A lot of 1970's Gretsches are okay, although Baldwin took designs and updates of 1960's models in kinda weird directions.
The original "Blacktop" pickups are a bit honky/aggressive to my ears and lack some of the chiming sweetness I'd associate with G6122 Gents, but if the above deal is priced alright and in good shape, then do try it out. You should especially check the binding for rot/deterioration, and run your finger all along the neck/body joint for anything funky. EDIT: I just noticed that it's on Craigslist in another country
I also had possession of a friend's '66 G6120DC for several weeks and despite the charm (Don Peris' tones with Innoncence Mission on his G6120 DC are what I tried to cop) I found it to feel like it was near-ready to fall apart, with everything wanting to buzz at me and screws needing to be tightened every now and then. I loved the tone and body resonance, but by no means would want to own it. Conversely, Japanese Gretsches on both sides of the 2003 switch-over to Fender are good stuff. When they can be found on the cheap I'd say they are so much better a value, and are probably better built than the Brooklyn oldies by far. And I'll say it: a Tennessee Rose in great shape going from $1200 is not uncommon, and it has nearly all the vibe/tone of any G6120/G6122 without the burden of silly market that keeps them pricier.
A lot of us also switch out the bridges for Tru-Arc or Compton Compensated, which solve a lot of the buzzing issues and are plenty dense to increase attack and sustain in ways I only imagined. I have two Comptons in stainless steel, and my G6122-1962 totally opened up when I put in the Compton, the original bar bridge's flat angle (fulcrum?) seeming to dull out every picking note to my ears.
John Squier and Teh Harrisonz were the inspiration, but it was this very clip that sold me...And I'll post it here on ss.org until I'm blue in the
face fingers, a great example of a post-FMIC acquisition G6122-1962
with all the tones, pushed through a big Fender. Very stable and clear (even when lead singer Dave Coleman plays with the "mud" switch engaged) and although you can hear in solo parts when the classic "short sustain" Gretsch personality rears it's head, the thing sounds just as it should. Great tonal contrast between bridge and neck pickups from 2:30 to the end:
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The Compton Compensated Stainless Steel bridge, 2.9" from post to post.
On my '92 Duo Jet, the buzzing I had with the original Adjust-o-matic is completely gone. This thing became my #1 with just a bridge switch, and I can get all shoegazey with the Bigsby and it stays in tune...BTW all electric guitar parts on the "Snowball" cover from the Doom compilation was all this guy:
http://soundcloud.com/themajestichigh/snowball-cover
