Getting a dream Gibson guitar is a lot like falling in love: You want to profess that love to the world!
Slash, Dave Grohl and Joe Perry are just a few guitarists that have gushed about their love and respect for the Gibson brand. Read on to learn why those players, along with many others, can’t get enough of their Gibson guitars.
Slash on his Gibson Goldtop as told to Gibson.com:
“They do the job perfectly. They’re very well rounded, with all the great high end that you’d expect in the treble position and all the great low end in the rhythm position. They’re very clean, with lots of presence and no muddiness at all. They really are identical to what I had before.
“I’m not quite sure what it is about a Gibson Les Paul Goldtop that gets that particular sound, but it’s definitely like each string has its own certain amount of clarity, so when you play a chord it has just the right amount of crunch. They work great in live situations and they sound amazing in the studio, so I’m really excited because I’ve been without that guitar for about 10 years.”
Dave Grohl on Gibsons being the “sound of the Foo Fighters,” as told to NME.com :
“This guitar I’ve made every single Foo Fighters record with,” Grohl said in regards to his Gibson Trini Lopez guitar, which ended up inspiring Grohl’s signature model, the Pelham Blue DG-335. “This is a … beautiful guitar. I saw this in a guitar shop in Bethesda, Maryland. I think it was 1992, ’93 or something like that. I think I was still in Nirvana when I bought it. I thought it was unusual. It looks like a Gibson ES-335, except it has diamond-shaped f-holes and has this different headstock on it. And I didn’t really know anything about Trini Lopez, the artist, when I bought it.
“This is the sound of the Foo Fighters, this guitar. On every record, I might use different guitars now and then. For the most part, it’s just this.”
Aerosmith’s Joe Perry on his Gibson IS-335 as told to Gibson.com:
“I have a 1960 cherry stereo ES-335 with Bigsby. My wife got it for me for my birthday, a few years ago I was bringing that on the road with me. Then I got the blond one that I got new. I couldn't really tell the difference in a live situation. So I've just been bringing the new ones on the road.”
Green Day’s Billie Joe Armstrong on his Billie Joe Armstrong Les Paul Junior as told to Gibson.com:
“This guitar is pretty much like Floyd, apart from the neck. This is more of a '60s neck so it's easier to play and get your hands around, whereas the '50s necks were a bit thicker…. For years I have been looking for a guitar sound that could live up to the guitar tone I hear in my head. The first time I played my 1956 Les Paul Junior guitar, it matched that tone perfectly. Les Paul Junior guitars can reproduce the punch of power chords and the power of big open chords with perfect string definition.”
Led Zeppelin’s Jimmy Page on the Les Paul he used during his early session days via Ultimate Guitar:
“The Gibson ‘Black Beauty’ Les Paul Custom. I was one of the first people in England to have one, but I didn't know that then. I just saw it on the wall, had a go with it, and it was good…”
Zakk Wylde on what makes Gibsons special as told to Gibson.com:
“It’s the history and the quality of the instrument, too. It’s an amazing instrument. It’s like a cheeseburger; it doesn’t go out of style, no matter what generation. Whether somebody picked a Les Paul up in ’58, that same guitar still works today. It doesn’t go in and out of fashion. And that’s because it’s a great instrument. It doesn’t matter what violin player is going to pick one of these up and whether it was made 10 years ago or 100 years from now. You pick up a Les Paul, and it’s always going to sound great. When you buy it, it’s an investment, and you’re never going to have to buy another guitar again.”
Ace Frehley on his Ace Frehley “Budokan” Les Paul as told to IHeartGuitar.com:
“It was my favorite guitar that I used pretty much exclusively through the 70s and 80s, I guess. I continued to use it even with Frehley’s Comet. I don’t even remember when I got it! It was sometime around 1975, 76. I had three or four backups, but the particular one that they just released, which is called the Budokan guitar, it was always my favorite guitar, my number one. It just felt the best and played the best.”
Lenny Kravitz on the quality of Gibson guitars as told to MusicRadar.com :
"Everything Gibson has made me has been amazing. Last year I got a beautiful Les Paul in Iced Tea finish, it's like a Sunburst but it's really mellow. That's my favorite new one. I bought so many, for so many years and I don't even see them, they're in storage units, it's ridiculous, so enough is enough."
Jeff Beck on when he first became aware of the Les Paul, as told to Gibson.com:
“So far back I have to think about it. I think I was six. We’re talking about 1950. And there was a signature tune to a weekly (program), ‘How High to the Moon.’ And I remember sitting up and listening to it at night and my mom said, ‘Don’t get too excited, it’s all done with tricks.’ (laughs) So that was first introduction to it. And from the minute she told me not to take it serious, I took it seriously.”
ZZ Top’s Billy Gibbons on the special Gibson guitars in his collection as told to Gibson.com:
“In 1957, Gibson president Ted McCarty had three designs patented for guitars that looked futuristic: The Flying V, the Explorer and the Moderne. The V and the Explorer went into production; only the Moderne disappeared from sight. But there were rumors all the time about one prototype, especially since the late McCarty could remember one. A couple of years ago I received a call from a friend who heard that a painter from San Antonio wanted to sell a funny-looking old guitar. No big surprise he thought about me immediately. [Laughs.]
“We drove there, checked out the guitar and bought it. It looked like an old Gibson Moderne, definitely not one of the reissues that Gibson sold in 1982. We showed it to some experts, but none of them could help. Even guitar guru George Gruhn got on the case. He disassembled the guitar and examined every screw, every cable, everything, but not even he could identify this instrument, because there was no information about the Moderne apart from the blueprints. But what he could tell for sure was that all parts of this guitar were from the ’50s. We’ll probably never know. What’s interesting is how this painter, who has nothing to do with guitars, got hold of it: He found it at a junk clearance somewhere.”