1958 Gibson Flying V

　Believe it or not, only 98 of these were ever made worldwide—a miraculous guitar, the 1958 Gibson Flying V, owned by just 1.26 people out of every 100 million. In Japan, that’s just one person out of the entire population. The odds are even slimmer than becoming Prime Minister! Such extraordinary luck has now landed at our store.This legendary instrument was once owned by Motley Crue’s Mick Mars, and has been played by the likes of Tamio Okuda, Rudolf Schenker of the Scorpions, and Kazuyoshi Saito.

　While there are many so-called vintage guitars, the 1958 Gibson Flying V is a rarity among rarities. 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 overwhelming 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 my courage and picked 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 solid and substantial.

　But! When I actually hold it, it’s strange. That earlier sense of weight is nowhere to be found. It feels like it fits perfectly in my hands, and I hardly feel 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 fantasy-like dialogue echoing in my head. I immediately set up my Gibson ’60s Skylark amp, and the atmosphere was perfect.

　I flip the power switch and start 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 were laughing at me, saying, “You’re still ten years too early for this.” “Ah, so 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, the tone breathes vividly—from delicate cleans to loud tones—with just the touch of your fingertips. If you master it in conjunction with the volume and tone controls, you’ll be able to conjure a rainbow of sounds without any gimmicks.

　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 feels almost like a Telecaster among electric guitars, making it perfect for showcasing a country-style 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 means. 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 really want someone skilled to play this. However, as a guitar that has 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 grip 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 from 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 behind it is nothing short of extraordinary! 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 likely needs no introduction; they are undoubtedly one of America’s proudest icons of bad-boy rock ’n’ roll and a true rock legend.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.

I’m also curious about the mention of “used on a RATT album.”

　This guitar is also featured on page 63 of the "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 released in 1958. It made its debut alongside the Explorer, another unconventional guitar, but its overly avant-garde design proved to be its undoing—it failed to sell at all, and production was discontinued 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 plugged it into the vintage Marshall 1959 from our inventory and let it rip! Hmm... (that distinctive vintage scent; I inspected it thoroughly, almost as if licking it all over). 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 substantial. The sound is quite hard and resonant—whether distorted or not, it has a natural, warm character. The sense that it’s truly “singing” was very 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.

　As for the original '58 Gibson Flying V, it was Albert King and Keith Richards (of the Rolling Stones) 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 he had painted with psychedelic designs.

　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 the 1967 model onward), it has become a model beloved by guitarists across a wide range of genres, both domestically and internationally.

　　Whether it’s the shape that makes it hard to play while seated, or the fact that the highs and lows are supposedly weak (though playing the original this time made me realize that’s not the case…), Flying V enthusiasts don’t care about any of that. 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 a prime example of a user who has built a unique sound by combining that characteristic midrange tone with a wah pedal.

　When it comes to albums where you can hear the Flying V sound, there’s Michael Schenker’s *The Michael Schenker Group: The Return of the Flying Arrow* (1980), going back further to Andy Powell (Wishbone Ash)’s *Argus* (’72), and even further back to Leslie West (Mountain)’s *Nantucket Sleighride* (’71).

　The three artists I’ve mentioned here are the ones who influenced me—though I came to them later in the game—but 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 1996, 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 distinctly 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 Kikuta
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 FLYING V series. In this era, when the romance of space exploration was at its peak, the FLYING V’s design and naming surely weren’t 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”—what we’d call satellite broadcasting today. This reminds us once again that, for people back then, the electric guitar was brimming with a sense of romance for 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 too. 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 reflecting on 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 find forgeries crafted so skillfully with vintage parts that they’re indistinguishable from the real thing. However, an original case from that era, bearing the weight of time, is something no one can simply replicate.

　Naturally, the number of surviving original cases cannot exceed the original production run, so a 1958 Flying V is only truly valuable if it comes with its original case.