With an appearance that looks like the negative image of the '50s Strat, this beauty features an olympic white finish paired with a rosewood fingerboard, which in this reviewer’s eyes is one of the sexiest combos on any guitar. It also sports probably the most realistic overall relicing of the three models we have here. Maybe it’s the rosewood board or the fact that white is an easier colour to dirty up, but there’s something about this guitar that convinces you that it’s been played in bars up and down the country for years, maybe exchanged hands in a poker game, and possibly even been witness to a motel shoot-out between the two male sides of a love triangle. The general wear on the edges mixed with gentle cracking in the paintwork and random scuffs combine spectacularly. Add to this the distressed three-ply mint green scratchplate, faded pickup covers and knobs and rusted saddles, and the result is impressive. It really does look like an old guitar.
A little of the mystique is removed when you stand the two Strats next to each other. It’s clear from the shared locations of the markings that there’s obviously some kind of template involved, but the marks are certainly not identical, and each retains enough character to look individual. There’s also the fact that you’re unlikely to sit around scrutinising the guitars like this unless you choose to buy more than one!
Playing-wise the ’60s Strat is again very comfortable, with the 6105 narrow-jumbo frets (as featured on all the guitars) neatly installed and smoothly finished. The fingerboard itself might be free of relicing but the back of the neck has been given the usual treatment, with patches worn away. This results in a satin feel under the hand which is comfortable and shouldn’t get too sticky. Fine work.