Year: 2009

Tens of thousands of dollars worth of vintage, rare and top-of-the-line electric guitars, a $4,200 banjo, ukulele and other musical instruments, CDs and equipment were stolen Saturday or Sunday night from Grampa’s Music, 804-A Anastasia Blvd.

Store owners “Grampa Reece” Smith and his wife, C.J., from St. Augustine Beach, re-organized their remaining inventory Tuesday and worked with customers while also moving instruments into spaces left by the ones stolen.

“It could be worse,” Smith said. “There was no damage done to the store. It’s a shock, but we’re recovering well and will continue with business as usual.”

Three guitars — one of which was a red-orange Gretch owned by the Monkees in 1967 — were each worth in the $5,000 range.

St. Augustine Police reported that the thieves may have entered by opening a locking bolt on the steel back door, which the Smiths found open when they arrived Monday.

Police Officer Walter Makowski reported, “I could not see any signs of a forced entry on the door or steel frame.”

In addition to the inventory, the thieves found $150 and a spare key to a white 1996 Dodge Caravan from behind the counter, loaded the instruments in the van and drove away.

The vehicle, with Grampa’s Music logos on its back windows, is covered by insurance. The inventory isn’t.

A custom guitar builder, Paul Reed Smith, had his first production guitar for sale there on consignment. It, too, was missing. It is labeled “Custom 22” and is wine red.

Grandpa Reece remained optimistic, joking that one of the things that irritated him most was the loss of two expensive dark chocolate bars he left on the counter.

“They came in with a list. They knew what they wanted,” he said. “We’ve had many people come in due to the tough economic times, trying to sell instruments.”

But he said he didn’t want to become like the Big Box stores, suspicious of everybody and watching them all the time.

“We’ll improve security but will continue our mellow and pleasant ways,” he said. “Life goes on. I’m not going to change my attitude.”

The missing instruments include:

* Ome Banjo (bluegrass style)

* Martin D35 guitar, 1971

* Ibanez JEM white, Steve Vai model

* Gibson ES330 Red, 1960s

* Gretch Monkees red-orange guitar, 1967

* Compass Rose tenor ukulele, walnut with maple top

* Fender Stratocaster, Gator orange American Standard 1986

* Brian Moore Electric DC-1, cherry sunburst solid body, 1999

* Paul Reed Smith, Custom 22, wine red

I found this old, but still relevent article on bnet.com

Anyone who’s ever heard a Jimi Hendrix solo knows that guitars can produce fantastic sounds, and anyone who’s ever ogled the curves of a Fender Stratocaster will tell you they’re mighty stylish as well. But the instrument’s appeal goes well beyond its visual or sonic charm, its practicality or even its ties to musical history–it can also be a highly prized collectible. Certain vintage models are often regarded as investments, much like antique chairs or Impressionist paintings. Perhaps this is why so many people who start out with a youthful passion for playing end up happy victims of what Walter Becker of the rock band Steely Dan once drolly referred to as “GAS: Guitar Acquisition Syndrome.”

Look among the ranks of those who’ve caught this particular bug, and you’ll find a surprising number of chief executives, most of whom aren’t professional musicians but all of whom grew up with rock music and are now helping to drive the vintage market upwards. Take Microsoft co-founder Paul Allen, for example; his collection includes the white 1968 Stratocaster that Jimi Hendrix played at Woodstock in August 1969. Bought from an Italian disk jockey for $1.3 million, that guitar is now the centerpiece of the Allen-funded Experience Music Project, a Seattle rock ‘n’ roll museum and historical foundation that opened in 2000.

Allen may be America’s best-known executive guitar collector, but there are lots more. Frank De Fina, president of Panasonic Systems Solutions Company of America, conservatively estimates that his collection is “in the dozens.” Its highlights include a 1939 Martin D-18 acoustic and three electric models lusted after by collectors worldwide: a 1953 Fender Esquire, a 1956 Fender Stratocaster and a 1959 Gibson Les Paul. With such a large number of treasures on hand, storage became an issue. So a few years back, De Fina bought a bank vault to house his collection. “Bank vaults are more readily available than many kinds of vintage guitars,” he quips, “and they’re a lot cheaper, too.”

Tom Simons, president and creative director of Partners & Simons, a Boston marketing firm, doesn’t have as extensive a collection as De Fina, and regards himself as “a guitar accumulator” rather than a collector. Still, the dozen instruments that he’s accumulated would probably strike most people as extravagant. One of them, a Danelectro Bellzouki electric 12-string from the mid-’60s, is described by its owner as “not playable but fun to look at.” Comments like this, by the way, are a sure sign that GAS has taken hold.

Henry Juszkiewicz’s early interest in playing and collecting guitars was so strong that he ended up buying a guitar company; since 1986, he’s been the CEO of Gibson, makers of the legendary Les Paul, among many others. His collection now numbers “around 40,” mainly Gibson prototypes, including two models designed by country great Chet Atkins. Juszkiewicz confesses that he owns guitars besides Gibsons–“I can’t be a one-brand guy,” he admits–but in deference to his position, he won’t reveal what they are.

Diamonds in the Rough

Why has guitar collecting become such a popular pursuit for these and so many other chief executives? Most just love the instrument, for the way it looks, sounds and feels. Many also love it for what it represents: their youth. “There’s a little bit of the outlaw in the electric guitar,” marketer Simons says. “What’s more, CEOs are the business world’s version of rock stars, and a climate-controlled closet humidor full of vintage instruments is a link back to a time when they were able to practice the occasional bad behaviors without repercussions. Those guitars are reminders of when the good times really rolled.”

Of course, there are other, perhaps more shrewd, reasons. “Look at a guitar that sells for $12,000,” says Gibson’s Juszkiewicz, “then look at a diamond that sells for the same amount of money. It’s this little stone. There’s no craftsmanship, there’s no history, and it does nothing. There are a lot of diamonds being sold out there, and yet I would posit that the guitar is of more legitimate value. The reality is that in our marketplace, the investment quality of instruments is pretty phenomenal.”

He’s not joking. In the last few years, the prices of vintage guitars have skyrocketed. The most extreme case is that of the Gibson Cherry Sunburst Les Paul. Approximately 1,700 of these guitars were made between 1958 and 1960 before the line was discontinued due to lack of popularity. Their original list price was under $300; as recently as five years ago, you could find one for $45,000. Today, they’re selling for $250,000. And Stan Jay, president of leading vintage guitar dealer Mandolin Brothers in Staten Island, N.Y., wagers that a mint-condition “Burst” could fetch $300,000 before this year is over.

Other high-ticket items are Martin acoustic guitars made before World War II and so-called “pre-CBS” Fender electric guitars, made before CBS bought the company in 1965. “The rate of appreciation for those models in the last year has been the fastest I’ve ever seen.” says George Gruhn, owner of Gruhn Guitars in Nashville, author of Gruhn’s Guide to Vintage Guitars, and generally acknowledged as one of the world’s foremost guitar authorities. “Some of them have jumped as much as 75 percent.” And though Gruhn is as shocked as anyone by these price hikes, he doubts that the bubble will burst in any lasting way: “I haven’t seen any guitars drop in value and never get back, and I’ve been doing this for 42 years.”

read the rest of the artice here