"I also said I wanted a little wider body than usual, and I wanted it black and unshiny so the spotlight wouldn't make it glare all around the people in the audience. so they came up with this Nick Lucas model, which was a beauty. I still have the original one, still play it. It's a gem. It's been fixed about 40 times. I wouldn't part with it." ~ Nick Lucas

Why We Love This

When Gibson approached crooning troubador Nick Lucas about having him play one of their guitars in the mid 1920's, the musician had some very specific requests. He was happy with the Galliano he was playing at the time, but, being a both a showman and a solo acoustic performer, knew improvements to his sound and appearance were definitely possible. Said Mr. Lucas in reference to his signature model: "The distinction about my guitar was this: The neckboard was a little wider because they used to make them and still make them today - a little bit too narrow. You can't get a true tone out of some of your chords if the strings are so close together. I don't have an exceptionally big hand, but I wanted more room between the E and B strings especially, so when I played a G or C chord all the notes would come out distinct. I wouldn't get any interference from flesh on the fingers. I also said I wanted a little wider body than usual, and I wanted it black and unshiny so the spotlight wouldn't make it glare all around the people in the audience. so they came up with this Nick Lucas model, which was a beauty. I still have the original one, still play it. It's a gem. It's been fixed about 40 times. I wouldn't part with it."

Nearly 100 years later, it's amazing to think how sophisticated and forward thinking musicians were saying the same sorts of things they're saying today. And we concur, in a heartfelt manner, about the staying power of the Gibson Nick Lucas Special ~ particularly this amazing 1933 model acquired from the family of its second owner. Gibson made the Nick Lucas in several configurations between 1926 and 1941 (the tonewood combinations varied, as did the placement of the neck/body joint). But a 14-fret, Rosewood-bodied example of the model such as this one is the rarest of the rare.

We're told the previous owner purchased this guitar in 1942, at which point replacement tuners had already been installed. The body of the instrument appears to have been oversprayed long ago (possibly in conjunction with the tuner replacement, which would date the work pre-1942). The original bridge had been sanded down, and was cracked, so had luthiers Dale Fairbanks and Cat Fox restore the guitar by making a new bridge, repairing several side & top cracks, and regluing much of the body and fretboard binding. Some old interior cleats stabilizing two back cracks remain from long ago as well.

It's hard to overstate how good-sounding and special a guitar this is. We have never had a 14-fret, Brazilian Rosewood Nick Lucas in the shop before, and won't be surprised if it's the only one we ever see. The tone is mesmerizing, and uncharacteristically shimmery for a Gibson flattop. The deep body gives this instrument a dreadnought-sized power in the low midrange, with a warmth and fullness that's simply unlike anything else Gibson ever made in this body category. Like its namesake, it seems there's no style of music this guitar wouldn't tackle with aplomb. And although the guitar was brought to us in nothing more than a cloth sack, we've paired it with a period-correct, red-line hardshell case. Please enjoy the demo of David McKindley-Ward showing what this beautiful instrument was meant to do when it was made 90 years ago.

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