackeray (1811‑1863)

Beneath the surface (sic!) there is no doubt that the Electric XII is a fascinating and innovative guitar for its time and is experiencing a renascence in the 21^st Century. Its heritage is not in doubt, even though it was not a great success once the 12‑string craze ended in the late 1960s. Therefore, if one accepts that it is a legitimate guitar and the only difference between this and an all‑original Electric XII is the thin layer on the surface. Does it really matter? Should a paint job be the deciding factor? It also made for the crunch question of why a refinish devalues a guitar by c.50%.

I don’t usually talk about filthy lucre but it may help in this instance. To put it in absolute terms, my 1966 Fender Electric XII cost me £3,000GBP. Converting $ to £ is approximately 1:1 once exchange rates, fees, custom charges and taxes are taken into consideration. The ‘The Official Vintage Guitar Magazine Price Guide 2025’ (a bible for vintage guitar owners) values an original example at $8,500‑$12,000USD for an original common colour (i.e. not sunburst but also not a rare custom colour). Original sunburst examples are valued at $6,000‑$7,500USD. A guide, however, is only that, a guide, despite the level of research involved.

To compare market prices on Reverb, eBay and specialist vintage guitar retailers, equivalent Electric XIIs with original sunburst finish vary from £5,000‑£8,000GBP and rare custom colours up to c.£12,000GBP.

So, on the face of it, £3,000GBP is still a bargain, even with its refinish. I have long stated that monetary value is not a prime motivator for CRAVE Guitars and that remains true. However, such an ‘investment’ is still a considerable commitment for a single instrument, given my low fixed income, so purchase price is a relevant economic factor in this situation. Recognising that I would have to forgo other important things to get this one, the sacrifice was duly made.

“It’s a kind of spiritual snobbery that makes people think they can be happy without money” – Albert Camus (1913‑1960)

There are a couple of other factors affecting the price of this particular example. The tuners are replacements, the 4‑way Daka Ware pickup selector switch knob is not original and old ones are very hard to source (NB. Daka Ware is a type of compression moulded phenolic material and trade name for Davies Moulding in the 1960s). It also doesn’t have an original hard shell case, which is a shame, as they are unique (and therefore pricey) because of their odd size. However, £3,000GBP still seems worth it prima facie – I was getting a great guitar at a good price – what’s not to like?

My excitement about getting my grubby mitts on a cool and rare vintage Electric XII was tinged with apprehension about how I would connect with it, given my (warranted or not) judgemental predisposition about refinishes.

You can probably tell from this lengthy preamble that the issue is still galling me and, perhaps by openly articulating it, I can reconcile the polarising perspectives and achieve some peace of mind. This is clearly a first world problem. If that is all I have to worry about, then things can’t be too bad, eh? Time to apply some rational objectivity and criteria to test the issue.

Unlike either of the previous two examples, the decision to refinish the Electric XII was taken by someone else long before the guitar came into my possession.

“It is impossible, in our condition of Society, not to be sometimes a Snob” – William Makepeace Thackeray (1811‑1863)

Analysis

Given the trilogy of examples, it seemed to make sense to look at what difference a refinish really makes to a vintage guitar. For this section, I am using only the Fender Electric XII as the example. However, many of the observations against each of the five criteria may well apply equally to all three guitars covered here.

Functionality – Not affected. This Electric XII has been a working guitar, belonging to the owner of a London recording studio. It has had to earn its place, so it has been looked after. The Electric XII has always been more popular in the studio than on stage or TV. Given its primary role, it was vitally important that it was able to perform effectively whenever called upon. Less of a priority were its looks or originality. I have long said that vintage instruments should be played and this one clearly fulfils that particular criterion. Why it was refinished, I do not know but it certainly wouldn’t have affected its use as a pro‑grade guitar in a working environment. Its studio role may well explain the tuner replacement too, although it isn’t clear when it was done. In the 1970s and 1980s, it was common practice to ‘upgrade’ tuners for supposed tuning accuracy and stability. The same might also go for the original pickup selection lever.

Working professional instruments are often modified to ensure they are fit for purpose. Many ‘celebrity’ owned guitars that go to auction and reach six figures are often heavily modified to suit the owner’s demanding requirements. Those high profile mods don’t seem to affect provenance values, so why isn’t it the same for everyday workhorse vintage guitars? My predetermined principles may be crumbling under my fingertips. Does the refinish relegate a ‘collectable’ guitar to a ‘player‑grade’ by default? It seems so. In conclusion, the refinish does not negatively impact functionality.

Playability – Not affected. The guitar plays well for an almost 60‑year old 12-string electric. Such an instrument has compromises, although those compromises are more acceptable for a 12‑string Electric XII than, say, for a Rickenbacker of the same age. The maple neck is solid and the original frets are in very good shape (suggesting that it hasn’t been abused or over‑used). Nuts can be a problem accommodating 12 strings and, while this one has been well cut, strings can jump from slots if subjected to heavy‑handed use. That isn’t unique to this example, so we can discount that as an issue. The 4‑way selector switch can be a bit confusing but one just uses one’s ears (as one should). The shape of the selector switch helps with positioning.

Before Leo Fender sold his company to CBS in 1965, he had designed the Electric XII from the ground up, including its unique 12 saddle bridge and its equally unique split coil pickups reminiscent of a Fender Precision bass. So, in conclusion, the refinish does not negatively impact playability.

Tone – Not affected. The signal chain from the fingers, through the strings to the the tuners & bridge, neck & body, and ultimately to the pickups, selector switch, volume & tone controls and the output jack are completely original. Now there are many vintage guitar snobs who will tell you that the finish affects tone. They profess that a thin nitrocellulose finish is far superior to, say Fender’s 1970s’ polyester finish. In practical day‑to‑day terms for a professional working guitar, I believe that to be hogwash and there are plenty of other factors that affect tone more than the type or age of finish on the body, so I am proclaiming an element of ‘emperor’s new clothes’ in this instance. So, in conclusion, the refinish does not negatively impact tone.

Looks – Varies depending on taste. There are probably only two main reasons for refinishing a guitar. One is to cover up something egregious and the other is to improve its looks. Going back to the Les Paul in c.1978, it was to improve its looks. While I have no insight into why the body (only) of the Electric XII was refinished, I can only assume it was for a similar reason. There does not appear to be any damage or ill‑advised irreversible modifications being obscured. Everything else (bar tuners and switch knob) are original, so it appears to have been done for aesthetic reasons. Whether it is better or worse than the original finish (I don’t know what colour it was) is moot – it is what it is. It has been done. It can’t go back. The finish isn’t wonderful; it was clearly stripped, painted and lacquered but not to a thick shiny flat surface. It looks pretty old and well‑faded. The studio owner had the guitar for 30 years and it was done before he got it, so it makes sense that it is an old refinish. Because of this, I don’t want to double down on the ‘issue’ by refinishing it again. Its refinish is part of this guitar’s story and it should stay that way.

I don’t know what you think but I reckon it is best left alone. However, as it doesn’t affect other aspects of the guitar, so the refinish can best be described as cosmetic only. Whether the aesthetic negatively impacts looks is up to each individual to decide. In conclusion, the refinish does fundamentally affect the physical appearance of the guitar body (and thereby, the whole instrument).

Value – Disastrous. As mentioned earlier in the article, a refinished 1966 Fender Electric XII in a non‑sunburst colour has significantly devalued the instrument for the purist collector. However, as you may have gathered over the years, I am not your conventional ‘collector’. Where I struggle at this point is, if the refinish is purely cosmetic and doesn’t affect functionality, playability or tone, why is so much value lost.

Looking at a different category altogether, classic cars and motorcycles, while an original finish may be rare and important to some, many vehicle collectors place a high value well‑restored vehicles, so why not guitars? I can understand why a guitar refinish may be considered less preferable but it doesn’t make a guitar less than half as good, just because of a thin coat of paint. In many ways, it could be argued that it might improve a guitar (but I can’t say that because it is heretical and potentially seditious). Now, I cannot do anything about the entire vintage guitar collector market, so I have to accept that CRAVE’s 1966 Fender Electric XII has been corrupted irreversibly. I have to conclude that the refinish substantially affects value.

“Inverted snobbery is just as dangerous as snobbery itself, you know – that pride in having nothing” – Pete Doherty (1979‑)

A Famous Example: Jeff Beck’s ‘Oxblood’ Gibson Les Paul

Heck, if Jeff Beck can live with a refinished guitar, who am I to be snobbish about it? Beck’s famous Gibson Les Paul was originally a 1954 Les Paul Model Gold Top. According to legend, the original owner of the guitar had it modified by replacing the original P90 pickups with humbuckers, re‑profiling the neck and swapping the nickel metal parts with gold plated bits. It was also refinished in a ‘deep red’ (‘oxblood’) opaque colour to help hide repairs and modifications. The guy who commissioned the changes apparently didn’t like it, so it went up for sale. Beck was apparently unfazed by the changes and bought it in Memphis, TN in 1972. The guitar became a principal guitar for Beck, featuring on many recordings and touring with him. The modifications certainly did not appear to affect Beck’s ability to make great sounds from it. In addition, the guitar was featured on the album cover of Jeff Beck’s album, ‘Blow By Blow’ (1975) – see below.

As a testament to the fact that refinishing may actually add some mystique (and value) to an otherwise standard Les Paul Gold Top, Jeff Beck’s original ‘Oxblood’ sold at Christie’s auction on 22 January 2025 for a record‑setting $1.3m. OK, so it was refinished and modified but that didn’t stop it making its mark and positioning it as an iconic part of vintage guitar and rock music heritage.

Jeff Beck’s ‘Oxblood’ guitar has since been re‑issued as signature Epiphone, Gibson and Gibson Custom (2009 limited edition of 50) models. Coincidentally, Fender issued a press release on 25 June 2025, just a few days before this article was published announcing. “His heavily modified 1954 Les Paul, known to millions as the Oxblood due to its unique chocolate brown/oxblood finish… Now, Epiphone, in collaboration with the Jeff Beck Estate and Gibson Custom, is very proud to introduce the Jeff Beck Oxblood 1954 Les Paul, based on his iconic 1954 Les Paul”. How’s that for timing?

“Laughter would be bereaved if snobbery died” – Peter Ustinov (1921‑2004)

Another Famous Example: Neil Young’s ‘Old Black’ Gibson Les Paul

Neil Young’s famous ‘Old Black’ is another icon of rock music. It was originally a 1953 Gibson Les Paul Gold Top, which had been refinished (before Young got it) and has been extensively modified over the decades. Apart from the refinish, ‘Old Black’ was fitted with a Bigsby vibrato, a Gibson Firebird bridge mini‑humbucking pickup, ABR‑1 bridge, a bypass selector switch, Schaller tuners, aluminium parts and a maple ‘pin‑stripe’ to the back of the neck. Neil Young acquired the Les Paul in c.1968 from Jim Messina of Buffalo Springfield in exchange for a 1958 Gretsch 6120. ‘Old Black’ has long been Young’s go-to guitar up to the present day. Neil Young’s headlining set at Glastonbury 2025 featured ‘Old Black’ along with other guitars. This guitar is so well known it even has its own Wikipedia page.

In 2005, Gibson wanted to release a Neil Young ‘Old Black’ signature model. Neil Young refused permission for an official replica. However that didn’t stop Gibson. Although not officially acknowledged, Gibson released a limited number of tribute guitars commissioned by Japanese Gibson dealer Yamano, with certificates describing it as an ‘Aged Historic Reissue’ and a checklist showing ‘LP Neil Young’. The short run was stopped after Neil Young’s lawyers sent a ‘cease and desist’ letter to Gibson. There is plenty of evidence though that a small number of ‘Old Black’ replica models (strangely based on a 1956 Les Paul) reached the market, with an even smaller number of guitars expertly aged by Tom Murphy. These very rare unofficial replica ‘refinished’ instruments have now become highly collectable.

“The educated elite is not without their own actual snobbery. And I kind of an anti‑elitist in that regard” – Neil deGrasse Tyson (1958‑)

Final thoughts on Vintage Guitar Refinishing

As a naïve teenager getting my hands on my first non‑vintage Fender Strat and Gibson Les Paul, did I ever think that some five decades later that I would still have those two now‑vintage guitars and I would still be besotted with the instrument? Nope. Neither did I think that by refinishing the Les Paul, I would be arguing the pros and cons of the practice five decades later. Nowadays, I wouldn’t dream of doing any modifications that aren’t 100% reversible unless it was absolutely unavoidable (e.g. a refret).

The do‑or‑don’t‑do dichotomy has certainly caused a disproportionate level of reflection and analysis. Fundamentally, I have to say that this 1966 Fender Electric XII genuinely remains a wonderful vintage guitar. I like the look of it, although it is a shame that it has been refinished. I like the sound of it, I like the playability of it (for a 12‑string) and it is perfectly functional, so it isn’t all a ‘bad thing’.

A refinish may reduce the value of a vintage guitar by 50% (or more) of what it would be worth if it was all‑original. As mentioned, for two of the three examples, I could not have afforded an all‑original guitar, so a refinish was my only means to acquire them. Yes, a refinish undoubtedly affects resale value but, as I do not intend to dispose of the remaining two refinished CRAVE Guitars any time soon, their value now becomes irrelevant. I did not buy them as an investment looking for profit, so I can live with that aspect. The Electric XII deserves to be cared for as much as any other vintage guitar.

Regular readers will know that I also have an anathema for modern finishes, including faux finishes and distressing (a.k.a. relicing) an otherwise unblemished finish. While it may give a passing impression of being ‘old’, it is not authentic and doesn’t have a genuine patina of having been played for decades. In short, they lack real ‘mojo’. Now that is a clear admission of snobbery. Guilty as charged.

As I was in the process of writing this article, Gibson Custom Select (i.e. the Gibson Custom Shop), announced a series of “painted over” guitar finishes. Essentially, this a base gold top finish followed by solid colour (either Pelham Blue or Ebony) finish applied over the gold, then ‘aged’ (i.e. reliced) by (Tom) Murphy Lab. Gibson are charging a stonkingly high premium price for artificially aged, refinished ‘new’ guitars. Gibson actually stress (sic!) that the main feature of these instruments is “guitar refinishing” (an actual quote from the Gibson press release). Now that is ironic! It is also impeccable timing. Perhaps this fundamental turnaround will provide a precedent for increasing the value of refinished guitars! Hhmm. What do you think?

Just four days earlier than the Gibson press release, Fender actively promoted “The Benefits Of Modifying Your Guitar”, which could open up another whole can of worms about guitar snobbery. As mentioned, the Electric XII has non‑original after‑market tuners, which only adds to its devaluation now it is a vintage guitar. I acknowledge that there are plenty of people out there who delight in modifying guitars, regardless of the long‑term ramifications of doing so. My stance on that is like refinishing, i.e. don’t do it (unless totally reversible). Don’t worry folks, I’m not going to repeat this article focusing on the snobbery towards modifications rather than refinishing. Once again, though, I hope you get the underlying pattern here without me having to be explicit.

NB. Yes, I know that ‘relic’ is a noun and not a verb, as used in the previous paragraphs. Yes, it annoys me too. However, that is symptomatic of the English language being bastardised by marketing departments of the major guitar manufacturers. Please don’t blame me for others’ grammatical transgressions. You can, though, criticise me for reiterating the odious blaspheme.

As mentioned above, the Fender Electric XII may be the ‘newest’ refinished CRAVE Guitar but it isn’t the first and may well not be the last. The Explorer has gone and is now out of my purview. Where does this leave the refinished 1975 Gibson Les Paul Standard? It changes nothing at all; my feelings about the LP remain the same.

Will this period of reflection change my views about refinishes for future CRAVE Guitars acquisitions? Well, it’s made me think very hard about the issues with a more open mind. The conclusion reached is that judgements aren’t as black and white as I had previously considered, meaning that, from now on, I will have to assess each one carefully on a case‑by‑case basis, balancing priority, availability, originality and, of course, cost.

Ultimately, though, vintage guitar snobbery undermined one of my own criteria for selecting a CRAVE Guitar. By doing so, I have had to challenge my preconceptions and have arrived at a state of mind that says, “so what?” It doesn’t affect anyone else, so that’s not an issue. Can I accept it, live with it and enjoy it for what it is? Yep. Is the recently‑acquired Fender Electric XII less than half of a decent guitar because of its non‑original paint job? Nope. Where it really matters, I would say it is 85%‑90% of a great guitar. Perhaps vintage enthusiasts might do well to re‑evaluate such factors and dispense with some of that hyped up judgemental vintage guitar snobbery we so easily fall into. It goes to show that we can always keep learning and it is hubris to think otherwise.

I actually feel a little sad for the Electric XII. Through no fault of its own, it has been irrevocably relegated to a lowly status from which it can never recover, simply because of a thoughtlessly applied refinish years ago. It is now up to me to care for it as best I can while I’m still here. The same goes for the Les Paul.

By sharing this internal debate with the wider public, I will now lay myself open to scrutiny, prejudice, bias, dogma, derision and… yes… vintage guitar snobbery. Others may well look down upon me and scorn me for my misfortune and/or stupidity. That’s their prerogative, even if I may disagree with it.

While I can expose the degree to which snobbery affects vintage guitars, I do not think that it is up to me to place myself within the definition of a snob, as defined at the start of this article. The little bit of me that is a vintage guitar snob might wish that it was an all‑original example but that was never going to happen.

What I can say with some certainty is that vintage guitar snobbery is not a good thing and we should be cautious of falling into its divisive dogmatism. It is tempting and easy to become snobbish. No big surprise there. Personally, I have learned a valuable lesson and have been subject to a timely and appropriate reality check. Am I a hypocrite? It seems that I may well be. Hey, no‑one can be perfect all the time, right? I throw myself on the mercy of the court m’lud. Case closed. For now.

“Hypocrisy is the essence of snobbery, but all snobbery is about the problem of belonging” – Alexander Theroux (1939‑)

In Other News

Amidst uncertain and volatile operating environments, two bits of sad news from the UK music retail industry. The first is the closure of Play Music Today (PMT). All physical UK stores and the online store have been shut down with redundancies after all other options to find a rescue plan failed. All stock was sold to rival chain Gear4Music for just £2.4m. Also, Brighton’s iconic south coast retail store GAK (The Guitar Amp & Keyboard Centre) was also sold to Gear4Music, also for £2.4m. GAK was one of the UK’s largest independent guitar retailers (and frequented often by me). If a guitar shop cannot be viable in a creative music city like ‘Be Right On’ of all places, it is clearly a bad situation.

Can retailers like Gear4Music in the UK compete with the massive online sellers like Sweetwater in the US and Thomann in Europe? Are these recent high street closures one‑offs or further signs of the worrying trend in the decline of bricks and mortar guitar shops located within local communities? I don’t believe in coincidence. Note to all: use them or lose them.

Finally ‘in other news’, a hopefully positive move. The online marketplace Reverb has been sold by American e‑commerce company Etsy to two investment firms in April 2025. Reverb was owned by Etsy for six years between 2019 and 2025. Reverb, originally founded in 2013, is now once again a privately owned, independently operated business. One of the investors, Servco Pacific, is the majority shareholder of Fender Musical Instruments Corporation (FMIC), while the other, Creator Partners, is a minority Fender shareholder.

CRAVE Guitars’ ‘Album of the Month’

Given that one of the world’s most recognisable modified guitars is Jeff Beck’s ‘oxblood’ 1954 Gibson Les Paul (see above), it makes sense for this article to give pride of place to a specific ground breaking album by a ground breaking guitarist. Beck’s famous Les Paul is even featured on the album’s front and rear cover art. Cool.

Jeff Beck – ‘Blow By Blow’ (1975): Blow By Blow was the debut solo studio album by the late English guitarist Jeff Beck (1944‑1923), recorded at AIR Studios in London and released in March 1975 on Epic Records. The instrumental album comprises 9 tracks covering 45 minutes. The album was produced by the legendary George Martin. The album includes one of Beck’s most memorable tracks, ‘Cause We’ve Ended As Lovers’ (5 mins 41 secs). The platinum certified album (in the US) reached Number 4 on the American Billboard 200 – not bad for a milestone instrumental rock album by a British musician.

‘Blow By Blow’ may, however, not be my favourite Beck album, that probably goes to ‘Jeff Beck’s Guitar Shop’ (1989) but that has a Strat on the cover. Jeff Beck was a one‑of‑a‑kind guitarist and history will probably regard him as a guitarist’s guitarist. He was a genuinely authentic guitar hero for many aspiring guitarists. His exceptional talent is greatly missed and we may never see his like again. RIP Jeff.

“Just ’cause something’s popular, it can still be good. In fact, if more people are buying it, then you must be doing something right. People look down on stuff that sells. What do you call that? Downward snobbery, I guess” – Lemmy Kilmister (1945‑2015)

BELIEVE IN MUSIC!

Tailpiece

Well, that’s another article and the first half of 2025 put to bed. I hope you enjoyed it and it provided a few minutes of distraction from the insanity of real life. Sometimes something that seems so black & white ends up being anything but.

It is now time to move onto another subject and another demanding schedule to get it published by the end of July. For its subject matter, well, you’ll just have to wait and see, won’t ya?

Once I had completed this article, I did have a whimsical moment of reflection. I wondered what would happen if I deleted these c.7,000 words and started over again from scratch, effectively ‘refinishing’ this article. Thankfully, the thought didn’t last long and I am happy to say that this is the original finish. Heehee.

Truth, peace, love, and guitar music be with you always. Until next time…

CRAVE Guitars’ ‘Quote of the Month’: “If yesterday was tomorrow, what would you do differently?”

© 2025 CRAVE Guitars – Love Vintage Guitars.