In 1955 Gibson offered 5 different Les Paul signature model guitars. The Les Paul Custom, often referred to as the Black Beauty was the top of the line guitar in the range. It featured an all mahogany body with a carved mahogany top, mahogany neck, ebony fretboard, two P-90 pickups, gold hardware and decorative inlays. It was the first Gibson solid body to have the Tune-O-Matic bridge. The next in the line was the Les Paul Standard which was more of a mid-range guitar. They came with a Gold finish and had a mahogany body, carved maple top and mahogany neck. The Standard also had two P-90’s and a Tune-O-Matic bridge, but it was a bit more plain looking compared to the Custom. At the lower end of the range, you could buy a Les Paul Junior or TV model. These guitars had a solid mahogany slab body and mahogany neck with no carved top. They came with a single P-90 pickup in the bridge position and a wrap around bridge.
Just above the Junior and below the Standard model, Gibson offered the Les Paul Special. The Special had the same body, neck type and bridge as the Junior and TV models, but featured two P-90 pickups instead of one.
Gibson produced the Les Paul Special as a single cutaway design until 1958 when they changed it to a double cutaway. The double cutaway version was made until 1961 when Gibson decided to redesign the Les Paul as the SG body. It’s well known that Les Paul didn’t like the sharp horns and overall design of the SG so he decided to part ways with Gibson. In 1963 his contract ended and these guitars became the SG Special.
Les eventually renewed his contract with Gibson in 1968 and in 1974 the 1955 Special reissue was released. They were made them from 1974 - 1981.
This particular guitar was made in 1976 and has a single cutaway slab mahogany body, mahogany neck, 23-fret bound rosewood fingerboard with dot inlays, black headstock overlay with pearl logo and "Les Paul Model" script, three-per-side tuners with plastic keystone buttons and tune-o-matic bridge with stop tailpiece. It has 2 saopbar pickups , four knobs. (2 volume, 2 tone) and a 3-way switch. They were offered with a wraparound bridge/tailpiece from 1974 - 1976, true to the 55 design. Gibson made a slight change in 76 and added the TOM upgrade to improve intonation. You could get them in Sunburst or Wine Red from 74 - 81. Natural Mahogany finish was offered from 77-81.
The 55 reissues were made during the Norlin era of the 1970’s which is often considered to be a dark time for Gibson. Gibson had been acquired by Norlin (CMI) in 69 and started adding cost cutting measures to improve profitability. That meant finding ways to cut corners in the manufacturing process, using lower quality parts and woods. Guitars made during this period especially towards the late 70’s were known for being heavy. Fender also had a similar reputation during this time. Because of this, some people will often under value Norlin era guitars.
Personally, I’ve played great guitars and terrible guitars from every era and that includes Norlin era Gibsons. Don’t forget, some of the greatest rock songs of all time were recorded and performed using Norlin era Gibsons. You really just have to play a few and search for the good ones.
This guitar is definitely one of the good ones. It weighs right in at 8lbs. The neck is wide and flat, but not thin. The original nickel frets are also somewhat wide and low. This one has a little fret wear, but still plenty of life left on them. The guitar plays beautifully up and down the neck. Bends are effortless across the dark rosewood fretboard. While some vintage collectors and purists might turn their nose up at the tune-o-matic bridge for not being historically accurate to the 1955 design, as a player I appreciate having the ability to make needed adjustments for improved intonation.
The original soapbar single coil pickups sound excellent. I’ve talked to some people that found the pickups to be nothing special and they end up upgrading them with aftermarket pickups. While a pair of Lollar’s will sound excellent in this guitar, you may not need to go that far. One of the changes Gibson introduced during this time was to put 300k volume and tone pots in their guitars. If find that the 300k values tend to choke the pickups so I swapped the originals 300k pots for CTS 500k ones and it made a massive difference. The pickups sing now with amazing clarity.
These late 70’s, 55 reissues can often be found for the same price or lower than a newer version. If you play one that’s been well cared for and compare it to a newer 55 reissue at your local GuitarCenter, you’ll feel and hear the difference. In my mind there’s no question the vintage one wins hands down.