This natural-finish L-5 dates from 1937, and shows how this model guitar evolved over a very short period of time. Compared with the 1929 L-5/10, the 1937 L-5 is bigger all around, reflecting its main use as a big-band acoustic rhythm guitar - although guitarists like Carl Kress and Dick McDonough used L-5's for their duets in the 30's (which are really fun to listen to). By the mid-30's the guitar had taken over the role the banjo played in bands of the 20's, as the stand-up bass had replaced the tuba. Volume and "cut" were the main qualities guitarists like Freddie Green from the Count Basie band looked for in a guitar, as the instrument was asked to make its present felt - without amplification - through the sound of a dozen or more saxes, trumpets and trombones. It's a magnificent instrument - this L-5 at the time of its construction was arguably the most sought-after guitar for big-band players, although Strombergs and Epiphones could be found on many bandstands, as well.

This L-5 is also unusual in that it predates by two years the introduction of the natural finish as an available option on production L-5's. There are a couple of possibilities: it was a special order from Gibson before regular production began, or it was refinished at some point. Neither would be a surprise; Gibson was famous (or infamous) for not sticking too closely to plan, and many special order guitars were made in the Kalamazoo, Michigan plant during the period, so it could be a one-off. However, it does look like there was finish work done on at some point, at the very least clear lacquer was sprayed over the existing finish on the neck and parts of the body. The one thing which argues against a refinish to me is that, on the 1929 L-5/10, which was definitely refinished, there are still easily visible traces of the dark brown lacquer originally used. There are none on the later L-5, so it was either a much better job, or the "blonde" finish is original.

Why does all this matter? For one thing, it's interesting to try to figure out a guitar's history. The originality of a finish also has a big impact on a guitar's value, and with the big increases in old guitar prices over the past few years, the crass little devil that sits on my shoulder wants to know.

But how does it play? It's a very different instrument than the 1929 guitar. The bigger body gives it more bass response, but it really wants to be played loud! The 1929 feels a little more delicate. The neck is again superb, and I think is one of the prettiest and best feeling ever used on guitars - you can also find this neck on the big ES-5 post-WW2 electric archtops.