Early on, Gretsch Jet guitars are all virtually identical, other than color. The DuoJet was black, the FireBird was a deep red, and the SilverJet was, of course, capped in silver sparkle plastic drum material. Since those early days, the Jet family has come to encompass a dizzying array of guitars, yet all are still instantly identifiable as Gretsch’s premier “solidbody” guitars. Even though they’re typically nearly hollow.

Jets differ significantly from their competition in that their mahogany bodies are extensively routed, making them, in effect, semi-solids. It also makes them considerably lighter than similar guitars and adds a special resonance to the line.

The DuoJet and SilverJet were first released in 1954, alongside the 6130 Roundup, a 6126 baritone ukelele and a 6127 4-string tenor guitar, which promptly dropped off the market.

The early Jets had two DeArmond pickups and block markers. Some Duo-Jets were finished in Cadillac Green, but they’re pretty rare. Even more rare - the Bigsby B-3 tremolo that was an extra-cost option.

By the end of the ‘50s, Jets wore “neo-classic” semi-circular fret markers, had two FilterTron pickups, the optional Bigsby was far more common and a “zero fret” had been added.

The big change came in 1961, when the Jets became double cutaways. The first double cutaways are roughly equivalent to the earlier Jets, but shortly after the changeover Gretsch began to change the Jets.

Vibrato tailpieces became standard in ‘62, but they weren’t Bigsbys. Instead, a funky, Burns-sourced whammy was used. Other changes to ‘62 included gold hardware replacing chrome and other sparkle finishes, including gold, champagne, burgundy and tangerine being offered. Gretsch made few Jets with the special sparkle finishes, and they’re quite rare today. A standby switch was also added in ‘62.

In ‘68 a Bigsby was once again offered, and the Jets were fitted with Gretsch’s SuperTron pickups. This configuration lasted until the 1970, when Gretsch, spurred on by Duke Kramer and plant manager Bill Hagner, switched back to a single-cutaway body, hoping to rekindle past glories.

The new 6127 Porsche Pumpkin RocJet and the 6130 Mercedes Black RocJet had slightly differently shaped bodies than the ‘50s Jets, but they were definitely aimed at recapturing the classics. A Country Roc model, reminiscent of the Roundup was also introduced. All had chrome parts, SuperTron pickups and Les Paul-like controls with two volume and two tone controls, plus a master volume. A metal nameplate adorned the headstock. For a few years at least, in the mid-70s, the Jet line was again treated like a respected part of the Gretsch line instead of a cheap Les Paul knockoff.

The 6127 and 6130 were later redesignated 7611 and 7610, respectively, in 1972 and were joined by the walnut-topped 7613 and the Jet FireBird-like 7612.

By the late ‘70s, though, Baldwin had again taken over the day-to-day operations at Gretsch, and the Jets were again aimed squarely at Gibson’s Les Paul line with Les Paul-type switching, a BadAss bridge and two DiMarzio pickups. They were not successful, and as the ‘70s ended, so did the Jets. By this time they had little in common in shape, sound, feel or features with the classic Jets.

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