Taylor Dan Crary (Lemon Grove, 1987) SOLD

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With so much buzz about Taylor’s earliest Lemon Grove, CA, guitars, could we possibly be faulted for comparing this rare find (proudly bearing a serial number below 5,000) with a fabulous archaeological treasure? Of course not! Instead, we feel a bit like the American historian Hiram Bingham III, who discovered Peru’s “Lost City of the Incas,” Machu Picchu, in 1911. Per an ’80s-era interview with the guitar’s namesake, flatpicking virtuoso Dan Crary, this instrument is built with relatively tall and narrow braces to accentuate even tonal response and eliminate boominess. Whatever Bob Taylor did, it worked —this is one of the best-balanced Taylors we have heard. And not only does the guitar sound great, it’s beautiful; the spruce top exhibits an unusual degree of cross-silking, while the rosewood back and sides are clean and crack-free, with only a bit of surface wear typical of a guitar that has been played but never abused. It features the attractive small pickguard found on Taylors of this era and elegant Art Deco-style tuners. Note that there is a small amount of finish damage below the Taylor logo on the headstock, as though the previous owner had attached a sticker or decorative object there. Ships in a period-correct case. Sold!

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With so much buzz about Taylor’s earliest Lemon Grove, CA, guitars, could we possibly be faulted for comparing this rare find (proudly bearing a serial number below 5,000) with a fabulous archaeological treasure? Of course not! Instead, we feel a bit like the American historian Hiram Bingham III, who discovered Peru’s “Lost City of the Incas,” Machu Picchu, in 1911. Per an ’80s-era interview with the guitar’s namesake, flatpicking virtuoso Dan Crary, this instrument is built with relatively tall and narrow braces to accentuate even tonal response and eliminate boominess. Whatever Bob Taylor did, it worked —this is one of the best-balanced Taylors we have heard. And not only does the guitar sound great, it’s beautiful; the spruce top exhibits an unusual degree of cross-silking, while the rosewood back and sides are clean and crack-free, with only a bit of surface wear typical of a guitar that has been played but never abused. It features the attractive small pickguard found on Taylors of this era and elegant Art Deco-style tuners. Note that there is a small amount of finish damage below the Taylor logo on the headstock, as though the previous owner had attached a sticker or decorative object there. Ships in a period-correct case. Sold!