The Legendary Les Paul custom: A‌ guitar ⁣with ‍a Rich Heritage

Les Paul was a man of remarkable talent and flair, and subtlety was not his strong⁣ suit. Instead of gradually introducing the idea of a ⁢solid-body electric guitar to⁣ Gibson’s loyal clientele, Les boldly opted for a striking⁤ metallic gold finish on his signature model. When it ⁤debuted ⁤in⁤ 1952, it must have dazzled ⁣like a supernova amidst the more subdued sunburst finishes​ of the time.

With‍ the bar already set ‍high, Gibson​ faced the challenge of creating ⁣an even more luxurious version of Les ⁣Paul’s signature guitar.It seems the design team took inspiration from the elegance ​of a⁤ concert grand piano, aiming to craft the classiest instrument imaginable.

Introducing⁢ the Les Paul Custom

When Gibson ⁣unveiled the Les Paul Custom at the 1954⁢ NAMM Show, ‌its glossy black lacquer, gold-plated⁣ hardware, and intricate multi-ply body binding ⁢made it⁢ resemble a miniature Steinway. However, this model was not ‍merely ‍a glammed-up Goldtop; it featured several significant enhancements.

Distinctive Features of the ​Custom

One of the‌ moast notable changes ⁤was in the construction of the body.‍ unlike the Goldtops and sunburst Standards that came before it, which were crafted with maple tops, the Custom’s body‍ was carved from a single ​slab‍ of mahogany. This design choice eliminated the dampening effect of a maple cap, resulting in a different tonal quality.

The neck also underwent significant modifications. While many Goldtops from 1952 and 1953 ‍had ‍ample neck profiles, the Custom’s necks frequently enough felt slimmer and faster. The fretboard⁤ was ‌upgraded to ebony instead of Brazilian rosewood,​ and instead ⁤of celluloid nitrate inlays,⁢ Gibson opted ⁣for mother-of-pearl blocks with wider binding.

Perhaps the most debated change from a modern player’s outlook was ⁤the fretwire. Les Paul preferred a wider and lower fretwire compared to the smaller ‌wire used on earlier Goldtops, allowing him to execute‍ rapid runs and jazz chord voicings with ease. Gibson marketed this feature, dubbing it‌ the “Fretless Wonder,” as players praised its low action and smooth frets. However, for​ those who enjoy bending strings, the Custom can feel challenging.

This preference for​ a unique⁤ playing experience may explain why many prominent musicians of the ’60s and ’70s gravitated towards othre models, making the Custom less ⁤popular and ⁣collectible compared to ‍Goldtops and ‘Bursts.

Bridges and Tailpieces: A Matter of Preference

les Paul’s wrap-under ⁣trapeze ​tailpiece design was met with mixed reviews. While it performed well on models like the ‍ES-225 and ES-295, many players preferred the stability of the ‌fixed wraptail bridge⁤ that was introduced on Goldtops in 1953. Some argue that the⁣ wraptail offers superior sound, while others contend that it compromises⁣ intonation.

Despite Gibson’s efforts, the⁢ introduction⁤ of the Tune-o-matic bridge and stoptail combination allowed for individual string adjustments, enhancing intonation accuracy.⁢ Although the first Gibson to feature a Tune-o-matic was ‌the 1953 Super 400,the Les Paul Custom was the first solid-body guitar‍ to adopt‌ this innovation.

Unique Pickup Configurations

Another distinctive characteristic of pre-1957 Les ⁢Paul⁢ Customs was the use of mismatched pickups, likely⁣ at Les Paul’s request. Early footage of Les playing Goldtops ​reveals ⁣that the neck⁤ pickup was⁢ not a standard P-90 but rather a DeArmond Dynasonic, identifiable⁤ by its wide, off-centre polepieces.

Instead of simply sourcing dynasonics from DeArmond, Gibson enlisted Seth Lover to create a Gibson version, resulting​ in what is now known as the ‘Staple P-90.’ This pickup,while ‍similar in shape,offers a clearer,more high-fidelity sound‌ compared to⁢ conventional P-90s,reminiscent of the Dynasonic’s ⁢tonal qualities.

Early Customs strike ‍a balance between the snarl‌ of a regular P-90 and the‍ power of ⁤the Staple, allowing for a versatile sound palette. This combination is akin to the tonal flexibility of a Telecaster, but with the added benefit of individual controls for each pickup.

The Legacy of ‍Paul Kossoff and ⁤Eric Clapton

Despite the⁢ unique features of pre-1957 Les Paul Customs, few renowned musicians are associated with them.‌ However,the ⁤guitar featured here‌ has a remarkable history,having been owned⁣ by two iconic British blues musicians: Paul Kossoff and Eric Clapton. ‍We spoke with Matthieu Lucas of Matt’s ⁤Guitar Shop in Paris to uncover‌ more about this legendary​ instrument.

According to Matthieu, the guitar was brought back to England in late 1965 or early 1966 by Paul ​Kossoff’s father, David Kossoff, an actor who‌ purchased it from Manny’s in New York.​ At the time, Paul was playing an‌ SG Junior, making this Custom his first serious two-pickup ​les Paul.

In 1966, Paul auditioned for⁣ the North London blues band Black ‍Cat⁤ bones, and the band’s drummer, Frank Perry,⁣ recalls Paul having a black Les ‍Paul at that time. It’s likely that‌ Paul traded this Custom ⁢for a sunburst model at Selmer’s, where Eric Clapton ‍frequently visited,‌ making it ⁣plausible that⁢ he ‍acquired Paul’s guitar.

“Clapton was indeed playing a 1950s Custom around that period,” Matthieu confirms. “there are numerous photos of him with a Staple P-90 Custom⁣ while performing with Cream at the Marquee Club, ​and this is the only pre-1957 Custom we know of that he played.”

during the Cream era,⁤ Clapton rarely ‌used P-90 Gibsons, leading to speculation that he was experimenting with various guitars before settling ⁣on the firebird, ES-335, and​ SG models he ⁢is now famous for. He did play another black Les Paul Custom with ​Blind Faith and Delaney & Bonnie,‍ but that was a⁣ three-pickup 1958 model he later gifted to Albert Lee.

Matt adds another intriguing detail: “paul disliked the yellowing of the binding, so he stripped the lacquer to restore its white appearance. In clapton’s photos,​ the binding appears bright white, which matches the⁢ current‍ state of the ⁤guitar.”

Accounts suggest that Clapton left the guitar at the NEMS Organisation, Cream’s agency, in April 1967, as it was⁣ no longer needed for an upcoming US tour. This ​is ⁢where Howard‌ ‘H’ Parker enters the narrative, as it is believed the guitar was passed to him as payment.

Parker, a familiar face in the late ’60s London music scene, worked as a roadie and manager for artists ⁤like Hendrix and Pink Floyd. He kept ⁣the Custom ⁤under his ‍bed, and upon his passing in 1974,​ it was inherited ⁤by his friend John Wilson, who also stored it under his‍ bed for 32 years.

Although aware of the Clapton connection,Wilson was unaware of the guitar’s ⁣previous ‌ownership by Paul Kossoff until he took it to auctioneers Cooper Owen in 2006. “They discovered Paul’s ownership when they‍ removed the switch and control covers,” Matt ​explains.”Paul had placed paper stickers underneath⁤ with his name and sometimes⁢ even the serial ​numbers‍ and his ⁤address.”

“At one point, it was rumored to have belonged to Duff McKagan,” Matt adds, “but I have no proof of that. After Howard Parker,‌ it changed hands several times and eventually‌ made its way⁣ to Japan before ending up in ‌Florida, where I purchased ‌it about ten⁣ years ago.”

Playing Experience and Unique Characteristics

We were eager to learn about the⁣ guitar’s playability and ⁣whether its neck profile ‍differed from the typical ​1958 or‍ 1959 ‘Bursts. “Surprisingly, I would describe it as having a rather robust neck,” Matt shares. ⁢”It’s quite enjoyable‌ to ‍play, featuring a unique ‌profile that’s fuller than any other mid-’50s Customs I’ve ⁢encountered. if I had to categorize ​it,I’d say it resembles a chunky C profile typical of‍ a ’58 Standard.”

“Interestingly, the original frets are nearly unplayable, yet still surprisingly functional. It’s peculiar‌ because as you reach the higher⁢ notes, there are ‌virtually no frets left. It embodies the essence of a Fretless Wonder while remaining easy to play. Additionally, it’s‍ remarkably lightweight for‍ a‌ Les Paul Custom, weighing⁤ just 3.84 kg, or under 8.5 lbs.”

“All the hardware, frets, pickups, potentiometers, and caps are original to the guitar, along with the finish. It remains exactly as Kossoff and ⁤Clapton left ‌it. I do have some photos of Clapton playing⁤ it with a white ​or cream pickguard, but it’s clear that this guitar has either ‌been stored under a bed ⁢or owned by collectors as then.”

“That’s likely why it has survived in such good condition,” Matt concludes. ​”It’s an exceptional-sounding instrument. Every artist who has played it raves about it, and it has been ‍owned by two legends for a reason.‍ It⁤ truly is a remarkable guitar.”