In this photo, John Frusciante can be seen with a Gibson ES-335 in a sunburst finish (the 335 is the second guitar from the left). In an [article from Vintage Guitar](http://www.vintageguitar.com/3743/john-frusciante/), John Frusciante talks about this same guitar. He says, "...I’m not sure what years the ES-175 and 335 are from. I don’t play those much; I bought them because [Steve Howe](http://equipboard.com/pros/steve-howe) played them, but they don’t really go with my style that well. I feel like Strats are an extension of me, and a Jaguar feels like the next closest thing to being an extension of me. Les Pauls and SGs seem like a further stretch. With a 175 or 335, I feel like a totally different person. I barely see a relationship to the way I play and the way those guitars are set up. You grow up developing a style on a Strat, and that’s what you play all the time." Later in the same interview he says, "Sometimes I go through a phase where I learn a lot of jazz, where my 175 or 335 will come in handy." Frusciante's ES-335 has a Bigsby vibrato.more
Lynne explains in this article: "Oh, yeah. I use maybe half a dozen electrics. Occasionally, I'll venture out if I want a really weird sound. I've got a really nice 335, and then I've got the Tom Petty Rickenbacker 12-string, which I always use. My favorite guitar is a '58 Strat – and the Tele, which is really an Esquire converted to a Tele. This Epiphone I've had for about three years is just fantastic. It's an old Epiphone – I don't even know what the number is. It's an archtop with one cutaway. Ahh – you can't beat it!"more
"The only thing I regret is I didn't have them for the album, but on the next one it's gonna be full of them, and maybe a Gibson Blues King acoustic, and a Gibson ES-335 or two, but the Juniors are my main guitars for sure." - Brian Fallon on which guitars he'll use on the next recordsmore
¨We made our second album with Gil Norton - he suggested I could use a bit more girth in my tone, instead of always sticking to Strats. He asked if I´d ever tried a 335, and I had, but I´d never really thought about them. He said he had this mate who could lend us one and I used it throughout the sessions. Halfway through, he said we could use it for a video shoot, but to be careful as it belonged to his mate Joey. And we asked, ´Who´s Joey?´ It turns out it was Joey Santiago from The Pixies! That guitar inspired me to switch and this was the second 335 I bought. (Total Guitar, January 2017)¨more
James has a number of Gibson ES-335 guitars. In this photo, he is seen playing only one of them. The second one is used for ["One Big Holiday"](https://www.youtube.com/watch?v=4Z5gy94x450) live on the Letterman. For that song, he used his Gibson Flying V as well, most notably on the Bonnaroo Festival. In the [Premier Guitar](http://www.premierguitar.com/articles/22604-my-morning-jacket-childlike-wonder?page=3) interview, he confirmed he uses one of those guitars for songwriting. "I write in my head, and then just grab whatever guitar is around. I keep just a couple of guitars at home. I’ve got an old 1950s Martin parlor guitar and a Gibson ES-335."more
Alvin's ES-335, nicknamed "Big Red" is probably his most recognizable guitar, he doesn't use it so much, as seen in this [*Guitar World* interview](http://www.guitarworld.com/interview-gear-talk-former-ten-years-after-guitarist-alvin-lee-whos-still-road-freedom): "On the album's opener, the title track, you can immediately tell it's Alvin Lee on guitar—not just because of your note choices but also your sound. How would you say your sound has evolved over the years? Are you still using your Woodstock-era Gibson ES-335? 'I've still got the original Woodstock 335, but, sadly, I don’t use it these days as it has become too valuable. She’s now in a vault since some loony offered me half a million dollars for her.'"more
http://www.gibson.com/News-Lifestyle/Features/en-us/legendary-guitars-clarence-708.aspx From a Gibson article: "Gatemouth Brown’s guitar choice similarly rejected the bounds of strict categorization. The jazz elements in his playing might have led him toward an ES-175, the electric blues an ES-335 or a Fender Stratocaster, the country a Gretsch or a Telecaster. Instead, Brown embraced one of the most radical and atypical guitar designs of all time: the Gibson Firebird. Wielding alternately with his fiddle, he bent the Firebird to boppin’ rhythm chops and lithe, wiry solos that ran the gamut from roadhouse blues jumps to fleet-fingered swing excursions, and – despite the fact that this was a guitar that always seemed most at home toward the gnarlier edges of alternative rock – made that odd, offset bird seem right at home with all of it."more
http://www.icollector.com/Blue-s-Legend-Lowell-Fulson-s-1965-Gibson-ES-335_i5175166 <B>Blue's Legend Lowell Fulson's 1965 Gibson ES-335 Guitar</B></I> (1921-1999). Very few people can lay claim to a career spanning six full decades and including every type of blues imaginable. Very few guitar models have been around for 47 years and can still excite both new players and legendary veterans. Put the two together and you have an important, historical offering. Up for bids is the Gibson Cherry Red ES-335 (Serial #8656890) instrument that Lowell Fulson purchased new in 1965 and played until 1997. Can you imagine the blues licks played on this instrument? <BR><BR>Lowell Fulson was born in Tulsa, Oklahoma growing up on local area blues and Bob Wills' Western swing. He toured with Texas Alexander in the early 1940s, then served a stint in the Navy. After that, Fulson moved to Oakland, California, hooked up with Bob Geddins and the 78 RPMs started rolling out including the big hit "Three O'Clock Blues", later covered by B.B. King. In 1948, he switched over to Swing Time Records and the hits really began to flow - such as the immortal "Every Day I Have the Blues", "Blue Shadows", "Lonesome Christmas", and an instrumental, "Low Society Blues", played on by pianist Lloyd Glenn and alto saxist Earl Brown. From about 1950 on, Fulson toured extensively with band members inlcuding Ray Charles and Stanley Turrentine. He signed with Chess in 1954 and recorded the classic "Reconsider Baby", cut in Dallas under Stan Lewis's supervision with a sax section that included David "Fathead" Newman on tenor and Leroy Cooper on baritone. It became a massive hit and Elvis Presley covered it in 1960. Another label change (to Kent) brought him his biggest hit, "Tramp", which was written and recorded using this very guitar. Fulson continued to perform and record using this Gibson as his main guitar until poor health forced his retirement in 1997, the year he sold this guitar to the present owner. Included with this lot are photos of Lowell playing and signing this awesome instrument as well as his signed affidavit dated August 1997 certifying authenticity. Few players and few guitars can stay contemporary with style changes over such an extended period of time - here's an amazing combination that did just that.more
Around 1:31 into this studio interview (recording the upcoming Thrice album), Teppei gives a breakdown of his Gibson 335: “And then for everything else I just use my 335, actually in the neck position which I think is pretty unusual for our style of music; but I think it ended up having a pretty interesting sound, and for some reason I just started writing in the studio that way; and we’ve been demoing and whatever just on the neck pickup and I liked it, so I just kept it”more
This post, by Deryck, on Sum 41s [Facebook](https://www.facebook.com/Sum41/), says, "i bought this guitar in new york with brown tom back in 2007 when we did a photo shoot at the guitar center there. it's a '62 gibson 335. it's in absolutely prefect condition. not a single sign of age on it. back in the 60's some doctor bought a bunch of guitars as art and kept them in glass cases. he didn't even know how to play! he's sold them all now since they're worth so much money. i always feel nervous playing it because i don't want to be the first one to put a scratch on it. it sounds and plays amazing. i used this on the song "screaming bloody murder". it's the main guitar in the heavy section after the guitar solo."more
Segall wrote and recorded much of Manipulator using a 1977 Gibson ES-335, a guitar he bought specifically for the project. "I'm kind of superstitious," he says, "In that I like to get a new guitar to write a new record. If there is a specific sound to it that you're not used to, it definitely affects your brain and your creativity, and makes you have a more open mind when writing new songs. This guitar has a coil-tap switch on it, which means you can switch the humbuckers to single coils, so there's like four different sounds you can get out of it."more
From the article of: http://www.vintagevinylnews.com/2015/04/statue-of-little-milton-installed-at.html "Statue depicts Milton embracing his Gibson ES-335 guitar while seated on a “gar bench”m so-called because of the legs in the shape of gar fish found in the Mississippi River, found in Memphis area parks and created by the Memphis-based National Metal Museum. Funding was provided by Milton’s friends and admirers at the North Atlantic Blues Festival, held annually in Rockland, Maine. The festival is headed by Paul Benjamin who was in attendance. Both he and Mrs. Pat Campbell, Milton’s widow, addressed the crowd, as did Blues Foundation President & CEO Jay Sieleman."more
His 2000's black Gibson ES-335 is his primary guitar. In [Premier Guitar interview](http://www.premierguitar.com/articles/23057-kristofer-steen-reunited-relevantrefused?page=2), he discusses this guitar. On question why did Steen switch to ES-335, he answered. "I really enjoyed its sound—especially live. I recorded mainly with the Customs and other solidbody guitars, but when I feel like fighting, I’ll bust out the 335 onstage because that’s where it comes alive. It howls, screeches, barks, and gives me everything the Les Paul can and more sometimes. It has a full, thick, rich tone that is just a different flavor than the Customs. A lot of our music has really fast, dynamic tempo shifts and tight breaks, so the Les Paul is great for recording because you can get really quiet, really fast, whereas tracking with a 335 in our style of music causes things to sound sloppy or me to miss my cues because of its feedback. But when I play the 335 live, I really feel the extra noise and howling adds to the chaotic frenzy we produce onstage during a performance."more
CG: Tell me about your Gibsons. NW: "Right now I have four Firebird V series, two more on the way. And I got two 335s." He can be seen here playing a red one with a standard fixed bridge. https://farm1.staticflickr.com/160/387660845_985f445e6c.jpg Here he can be seen playing a blue 335. https://s-media-cache-ak0.pinimg.com/236x/75/b5/d1/75b5d1588c6e48e61b01a38e77fce7e2.jpgmore
This is part oif an interview by Tom Guerra to Matt: ... TG: Amps and guitars at this time? MGM: By that time, it was mostly Gibsons, a hollowbody 335 and 345. I played through a Fender Twin Reverb, and sometimes a Quad Reverb…that’s the one with 4 speakers in it. http://www.tomguerra.com/mattmurphy.htmmore
In this article from Australian Musician Magazine, Seamus Coyle talks of playing a Gibson ES-335 1960s guitar: > Essentially Seamus is a Strat man. However for Land Of Pleasure he was also seeking some different tones. “I borrowed my mate’s Gibson ES335, a 1960’s model,” he says. “It’s a hollow body with a beautiful sound. It was great for [‘If You Go’](https://www.youtube.com/watch?v=tmj8dTTSkoY), the real Britpoppy one, with the rockier chorus.” Pedal-wise, he keeps it reasonably simple. “I try not to use too much but when I joined Sticky Fingers I realised there was a lot of room for some really cool sounds. I’d be lost without my wah and delay. Other then that I try not to go overboard with pedals.”more
Bought in 2009 so i'd have something to pair with my telecaster. My main guitar for jazz gigs and very useful in the studio. Huge sound! I've flown on dozens of flights with it and never had any problems.
Bought this beauty last week. Originally wanted the Tom Delonge signature es-333 as soon as I had found out about it, but the more I looked into it, I wanted to be able to change the tone and Tom's won't allow it. Noticed many of my favorite guitarists have used it, so I went with this one.
I'm very used to acoustic and this is the perfect feel for in between electric and acoustic in my opinion. Love the sound whether plugged in or not. Very easy feel on the neck. Great weight. Body is a little big to what I'm used to on an electric, but I'm quickly getting accustomed to it.
This was the most expensive guitar I'd ever purchased, even with the tempering influence of my wife sitting next to me in the shop - it was a must purchase. Those lovely hum-bucking pick-ups and big hollow body - what an ideal combination for the guitarist. Giving enormous versatility and sich a serious look. A beautiful piece of craftsmanship from Gibson.