Consider American guitar manufacturers that have been in business during the last 100 years and the different instruments they’ve produced. Only a handful  have become cultural icons – given no information except “Les Paul,” “Stratocaster,” “Telecaster,” and “White Falcon,” even non-players can identify them as guitars. It’s not uncommon to hear “Telecaster? That’s a Fender guitar isn’t it?” Many non-players also identify certain artists with specific instruments, and some can even name specific artists and song combinations that featured a particular instrument.

While the Les Paul, Stratocaster, Telecaster, and White Falcon are clearly in the first echelon of cultural icons, Gretsch’s Country Gentleman is ensconced at the upper end of the second echelon, due largely to the impact of Chet Atkins and George Harrison, two of its most-celebrated players.

The Chet Atkins Country Gentleman (the model’s official name) had at least two distinct incarnations (and several variations) during its long life span: originally as a single cutaway model and later as a double cutaway version. The development of the original single-cutaway model probably began in late 1956/early ’57, years which saw competition in the electric guitar market really begin to escalate. Gretsch and Gibson were pursuing very similar design/development paths during this time period. The parallels and timing are quite intriguing. Both companies were working steadily on what they perceived to be the next generation of electric guitars semi-solid with a much thinner body and electronics that didn’t hum. Gibson was developing its legendary humbucking pickup, and the ES-335 – and Gretsch was working on its humbucking pickup, the Filter’Tron, and what was to become the Country Gentleman model.