Gibson Les Paul

Gibson Les Paul
Manufacturer	Gibson, Epiphone
Period	1952–1960, 1968–present
Construction
Body type	Solid
Neck joint	Set-in
Woods
Body	Mahogany (often with a maple top), swamp ash
Neck	Mahogany, maple
Fretboard	Rosewood, ebony, maple (usually 22 frets)
Hardware
Bridge	Usually hardtail (Tune-O-Matic)
Pickup(s)	Usually H-H (2 Humbucker)
Colors available

The

Origins and history

 

Les Paul and "Clunker" (1947)

ES-150 (1936)

The Gibson Les Paul was the result of a design collaboration between Gibson Guitar Corporation and the late jazz guitarist and electronics inventor Les Paul. In 1950, with the introduction of the radically innovative Fender Telecaster to the musical market, solid-body electric guitars became a public craze (hollow-body electric guitars have more acoustic resonance but are, therefore, more prone to amplifier feedback and have less natural note duration "sustain".) In reaction, Gibson Guitar president Ted McCarty brought guitarist Les Paul into the company as a consultant. Les Paul was a respected innovator who had been experimenting with guitar design for years to benefit his own music. In fact, he had hand-built a solid-body prototype called "The Log", a design widely considered the first solid-body Spanish guitar ever built, as opposed to the "Hawaiian", or lap-steel guitar. This guitar is known as "The Log" because the solid core is a pine block whose width and depth are a little more than the width of the fretboard; conventional hollow guitar sides were added for shape (Image 2), a design similar to the popular Gibson ES-335 semi-hollowbody guitar introduced in 1958. Although numerous other prototypes and limited-production solid-body models by other makers have since surfaced, it is known that in 1945–1946, Les Paul had approached Gibson with "The Log" prototype, but his solid body design was rejected.

In 1951, this initial rejection became a design collaboration between the Gibson Guitar Corporation and Les Paul. It was agreed that the new Les Paul guitar was to be an expensive, well-made instrument in Gibson's tradition. Although recollections differ regarding who contributed what to the Les Paul design, it was far from a market replica of Fender models. Founded in 1902, Gibson began offering electric hollow-body guitars in the 1930s, such as the ES-150; at minimum, these hollow-body electric models provided a set of basic design cues for the new Gibson solid-body, including a more traditionally curved body shape than offered by competitor Fender, and a glued-in ("set-in") neck, in contrast to Fender's bolt-on neck

The significance of Les Paul's contributions to his Gibson guitar design remains controversial. The book "50 Years of the Gibson Les Paul" limits Paul's contributions to two: advice on the trapeze tailpiece, and a preference for color (stating that Paul preferred gold as "it looks expensive", and a second choice of black because "it makes your fingers appear to move faster on the box", and "looks classy―like a tuxedo").
Additionally, Gibson's president Ted McCarty states that the Gibson Guitar Corporation merely approached Les Paul for the right to imprint the musician's name on the headstock to increase model sales, and that in 1951, Gibson showed Paul a nearly finished instrument. McCarty also claims that design discussions with Les Paul were limited to the tailpiece and the fitting of a maple cap over the mahogany body for increased density and sustain, which Les Paul had requested reversed. However, according to Gibson Guitar, this reversal would have caused the guitar to become too heavy, and Paul's request was refused. Another switch: the original Custom was to be all mahogany and the Goldtp was to have the maple cap/mahogany body. Beyond these requests, Les Paul's contributions to the guitar line bearing his name were stated to be cosmetic. For example, ever the showman, Paul had specified that the guitar be offered in a gold finish, not only for flashiness, but to emphasize the high quality of the Les Paul instrument, as well. The later-issue Les Paul models included flame maple (tiger stripe) and "quilted" maple finishes, again in contrast to the competing Fender line's range of car-like color finishes. Gibson was notably inconsistent with its wood choices, and some goldtops have had their finish stripped to reveal beautifully figured wood hidden underneath.

Post-punk

Post-punk is a rock music genre that paralleled and emerged from the initial punk rock explosion of the late 1970s. The genre retains an association with punk, especially art punk, but is more complex and experimental. Post-punk laid the groundwork for alternative rock by broadening the range of punk and underground music, incorporating elements of Krautrock (particularly the use of synthesizers and extensive repetition), dub music (specifically in regard to the use of bass guitars), American funk and studio experimentation into the genre. It was the focus of the 1980s alternative music/independent scene, and led to the development of genres such as gothic rock and
                                                           industrial music.

1977–1979

In November and December 1977 writers for Sounds used the terms "New Musick" and "post punk" to music acts described what Jon Savage called acts such as Siouxsie and the Banshees that sounded like "harsh urban scrapings/controlled white noise/massively accented drumming".The term came to signify artists with sounds, lyrics and aesthetics that differed significantly from their punk contemporaries and soon became applied to other British musicians, including The Pop Group, This Heat, Subway Sect, Wire, The Fall, Public Image Ltd and Magazine. This occurred as a scene emerged in the United States around protopunk/art punk survivors like Devo, Suicide, Television and Talking Heads, as well as the New York No Wave artists, including Teenage Jesus and the Jerks, Glenn Branca, Rhys Chatham, Mars, James Chance and the Contortions. Similarly, a pioneering punk scene in Australia during the mid-1970s also fostered influential post-punk acts like the Boys Next Door/The Birthday Party and The Go-Betweens.^{[citation needed]}

1980s

By 1980, critic Greil Marcus referred to "Britain's postpunk pop avant-garde" in a Rolling Stone article. Marcus applied the phrase to such bands as Gang of Four, The Raincoats and Essential Logic, which he wrote were "sparked by a tension, humour and sense of paradox plainly unique in present day pop music."By that time, iconic British post-punk bands such as Gang of Four, Joy Division, The Cure, Echo & the Bunnymen, The Teardrop Explodes, The Psychedelic Furs and Killing Joke had also appeared. Championed by late-night BBC DJ John Peel and record label-shop Rough Trade (among others, including Factory, Cherry Red, Mute, Glass, Fast, Postcard, Industrial, Axis/4AD and Falling A), "post-punk" could arguably be said to encompass many diverse groups and musicians.^{[citation needed]}
Other prominent US post-punk artists included: Hüsker Dü, The Replacements, The Lounge Lizards, DNA, Bush Tetras, Theoretical Girls, Swans and Sonic Youth. No wave focused more on performance art than actual coherent musical structure. The Brian Eno-produced No New York compilation is considered the quintessential testament to the history of no wave.
In Australia, other influential acts to emerge during the late 1970s included: Primitive Calculators, Tactics, The Triffids, Laughing Clowns, The Moodists, Severed Heads and Crime & the City Solution.

Kim Gordon of Sonic Youth,walking over her bass guitar

The original post-punk movement ended as the bands associated with the movement turned away from its aesthetics, just as post-punk bands had originally left punk rock behind in favor of new sounds. Some shifted to a more commercial new wave sound (such as Gang of Four), while others were fixtures on American college radio and became early examples of alternative rock. In the United States, driven by MTV and modern rock radio stations, a number of post-punk acts had an influence on or became part of the Second British Invasion of "New Music" there.Perhaps the most successful band to emerge from post-punk was U2, who combined elements of religious imagery together with political commentary into their often anthemic music.