1958 Gibson Flying V

　Believe it or not, only 98 of these were ever made worldwide—a truly miraculous guitar, the 1958 Gibson Flying V. The odds of owning one are 1.26 in 100 million—meaning only one person in Japan out of the entire population could be so lucky. It’s harder than becoming Prime Minister! And now, this rare stroke of luck has landed right here in our store.This is a legendary instrument once owned by Motley Crue’s Mick Mars, and it’s said that Tamio Okuda, Rudolf Schenker of the Scorpions, and Kazuyoshi Saito have all held it in their hands at least once.

　While there are countless so-called vintage guitars, the 1958 Gibson Flying V is the rarest of the rare. Perhaps because its avant-garde design was too far ahead of its time, production ceased after less than two years, making it a premier-of-premier guitar with a production run orders of magnitude smaller than even the legendary 1959 Les Paul.

　The list of those said to have once owned it includes such legendary guitarists as Keith Richards and Rudolf Schenker. I never imagined I would have the chance to lay hands on such a guitar. Even before opening the hard case, it exuded an inexplicable aura and an undeniable presence. There was a moment when I had to steel myself before opening the case to face it.

　The moment I opened the case, I was simply overwhelmed by the fact that the real thing was right there in front of me. I mustered up the courage to pick it up. It’s heavy! I later measured it and found it weighed 3.85 kilograms, so it’s not actually that heavy, but my first impression—combined with the thick, sturdy neck and the weight of history this guitar carries—was that it felt incredibly substantial.

　But! When I actually strummed it, it was strange. That earlier sense of weight was nowhere to be found. It felt like it fit perfectly in my hands, and I barely felt the weight at all. Perhaps this is the magic of the balance inherent in this shape.

　　I’m overcome by an intense urge to plug it in and hear how it sounds! This V—which is likely much older than I am—seems to be saying, “Young man, you’d better listen to my sound.” It’s a guitar that gets me so fired up, I can almost hear that fanciful dialogue echoing in my head. I immediately set up my Gibson ’60s Skylark amp, and the atmosphere was perfect.

　I flipped the power switch and started playing… A moment of ecstasy. I expected 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 ten years too early for this.” “Ah, I see—this is a tough guitar to handle,” I thought, pulling myself together and trying out various styles. As I played for a while and got used to it, I began to understand the unfathomable depth this guitar possesses.

　　The neck has a thick grip typical of the ’50s, but it’s by no means difficult to play; the more I play it, the more it feels like it’s molding to my hand. And its tone is ever-changing—it sings elegantly when played well, but if played poorly, it ruthlessly exposes your inexperience. It’s a terrifying guitar.The expressive range of the PAF pickups is beautifully captured in this guitar. With the amp set to a natural drive, it breathes vividly—from delicate clean tones to loud ones—with just the touch of your fingertips. If you master it in combination with the volume and tone controls, you’ll be able to conjure a rainbow of sounds without any gimmicks.

　Perhaps the easiest way to describe it is that the playing nuances are close to those of an acoustic guitar. 1958 FLYING V And once you play it, you’ll understand why Corina wood was used. While symmetrical V-shaped guitars are generally said to be prone to losing high-end clarity, the solid response of this superb wood results in a very bright and taut sound.

　The low end is tight and harbors a terrifying ferocity, while the midrange is rich in harmonics and juicy, and the high end is crystal clear—all in perfect balance. You’ll find almost none of the sweetness often found in V-shaped guitars from the ’70s onward (though that has its own charm). It emits such a sharp, cutting edge that it seems almost as if a Telecaster were the closest comparison among electric guitars—a quality that would really shine with a country touch.

　　Now considered the originator of modified guitars, it has a strong image of being unconventional and design-driven, but as expected of a 1950s Gibson, it’s so convincing that it makes you wonder if this shape was created specifically for this sound.

　It was a guitar that reminded me once again of Gibson’s heritage as a traditional acoustic guitar maker, teaching me what true resonance in an acoustic instrument really is. Truly, it’s a guitar where the player’s character—rather than just their skill—comes through in the sound. Having played it, I concluded that I still have a long way to go in my training…

　I definitely want someone skilled to play this. However, as a guitar that changed my perception of the V model so drastically, I don’t think I’ll ever forget my encounter with this particular instrument. Nor, of course, the honor of having been able to play such a magnificent guitar.

The neck is thick and comfortable.

The sturdy neck grip feels like it draws your hand in the more you play it.

That’s precisely why it’s made of high-quality Corina.

The rugged neck grip feels like it draws your hand in the more you play it.

A sound that remains as vibrant as ever, even after more than half a century.

　Such a magnificent FLYING V. Of course, the history that led to this moment is no ordinary one either! The biggest talking point is that it was used during the recording of Mötley Crüe’s legendary album, “Dr. Feelgood.” That’s right—this guitar was originally owned by Mötley Crüe guitarist Mick Mars. This fact is even documented in Mick’s own handwritten notes.

Motley Crue needs no introduction—they are undoubtedly one of America’s most iconic bad-boy rock ’n’ roll bands and true rock legends.Since the band’s formation in 1981, Mick Mars has not only been the backbone of the band with his wild guitar sound but is also known as a versatile and talented player. When he participated as a session musician on Glenn Hughes’ blues album, he showcased his superb slide guitar skills, and it is said that even Glenn Hughes was amazed and praised his wide-ranging talent.

The mention of “used on a RATT album” certainly piques my interest.

　This guitar is also featured on page 63 of "Vintage Guitar Photo Collection Vol. 3" (published in 2001). At the time, it was described as belonging to Mick Mars.

Its sound remains as vibrant as ever, even after more than half a century.

　The Gibson Flying V was developed by a team called “Modernistic Guitars,” formed to rival Fender’s new model development at the time, and was released in 1958. It made its debut alongside the Explorer, another unconventional guitar, but its design was so avant-garde that it failed to sell at all, leading to the discontinuation of production the following year. It is said that only 98 units were produced during those two years.

　As a private collector and devotee of the mahogany 70s Flying V, I recently had the chance to handle an original '58 Flying V that just arrived at our shop—the first time in my life I’ve ever touched one…I immediately fired it up with a vintage 1959 Marshall from our inventory! Hmm... (That distinctive vintage scent; I inspected every inch of it.) The innovative jack placement, the control knobs lined up in a straight row, the neck—slightly thicker from the tip and solid—and unlike later models, the shallow joint makes the high frets easy to play!Perhaps because it’s made of Corina wood, it feels solid and heavy, producing a sound that’s quite hard and resonant. Whether distorted or not, it has a natural, warm character—that distinct “resonant” quality was truly impressive.

　Ultimately, I realized that this was completely different from the V-sound I had imagined for so many years, and I was reminded once again that this is the “original.” It would not be an exaggeration to say that this guitar exists on a completely different level from the later reissues.

　Limiting the discussion to the original '58 Gibson Flying V, it was Albert King, Keith Richards (of the Rolling Stones), and others who began using it in the 1960s, and it was through these famous guitarists that it truly came into the spotlight. Even the legendary Jimi Hendrix used a 1967 Flying V that had been adorned with psychedelic paint.

　Although numerous models were released one after another thereafter, the original Gibson Flying V was reissued in the 1980s alongside the Explorer Modern, and today, along with other reissue models (from 1967 to the present), it has become a model beloved by guitarists across a wide range of genres, both domestically and internationally.

　　For those who love the Flying V, it doesn’t matter if the shape makes it hard to play while seated or if the highs and lows are supposedly weak (though playing the original this time made me realize that’s not the case…). Former Halloween member Kai Hansen, on the other hand, commented that “it’s easy to play even while seated,” and I agree.

　It’s not a ’50s V, but Michael Schenker—whom I deeply admire—is one of its most iconic users, blending that characteristic midrange sound with a wah pedal to create a unique tone.

　When it comes to albums where you can hear the Flying V’s sound, there’s Michael Schenker’s “The Michael Schenker Group: The Return of the Flying Arrow” (’80), going back further, Andy Powell (Wishbone Ash)’s *Argus* (’72), and even further back, Leslie West (Mountain)’s *Nantucket Sleigh Ride* (’71) are all well-known examples.

　The three artists I’ve mentioned here are the ones who influenced me—though I was a latecomer to all of them. I remember being completely blown away by Michael Schenker’s album when I first heard it (I was in middle school) and practically falling off my chair.When I first saw Michael during U.F.O.’s Japan tour in ’96, for some reason I managed to get a seat in the very front row, and there he was right in front of me, holding that Flying V… I remember feeling, almost instinctively, that it was fate. Around the same time, I purchased a 1975 Gibson Flying V. To this day, it remains my favorite instrument, and I use it for live shows and sessions.

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

Flying V (1960s–1980s)
Jimi Hendrix
Stevie Ray Vaughan
Joe Perry (Aerosmith)
Leslie West (Mountain)
Billy Gibbons (ZZ Top)
Michael Schenker (Scorpions)
Rudolf 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 Tachibana
Tamio Okuda
and others

　In 1958, the year this guitar was born, the United States launched the world’s first artificial satellite, “Explorer 1.”Indeed, Gibson also has a guitar bearing that name as part of the same series as the FLYING V. In this era, when the romance of space was at its peak, the design and naming of the FLYING V were surely not unrelated. It was likely a guitar imbued with the spirit of soaring like a rocket to seize glory (Victory).I feel that the concept of the FLYING V was less about a “transformable” guitar and more about a guitar of the “future” and the “cosmos.” It’s no coincidence that the Fender Stratocaster—which could be considered a contemporary of the FLYING V—was named after “stratospheric broadcasting,” which is what we now call satellite broadcasting. This reminds us once again that, for people back then, the electric guitar was an instrument brimming with the romance of the future.

　1958 FLYING V: In Japan, this was the era when Tetsuharu Kawakami of the Giants retired, and the streets were filled with the singing voice of Hideo Murata. It was also the year Nissin’s Chicken Ramen was released. When you think about it that way, it’s interesting how Chicken Ramen starts to look like a legend itself. It was a year that makes me want to savor a bowl of Chicken Ramen while letting my thoughts wander to the FLYING V and the romance of space.

　It was 1958—a time when Tetsuharu Kawakami of the Giants retired and the streets were filled with the singing voice of Hideo Murata. It was also the year Nissin’s Chicken Ramen was released.

　When you think about it that way, it’s interesting how Chicken Ramen starts to look like a legend too. It was 1958—a year that makes me want to savor a bowl of Chicken Ramen while letting my thoughts wander to the Flying V and the romance of space.

　In fact, it’s a well-established rule among dealers that they won’t buy a V without its original case. As those with a keen eye may have already noticed, this is because there are many replicas circulating in the vintage guitar market today.

　Occasionally, you’ll even come across forgeries crafted so skillfully with vintage parts that they’re indistinguishable from the real thing. However, an original case from that era, weathered by the passage of time, is something no one can simply replicate.

　Naturally, the number of surviving original cases cannot exceed the number of guitars produced at the time, so it is only when an original case is present that a 1958 Flying V truly holds value.