Gruhn's Guide to Vintage Guitars

This book was very limited as far as various makes of guitars. It didn't have any price guides on any of the things listed.
I would think that would be the main information anyone owning a vintage guitar or other musical equipment would be most interested in. This book was useless to us. I wish we could return it. Thank goodness we ordered "The Offical Vintage guitar Magazine Price Guide 2003" It included everything any collector would want to know!!!

Grain of Salt

I found this reference to be riddled with ommissions and inaccuracies. The Rickenbacker bass section contains errors in almost every model. A simple check of the Rickenbacker website would have corrected the majority of inaccuracies. Production dates were the most obvious. Now if the book was to be filed under "fiction"...

This is the definitive guide

There is no other book, to my knowledge, that does what George Gruhn does here.

First, let me say that I respect Mr. Gruhn's knowledge. There are probably few people in the United States with his encyclopedic knowledge of guitars. I have corresponded with him myself, and he was very helpful

But, I am disappointed in one aspect of the book. I own an 1897 model George Washburn guitar which was made in the nineteenth century by Lyon & Healy. It is a small bodied "Parlor Guitar," with Brazilian rosewood sides and back, spruce top, and ebony fingerboard and bridge. It has beautiful tone, and I love the instrument. It is almost as beautiful as when it was built, and because of the aging of the wood, I'm sure that it plays better.

In this book, Gruhn only briefly discusses Washburn's guitars, and the short reference is buried in the Gibson pages (which is very detailed), because in the late '20s, when the Tonk Brothers acquired the Washburn brand from Lyon & Healy, Gibson built a few of them between 1938-40.

George Washburn (someone has said that his last name was actually Lyon, hence Lyon & Healy) was an American guitar maker, and he built superlative guitars. I've heard that his closest competition at one time was Martin. To give him short-shrift in such a book as this, I find incomprehensible. It isn't as if Gruhn did not know about the guitars--he told me much of what I know about them.

But, perhaps I nitpick. This is a fine book. I recommend it to any guitar aficionado who is buying, selling or trading guitars--especially American-made guitars--or even one who simply wants to learn more about these wonderful instruments.

Joseph Pierre