In a unique convergence of serendipity and extreme circumstances, indie-rock guitarist Greg Freeman has acquired a Gibson SG that has quickly become his primary instrument, despite – or perhaps because of – its dramatic past. The guitar, purchased for a mere $400 on Craigslist, bears the unmistakable scars of a house fire, a history that has inadvertently bestowed upon it a level of authentic wear that even the most meticulous artificial relicing processes struggle to replicate. This incident has reignited discussions within the guitar community about the contentious art of instrument aging, highlighting the allure of genuine wear versus manufactured patina.
The Genesis of a ‘Burned’ Bargain
The story of this extraordinary Gibson SG began not in a guitar shop or a collector’s vault, but on the digital classifieds of Craigslist. Freeman’s bandmate and bassist, Garrett, stumbled upon the listing for the heavily damaged instrument in Maine. The description plainly stated its tumultuous history: it had been "burned to a crisp" in a house fire. Despite the catastrophic event, the guitar was still offered for sale, albeit at a significantly reduced price of approximately $400. This figure stands in stark contrast to the typical market value of a Gibson SG, which, depending on its model, year, and condition, can range from $1,500 for standard production models to well over $5,000 for Custom Shop reissues or vintage examples. The severe fire damage, while aesthetically challenging, presented an opportunity for a musician like Freeman, who prioritizes playability and unique character over pristine condition.
Upon receiving the guitar, Freeman confirmed the extent of the damage. The instrument’s finish, originally a standard Gibson color, had been profoundly altered by the intense heat, giving it a prematurely aged appearance. The pickguard, a crucial component often made from celluloid or plastic, was literally melted and warped. This particular detail, Freeman noted, contributed significantly to the guitar’s aesthetic, making it look "about 70 years old" despite its actual, presumably much younger, manufacturing date. This accidental transformation is a compelling example of what the guitar community refers to as "relicing" – the intentional or unintentional aging of an instrument to simulate years of heavy use.
The Relicing Debate: Art vs. Accident
The concept of "relicing" a guitar is one of the most polarizing topics among enthusiasts and collectors. Historically, the wear and tear on a guitar were a natural consequence of years of playing, touring, and handling. These "battle scars" told a story, signifying a beloved instrument that had seen countless stages and contributed to countless songs. However, as the vintage guitar market boomed in the late 20th century, the aesthetic of these naturally aged instruments became highly coveted. This led to the emergence of "relicing" as a manufacturing technique, where new guitars are deliberately distressed to mimic the look and feel of their vintage counterparts.
Major manufacturers, notably Fender’s Custom Shop and later Gibson’s Custom Shop, began offering relic’d instruments, ranging from "light relic" (subtle finish checking and minor dings) to "heavy relic" (significant paint wear, dents, simulated buckle rash, and even fretboard wear). The processes involve various techniques, including nitrocellulose lacquer finishes (which check and age more naturally than modern poly finishes), sanding through paint layers, controlled impacts, and even acid treatments to age hardware. The debate centers on authenticity: proponents argue that relic’d guitars offer the desired vintage aesthetic and feel (often with rolled fretboard edges and worn-in necks) without the prohibitive cost or fragility of a true vintage instrument. Critics, however, decry relicing as an artificial and cynical attempt to replicate something that should only be earned through genuine use, viewing it as a manufactured imperfection rather than an honest testament to a guitar’s history.
Greg Freeman’s Gibson SG, with its fire-induced "relicing," occupies a unique space within this debate. It is neither a naturally aged vintage instrument nor a factory-relic’d model. Its condition is the result of an uncontrolled, accidental event, giving it an undeniable authenticity that factory processes, no matter how sophisticated, cannot fully replicate. The melted pickguard and scorched finish are not merely cosmetic choices; they are direct physical evidence of a dramatic incident, imbuing the guitar with a narrative that transcends mere aesthetics. This "accidental relicing" arguably offers a more profound form of authenticity than either extreme of the relicing spectrum.
The Gibson SG: A Storied Legacy
The choice of a Gibson SG as Freeman’s primary instrument is significant, given the model’s iconic status in rock and roll history. Introduced in 1961 as a more modern and streamlined successor to the original Les Paul (which was temporarily discontinued), the SG (Solid Guitar) quickly established its own identity. Its distinctive double-horned, bevel-edged mahogany body, fast neck, and powerful humbucking pickups made it a favorite among musicians seeking a lighter, more aggressive-sounding instrument.
Throughout its history, the SG has been championed by legendary guitarists across various genres. Angus Young of AC/DC is perhaps its most iconic exponent, defining the band’s hard rock sound with his signature SG riffs. Pete Townshend of The Who famously smashed SGs during his energetic performances, while Tony Iommi of Black Sabbath crafted the blueprint for heavy metal using his customized SG. Frank Zappa, Derek Trucks, and Sister Rosetta Tharpe are among countless other artists who have harnessed the SG’s versatility and raw power. Its design, while sometimes criticized for its slight neck dive due to the upper strap button placement, is renowned for its upper fret access and comfortable playability. The "big thick neck" that Freeman praises is a characteristic often associated with SGs from certain eras, providing a substantial feel that many players find conducive to powerful riffing and soloing.
From Scars to Stage: The SG as a Workhorse
Despite its heavy battle scars, the fire-damaged SG has not been relegated to a collector’s display case. Instead, it has become Greg Freeman’s number one guitar, a testament to its inherent playability and the artist’s pragmatic approach to his tools. Freeman utilized this very instrument extensively during the writing and recording of his sensational new album, All Set The Bone. This decision underscores a common sentiment among working musicians: the true value of an instrument lies not in its pristine condition or collector’s appeal, but in its ability to inspire and perform reliably under demanding circumstances.
Freeman’s appreciation for the SG extends beyond its unique aesthetic. He specifically highlights its playability, stating, "It plays really great and has big thick neck and just feels like a proper SG." This comment reveals a crucial aspect of guitar selection for professional musicians. Consistency in feel and tone is paramount. Freeman notes that "Some of them don’t really feel right to me, but this one is just great," indicating a discerning ear and hand that recognizes the specific qualities that make an SG truly exceptional, regardless of its cosmetic imperfections. The guitar’s robust construction, even after enduring fire, evidently retained its structural integrity and resonance, proving that foundational quality can often withstand extraordinary trials.
Beyond the SG: Freeman’s Gear Philosophy
Freeman’s preference for his fire-forged SG is part of a broader gear philosophy that prioritizes durability and playability over the often-fragile allure of vintage instruments. Elsewhere in the episode of My Guitars & Me, he articulated his reasons for moving away from purchasing and regularly using vintage guitars. "I just play too hard to be able to play a vintage Mustang or something," he explains. "Like it’s just not going to be in tune. So, I think that’s why I like guitars from the 90s and 2000s. It’s has the age, but can kind of put up with a lot."
This perspective resonates with many touring musicians who subject their instruments to the rigors of travel, varied climates, and energetic performances. Vintage guitars, particularly those from the 1950s and 1960s, often feature thinner frets, more delicate finishes, and sometimes less stable neck joints or tuners compared to their modern counterparts. While revered for their historical significance and often unique tonal qualities, they can be temperamental and require more frequent maintenance, making them less ideal for an artist with an aggressive playing style. The ’90s and 2000s marked an era of significant advancements in guitar manufacturing, including more stable hardware, improved fretwork, and more durable finishes, while still retaining a degree of traditional craftsmanship. These instruments offer a sweet spot of reliability, robust construction, and developing character, providing the "age" Freeman appreciates without the inherent fragility of true vintage pieces.
The Tokai Breezysound: A Nod to "Lawsuit Era" Quality
Freeman’s diverse taste in guitars is further exemplified by his affection for an ’80s Tokai Breezysound. This Japanese-made guitar holds a special place in his collection, as he believes it rivals any Fender equivalent. The mention of Tokai, particularly from the ’80s, brings to light the phenomenon of the "lawsuit era" Japanese guitars. During the 1970s and early 1980s, Japanese manufacturers like Tokai, Ibanez, and Greco began producing exceptionally high-quality replicas of iconic American guitars, primarily Fender and Gibson models. These instruments were often so accurate in their construction, materials, and attention to detail that they garnered the nickname "lawsuit guitars" due to legal actions taken by the American brands against their perceived infringements.
Tokai’s Breezysound series, a direct homage to Fender Telecasters, gained a formidable reputation for its faithful reproduction of vintage Fender specifications, often at a fraction of the cost of the originals. Many musicians and collectors consider these guitars to be superior in quality and consistency to some of the American-made instruments produced during the same period, which faced criticisms for declining quality control. Freeman’s endorsement of the Breezysound as being "as good as any Fender equivalent" is a common sentiment among those familiar with these Japanese classics, highlighting their enduring value and playability.
The Broader Context: My Guitars & Me and the Artist’s Toolkit
Greg Freeman’s story is part of a larger narrative explored in the Guitar.com Originals series, My Guitars & Me. This series delves into the intimate relationship between acclaimed musicians and their instruments, offering fans and aspiring guitarists a unique glimpse into the tools that shape an artist’s sound and creative journey. By showcasing the personal stories behind these guitars – from treasured vintage finds to custom-built marvels, and now, to a fire-damaged SG – the series emphasizes that an instrument is more than just a piece of wood and electronics; it is a muse, a companion, and an extension of the artist’s identity.
The series provides valuable insights into the practical considerations that guide professional musicians in their gear choices. It often reveals that while iconic brands and models hold significant sway, individual playability, reliability, and an instrument’s unique character frequently take precedence. Freeman’s SG, with its accidental relicing and robust performance, serves as a powerful illustration of this principle, challenging conventional notions of what constitutes a "perfect" or desirable guitar.
Conclusion: The Enduring Allure of Authenticity
Greg Freeman’s acquisition of the fire-damaged Gibson SG transcends a simple transaction; it embodies a profound commentary on authenticity, resilience, and the evolving aesthetics of the guitar world. In an era where artificial aging is a manufactured commodity, Freeman’s SG stands as a raw, unfiltered testament to a guitar’s ability to survive and thrive despite extreme adversity. Its unique history adds layers of character and narrative that no factory process could replicate, making it a truly one-of-a-kind instrument.
As Freeman continues his musical journey, particularly with the release of his new album, All Set The Bone, this remarkable Gibson SG will undoubtedly remain a focal point of his performances and a subject of fascination for audiences. It symbolizes not only a bargain found but a profound connection forged between an artist and an instrument that has literally been through fire, emerging with a renewed purpose and an unparalleled story to tell. This story reinforces the notion that sometimes, the most beautiful and inspiring instruments are those that bear the most visible scars, each mark a silent chronicle of a life fully lived.
