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IN DETAIL
The 1958-’62 Gibson ES-335TD
A true benchmark, the first semi-hollowbody was the result of inspiration derived from the willingness to listen to players while devising a guitar that resonated like a hollowbody while sustaining like a solidbody. By Ward Meeker

EMMYLOU HARRIS
One Beautiful Voice, a Cavalcade of Great Guitarists
Her new box set includes standards as well as “orphans,” and documents the numerous superb guitarists who have played in her backup bands over countless albums, side projects, and collaborations. By Dan Forte

DOUG FIEGER
A Knack for Classic Guitars
The founding member of the Knack still tours with the band while also battling cancer. His instruments reflect his musical influences, and are outstanding not only for their history, but for their condition. By Willie G. Moseley

AMP-O-RAMA
The Selmer Selectortone Automatic
The more one digs into British amps from the formative years of tone – the late 1950s and early ’60s – the more one comes to realize that those English engineers really had it going on. By Dave Hunter

THE GIBSON JOHNNY SMITH
In 1961, the Gibson Johnny Smith not only associated the company with one of the most popular guitar stylists of the day, it also brought high-quality amplification and high-quality acoustic sound together for the first time. By George Gruhn and Walter Carter

DANELECTRO REDUX
A Look at Everyone’s First Guitar
In his new book, Neptune Bound: The Ultimate Danelectro Guide, author Doug Tulloch charts the adventures of Nat Daniel as he rode the electric guitar boom of the 1950s and ’60s to fame and fortune. By Eric C. Shoaf

MOSRITE STEREO 350
If it hadn’t been for his serendipitous relationship with The Ventures, Semie Moseley might be just another obscure guitarmaker we’d scramble to identify. And we might not know anything about this circa 1971 Mosrite Stereo 350. By Michael Wright

BASS SPACE
The Gibson EB-3
Fender’s two-pickup Jazz Bass was introduced in 1960, and for years collectors have debated whether Gibson’s first two-pickup bass, introduced in ’61, was actually a “response” to the Jazz. By Willie G. Moseley

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