Tony Bacon writes a lot of guitar books and the very first guitar book I ever bought was one of Tony’s called “The Ultimate Guitar Book”. I was happy to hear he was writing a 335 book. I received a copy of the book a few weeks ago and was asked to not write about it until its release and, since it’s now available, I can talk about it. Bear in mind, I’m not a book reviewer.
The beginning of the book is a history lesson-stuff that, if not for Tony’s vast knowledge of the development of the electric guitar, would likely be lost forever. He doesn’t dwell on the minutia that I lean towards but takes a more macro view of the 335 and it’s ancestry. I was flattered when he asked me to consult with him about the really fine details of the 58-65 era and the level of detail he goes into is satisfying without being too geeky. I’m happy that he left geekdom to me and my readers. But he doesn’t gloss over the fine details either. He presents the evolution of the 335 mentioning specific changes that made a real difference rather than every little detail. Big changes like neck angle and top thickness are discussed in detail but minor changes like who made the pots in what year and the other really geeky stuff I cover was, probably wisely, downplayed or left out entirely. I was particularly impressed by his knowledge of the other guitar makers and their products that either competed or influenced Gibson in its development and manufacture of the ES series. Who knew that Gretsch patented its stereo system in ’56 and that Rickenbacker’s stereo guitars were launched in ’58 a full year before Gibson came out with the 345 and 355 stereos? I don’t think there is a better guitar historian than Tony.
Tony covers the evolution of the line admirably, hitting the high spots with regard to features, finish and early adopters. The fact that he even mentions the Argentine Gray finish gets kudos from me. Instead of completely separating the development of the guitar from the players of the day, he seamlessly moves from the evolution of the model to the back story of how ES players like Elvin Bishop, Justin Hayward, Ritchie Blackmore, Tony Hicks and lots of others (and largely British) artists came to appreciate these American icons. Following the ES timeline through the changes of the late 60’s and into the 70’s, ES players like Alvin Lee, Steve Katz (who was the very first customer in my shop when I opened in 2014) and, of course, Eric Clapton come into focus, all drawn to the versatility and gig worthiness of the guitar. And he doesn’t stop there. Tony follows the format of evolution and artist through every decade right up to the highly regarded Memphis 335’s available today. And, unlike me, he isn’t judgmental about it. I have no problem saying that most of the ’76-79 335’s I’ve played are less than stellar. He sticks to the facts and the book is probably better for it. After all, it isn’t a buyer’s guide, it’s simply the most comprehensive history of the line ever compiled in one place.
And the photos. When folks ask me why I don’t write a book myself, my stock answer is that I don’t have the skills to shoot the photos that such a book would require. Tony’s photos define the guitar book genre. The guitars themselves are impeccably photographed and the historic photo content is a real pleasure to see. In fact, my biggest complaint about the “other” 335 book was the horrible photos. Tony’s photos are always totally professional and his choice of what guitars to feature is dead on (there’s even a Fender Starcaster). So, thanks, Tony, for all the great content. I don’t get the 335 reissue on the cover but at least it’s red. And that counts for something.