Bob Marley owned just a couple of guitars; some say five, some say seven He’s mostly known for playing his brown colored Les Paul Special. This is reported to be Bob’s favorite electric guitar, used extensively throughout his career. There’s even a rumor that Marley was buried with this exact gu...
The guitar which Marley was most often seen playing; there are several modifications on the instrument, probably the most notable being that the original wraparound bridge was replaced with the more common Gibson setup of Tune-O-Matic and Stopbar. The switchwasher and pickguard on Marley's instru...
Bob was presented this guitar by Yamaha whilst touring in Japan. After The Wailers' last tour in 1979, he gave it to the band's bassist, Aston Barrett. Barrett later lent the guitar to promoter Angus Reid. When he tried to retrieve it later, Reid refused to return the guitar, and later attempted ...
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It is important to note though that he used a couple of different amps, perhaps the most notably the Fender Silverface Twin which can be seen on many different photos. He also played on a couple of different Marshall and Ampeg amps.
This was used by Bob during a few early shows of the US Burnin tour in 1973. He famously played this guitar at both Paul's Mall in Boston and The Matrix Club in San Francisco (seen in picture above). In this photo, judging by the inlays and pickups, Marley is playing 1970 Gibson SG. It is unknown...
The MCI console was responsible for the best sounding records in the 70's. All studio's Bob Marley used, including his own Tuff Gong studio was equipped with a MCI console and JBL monitors.
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Bob can be seen playing a Gretsch 6120 Chet Atkins Nashville guitar while recording with Johnny Nash. This was taken sometime in the early 1970s (presumably 1971). Nash or the studio possibly owned the guitar.Around the start of May 1973, Bob Marley stepped into Top Gear, a scruffy music shop in Denmark Street, a short central-London side road full of music-biz dives and offices. Top Gear, well known for its stock of good secondhand gear, regularly welcomed guitarists famous and not-so-famous. Keith Richards, for example, popped in occasionally and left with such choice catches as a National resonator, an old-style Rickenbacker solidbody, and a Les Paul Custom, among others.
Bob Marley scanned the walls and took down an unusual single-cut Gibson Les Paul Special. Top Gear had bought the guitar from Dan Armstrong, an American guitar repairer resident in the UK at the time. Dan had added block fingerboard markers in place of the original dots, modified the finish, and bound the headstock. Marc Bolan had recently returned the guitar: he'd changed his mind and chopped it in for a Les Paul with humbuckers.
Bob bought the Special and began using it for Wailers' dates in England through the rest of May '73. He would continue to play it as his prime stage and studio guitar for the rest of his career—but not without a few more modifications along the way.
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Bob and band were back in Britain toward the end of '73, and his Les Paul suffered an accident. Sid Bishop was the manager at Top Gear and had sold the guitar to Bob originally. He came back in with it and said, 'Look what I've done.' The Les Paul had fallen forward off a guitar stand and the impact had pushed the pickup selector switch back through the body, together with a fair-sized lump of wood. Sid looked at the guitar and turned to its owner. I said, 'Oh, you silly boy, Bob.'
Mark Moffatt also worked at Top Gear at the time, and he says Bob was lucky the headstock hadn't snapped. That's usually the first thing to go in a fall like that. He told us he couldn't leave the guitar as they had shows, Mark recalls, so could we do anything to get him going?
Bob was shown to the back room at Top Gear, where Roger Giffin worked on repairs. Stan Smith was a sales assistant, but sometimes he helped Roger. Bob appeared at the door of the repairs room, Stan remembers. He was quite distressed at the damage to his guitar, but Roger and I suggested putting in a larger plate on the guitar front and a thinner washer on the inside, and that hopefully we'd have enough room to reinstall the securing ring and all would again be well.
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Bob liked the idea. We cut a large circle from a spare piece of thick cream plastic from a Les Paul Standard scratchplate and drilled a hole in it, Stan says. I suppose we used a scrap piece to secure the inside. So, we reinstalled the switch and then tested the guitar to make sure everything was working. I was briefly aware that here I was, sitting playing Bob's guitar—with him standing next to me. But he really was a thoroughly nice man.
Sid recalls giving the guitar back to its owner. I said, 'Here you are—and you won't do that again.' Bob was over the moon. This supposedly temporary repair, visible as a switch plate distinctively larger than normal, stayed in place for the next few years, and at some point a Tune-o-matic bridge and tailpiece were added in place of the guitar's original one-piece wrapover bridge. Bob Marley & The Wailers moved on to greater success, and the Special continued to serve Bob well in its role as his main electric instrument.
Cut forward to the spring of 1978, and Roger Mayer flew from his home in England to Jamaica to meet Bob Marley. Roger is best known for his work with Jimi Hendrix, famously making effects pedals such as the Octavia that Jimi used so well. Roger's trip to meet Bob, around the time of the One Love concert in April 1978, came through a connection with the new guitarist in The Wailers, Junior Marvin, who Roger had been working with on solo material.
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Roger asked Bob what he'd like him to do. He told me how much he liked Jimi Hendrix, Roger recalls, and then he said: 'Can you help make me sound international?' I said sure. What did he mean by that? Everyone could see the band's potential. But they didn't have an international sound—it wasn't going to travel. It was always going to sound like a very good raggedy-arse Caribbean band, you know? I told them, basically, that their instruments were out of tune.
Roger's first job, therefore, was to examine all the guitars and give them necessary overhauls and proper setups. Storage in Jamaica's humidity and regular gigging had certainly not improved the state of The Wailers' instruments. Roger says he first worked on Bob's Les Paul, renewing the tuners and some of the pots, checking the neck relief and bridge intonation, giving the guitar a thorough refret, and generally correcting and enhancing its playability.
That all improved Bob's guitar's sustain and kept it perfectly in tune, Roger remembers. I did the same for the rest of their guitars, and I told them to use an electronic tuner, with everyone tuning to one tuner. So for the first time, at One Love, the band sounded in tune. The guys were coming up to Bob afterwards saying they couldn't believe the difference in the way the band sounded, that they'd never heard him sound so good.
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Later in '78, Bob asked Roger if he could make something for his Les Paul that no one else had, so that anyone looking at it would know this was Bob Marley's guitar. Roger came up with a new toggle-switch plate to replace the temporary repair done at Top Gear some five years earlier. I suggested an elliptical hard-anodized aluminum plate under the switch, which would be like a third eye looking out from the guitar, Roger says. It was certainly different.
Bob liked that idea. So I kept the position but modified the plate, Roger concludes, which also made it much sturdier. And also it improved the shielding slightly, too, having that extra bit of ally around it. Roger added a matching aluminum pickguard to replace the original, and the new look was in place, fulfilling the request for an instantly identifiable guitar. The Les Paul Special would stay this way until Bob's untimely death three years later.
When Gibson's Custom Shop announced a limited edition of a Bob Marley Les Paul Special in 2002, the press release said it was created through painstaking research and detailing using Bob's original Les Paul Special. Pat Foley was Gibson's Entertainment Relations director at the time, and he went to Jamaica to check out that original guitar. Pat was the right man for the job, a Marley fan who had first visited Jamaica as a curious teenager and who later spent five years living on the Caribbean island of Montserrat.
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The trip began well and got better. Rita Marley had her assistant come meet me at the airport, Pat remembers, and it was crazy, because
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