CRAVE Guitars says…

Thumbs up: Innovative unique electrics, progressive design, versatile crossover tones, mahogany body, niche cult following, playability, weight, originality, condition

Thumbs down: All the (many) non‑traditional Gibson appointments, signs of cost‑cutting, Norlin‑era reputation, neck fit, low contrast fret markers finish longevity issues, non‑original case

Decree: Purists look elsewhere, Gibson’s quirky experiment will have limited appeal to the conservatives. Unfairly overlooked, underrated and criticised, it deserves contemporary re‑evaluation. A very cool model that might well appeal to enthusiasts looking for something unconventional

Not For Sale

Model Description:

The Gibson Marauder (also called the M‑1) was manufactured between 1974 and 1979, with a few being finished in subsequent years, before being discontinued in 1980. Total sales amounted to 7,111 with peak production in 1978 (3,178 units). The Marauder was replaced by the Gibson’s Sonex series. Gibson was, at the time, trying hard to compete with Fender’s success. Unusually for Gibson, most Marauder Les Paul‑shaped bodies were made out of alder (1974‑1977) or maple (1978‑1979), with a few later ones made from mahogany. Bolt‑on maple necks came with fingerboards made of rosewood (1974‑1977) or maple (1978‑1979). Legendary Gibson employee Bill Lawrence (1931‑2013) designed a unique pair of pickups for the Marauder sealed in clear epoxy resin. The neck pickup was a humbucker and the bridge pickup was a slanted noiseless blade single coil, the latter to enhance treble frequencies. The electronics, materials and construction are all closer to Fender characteristics than traditional Gibson and were clearly intended to produce more Fender‑like tones. Initially, a standard toggle pickup selector switch was used before it was changed to a rotary ‘blend’ control in 1976, both on the treble bout. Latterly, the blend control was moved to be between the standard volume and tone controls and used a ‘chicken head’ knob. Mounting everything on the pickguard made for cheaper and more efficient production. Most Marauders (64%) were produced with a natural finish with smaller number in wine red, black, walnut and sunburst. A very small number (85) of sunburst‑only Marauder Custom models with bound fingerboards and small block inlays were made (1975‑1977). The Marauder was one of were several similar attempts by Gibson to produce affordable Fender‑beating models, including the 3‑single coil S‑1 (1975‑1980) and dual‑humbucker Sonex‑180 (1980‑1984), none of which were hugely successful. Gibson failed to convince Fender players to switch allegiance and it did nothing for loyal Gibson players either. Collectors have not been particularly interested in budget Gibson models, so prices are lower than some other models of the period. That is good news for avid guitarists looking for an unusual vintage Gibson on a budget. Therefore, the Marauder is perhaps more of a curiosity, than a classic. Loyal enthusiasts, though, are more complimentary about the oddity. Although Gibson has not reissued the Marauder, the 2025 Gibson Les Paul Music City Special 50th Anniversary model was ‘inspired by’ the Marauder, priced at $1,799. As far as I’m concerned, the Marauder accords very nicely with CRAVE’s ‘cool & rare’ criteria. Suits me; I’m happy to swim against the current.

Guitar Description:

So… what’s the deal with this 1978 Gibson Marauder? Let’s get something out of the way. The Norlin‑era Gibson Marauder was much maligned at the time for many reasons. For instance, the Marauder’s Flying V‑style headstock, bolt‑on maple neck and fingerboard, neck volute, strange electronics, ‘harmonica’ bridge, another ‘low cost’ Les Paul outline, etc. None of that is ‘traditional, conservative’ Gibson, so many rejected it without a further thought. That unfortunate reputation has stuck, largely undisputed, ever since. The ‘ugly duckling’ Marauder has been dismissed unfairly in my view. Time, I reckon, for an objective reassessment. Things, however, are far more interesting than some may have you believe. Let’s take a closer look at this very well‑presented late 1970s Gibson Marauder. Pretty much everything about this instrument is fascinating. The electronics are truly unique and worth exploring. While my natural preference is for rosewood fingerboards, I wanted a Gibson with a maple fingerboard for a change, as there aren’t many options out there. The neck is darker than the usual anaemic‑looking maple – I don’t know why but it looks much nicer. The pearloid fingerboard inlays on the maple neck are next to invisible though. Bolt‑on maple necks worked fine for Fender since 1951, so why not on a Gibson? Maple has plenty of advantages over fragile mahogany. The body on this example is one of the rarer mahogany versions. The body outline may be familiar but little else is. Yes, it’s different and Norlin, to their credit, were trying out quite a few innovations during the 1970s which, to me, was a good thing. Being different doesn’t mean being bad by default. The Marauder has a broad tonal palette, character and vibe all of its own; not traditional Gibson and not particularly Fender‑like either. The bridge pickup, in particular, produces brighter, punchier tones than an average Gibson, while the humbucker is warm and gutsy. The neck pickup is a bit louder than the bridge one. It feels and plays very nicely; certainly not the cheap dud naysayers might assert. It is great for a wide range of musical styles. This lovely Marauder is in excellent all‑original condition for its age, although there are signs of lacquer flaking. The case is non‑original but excellent, a Canadian TKL, as used by Gibson. Many used Marauders look ropy after a few decades but this one is notable for showing hardly any signs of wear or heavy use. Good ones are uncommon, great ones are genuinely rare. Time to challenge uninformed, prejudiced preconceptions and enjoy the experience of something a bit out of the ordinary. It’s a Gibson but not as you may know it.

Features:

  • Made by Gibson in Kalamazoo, Michigan, USA in August 1978
  • 2‑piece mahogany single cutaway slab solid body with body contours
  • Natural satin nitrocellulose finish
  • 3‑piece laminated Canadian maple bolt‑on neck with medium C‑profile, volute and no scarf headstock joint
  • Unbound maple fingerboard with 22 jumbo frets and pearloid dot markers
  • Flying V‑style pointed headstock with black headstock face and gold Gibson logo decal
  • Original individual enclosed Gibson Deluxe nickel tuners with metal tulip buttons
  • Original engraved ‘Marauder’ 2‑ply truss rod cover
  • Nut width: 1 11/16” (43mm)
  • Fingerboard radius: 12” (304.8mm)
  • Scale length: 24¾” (629mm)
  • Original chrome and nickel plated hardware
  • Original large body‑mounted single‑ply black plastic scratchplate
  • Original Bill Lawrence humbucker neck pickup and slanted, ‘noiseless’ single coil blade bridge pickup
  • Original passive controls with rotary pickup treble-rhythm blend, master volume and tone controls
  • Original dual black speed knobs, black ‘chicken head’ knob, strap buttons, neck plate and ¼” jack socket
  • Original Schaller ‘Harmonica’ bridge and generic stop bar tailpiece
  • Weight: 8lb 7oz (3.93kg)
  • Non‑original vintage Canadian TKL Les Paul hard shell case

Artists:

  • Ace Frehley (KISS) (endorsee)
  • Paul Stanley (KISS) (endorsee)
  • Stuart Adamson (Skids)
  • Masafumi Gotoh (Asian Kung‑Fu Generation)
  • Josh Homme (Queens Of The Stone Age)
  • Adam Jones (Tool)
  • George Johnson (The Brothers Johnson)
  • George Kooymans (Golden Earring)
  • Thurston Moore (Sonic Youth)
  • Lee Ranaldo (Sonic Youth)
  • Pete Shelley (Buzzcocks)
  • Deryck Whibley (Sum 41)

Trivia:

KISS guitarist, Paul Stanley, along with bandmate Ace Frehley, were Gibson endorsees of the Marauder. Although they claimed they didn’t play them with the band, there is evidence to the contrary. Stanley openly criticised the Marauder, “I never played one live! They were horrible” (1977). Imitating the antics of Pete Townshend of The Who, Stanley was famous for destroying a ‘sacrificial’ Marauder during the band’s outrageously excessive stage show encores. Gibson claimed that the smashed guitars were pre‑weakened defective or B‑stock stunt guitars intended to be destroyed. Whatever you believe, it’s a good story.

The neck pickup is similar to the Bill Lawrence‑designed ‘Super Humbucker’, without adjustable pole pieces, as used in the Gibson L6‑S. Many commentators assert that the blade bridge pickup is a humbucker, while others maintain that it is a single coil pickup. It is a clever ‘noiseless’ single coil pickup with the solitary bobbin clearly visible around the central ‘blades’ and between the outer ‘blades’. The result was ‘Hot Bill’ Lawrence’s unique hybrid electronics designed specifically for the Marauder. Unusually, both pickups are encased in clear epoxy resin. Cool.

Whether overt or not, the Marauder’s pickup layout was possibly inspired by Keith Richards’ modified Fender Telecaster, nicknamed ‘Micawber’. Richards had fitted a neck Gibson humbucking pickup to his 1950s Telecaster, influencing other guitarists to follow suit. To cash in on the novel concept, Fender produced the Telecaster Custom (1970‑1981). The Gibson Marauder’s pickup layout mimics the Telecaster Custom with a neck humbucker and an angled single coil bridge pickup. Interestingly, the Telecaster Custom’s control layout is similar to a Les Paul, while the Marauder’s control layout is more akin to a standard Telecaster. Go figure!

Detail Gallery:

← Return to ‘Guitars’ page

Like it? Why not share it?