The image of Jimmy Page, Marshall stacks blazing behind him, wielding a low-slung Gibson Les Paul is more than just a photograph; it’s a foundational etching in the grand mural of rock and roll. For legions of guitarists and music aficionados, Page and his Les Pauls are inextricably linked, the pairing synonymous with the raw power, blues-drenched swagger, and ethereal mystique of Led Zeppelin. While Page’s arsenal included other notable instruments, it was a select quartet of Les Pauls that became the primary conduits for the earth-shattering riffs and searing solos that redrew the map of hard rock. These were not merely tools, but extensions of Page’s formidable musical intellect and artistic vision, each with its own unique history, modifications, and contribution to the colossal sound of Led Zeppelin. This is the story of those four legendary guitars.

I. “Number One” (1959 Les Paul Standard): The Primary Architect of Zeppelin’s Sonic Empire

The guitar that would become Jimmy Page’s most iconic and trusted musical partner, affectionately dubbed “Number One,” was a 1959 Gibson Les Paul Standard. As a historic gibson les paul guitar, this model is celebrated for its pivotal role in the evolution of electric guitars and its lasting impact on music history. Its journey into Page’s hands and its subsequent role in shaping Led Zeppelin’s sound is a story of serendipity, player-centric modifications, and an undeniable chemistry between artist and instrument.

A Fortuitous Encounter: The Joe Walsh Transaction

In early 1969, as Led Zeppelin was rapidly ascending, Jimmy Page was still predominantly using his “Dragon” Fender Telecaster, the guitar that had served him through The Yardbirds and Led Zeppelin’s debut album. However, the sonic demands of Led Zeppelin’s increasingly heavier sound and larger venues were beginning to expose the Telecaster’s limitations, particularly with feedback at high volumes.

The opportunity to acquire a Les Paul Standard came via Joe Walsh, then of the James Gang and later of Eagles fame. Accounts of the transaction vary slightly in the telling. Page recalled Walsh visiting during a Led Zeppelin tour stop at the Fillmore East, insisting Page buy the Les Paul. Walsh, in other interviews, mentioned Page was actively looking for a Les Paul, feeling his Telecaster wasn’t “cutting it” for Led Zeppelin’s evolving sound. Regardless of who initiated the conversation, the outcome was monumental. Page purchased the 1959 Les Paul Standard from Walsh for a sum often cited as around $500, though Walsh later estimated the total cost to Page, including his travel expenses to hand-deliver the guitar, was closer to $1,200. This was a significant investment at the time, especially for an instrument that, as it turned out, had already undergone notable alterations.

The 1959 Gibson Les Paul Standard, particularly the “Burst” models with their sunburst finishes, is now considered a holy grail for vintage guitar collectors, often commanding prices in the hundreds of thousands, if not millions, of dollars. This reverence is due in no small part to their use by seminal players like Page, Eric Clapton, Billy Gibbons, and Keith Richards, but also because of their relative rarity (less than 2,000 made before being discontinued) and the exceptional tonal qualities derived from their old-growth Honduran mahogany bodies, Eastern maple tops, Brazilian rosewood fretboards, and the legendary “Patent Applied For” (PAF) humbucking pickups. These instruments were crafted with materials and techniques, such as hot hide glue and nitrocellulose lacquer finishes, that many believe contribute to their superior resonance and complex harmonics.

The Shaved Neck: A Defining Modification by Virgil Lay

One of the most significant characteristics of “Number One” was its remarkably slim neck profile, a feature already present when Page acquired it. Joe Walsh had commissioned this modification from Virgil Lay of Lay’s Guitars in Akron, Ohio. Walsh found the original ‘59 mahogany neck profile “big and fat” and preferred a thinner feel. Page himself theorized that Walsh might have wanted to sell the guitar because it didn’t feel the same to him after the neck was shaved and the guitar refinished.

The mahogany neck was shaved down so dramatically that, as Edwin Wilson (presumably of Gibson, involved in later signature models) noted, it was “right on the truss rod” in the middle section, to an extent that seemed structurally precarious, yet remained stable. Page explicitly stated, “It came as it was with a shallow neck,” and it was this slim, almost customized feel that he particularly liked. This preference for a thinner neck profile was so strong that Page would later have the neck of his “Number Two” Les Paul similarly modified. The extensive sanding unfortunately obliterated the guitar’s serial number, making its exact 1959 or early 1960 origin a subject of debate, though most agree it’s a late ‘59. The decision to embrace a guitar with such a significantly altered neck underscores Page’s pragmatic focus on playing comfort and ergonomics over strict vintage originality, a clear indication that the instrument was, first and foremost, a tool for making music.

An Evolving Voice: Pickups and Electronic Modifications

“Number One” was not a static museum piece; its electronics and hardware evolved over Page’s years with Led Zeppelin and beyond, reflecting his ongoing quest for tonal refinement and reliability.

The guitar would have originally been fitted with Gibson’s famed PAF humbuckers. Shortly after acquiring it, Page removed the cover from the bridge pickup, exposing its white bobbins. This was a common modification at the time, believed by some to slightly increase high-end response.

The pickups themselves underwent several changes:

Original PAFs (1969-1972): The guitar began its Zeppelin journey with its stock PAFs (or what remained of them after Walsh’s ownership).
Bridge Pickup Failure and T-Top Replacement (1972): During a tour of Australia in February/March 1972, the double white bobbin bridge PAF began faulting and was repaired by Melbourne luthier Merv Cargill. However, either the repair didn’t hold or Page was unsatisfied, because by April 1972 (first seen at a show in Amsterdam), the bridge pickup was replaced with a chrome-covered Gibson T-Top humbucker. T-Tops were Gibson’s humbucker design from the late 1960s into the 1970s, known for a slightly brighter, more consistent output than the often-variable PAFs. This T-Top remained in the bridge position for the duration of Led Zeppelin’s active career.
Seymour Duncan Custom Bridge Pickup (1990s): Sometime in the 1990s, the T-Top was swapped out for a custom-wound Seymour Duncan humbucker. This change occurred well after Led Zeppelin’s disbandment, reflecting Page’s continued use and refinement of his primary instrument.
Neck Pickup Replaced with a 1960 PAF (2000s): The original neck PAF remained in place until the 2000s, when it was replaced with another vintage PAF, reportedly from a 1960 Les Paul. The reasons for this specific change are not widely documented but suggest a desire to return to or refine that classic neck pickup tonality.

Beyond pickup swaps, Page made a significant electronic modification in the post-Zeppelin era (around 1981/82, or as late as 2003 according to some sources, though the earlier date is more consistent with when he modded #2):

Peter Green Style Phase Switch: A push/pull pot was added to one of the tone controls (or possibly the bridge volume or tone control) to reverse the phase of one of the pickups (likely the bridge pickup, or to put the pickups out of phase with each other when combined). Page stated, “I wanted to be able to reverse the phase of the pickups to get a close approximation of the sound Peter Green got”. This mod allows for a thinner, slightly “hollow” or “nasal” tone when both pickups are selected and out of phase, a sound famously associated with Peter Green of Fleetwood Mac, who achieved it by flipping the magnet in his neck pickup. Page’s modification was an electrical switch rather than a magnet flip, achieving a similar sonic result. This modification was not present during Led Zeppelin’s main tenure, making it an evolution of the instrument beyond the band’s primary era.

Other practical modifications included the replacement of the original Kluson tuners with sealed Grover tuners. Page was familiar with Grovers from his Les Paul Custom and preferred their stability, a crucial factor for a heavily toured instrument in a three-piece band where tuning integrity was paramount. This again demonstrates a player-focused approach, prioritizing reliable performance.

The Voice of an Era: “Number One” Defining Led Zeppelin’s Monumental Sound

“Number One” was put to immediate and historic use, becoming Page’s main guitar for the recording of Led Zeppelin II in May 1969. Tracks like “Whole Lotta Love” and “What Is and What Should Never Be” were built around its formidable sonic texture. Page himself stated, “Like I had built Led Zeppelin I around the Fender Telecaster, I built the second album around the sonic texture of the Les Paul Standard”.

This guitar remained his primary instrument for virtually every Led Zeppelin performance and recording from 1969 until the band’s end, and continued to be used in his post-Zeppelin work with The Firm and at the 2007 reunion. Its image is inseparable from Page’s stage persona.

Page’s connection to “Number One” was profound. He famously described it as “my mistress and my wife except it doesn’t ask for alimony”. He elaborated on his initial reaction: “As soon as I played the Les Paul I fell in love… Not that the Tele isn’t user friendly, but the Les Paul was gorgeous and easy to play… It just seemed like a good touring guitar… The Gibson’s got all that very stereotyped sound, maybe, I don’t know, but it’s got a really beautiful sustain. I do like sustain”. This deep personal and musical bond with “Number One,” with its player-modified shaved neck and evolving pickup configuration, was undeniably integral to the creation of Led Zeppelin’s groundbreaking sound and Page’s expressive, dynamic playing style. It wasn’t just a guitar; it was the guitar that voiced a generation of rock.

II. “Number Two” (1959 Les Paul Standard): The Sophisticated Backup and Sonic Explorer

While “Number One” held the undisputed title of Jimmy Page’s primary Les Paul, the demands of extensive touring and his unceasing quest for tonal variety necessitated a worthy second-in-command. The les paul guitar is renowned for its versatility, and Gibson offers a wide range of models to suit different player needs. This role was filled by another 1959 Gibson Les Paul Standard, which Page dubbed “Number Two.” This instrument not only served as a reliable backup but also became a platform for some of Page’s most ambitious electronic modifications, carving out its own distinct identity within his collection.

The Search for a Worthy Deputy: Acquiring and Preparing “Number Two”

Page acquired “Number Two,” a 1959 Les Paul Standard Burst bearing the serial number 91703, sometime after Led Zeppelin’s 1973 US tour concluded, likely purchasing it in England. It made its first documented stage appearance in January 1975. The very act of seeking out another ‘59 Burst, a model already recognized for its exceptional qualities, and then immediately tailoring it to his preferences, speaks volumes about Page’s specific needs.

Mirroring the crucial modification made to his primary instrument, Page had the neck of “Number Two” shaved down to replicate the slim, comfortable profile of “Number One”. These changes made the guitar a bit more specialized and potentially more expensive to produce. This consistent desire for a specific neck feel highlights how integral that ergonomic element was to his playing style, ensuring a seamless transition between his main guitar and its backup. The original Kluson tuners were also replaced with Grover machine heads, again prioritizing tuning stability and consistency across his main Les Pauls.

The Sound of “Kashmir”: DADGAD Tuning and Iconic Riffs

One of “Number Two’s” most notable roles during its early tenure with Page was its dedication to the DADGAD tuning. This open, modal tuning was famously employed for the epic track “Kashmir” from the 1975 album Physical Graffiti. During Led Zeppelin’s 1975 tour, “Number Two” was specifically the guitar used for “Kashmir,” a task later often assigned to his Danelectro 3021, particularly from 1977 onwards.

Beyond “Kashmir,” “Number Two” saw action in 1975 for other key pieces in the set, including “Dazed and Confused” (particularly for the violin bow segments), “Moby Dick,” and “Over the Hills and Far Away”. Its versatility was further showcased at the 2007 Led Zeppelin reunion concert at the O2 Arena, where Page used “Number Two” for “Trampled Underfoot,” “Since I’ve Been Loving You,” and “Misty Mountain Hop”. The Les Paul is renowned for its versatility and is used in a variety of genres, including country, rock, and blues. The commitment of such a valuable instrument to an alternate tuning like DADGAD underscores the significance of “Kashmir” in Led Zeppelin’s canon and Page’s belief that the Les Paul’s inherent tonal richness and sustain were essential to realizing the song’s majestic atmosphere, even in an unconventional tuning.

The Hoyland Experiment: A Deep Dive into Extensive Wiring Modifications

The most defining chapter in “Number Two’s” history unfolded in the early 1980s, after Led Zeppelin had disbanded. Page, driven by a desire to “explore the full range of what the two humbuckers could offer,” embarked on a significant overhaul of the guitar’s electronics. He designed a complex switching system and enlisted electronics technician Steve Hoyland to bring his vision to life.

The Hoyland modifications were intricate and comprehensive:

Four Push/Pull Potentiometers: Each of the guitar’s standard volume and tone controls was replaced with a push/pull pot.
- The two tone pots enabled coil-splitting for their respective humbuckers. This allowed Page to effectively switch off one coil of a humbucker, yielding a brighter, thinner, single-coil-like tone.
- The two volume pots controlled series/parallel wiring for the coils within each individual pickup. Series wiring typically produces a higher output and a thicker, darker tone, while parallel wiring offers a lower output with more clarity and brightness.
Two Push-Button Mini-Switches: These were discreetly mounted beneath the pickguard, offering further tonal permutations.
- One switch configured the two pickups to operate in series with each other, rather than the standard parallel. This creates a powerful, high-output “super humbucker” sound by combining the full output of both pickups sequentially.
- The other switch reversed the phase of the bridge pickup relative to the neck pickup. When both pickups were selected, this produced the distinctive “out-of-phase” sound popularized by Peter Green—a thinner, somewhat “scooped” or “honky” tone.

This elaborate wiring scheme transformed “Number Two” into an incredibly versatile sonic laboratory. However, Page later reflected that he found the extensive options “rather unnecessary” for his practical needs, admitting, “the thing that I found most important to me was the fact that you could reverse the phase on this”. This experience with “Number Two” directly informed his more streamlined approach when he later decided to modify “Number One,” opting for only a single phase-reversal push/pull switch. Nevertheless, the Hoyland-modified “Number Two” became the blueprint for what many guitarists now refer to as “Jimmy Page wiring,” a testament to its innovative (if ultimately, for Page, overly complex) design. The Gibson Custom Shop meticulously recreated these modifications for their 2009 Jimmy Page “Number Two” Les Paul signature model.

Beyond the Backup: “Number Two’s” Role On Stage and In Studio

Although often designated as a backup, “Number Two” was far from a mere understudy. It saw considerable stage time, particularly during the 1975 tour where it was easily distinguishable from “Number One” due to its exposed bridge pickup (while “Number One” had its cover on at that point). By 1982, both “Number One” and “Number Two” had their pickup covers on, making them more difficult to tell apart visually from a distance.

In the studio, definitive evidence of “Number Two’s” use on Led Zeppelin recordings is scarce, though it was certainly available from 1975 onwards. However, its distinct tonal capabilities, especially after the Hoyland modifications, were utilized in Page’s later work. Notably, Page revealed in a Guitar World interview that the searing guitar solo on “Take Me For A Little While,” from the 1993 Coverdale/Page album, was performed on “Number Two” with both pickups engaged and out of phase. This demonstrates that “Number Two,” with its unique electronic arsenal, offered Page specific sounds he couldn’t achieve with his other instruments, solidifying its place as a specialized tool in his collection.

III. “Number Three” (c. 1969 Les Paul Deluxe): The Crimson Experimenter

Often overshadowed by its more famous ‘59 Burst siblings, Jimmy Page’s “Number Three” Les Paul carved its own niche through a series of transformations, from a standard Goldtop Deluxe to a striking red machine, eventually becoming a vehicle for B-Bender experimentation. The candy apple red refinish made it stand out, and it’s worth noting that other famous Les Paul finishes include ‘wine red,’ which is highly sought after by collectors. Its story is one of adaptation and evolving purpose.

From Goldtop Glory to Fiery Red: The Transformation of a Late ’60s Deluxe

“Number Three” began its life as a late-1969 Gibson Les Paul Deluxe with a Goldtop finish. However, Page, with his penchant for visually distinctive instruments, had it repainted to a vibrant candy apple red by a local car painter.

It is widely believed that Page acquired this guitar in 1970, possibly as an immediate replacement for his cherished 1960 Les Paul Custom “Black Beauty,” which was stolen in April of that year. The red Les Paul reportedly made its appearance at Led Zeppelin shows shortly after the “Black Beauty” vanished, suggesting it filled a sudden void in Page’s arsenal. “Number Three” remained in Page’s rotation from 1970 until around 1975, when “Number Two” became a more prominent backup. The “Number Three” moniker, like those for his other Les Pauls, was a designation applied later. The initial acquisition, potentially driven by the urgent need to replace a stolen primary instrument, and its subsequent custom refinish, mark the beginning of this guitar’s unique journey.

Powering Up: Modifications for Full-Sized Humbuckers

The Gibson Les Paul Deluxe models of 1969 were typically equipped with mini-humbucking pickups. Earlier 1969 Les Pauls, before the “Deluxe” designation was solidified for mini-humbucker models, were still being produced as “Standards” with P-90 pickups if they were Goldtops. Page’s “Number Three,” being a late ‘69 Deluxe, would have originally featured these smaller pickups.

Some Les Pauls from this era also featured a maple neck, which contributed to their unique tonal characteristics and playability compared to the traditional mahogany neck models.

However, a crucial modification was made: the guitar was routed to accommodate full-sized humbuckers, bringing its sonic potential closer to that of a Les Paul Standard. It’s suggested that these modifications might have already been completed when Page acquired the instrument. During its Led Zeppelin-era usage, “Number Three” was reportedly fitted with T-Top humbuckers, the same type found in Page’s iconic Gibson EDS-1275 double-neck guitar and, from 1972, in the bridge position of “Number One”. This conversion to full-sized humbuckers was a significant tonal upgrade, aligning the guitar more closely with the powerful, sustain-rich sound Page favored from his Les Paul Standards.

A Note on Construction: The “Pancake Body” Era of Les Pauls

“Number Three,” being a product of the late 1960s, hails from the “Norlin era” of Gibson’s history, a period that saw changes in Les Paul construction. One such change was the introduction of the “pancake body”. This method, used by Gibson from roughly late 1969 until 1976, involved constructing the guitar body from multiple layers of wood—typically a thin slice of maple (or sometimes multiple thin mahogany laminates) sandwiched between two thicker slabs of mahogany—as opposed to the solid mahogany back (with a maple cap) of the 1950s models.

Gibson’s stated rationale for this construction included increased body strength, though it’s often speculated that it also allowed for the utilization of smaller or thinner pieces of mahogany, potentially driven by cost-saving measures or timber availability. The tonal impact of pancake bodies compared to solid bodies remains a subject of debate among guitar enthusiasts, with some contending that it can affect sustain and resonance. The presence of a pancake body makes “Number Three” structurally distinct from Page’s solid-bodied 1959 Les Pauls, “Number One” and “Number Two,” adding another layer to its unique character and potential sonic signature.

The B-Bender Chapter: Gene Parsons’ Innovation and Page’s Verdict

A significant transformation occurred in the mid-1980s when a B-Bender mechanism was installed in “Number Three”. The B-Bender, an ingenious device co-invented by Gene Parsons and the legendary guitarist Clarence White in 1968, allows a guitarist to mechanically bend the B-string up a full musical tone. This is typically achieved by pulling down on the guitar, which activates a lever system connected to the guitar strap button and routed through the instrument’s body to the B-string’s anchor point at the bridge. The resulting sound is akin to that of a pedal steel guitar, enabling fluid, voice-like bends.

The B-Bender on Page’s “Number Three” was installed by Gene Parsons himself. While Page reportedly liked the expressive capabilities of the B-Bender system, he also felt that the requisite routing of the body—removing a considerable amount of wood to accommodate the mechanism—had a detrimental impact on the guitar’s natural tone and sustain. This sentiment reflects a common concern among guitarists regarding modifications that significantly alter an instrument’s physical structure.

Despite these reservations about the tonal impact, Page continued to use the B-Bender-equipped “Number Three” for specific applications. It was notably featured on the song “Over Now” from the 1993 Coverdale/Page album. Perhaps most famously in its B-Bender guise, Page wielded “Number Three” for the performance of “Kashmir” at Led Zeppelin’s 2007 reunion concert at the O2 Arena. This choice was particularly interesting, as “Kashmir” was historically associated with “Number Two” in DADGAD tuning or his Danelectro; the B-Bender offered a new textural approach to the song’s iconic string bends.

Sporadic Sightings and the Enigma of the “Other” Red

“Number Three” served its purpose during various phases of Page’s career. After its initial period of use in the early 1970s, it was notably seen during the theremin and guitar solo section of “Whole Lotta Love” in the 1976 concert film The Song Remains the Same (which was filmed during Led Zeppelin’s 1973 concerts at Madison Square Garden). It was also reportedly used for “Over the Hills and Far Away” during a 1977 Seattle performance.

Adding to its mystique are theories suggesting that Page might have possessed a second, very similar red Les Paul, a “doppelganger” of sorts. These speculations arise from observations by keen-eyed fans of slight cosmetic differences in photographs from different periods, such as variations in headstock size or body binding. Page himself has never publicly confirmed owning two such instruments. Whether a single, evolving instrument or one of two, “Number Three” remains an intriguing part of the Page Les Paul lineage, a guitar that transitioned from a potential main workhorse to a specialized tool for sonic exploration.

IV. “Black Beauty” (1960 Les Paul Custom): The Lost and Found Legend

The saga of Jimmy Page’s 1960 Gibson Les Paul Custom, famously known as the “Black Beauty,” is one of early professional milestones, innovative customization, dramatic loss, and an almost unbelievable recovery. This instrument was not just a guitar; it was a foundational tool in Page’s development as a world-renowned session musician and a rock icon. The Les Paul Custom is distinguished by its ebony fingerboard, a hallmark feature that adds to its premium feel, superior playability, and luxurious aesthetic.

The Early Workhorse: Page’s Companion Through Session Work and Early Zeppelin

Page acquired his 1960 Les Paul Custom in 1962 at the age of 18. He purchased it on layaway from a music shop in London for £185, a significant investment for a young musician at the time. This guitar, with its distinctive black finish, gold hardware, and three PAF humbucking pickups, was one of his first truly professional-grade instruments. Many “Black Beauty” Les Paul Customs of this era also featured a Bigsby vibrato tailpiece, and Page’s was often photographed with one, which was likely a factory fitting or an early addition.

The “Black Beauty” became Page’s steadfast companion throughout his incredibly prolific career as a session musician in the 1960s. Its tonal versatility, enhanced by its three pickups and Page’s own modifications, made it ideal for the diverse range of musical styles he was called upon to play. This guitar can be heard on numerous hit recordings of the era, including tracks like Petula Clark’s “Downtown” and Donovan’s “Sunshine Superman”. It also saw use during his tenure with The Yardbirds and in the formative days of Led Zeppelin. Notably, it is reported to have been used on the recording of “Whole Lotta Love” from Led Zeppelin II.

Custom Touches: The Mystery and Purpose of the Pre-Theft Toggle Switches

True to his inventive nature, Jimmy Page was not content with the stock wiring of his Les Paul Custom. In early 1970, he had the “Black Beauty” modified to expand its sonic palette. These modifications included the installation of two additional toggle switches on the guitar’s body.

The purpose of these extra switches, as revealed by Page’s friend Joe Jammer who performed the modifications, was to provide individual on/off control for each of the three pickups. This setup allowed Page to select any combination of the pickups—neck, middle, bridge, neck+middle, neck+bridge, middle+bridge, or all three together—offering a far greater range of tones than the standard Les Paul Custom 3-way selector switch, which typically only allows for bridge, neck+middle (in parallel), or neck selections. This level of control was invaluable for a session musician needing to quickly dial in a wide variety of sounds. These “telltale customizations” were later removed by the thief who stole the guitar, but the evidence of their existence—filled screw holes—would prove crucial in its eventual identification decades later. This early foray into custom wiring foreshadowed the more complex electronic experiments Page would later undertake with his “Number Two” Les Paul.

The Minneapolis Heist: A Rock ‘n’ Roll Tragedy

In April 1970, during a Led Zeppelin tour, disaster struck. The “Black Beauty” was stolen at the Minneapolis-St. Paul International Airport. This was, ironically, the first U.S. tour on which Page had decided to bring this prized instrument. The loss was devastating for Page. He took out advertisements in Rolling Stone magazine offering a reward for its return, “No questions asked,” and would frequently visit vintage guitar shops during subsequent North American tours in the hope of finding it.

The thief, alleged to have been a baggage attendant, attempted to disguise the guitar’s famous origins by removing Page’s custom toggle switches and meticulously filling the holes. Crucially, however, the guitar’s serial number was left intact, a detail that would play a significant role in its future recovery.

The Long Road Home: The Incredible Story of Its 45-Year Absence and Recovery

For nearly half a century, the “Black Beauty” remained missing, its whereabouts a mystery. The guitar reportedly stayed hidden, perhaps under the thief’s bed, until around 1992. It then surfaced at Willie’s American Guitars, a vintage guitar shop in St. Paul, Minnesota, owned by Nate Westgor. A man sold it to Westgor, claiming to have acquired it from the widow of the baggage carrier who had stolen it.

At the time, Westgor and his colleagues could not definitively confirm the guitar’s link to Page, and it was subsequently sold to Paul Claesgens, an employee at the shop and a local musician. Claesgens played the “Black Beauty” for years, unaware of its full, legendary provenance, knowing only that it “sounded like the voice of God”.

The breakthrough came in 2014 when Claesgens brought the guitar back to Westgor’s shop for some repair work. Westgor, taking a closer look, employed a black light, a tool often used in forensics and vintage instrument authentication. The black light revealed the subtle evidence of the filled screw holes where Page’s custom toggle switches had once been. This discovery, combined with a particularly distinctive mother-of-pearl inlay on the 12th fret—described by Page as having an “unusual stripe across it”—confirmed the guitar’s identity as the long-lost “Black Beauty”.

Despite the immense potential market value of such an iconic instrument (Westgor later guesstimated it could be worth $10 million), Westgor and Claesgens made the commendable decision to try and return it to its rightful owner. Perry Margouleff, a vintage guitar collector and a friend of Jimmy Page, served as the intermediary for this delicate process.

The emotional reunion finally took place in October 2015. In exchange for the “Black Beauty,” Page provided Claesgens with a comparable vintage 1959 Les Paul Custom, valued at approximately $45,000 at the time. Margouleff personally delivered the “Black Beauty” to Page in London. Page was reportedly “incredibly emotional” and “just so happy” to have the guitar back after 45 years, telling Westgor over the phone that the story had a “fairy-tale ending”.

The “Black Beauty” made its public reappearance in 2019 as part of the “Play It Loud: Instruments of Rock & Roll” exhibition at the Metropolitan Museum of Art in New York. Jimmy Page also acknowledged the guitar’s return in his autobiographical book, “Jimmy Page: The Anthology”. The recovery of the “Black Beauty” is more than just the return of a valuable guitar; it’s the restoration of a significant piece of rock and roll history, a testament to persistence, integrity, and the enduring connection between a musician and a cherished instrument.

V. Table: Comparative Overview of Jimmy Page’s Four Key Les Pauls

To provide a clear, comparative snapshot of these legendary instruments, the following table summarizes their core attributes, modifications, and roles:

Feature	“Number One”	“Number Two”	“Number Three”	“Black Beauty”
Guitar Identifier	“Number One”	“Number Two”	“Number Three”	“Black Beauty”
Original Model & Year	1959 Les Paul Standard (Sunburst)	1959 Les Paul Standard (Sunburst)	c. 1969 Les Paul Deluxe (Goldtop, repainted Red)	1960 Les Paul Custom (Black)
Acquisition Details	1969, from Joe Walsh	c. 1973, England	1970, possibly as replacement for stolen Black Beauty	1962, London music shop (layaway)
Key Original Specs	PAF Humbuckers, Mahogany body, Maple top	PAF Humbuckers, Mahogany body, Maple top	Mini-Humbuckers (Deluxe) or P-90s (Std ‘69 Goldtop)	3 PAF Humbuckers, Mahogany body, Ebony fretboard, Bigsby
Major Modifications	Neck shaved (by Virgil Lay pre-Page); Grover tuners; Bridge PAF to T-Top (1972), then Seymour Duncan (1990s); Neck PAF to ‘60 PAF (2000s); Phase switch (post-Zeppelin, c. 1980s/2003)	Neck shaved (to match #1); Grover tuners; Extensive Hoyland wiring (4 push/pulls, 2 mini-switches for coil-split, series/parallel, phase) (early 1980s)	Repainted Red; Mod for full-sized Humbuckers (T-Tops); Gene Parsons B-Bender (mid-1980s)	2 extra toggle switches for pickup selection (by Joe Jammer, pre-1970); Switches removed by thief
Signature Led Zep Usage	Primary guitar for Led Zeppelin II onwards; “Whole Lotta Love,” “Stairway to Heaven” (live solos), countless others; Every performance 1969-1980	Backup to #1; “Kashmir” (DADGAD, 1975 tour); “Dazed and Confused” (bow); O2 Reunion songs	Used 1970-1975; The Song Remains The Same (“Whole Lotta Love” solo/theremin); “Over the Hills and Far Away” (live ‘77)	Session work (1960s); Early Led Zeppelin; “Whole Lotta Love” (studio)
Unique Story/Distinction	Iconic shaved neck; Page’s “wife & mistress”; Main sonic architect	Complex Hoyland wiring (“Jimmy Page mod”); Dedicated DADGAD for “Kashmir”	Repainted Red; B-Bender addition with mixed feelings from Page	Stolen in 1970, recovered 45 years later (2015)

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Sources: Original Blog,.

This table offers a structured overview, highlighting the distinct journey and purpose of each Les Paul in Jimmy Page’s arsenal.

Note: For those seeking more affordable, beginner-friendly Les Paul-style guitars, Epiphone offers accessible alternatives to the high-end Gibson models, including several Epiphone Les Paul Standard and signature versions.

VI. The Les Paul Chronicles: Crafting the Colossus of Sound

The story of Jimmy Page’s Les Pauls is not just about individual instruments, but about how their collective presence and unique characteristics allowed him to sculpt the monumental sound of Led Zeppelin. The Gibson Les Paul guitar has had a profound impact on rock music, playing a crucial role in shaping Page’s iconic sound and influencing generations of musicians. His approach was a blend of reverence for the instrument’s inherent qualities and a relentless drive to push its sonic boundaries.

The Collective Aura: How These Four Instruments Synergized

Jimmy Page was not a guitarist confined to a single Les Paul; rather, he curated a small, highly individualized collection, each with a specific role and tonal character. “Number One” served as the undisputed primary voice, the workhorse that defined the core Les Paul sound of Led Zeppelin. “Number Two” offered a reliable and identically feeling backup, but also evolved into a platform for alternate tunings like DADGAD for “Kashmir” and, later, a laboratory for extensive electronic experimentation with the Hoyland wiring. “Number Three,” the transformed red Deluxe, provided another distinct tonal color, particularly after its conversion to full-sized humbuckers and, later, the addition of the B-Bender, turning it into a specialized instrument for unique textural effects. The “Black Beauty,” before its unfortunate theft, was the foundational Les Paul, its three pickups and custom switching providing the versatility needed for Page’s demanding session work and the early, formative sound of Led Zeppelin.

This collection allowed Page a breadth of sonic options, enabling him to choose the right tool for the specific musical passage, whether in the studio or on stage. The subtle differences in wood, construction (solid vs. pancake body), pickups, and modifications meant that each guitar, while sharing the Les Paul DNA, offered a slightly different shade to Page’s tonal palette.

Page’s Sonic Philosophy: Mid-Range Punch, PAF Character, Marshall Muscle, and Pedal Choices

Jimmy Page’s signature sound was a meticulously constructed ecosystem, with the Les Paul at its heart, amplified and colored by carefully chosen partners. His profound appreciation for the Les Paul’s natural sustain was a cornerstone of his sound. This inherent quality of the instrument was then magnified by its legendary pairing with Marshall amplifiers. Page himself acknowledged Eric Clapton as a pioneer in this combination, but he undeniably took that sound to new heights of power and complexity.

Tonally, Page often favored a mid-range focused guitar sound. This allowed his guitar to cut through the dense mix of Led Zeppelin, particularly with John Paul Jones’s formidable bass lines and John Bonham’s thunderous drumming, ensuring his riffs had a “stinging” quality and clear definition. The choice of pickups was also crucial. He gravitated towards the character of PAF-style humbuckers, seeking a tone that was “fat” and “stinging” but not overly hot or muddy, providing clarity even with distortion.

While his sound was largely derived from the interaction of guitar and amplifier, Page employed a few select effects pedals to great effect. The Sola Sound Tone Bender Professional Mk II fuzz pedal was a key ingredient in his early Zeppelin tones, adding saturation and bite. Tape echo units, like the Maestro Echoplex EP-3, were also integral, used not just for delay but also for their preamp coloration and the ability to create swirling, atmospheric textures.

Studio Wizardry: Innovative Recording Techniques

The sound of Jimmy Page’s Les Pauls on Led Zeppelin’s records is as much a testament to his prowess as a producer as it is to his playing. He was a pioneer in studio recording techniques, constantly experimenting to capture the band’s live energy and sonic immensity on tape. One of his signature methods was the use of distance miking and room ambiance. Instead of solely relying on close microphones placed directly in front of the amplifier, Page would often blend in microphones placed further away in the recording space to capture the natural reverb and character of the room. This technique, applied to both guitars and drums, contributed significantly to the spacious, powerful, and “live” feel of Led Zeppelin’s recordings. It allowed the rich tones of his Les Pauls, driven through cranked Marshall amps, to breathe and resonate within an acoustic space, giving them a grandeur and depth that set Led Zeppelin’s sound apart. In addition to his electric guitars, Page frequently employed acoustic guitar in the studio, taking advantage of its unique tonal qualities and versatility to add further dimension to the recordings. This holistic approach, where the instrument, amplifier, player, and recording environment were all considered integral parts of the final sound, was fundamental to Page’s genius.

VII. Epilogue: The Enduring Resonance of Page’s Pauls

The four Gibson Les Pauls that formed the core of Jimmy Page’s electric guitar arsenal during Led Zeppelin’s reign are more than just wood and wire; they are potent symbols, rock and roll artifacts that resonate with the power and artistry of one of music’s most influential bands. Gibson’s continued legacy in crafting and innovating Les Paul models has played a crucial role in maintaining the guitar’s iconic status across generations. Their individual stories—of fortuitous acquisition, player-driven modification, devastating loss, and triumphant recovery—add layers of legend to instruments already imbued with historical significance.

More Than Just Guitars: Instruments as Rock Artifacts

These Les Pauls have transcended their functional purpose to become cultural touchstones. The inclusion of “Number One” and the recovered “Black Beauty” in the Metropolitan Museum of Art’s “Play It Loud: Instruments of Rock & Roll” exhibition in 2019 is a clear testament to their elevated status. They stand not merely as tools of a trade, but as tangible links to a revolutionary period in music, embodying the innovation and spirit of Jimmy Page and Led Zeppelin. Each scratch, dent, and modification tells a part of their shared story, a physical chronicle of countless hours spent in studios and on stages around the world.

The Indelible Mark on Hard Rock and Generations of Guitarists

The sound that Jimmy Page conjured from these Les Pauls, in conjunction with his Marshall amplifiers and visionary production, laid a foundational stone for hard rock and heavy metal. The biting riffs, the soaring, sustain-laden solos, and the sheer sonic weight of his guitar work became a benchmark for countless guitarists who followed. Page’s willingness to experiment with and modify his instruments—shaving necks for comfort, rewiring electronics for tonal versatility, adding B-Benders for new expressive possibilities—also set a powerful precedent. He demonstrated that a guitar was not a fixed entity, but a canvas for sonic exploration, inspiring generations of players to look deeper into the mechanics and potential of their own instruments.

The Timeless Story of a Master and His Chosen Tools

Ultimately, the narrative of these four Les Pauls is inseparable from the artistic journey of Jimmy Page and the colossal legacy of Led Zeppelin. They were the chosen instruments through which a musical visionary channeled his creativity, crafting sounds that were at once deeply rooted in the blues and startlingly innovative. “Number One,” “Number Two,” “Number Three,” and the “Black Beauty” are not just supporting characters in this epic tale; they are integral to its plot, its emotional depth, and its enduring power. Their collective story is a rich chapter in the annals of rock music, a chronicle of how specific instruments, in the hands of a master, can indeed change the world of sound.

VII. Preserving the Legends: The Art and Science of Maintaining Page’s Les Pauls

The Gibson Les Paul guitars that have passed through Jimmy Page’s hands are more than just instruments—they are living artifacts of music history, each bearing the marks of countless performances and decades of innovation. Preserving these legends is a delicate balance of art and science, requiring not only technical expertise but also a deep respect for the stories embedded in every scratch and note. The Gibson Custom Shop stands at the forefront of this mission, employing master luthiers who understand the unique needs of both hollow body and solid body guitars. Their meticulous work ensures that the playability and signature sounds of these Les Pauls endure, allowing them to continue inspiring musicians and audiences alike.

Whether it’s a solid mahogany Les Paul Standard or a rare hollow body variant, each guitar demands specialized care. The process goes far beyond routine maintenance; it’s about honoring the instrument’s legacy while safeguarding its future. For Jimmy Page’s collection, this means preserving the very essence of the music that helped define an era. The Gibson Custom Shop’s dedication to authenticity and craftsmanship ensures that every Les Paul, from the most storied vintage model to the latest signature release, remains a vital part of the ongoing story of rock and roll.

Restoration Stories: From Road Wounds to Museum Pieces

Every Les Paul in Jimmy Page’s arsenal has a tale to tell, and many of those stories are written in the scars and wear accumulated over years on the road. Restoring these guitars is a labor of love, requiring a keen eye for detail and a reverence for the instrument’s original character. Skilled luthiers painstakingly address the “road wounds” that come from decades of touring—refinishing a faded cherry sunburst, repairing a worn mahogany body, or carefully replacing steel strings to recapture the guitar’s signature resonance.

The restoration process often involves bringing the neck pickup and bridge pickup back to their optimal performance, ensuring that every note rings true, just as it did when Jimmy Page first unleashed those legendary riffs. This level of care is not reserved for Page alone; guitarists like Billy Gibbons and Joe Perry have also entrusted their beloved Les Pauls to these master craftsmen, knowing that their instruments will be treated with the utmost respect. Whether it’s reviving the luster of a vintage finish or fine-tuning the electronics for modern playability, these restoration stories are a testament to the enduring bond between musician and instrument.

The Luthiers Behind the Magic: Unsung Heroes of Guitar Preservation

Behind every legendary Les Paul is a team of dedicated luthiers—true artisans whose expertise keeps these iconic electric guitars alive and singing. Their work is often invisible to the audience, but without their skill, the world would lose the authentic sound and feel that define the Les Paul experience. These unsung heroes understand the intricacies of guitar construction, from balancing string tension to swapping out single coil pickups for humbucking pickups, all while preserving the instrument’s unique voice.

For Jimmy Page’s Les Paul guitars, this means more than just routine maintenance. It’s about ensuring that every pickup, every fret, and every piece of hardware is perfectly calibrated for both sound and playability. The luthiers’ hands shape the future of these guitars, allowing them to continue to play a central role in the music world. Their dedication ensures that the electric magic of Page’s Les Pauls will resonate for generations to come, inspiring new players to pick up the guitar and chase their own sound.

The Modern Custodians: How Collectors, Museums, and Gibson Honor the Legacy

Today, the legacy of Gibson Les Paul guitars extends far beyond the stage. Collectors and museums around the globe recognize these instruments as cultural treasures, preserving them for future generations to study and admire. The Gibson Les Paul, in all its forms, is celebrated not only as a tool for making music but as an iconic instrument that has shaped the very fabric of popular culture.

Gibson itself continues to honor this legacy through the creation of signature models that pay homage to the original Les Pauls played by legends like Jimmy Page. The company’s commitment to innovation is evident in its diverse lineup, which includes not only electric Les Paul guitars but also a range of acoustic guitars and classical guitars with nylon strings, catering to musicians across all music genres. Whether it’s a meticulously crafted reissue from the Gibson Custom Shop or a modern signature model, each guitar is a tribute to the enduring influence of the Les Paul. As collectors, museums, and Gibson work together to preserve and celebrate these instruments, the Les Paul remains a beacon of inspiration, inviting new generations to play, create, and carry the music forward.

VIII. Epilogue: The Enduring Resonance of Page’s Pauls

The Gibson Les Paul guitars that Jimmy Page wielded on stage and in the studio continue to echo through the halls of music history, their sound, style, and playability as vital today as they were at the height of Led Zeppelin’s reign. For countless guitarists, the Les Paul is more than just a primary instrument—it’s a symbol of creative freedom, technical mastery, and the boundless possibilities of music itself.

Gibson’s ongoing commitment to producing Les Paul models, from sought-after vintage models to innovative signature models, ensures that the electric guitars that once powered the anthems of rock and blues remain accessible to musicians of every generation. Features like the tune o matic bridge and locking tuners, once cutting-edge, are now hallmarks of the Les Paul’s huge influence on guitar design and playability. Whether you’re drawn to the raw power of rock, the soulful bends of blues, the intricate melodies of classical music, or the warm resonance of acoustic styles, there’s a Les Paul ready to help you find your voice.

As the world of music continues to evolve, the Les Paul stands as a testament to the enduring power of great design, craftsmanship, and inspiration. From the hands of Jimmy Page to the stages and studios of today, these guitars remain at the heart of the world’s most memorable sounds. Their legacy is not just preserved in museums or celebrated in signature models—it lives on every time a new player picks up a Les Paul, tunes up, and lets the music flow. In the end, the story of the Les Paul is the story of music itself: ever-changing, ever-inspiring, and forever resonant. Don’t forget, for the best sounding strings, shop here.