The⁢ Legendary Les‌ Paul⁣ Custom: A Tale of Two⁤ Icons

Les Paul was a man of remarkable ⁢talent, but subtlety was‌ not his forte. Instead of gradually introducing the idea⁣ of a solidbody electric guitar to loyal Gibson fans,les boldly opted for a striking ‍metallic gold finish ⁢on his signature model.In 1952, this guitar would have dazzled like a supernova amidst a ⁢sea of muted sunbursts.

With⁣ the ‌bar already set high, Gibson faced ​the challenge of creating an even more luxurious version of Les Paul’s signature guitar. It was as if the design team⁢ envisioned⁣ the epitome​ of elegance in musical instruments, perhaps drawing⁢ inspiration from a concert ⁤grand ⁣piano.

Introducing the Les ‍Paul custom

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

Distinctive Features of ‍the Custom

One of the most significant changes was in‌ the body ⁣construction. Unlike‍ the Goldtops and sunburst Standards that came⁣ before it, which were crafted ⁤with⁢ maple tops, the Custom⁤ was ‍carved from ‌a single slab of ‍mahogany. This choice eliminated the ⁢dampening effect typically associated with a maple cap.

Changes were also made to the neck. While many⁢ 1952 and ​1953⁤ Goldtops had significant neck profiles, ⁢the Custom often featured‍ a slimmer, faster‍ neck. 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 alteration from a modern player’s perspective 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⁢ interspersed with jazz chords. Gibson ‍marketed this feature,⁢ dubbing it⁣ the “Fretless Wonder,” as‌ players praised its low, smooth ⁤frets ​and action. However, for those who enjoy⁤ bending strings, the Custom can feel challenging.

This⁤ preference for a unique fret design⁢ may explain why⁤ many prominent musicians of the ’60s ‌and ’70s ‍gravitated towards ⁣other models, making ⁣Customs‌ less‍ popular and collectible compared to‌ Goldtops and ‘Bursts.

Bridges and Tailpieces: A Controversial Choice

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,⁤ most ⁤players‍ preferred ​the stability of the ‌fixed wraptail bridge that was ⁢introduced on⁤ Goldtops in 1953. Some ‍argue that‌ the wraptail is ​the best-sounding bridge ever fitted‌ to‍ Les Pauls, 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.Although the first Gibson to ​feature a‌ Tune-o-matic was the 1953 Super 400, the Les Paul Custom was the first solidbody to adopt this innovation.

Unique Pickups and Wiring

Another⁣ distinctive feature⁣ of pre-1957 Les Paul ⁤Customs was the mismatched pickups, likely at Les ⁢Paul’s request. Early footage of Les playing Goldtops‍ reveals that the neck ‌pickup⁤ was not a P-90, but rather‍ a​ DeArmond ⁢Dynasonic concealed under a cream plastic cover.

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 a standard P-90,reminiscent of the Dynasonic.

Early Customs provide ⁣a ⁢unique tonal palette, ⁤combining the snarl ‍of a regular P-90 with the power of the⁢ Staple, creating a⁤ delightful mismatch that enhances versatility.

The Blues Legends: Paul Kossoff and ⁤Eric Clapton

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

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⁣ a North London blues band called⁤ Black Cat Bones. The band’s drummer, Frank Perry, recalls Paul having⁢ a black​ Les Paul, but he quickly acquired a sunburst model. Given Paul’s young age, it’s likely he traded the black​ Custom for ​the sunburst at Selmer’s, ⁤where Eric Clapton frequently visited, ‍making⁣ it plausible that Clapton ended up with ‍Paul’s guitar.

“Clapton was definitely seen with a 1950s Custom during this period,” Matthieu asserts.⁤ “There‌ are numerous photos of ⁢him playing a Staple​ P-90 Custom ⁤with ‍Cream at‍ the Marquee Club, ​and this is the only pre-1957 Custom we certainly know of that he played.”

It was uncommon to see Clapton using ​P-90 Gibsons during the Cream era, suggesting ‌he was ‍experimenting with​ various guitars before ​settling on the Firebird, ES-335, ​and SG that ⁤became his signature during the late ’60s. 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 provides ⁤further evidence of the guitar’s connection to both ​legends:⁢ “Paul disliked the yellowing binding, so he‌ stripped the lacquer to‌ restore its white color.Clapton’s pictures ⁣show the binding as bright white, which it ‌remains today.”

Accounts suggest ⁤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’s ‍believed ‍the guitar was ⁣transferred to him as payment.

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

Although aware of the ⁢Clapton connection, Wilson had ​no idea the guitar had belonged ⁣to 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,” Matthieu explains. “Paul would place paper stickers under the covers ​with his name, serial numbers, and even ‍his address.”

“At one⁣ point, it ⁢was rumored to have​ belonged ⁤to ‌Duff McKagan,” Matthieu 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 Legacy

Curious about the guitar’s⁢ playability and whether ⁣the neck profile differs from the typical 1958 or 1959 ‘Bursts, we‍ asked ​Matthieu for his insights.

“What’s really nice‍ is⁤ that the ‍original frets are almost unplayable… ⁣but still very‍ playable at the ⁢same time.”

“Actually, I’d say​ it has quite a beefy neck,”‌ Matthieu insists. ⁤”It’s a⁤ joy to play because it ‍features a unique profile. it’s fuller and unlike any‌ other mid-’50s ⁢Customs ‍I’ve encountered. If I had to describe ⁤it, I’d say ⁣it⁤ resembles the⁤ chunky C profile found on a ’58 Standard.”

“The original frets are nearly gone, especially at the higher​ notes, which embodies the essence of a Fretless Wonder,‌ yet it remains easy to‍ play. It’s also surprisingly 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 this​ guitar has been ‍either stored under⁢ a bed⁤ or owned by ‌collectors ⁤since⁢ then.”

“That’s likely ​why it has survived ‍in such great‌ condition,” matthieu concludes. “It’s an extraordinary-sounding guitar. Every artist‍ who has played it raves about‍ it, and it has been ​owned by two ​legends⁢ for a reason.⁣ It’s⁤ truly⁤ a special instrument.”