Only 98 Gibson Flying V's exist in the world, and only 1.26 out of 100 million people in the world are lucky enough to own one. In Japan, it is only one person in the entire population, which is more difficult than becoming the Prime Minister of Japan! Such a rare fortune has fallen to our store. Mick Mars of Motley Crue once owned this V. Tamio Okuda, Rudolf Schenker of the Scorpions, and Kazuyoshi Saito also owned this legendary guitar at least once.

There are many vintage guitars, but Gibson's '58 FLYING V is the rarest of the rare. The production of this guitar was completed in less than 2 years, and it is a premier guitar among the premier guitars, with the production of this guitar being much smaller than that of the legendary Les Paul '59.

The people who are said to have owned this guitar in the past include Keith Richards, Rudolph Schenker, and many other legendary guitarists. I never thought I would have the chance to touch such a guitar. Even before I opened the hard case, I could already feel the presence of an extraordinary aura. There was a moment when I had to make up my mind to open the case and meet them.


The moment I opened the case, I was overwhelmed by the fact that the real thing was here! The moment I open the case, I am overwhelmed by the fact that the real thing is here. I gather up my courage and pick it up. It is heavy! The actual weight was measured later to be 3.85 kilograms, so it is not so heavy, but the first impression I get is that it is very heavy, probably due to the thickness of the tough neck, combined with the weight of the guitar's history.

However! When you hold it in your hands, you will be amazed. The weight of the guitar is gone. The guitar feels almost weightless. This is the wonder of the balance of this shape.

I want to plug it in and play the sound! The urge to plug it in and make a sound is very strong. Perhaps this V, which is much older than the author, is saying to me, "Young man, listen to my sound. This guitar makes me so hot that such delusional dialogue echoes in my head. I immediately set up a Gibson '60s Skylark amp and the atmosphere was perfect.

I turned it on and started playing.... A moment of ecstasy. I thought I was going to get a gem of a tone, but what came out was an immature sound. It was as if the guitar was laughing at me, saying, "You're still 10 years too young. I thought to myself, "Well, this is a tough guitar," and tried playing it in a variety of ways. As I got used to playing it for a while, I began to understand the unfathomable depth of this guitar.

The neck has a thick grip typical of the 50's, but it's not hard to play, and the more you play it, the more comfortable it becomes in your hand. The expressive reproducibility of the PAF is also evident in this guitar, and with the amp naturally driven, the guitar breathes vividly from delicate clean to loud tones with a single touch of the fingertips. If you can master its use in combination with the volume and tone controls, you will be able to make full use of the rainbow of sounds without any more gimmicks.

The most obvious way to describe it is that it sounds almost like an acoustic guitar, which explains why the 1958 FLYING V and Korina wood were used. The symmetrical V-shape is said to be prone to high-frequency loss, but the solid response of this magnificent wood makes it sound very bright and taut.

The bass is tight and even ferocious, the middle range is juicy and rich in overtones, and the treble is transparent and well-balanced, with almost none of the sweetness (which is also attractive) found in V guitars from the 1970s onward. It is so sharp that it is almost like a Telecaster in electric guitars, and it has a sharpness that would look great with a country touch.

Nowadays, this guitar has a strong image of heresy, so much so that it is called the originator of the deformed guitar, and has a strong design-first image, but it is indeed a Gibson from the 1950s. It is so convincing that it even makes you wonder if this shape was there for this sound.

It was a guitar that taught me once again that Gibson was a traditional acoustic guitar maker, and that it sounded like a live instrument. It is truly a guitar that shows the sound of the player's spirit rather than his or her skill, and my conclusion after playing it is that I still have a lot to learn....

I would love to have someone who is good at it play it. However, I will never forget the encounter with this guitar as it changed my image of the V so much. And of course, the honor of being able to play such a wonderful guitar.

The grip is thick and comfortable.


The tougher the neck grip, the more you play, the more your hand is drawn to it.


The reason why this is a high quality Korina is there.


The tougher the neck grip, the more you play, the more your hand is drawn to it.


The sound does not fade away even after more than half a century.


Of course, the history that has led us to this wonderful FLYING V is no ordinary thing! The biggest topic is that this guitar was used in the recording of Motley Crue's legendary "Dr. Feelgood" album. Yes, this guitar originally belonged to Motley Crue guitarist Mick Mars. This is written in Mick's own handwritten document.

The Motley Crue may not need any further explanation, but they are certainly one of America's leading representatives of bad boy rock 'n' roll and one of the country's rock legends. Mick Mars has not only been the core of the band's wild guitar sound since its inception in 1981, but is also known as a talented player with deep pockets. He has been known to show off his slide guitar skills on a session for Glenn Hughes' blues album, and Glenn Hughes was reportedly surprised and impressed by his wide range of talents.

It is also interesting to note that "used on RATT's album.


This guitar is also shown on page 63 of Vintage Guitar Photo Album Vol. 3 (issued in 2001). It is described as owned by Mr. Mick Mars at that time.

Its sound has not faded away even after more than half a century.


And an even more astonishing history! The gods who held this V in their hands.

After leaving Mick Mars, this guitar went to a famous guitar collector, where it attracted the attention of many famous guitarists. Rudolf Schenker and Matthias Jabs of the Scorpions, a leading German band, and Richie Sambora of Bon Jovi were among the many who acquired this guitar.

In Japan, Tamio Okuda and PATA of X JAPAN visited this guitar, played it, and even lent it out for recordings. Miraculously, the guitar landed in the hands of TC Gakki in Shin-Okubo, Tokyo. Now, who will have the honor of being the next owner of such an extraordinary guitar?

This is a photo of Mick Mars holding this guitar with great care. It's really cool.

Both the guitar and Mr. Mick Mars. (At a music store in California)

The head with a dazzling "Gibson" logo.

The tight-fitting Hakaranda fretboard produces a clear tone with a good rise.

Neck has a fat and tough grip typical of the 50s. No difficulty in playing.

Deluxe engraved Cruson pegs.

High-quality Korina wood for tight resonance. Sufficient tension is obtained through the backstrap.

Neck joint with unique shape

This pickup emits a bell-like sound, of course...

This sharp-angled form.

The pickup is naturally labeled "PATENT APPLIED FOR".

Rear, of course.

Deep set neck joint inserted far deeper than the front PU.

View of the control cavity

The GIBSON FLYING V was developed by a team called "Modernistic Guitars," which was formed to compete with Fender's new model development at the time, and was released in 1958. It made its debut together with the Explorer, which was also a variant, but its radical design failed to sell well at all, and production was discontinued the following year. It is said that only 98 guitars were produced in those two years.

I am a believer of mahogany 70's FLYING V in my private life, but this is the first time in my life that I have come into contact with an original '58 FLYING V that we have in stock.... I suddenly let loose with a vintage Marshall 1959 that we also have in stock.... (The unique smell of vintage, check it out as if you were licking the whole thing...) This novel jack position, the control knobs in a straight line, the neck is a little thicker and stiffer from the tip, and unlike later models, the joint part is shallow, making it easy to play the high frets! The neck is a little thicker and stiffer at the tip, and unlike later models, the joint is shallow, making it easy to play the high frets! I was very impressed with the "sounding" feeling.

In the end, I realized that my impression of the V sound was completely different from what I had been thinking for many years, and I realized once again that this was the "original" sound. It is no exaggeration to say that this guitar is in a completely different dimension from those reissued in later years.

The original '58 GIBSON FLYING V was used by Albert King, Keith Richards (Rolling Stones), and other famous guitarists in the 1960s. Jimi Hendrix also used a 1967 Flying V with psychedelic painting.

The original GIBSON FLYING V was reissued with the Explorer Modern in the 1980s, and is now loved by guitarists in a wide range of genres both at home and abroad, along with other reissued models (from 1967 onward). It has become a model loved by guitarists in a wide range of genres both at home and abroad.

It is a model that is loved by guitarists in a wide range of genres both in Japan and overseas, along with other reissued models (still in existence in 1967). For those who love Flying V, there is no need to worry about such things. Kai Hansen, a former member of Halloween, commented on the contrary, "It's easy to play even when you sit down," and I agree with him.

Although it is not a 50's V, Michael Schenker, whom I worship, is a representative of the users, and he has built up his own unique sound by cohabiting his characteristic midrange sound with the wah.

Speaking of albums where you can hear the Flying V sound, you can hear Michael Schenker's "The Michael Schenker Group - The Flying Arrow Returns" ('80), Andy Powell's (Wishbone Ash) "Argus - The Hundred-Eyed Giant Argus" (' 72) back in the day, and even further back in time, Andy Powell's (Wishbone Ash) "Argus" (' 72). (1972) by Andy Powell (Wishbone Ash), and "Nantucket Sleighride" ('71) by Leslie West (Mountain), to name a few.

I am following all of them, but I remember falling out of my chair when I heard Michael Schenker's album (I was in junior high school) and was blown away by the sound of this album. When I saw Michael for the first time in Japan at U.F.O. in 1996, I somehow got a seat in the front row and saw Michael with the Flyung V in front of me... I remember feeling like I was destined to see him. At the same time, I bought a 1975 Gibson Flying V. I still use it as my favorite instrument for live performances and sessions.

Original Flying V
Albert King
Ronnie Mack
Keith Richards (Rolling Stones)
Stephen Stills (Buffalo Springfield - CS&N)

Flying V (1960s-1980s)
Jimmy Hendricks (Buffalo Springfield - CS&N)
Stevie Raybourn
Joe Perry (Aerosmith)
Leslie West (Mountain)
Billy Gibbons (ZZ Top)
Michael Schenker (Scorpions)
Rudolph Schenker (Scorpions - UFO - M.S.G.)
Andy Powell (Wishbone Ash)
Marc Bolan (T. Rex)
Graham OLIVER (Saxon)
Paul Stanley (Kiss)
K.K. Downing (Judas Priest)
Lenny Kravitz
Fumihiko Tachibanataka
Tamio Okuda


In the year this guitar was born, 1958, the United States launched the world's first artificial satellite, Explorer 1. Yes, you can see the name of it on Gibson guitars as part of the same series as FLYING V. The design and naming of FLYING V are not unrelated to this era of space romance. The guitar was designed like a rocket, flapping its wings to capture glory (Victory), and that is what this guitar was designed to do. I feel that the concept of FLYING V was not a "transforming" guitar, but rather a "futuristic" or "space" guitar. It is no coincidence that Fender's Stratocaster, a guitar of the same generation, is called "stratospheric broadcasting," meaning what we now call satellite broadcasting, and reminds us once again that electric guitars of the time were filled with the romance of the future.

1958 FLYING V In Japan, Tetsuji Kawakami of the Giants had retired and the streets were filled with the singing voice of Hideo Murata, and it was also the year that Nissin's Chicken Ramen was launched. It is interesting to think of Chicken Ramen as a legend when you think about it. The year was 1958, and it makes me want to try Chicken Ramen next time while thinking about FLYING V and the romance of outer space.


In Japan, Tetsuji Kawakami of the Giants had retired and the streets were filled with the singing voice of Hideo Murata, and it was also in this year that Nissin's Chicken Ramen was launched.

It is interesting to think of Chicken Ramen as a legend when you think about it. The year was 1958, and it makes me want to try Chicken Ramen next time while thinking about FLYING V and the romance of outer space.

In fact, it is a common belief among dealers that they will not buy a V without the original case. Because, as those with good intuition may have already noticed, there are many replicas in the Vintage Guitar market today.

Some of them are so cleverly made with old parts that they are indistinguishable from the real thing. However, no one can make an original case that has been aged over the years.

Naturally, the number of original cases in existence will never exceed the number of pieces produced at the time, so the original case is the only way to truly appreciate the value of a 58 FLYING V.