The articles on Guild Guitars by Jay Pilzer and Alan McDonald first appeared in 20th Century Guitar Magazine. You can reach 20th Century at (516)273-1674 or click on the 20th Century Guitar Link to access their web page.

                           FORGOTTEN GUILDS PART I
                                     by
                         Jay Pilzer & Alan McDonald

Undervalued, unrecognized and unappreciated are terms regularly applied to Guild guitars. For some, Guild is a perennial also-ran among American guitar makers. That opinion is, however, slowly changing as people recognize that Guild has made, and continues to make, some of the finest production guitars available.

The story of Guild is fairly well known. The company was founded by Alfred Dronge in 1952, sold to the Avnet Corporation in 1966, and after significant financial difficulties, is now owned by U.S. Music Corporation. Throughout these changes Guild has made some wonderful Guitars. Some of these are great bargains on the used/vintage market.

Over the next few months we will be looking at some Guild guitars and amps that are, to put it succinctly, flat-out cool. We begin with one of Guild's most original guitars, and two amps that approach super-cool.

Rock and Roll brought many things to American culture and life: A new form of teenage rebellion, an intermixing of indigenous musical styles, and, above all, feedback. The amps got more powerful, music got louder, and the hollow body electrics of the '40's and early '50's were unable to add to the volume without dreaded (later coveted) feedback.

American guitar makers sought solutions to the problem. Gibson put solid blocks in some hollow-bodies, and both Gibson and Fender made classic and enduring solid body guitars for the new age of loud. Guild derived a different answer.

This company, known for its fine hollow-body arch-tops, made the M-75 Aristocrat. This is the first name for what came to be called the Bluesbird. Debuting in the early 1950's, its most important feature is that it is a semi-solid body rather than a true solid-body guitar.

Clearly, the guitar is patterned after the Les Paul, but it is a vastly different instrument. The semi-solid construction gives the Aristocrat the tonal warmth of a hollow body while allowing the volume that the new music demanded. It also is much lighter than a Les Paul, an important feature for long gigs.

It is equipped with Guild "Frequency Tested" soapbar single coil pickups, tone and volume controls for each pickup, and a "lightning flip" pickup selector switch.

The guitar has Honduras mahogany back and sides and a spruce top. It measures 13 1/2"x17 1/4" x 2" with a 23 1/4" scale that 1950s Guild literature designates the "new popular short-action professional scale." Gold hardware and block inlays on a rosewood board appoint the Aristocrat.

These guitars have become quite popular in the last several years. They play like butter and are tone monsters. The guitar can go from a rather subtle jazz style tonality to a "cuts like a knife" rockabilly with--dare we say, just a flip of the aforementioned lightening flipper.

The guitar dropped out of the line in 1962. In 1967 it came back 1/8" deeper as the M-75. It was the Bluesbird in 1968. While most of the early Aristocrats are sunbursts, the later Bluesbirds were routinely offered in other finishes.

From 1970-1972 the guitar came as either a semi-solid or true solid body and designated the M-75CS (chrome hardware) or the M-75-GS (gold hardware). After 1972 it was only available as a solid body. It retained the same scale and pickups as the earlier model, but added a phase switch which is a regular feature of Guild solid-body guitars in the 1970's.

These are well made guitars that are often beautifully appointed and finished. They are the same size as the earlier Bluesbirds, but approach the weight of a Les Paul. They are fine sounding solid-body guitars that are often available at bargain prices. A later version, the M-80, is the same guitar with a double cutaway.

All of the M-75 series guitars are worth a look. They offer all of the craftsmanship, beauty, and musicality that you could ask for.

Guild also had its name on some fine amps from the '50's and '60's. Some of these were made by Guild while others were apparently made for the company. Some, in both categories, are fine examples of tube amp design and are real bargains on the market.

First up is a matched set of mid-'60's sonic love muffins. The Thunder I Reverb and Thunderbass Amps (both pot dated 1966) are a bargain for the player seeking filet mignon tone at Burger World prices--and BOY HOWDY are they beefy!

The Thunder I Reverb has a 12" primary speaker, 6BM8 output tubes and a separate 8" CTS speaker dedicated to reverb. Amp guru Ken Fisher tell us that this style of reverb sounds great but is harder to find due to the added cost of production. But what a reverb! Ken is right; from Dick Dale drench to a hint of reinforcement this amp delivers. Couple that with a good strong tremolo circuit and prepare to spaghetti western yourself to death.

One of our favorite amp guys, Dave "Thunder" Funk in Nashville, says that a matched set of 6BM8 output tubes should deliver 7 watts per tube at 600 plate volts. Does the Thunder I Reverb use a 600 plate volt design? We doubt it simply from the fact that the amp breaks up quickly and nicely (remember: lower voltages=quicker breakup and browner tone--to a point, obviously). Suffice it to say that best guesstimates would put the amp in the 7 to 10 watt range (shades of Gibson Falcon or Fender Princeton). Plenty of tone for practice, recording, or small club gigs.

The ultra chic Thunderbass Amp combines two 8417 output tubes and two 12" speakers (usually Jensens) in a piggyback configuration. With separate bass and normal channels (is bass abnormal?) guitarists and bassists alike are in for an astonishing range of tones. Unfortunately reverb and tremolo are unavailable on most bass amps of the period. Then again, less circuit loading means better tone at the speakers, right? To paraphrase a recent beer commercial, "Yes it Does." At least it does in the Thunderbass.

Oh sure, sounds great cranked, but how does it look? Like a B movie alien. Slap a couple of dryer hoses on the sides of the upright cabinet and you'll swear you can hear, "warning--danger--Will Robinson." Seriously though, the brown tolex, aluminum trim and brown and tan grill cloth are cool. But one must surely dig the added "trash is king" look afforded by the fake wood grain panel topping the cabinet. We were also proud of the "Hunk 'O Aluminum" mounting bracket for the head.

Another feature sure to please the gigging musician is the master volume knob. Quite simply put--it is large. Need more stage volume? Sound man fall asleep? Just toss a useless stage item such as an ashtray, tennis shoe, lead singer, etc... at the knob and voila! extra volume. Couple either amp with a great sounding Watkins made Guild Cop-i-Cat Echo and surf/rockabilly heaven is as close as the nearest Em chord.

In sum the Guild Aristocrat/Bluesbird guitar and the two amps in the Thunder series are fine examples of the musical technology of the 1950's and 60's. They all hearken back to a time when tone was king. They deserve serious consideration from anyone looking for truly fine equipment in a relatively affordable package.

Jay Pilzer has a Ph.D. in History which he teaches in his home state of Tennessee. He has played Guild guitars since 1964. He and his wife Kay operate New Hope Guitar Traders which specializes in Guild guitars, amps, and parts.

Alan McDonald is a musician, songwriter, and burgeoning amp fanatic. He currently resides in Fayetteville, TN with wife Nancy; his day gig involves large farm animals and heavy equipment.