Country Gentleman

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Frank Story

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I've owned and used a Gretsch Country Gentleman since 1970. I bought it used and am hoping that some of you might help me find the year it was made (serial #77749). It was made before Gretsch began opening up the f holes and does not have Chet's name on the pickguard.

Thanks.
 
According to "Guitar Identification" by A R Duchossoir (Hal Leonard 1983, 1990) 77000 numbers were issued in 1964-5. The Grover Imperial ("stairstep") tuners were used through 1963 and the kidney-bean type were used after, but there is a photo in Jay Scott's book "Gretsch - the Guitars of the Fred Gretsch Company" that shows a 1964 with the Imperials. Scott's book is haphazard, to put it kindly, in identifying the pictures. He says the 1964-6 model was the third variation (after the single cutaway 1958 and the double cutaway 1960 or so). The serial number moved from the headstock plate to the back of the headstock; Filtertron pickups (identified with the inscription "U.S.PAT. 289237) were replaced by Super Tron IIs; and the formerly red mute pads (two, becoming one in 1967) in front of the bridge became black. They seem to have kept the back pad until the open f-hole model came out in 1970...the first of the "Baldwin" Gretsches. Scott doesn't say anything about serial numbers that I could find just now (his book isn't indexed).

BTW, my 1963 Country Gent doesn't have Chet Atkins on pickguard either...that seems to have come and gone randomly.

Hope this helps.
 
It helps a lot. My muffler pads are split/black. They've dryed out and are turning to dust. The serial # is on the plate. My pickups are 2892371s.

Engineers used to scoff at it back in the 70's when the Les Paul was the only "real" guitar but its tone, action and appearance have always suited me and I actually traded a Barney Kessel for it (I have to admit I traded in 1970 and might think twice today, considering the worth of anything vintage).

Many thanks.
 
Yeah, I went back and looked at the photo again and there was a final "1" on the pickup. I didn't pull Chester out of his case to look at the real thing.

I know what you mean...I bought mine, original case & all, for $425 from a dealer in 1982. They were having a hard time giving 'em away.

A guy here in town actually had a Barney Kessel (cherry sunburn finish). I think the Country Gent is a bit more versatile. I record with mine these days whenever I want the Bigsby, but I performed with it for years. It always got positive comments.
 
This is an excellent resource for Gretsch information:

www.gretschpages.com

I just bought a '58 Clipper, my first Gretsch. Not the most ornate guitar, but it has "that sound" and is in great shape. It plays beautifully.
 
Thanks, freshmattyp. I'm always looking for reliable information.

It's amazing that Gretsches work as well as they do. Sometimes I think they tried to come up with features that were different without worrying over whether they were practical.

For example, the "tone switch" on the Country Gent. It allows you to select NO HF rolloff, SOME, or a LOT. Real useful! Or the "mute" switch. Just the thing to drive you nuts at the gig when you can't figure out why there's no sound. It was promoted as a way to preserve those elusive tonal settings...which were set by the 3-way switch! Pretty elusive, all right. Or the string mutes, which Chet Atkins detested (he had well-developed palm muting chops long before Gretsch entered his life). Or the rocking bridge, which guarantees your guitar will NEVER be in tune. And its patrician disregard for any strings smaller than .011s. When I first owned my Country Gent, I took off the pickguard and installed a Tune-o-Matic and generally tried to turn it into a Gibson, but eventually I realized that you had to approach the beast on its own terms and let it dictate how it wanted to be played, and it was restored to original.

Even so, it's still a killer git. I ignore the features I don't like, and love the sound of those old Filter'Trons [to give them the trademarked name]. Back in the day they kicked gluteus maximus through a Cry Baby wah. =sniff= nostalgia for old bygone times...
 
People tended to love or hate them. Many complained that the pickups didn't have the gain of a Les Paul etc, but with the refrigerator size amps we used to use I never thought that was valid. In my rock & roll days I used a little linear booster (LPB1) with an Acoustic 6/10 amp and could slice a turkey at 100 yards when desired. It would dirty up just fine at lower amp volume settings or be "clean as country water" with the flip of a switch.

It'd be interesting to know what Gretsch was thinking when they decided to add the muffler, stand-by switch and tone switch. All nearly useless to most players. On the other hand, the pickup switch and master volume were perfectly placed for me. How many times have you switched pickups and found the volume not set right for the parts you were playing? It's a long reach to the bottom of a Kessel. A little finger around the master would solve that long before pedals became the thing. Also worked well for violin or steel guitar like effects.

$425.00 seemed to be about the standard price for non "in" guitars in 1970. I paid that for the Kessel, probably because the finish had begun to crack. It had wonderful, warm tone for finger style playing but would feedback at higher volumes (it was never intended for that anyway).
 
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A buddy of mine with a '59 6120 refers to the tone control as the "mud" switch. That about sums it up.

I've lusted after a Gretsch for as long as I can remember. Now I want more. Have either of you played the newer reissues?
 
I've looked at 'em in Guitar Center but frankly I like road warriors with the new rubbed off.

Frank, I finally found Scott's section on serial numbers. He says 77000s are from 1964.

Here are the objects of my affection, Chester first.
 

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...and now Lester.
 

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I read somewher that Pete Townsend said in an interview(poss.Mix Mag??)that he uses an old 6120 with 'Trons as his main guitar in the studio.Has since before Tommy.Trons have an increible bark and bite when uses as a distorted guitar.Unlike anything else on the planet.Think of the bite on Wont get fooled again......I recorded a guy who played heavy electric blues some years back and his main axe was a Jet with Trons....It went really well with the old Tweed Bassman he hauled in.No pedals...just a wire....sweeeeetttttt!
 
If you like road warriors, this one would do. It took a lot of rubbing to get the nicotine off to make it shine a little again(notice how yellow the bindings are?). I'm living proof that second hand smoke won't kill you, at least not fast.

I quit the road in 1980 and haven't used it much since. Nylon strings do more for me now as I mainly play in our church or at night, by myself, to leave stress behind for a while. Isn't it funny how guitars seem to sound best late at night when no one else is around?
 

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cavedog101 said:
I read somewher that Pete Townsend said in an interview(poss.Mix Mag??)that he uses an old 6120 with 'Trons as his main guitar in the studio.Has since before Tommy.Trons have an increible bark and bite when uses as a distorted guitar.Unlike anything else on the planet.Think of the bite on Wont get fooled again......I recorded a guy who played heavy electric blues some years back and his main axe was a Jet with Trons....It went really well with the old Tweed Bassman he hauled in.No pedals...just a wire....sweeeeetttttt!
Click to expand...

And in another interview I had read that he was given the guitar by Joe Walsh (at the time when he was in The James Gang, I believe).
And you're right, that guitar is somethin'
:D :cool:
Mike
 
Mr Story, that's a beauty...and I believe it's a '64, since the sources I quoted agree that the felt rings under the mute buttons changed to black in '64. It looks like yours has the kidney-bean tuners, also. Nice axe. What style do you play?
 
I play all fingers now, but used a pick for most rock & some jazz stuff. I can play Atkins but don't often. To me, the worst kind of comment was "he sounds just like ______." Like most players, I've grabbed stuff from just about everyone I've ever heard and liked but always tried to change it enough to mask that. My favorites were generally the jazz players, Wes Montgomery, Kenny Burrell, Buddy Fite, George Benson, etc and I like the Gent for playing that kind of music. It doesn't have the thicker, jazz tone that most jazz players use and gives a different feel to that music.

Through the years , I've thought about selling it but it and I have a lot of history together and it's more of a keepsake now to help me remember some good times and good friends.

I was burned out when I quit and have only recently begun to play again, thanks to our church choir director.
 
To me, the worst kind of comment was "he sounds just like ______." [/B]
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A tremendous amount of truth there. I always hoped somebody would someday say, "he sounds just like LPDeLuxe!"

Good to hear you got back into playing. I go back and forth but I recently retired and was reintroduced into our musical community here and have been recording nearly full time since New Year's.

I almost sold mine, too, for about 5X what I paid for it, but there are days (and recording projects) when I just HAVE to have that Bigsby rattle. And where would I find another? I paid a "used" price for it but its replacement would cost "vintage".

John
 
I recently looked at new Gretsch guitars in a local shop and think they're way over priced. Just because Gibsons are out of sight doesn't mean everyone should be. I think I remember that Gretsch has them made in Asia now. The last new Gent I remember trying was in 1973 and I wasn't impressed with fit, feel or quality. Kept ol' faithful. On the other hand, just a few days ago I tried a large, single cutaway hollow body(Gary _____? on the head, nice action, made in Korea, $750) and would have bought it if it could earn its keep. Made in Asia wouldn't stop me if it felt and sounded right.
 
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I finally got around to taking a few shots of my new baby.

1958 or 59 Clipper. Looks to be mostly stock, but some kind soul installed a Filtertron at some point. Since it's a player, I'm contemplating getting a Bigsby and possibly installing a bridge TV Jones Filtertron pup.

This is one of the sweetest playing guitars I've ever owned.
 
Very pretty. Nothing like an archtop to make you play like Joe Pass. (That, and a little practice.)

(Maybe some talent.)

Kansas City, eh? I grew up near there, and have a cousin still in KC. I go up there every once in a while.
 
I'm thinking a little twangier than Joe Pass...

Whereabouts near here?
 
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