John Squire's Guitars, Amps & Gear List

John Squire acquired a Höfner T2S sometime before 1987, as the earliest known photo of him with the guitar dates to around that time. There isn’t much information available about his early guitars, but some sources suggest that this Höfner was one of his first “real” guitars, indicating that he may have acquired it much earlier.

Squire’s first guitars were the sort of cheapies everyone kicks off with. He swiftly moved on to a Höfner 335-style semi. A guitar that he still owns years later. ‘I’ve still got it,’ he grins. ‘But I’ve, erm, painted it with a splash of household gloss.’

The Stone Roses: And the Resurrection of British Pop

According to producer John Leckie, this Hofner was the second most-used guitar on the Stone Roses album, following Squire’s pink Fender Stratocaster.

This 1960 Fender Stratocaster, finished in a color known as “Shell Pink,” was John Squire’s main guitar on The Stone Roses’ debut album. He used it to record many of the band’s breakthrough hits, including I Wanna Be Adored and This Is the One. According to Squire, the guitar didn’t initially belong to him—he had borrowed it specifically for the studio sessions—but after the recording was completed, he ended up buying it.

The Gretsch Country Gentleman pictured on the inside of The Stone Roses’ lemon album was a live favourite, but John Leckie vetoed its use for the album’s recording. ‘He said it was too woolly, and he was right. For a lot of the first album I hired in a pink ’60s Stratocaster which I ended up buying because it sounded so good.

The Stone Roses: And the Resurrection of British Pop

This is also confirmed by John Leckie, who produced the album. He stated that Squire primarily used either the Shell Pink Stratocaster or his Höfner T4S during the sessions, with the Strat being played for the rhythm parts through a Fender Twin Reverb with JBL speakers. Essentially, this Stratocaster is the rhythm sound on The Stone Roses album.

This 1960s Gretsch G6122 Chet Atkins Country Gentleman was one of the guitars John Squire used around the time of The Stone Roses’ debut album release. According to John Robb’s book, The Stone Roses: And the Resurrection of British Pop, it was one of Squire’s favorite live guitars, though it wasn’t used in the studio sessions at all.

Apparently, producer John Leckie advised Squire against using the Gretsch, saying it sounded “woolly”—too soft, muddy, or lacking in clarity. As a result, Squire opted for his pink Stratocaster for most of the album’s recording.

The Gretsch Country Gentleman pictured on the inside of The Stone Roses’ lemon album was a live favourite, but John Leckie vetoed its use for the album’s recording. ‘He said it was too woolly, and he was right. For a lot of the first album I hired in a pink ’60s Stratocaster which I ended up buying because it sounded so good. The Gretsch went missing …

The Stone Roses: And the Resurrection of British Pop

This guitar was built in 1989 specifically for John Squire to capture the look, feel, and tone of a 1952 Telecaster. It features a classic Blonde finish on an ash body, a maple neck, and even incorporates some genuine 1950s Fender hardware—most notably, an original ’50s bridge plate. ^[1]

Essentially, it’s a high-quality replica of a ’52 Tele, relic-aged to look vintage from the start.

After The Stone Roses’ first album, Squire expanded his guitar collection, and this Telecaster was custom-ordered for him in 1989, likely through a boutique builder or a Fender Custom Shop connection.

This guitar was one of two custom-made guitars built for John Squire by Doncaster luthier Stuart Palmer around 1990. The second guitar was identical in design but finished in white. Squire used the white one most famously in the One Love music video and the sunburst version during the iconic Spike Island gig in 1990.

The origins of these custom guitars are not well documented. Apparently, John had some Fender Jaguars on hand and wanted to modify or customize them. Instead of doing it himself, he enlisted Stuart Palmer to handle the project.

Palmer likely used several parts from the original Jaguars, particularly the necks (both guitars featured vintage ’60s necks) and possibly some hardware, including the tremolo and metal control panels. However, the bodies were likely built from scratch, as they feature slightly different contours. Both the upper and lower horns have sharper points compared to the softer curves of a traditional Jaguar.

In 1990–91, The Stone Roses signed with Geffen Records and received a large advance to fund their next album. With the band’s management and Geffen’s backing, John Squire was able to purchase a 1959 Gibson Les Paul Standard—reportedly using part of that advance.

Looking for a fatter sound on Second Coming Squire’s main guitar was a Sunburst ’59 Les Paul Standard which was previously owned by Cheap Trick’s Rick Nielson. ‘The neck looked unplayable at first,’ recalls John. ‘It was so chipped – like a map of the Swedish coast. But it sounded really nice. I don’t know too much about guitars so I could easily be sold a fake – but I know when one sounds special.’

[3]

According to one account, the guitar had previously belonged to Cosmo Verrico (of the Heavy Metal Kids). It was bought from a shop in Glasgow, then passed to Squire through the Roses’ management.^[1] For Squire, it represented a huge upgrade, especially considering he had used a Höfner on the band’s first album. He also idolized Jimmy Page and other classic rock players who used ’59 Les Pauls, and now he finally had one of his own.

This is the second of two custom-made Jaguars that John Squire used in the early ’90s with The Stone Roses, the first being an identical model with a sunburst finish. This white guitar was most famously featured in the music video for One Love.

Without repeating the full details from the sunburst version’s page—this guitar was built by luthier Stuart Palmer. It was heavily based on the Fender Jaguar, with minor modifications to the body shape and several changes to the electronics and setup.

The most notable feature was the set of pickups: the Gibson HBL and HBR humbuckers. These pickups were designed by the legendary Bill Lawrence and were used on late-’80s Gibson models like the Flying V and SG for a short period.

John acquired this black Les Paul Custom probably sometime in early to mid 90s. As far as one can tell from the images and videos online, he didn’t use it with the Stone Roses, but it became one his of his main guitars with The Seahorses, alongside a Les Paul Standard with three pickups.

The guitar was also famously used by Squire with Oasis at Knebworth in 1996, when he joined the band to play the lead guitar on Champaigne Supernova.

The guitar is definetely a vintage model, but it’s hard to tell whether its from the 50s, or the 70s. First af all, on some photos (see above) the pickguard seems to be non-original, as stock Les Paul Custom pickguard are usually five-ply and look thicker and have a beveled edge.

This Gibson Les Paul Standard with a natural finish and three humbucking pickups Squire started using in the mid-1990s, especially during his post-Stone Roses projects. It’s likely that the guitar was either custom-made for Squire specifically, or that someone else prior to Squire modified it.

Unforunetely, it’s not publicly recorded exactly when Squire got this Les Paul, but by the time he formed The Seahorses (1996–97), he was frequently seen with it, for example at the 1997 concert at Glastonbury. ^[1]

It’s possible he acquired it around 1995, either as a backup for his ’59 (before selling the ’59) or immediately after, to fill the void. The white Les Paul Custom then became a staple of his live rig, alongside a black Les Paul Custom, alsto with three pickups.

This American-made Lindert Locomotive T guitar (often called the “Thumbs Up” model due to its headstock shape) features a solid-body electric with a single-cut design somewhat reminiscent of a Telecaster, but with Lindert’s unique styling – including a thumb-shaped headstock and distinctive soundhole cutouts. Squire’s Lindert, circa 1996–97, is brown and cream in color with two humbucking pickups​.^[1]

Lindert guitars were known for their offbeat looks and were used by a few Britpop-era guitarists. Squire picked up the Lindert Locomotive around 1997, likely as a fun addition to his arsenal during The Seahorses. It may have been given to him by the company or acquired while recording the Seahorses album.

The Lindert became famous for its appearance in The Seahorses’ “Love Is the Law” music video (1997) – Squire plays it throughout the video​.

It’s unclear exactly when Squire acquired this ES-355, but it likely came during the mid-1990s or early 2000s, when he had both the means and an increased interest in vintage guitars. By the time The Stone Roses reunited in 2012, Squire had built up a collection of vintage pieces, and the 1959 ES-355 was among them—possibly purchased in the 2000s while he was more focused on painting than on active music.

There aren’t any widely known recordings where the ES-355 can definitively be identified, as Squire didn’t feature it prominently during The Stone Roses’ original run or The Seahorses era, where he mostly played solid-body guitars. However, he was photographed with the ES-355 on various occasions, and it was known to be one of his personal favorites, likely for its aesthetic and historical value.

It’s plausible that he used it behind the scenes for songwriting or studio work in his solo career. His 2002 album Time Changes Everything includes some smoother, bluesy tracks where a semi-hollow could have been a natural fit. During The Stone Roses’ 2012–2017 reunion concerts, fans primarily noted Squire playing Les Pauls and a Stratocaster—it’s unclear if the ES-355 ever made an appearance on stage. That said, its presence in his collection suggests he appreciated the semi-hollow Gibson tone. If he ever played Ten Storey Love Song or Where Angels Play during the reunion, a guitar like the ES-355 would have suited those tracks well.

This black Fender Stratocaster was one of John Squire’s main guitars during The Stone Roses reunion tour in 2012–2013. He frequently used it on songs like I Wanna Be Adored, Fools Gold, This Is the One, She Bangs the Drums, and I Am the Resurrection.

Based on its appearance, the guitar is either an original 1950s vintage Stratocaster or, more likely, a Fender Custom Shop replica. The heavy wear on the body—almost excessive—suggests it may be a relic model from the Custom Shop rather than a naturally aged vintage piece.

The only modification Squire made to the guitar was writing part of the lyrics from Waterfall in white paint across the body.

This 1966 Fender Stratocaster, finished in Candy Apple Red, was briefly used by John Squire around 2011, prior to The Stone Roses reunion tour. In fact, the only known photograph of him playing this guitar dates to December 2, 2011, during his first live performance with Ian Brown since The Stone Roses split in 1995.

Brown and Squire reunited on stage at The Manchester Ritz for a Justice for Hillsborough benefit concert, joining Mick Jones of The Clash, The Farm, and Pete Wylie. The duo performed Elizabeth My Dear before being joined by Mick Jones and The Farm for renditions of Bankrobber and Armagideon Time by The Clash, with Ian Brown handling lead vocals on all three songs.

In 2016, the guitar was listed for sale at Denmark Street Guitars. The sales page described it as having been used in a “historic performance which led to the reunion of The Stone Roses” and emphasized its significance in the band’s history.^[1] However, one could argue its importance is somewhat overstated, as it wasn’t actually used on the reunion tour itself.

John acquired this red Fender Stratocaster sometime during The Stone Roses reunion tour in 2012. In an interview with Guitar.com, he mentioned that while he took the guitar on tour, he mainly kept it in his bedroom for warmups and practice, as he felt it sounded a bit “puny” – meaning weak or lacking in power.

However, years later, he ended up using it to record most of the Liam Gallagher & John Squire album in 2023. During the writing process, he was on vacation and put together a portable recording setup to continue working while traveling. This minimal rig likely included his guitar, a laptop, an interface, and AmpliTube, allowing him to record wherever he was. ^[1]

It’s a Todd Krause Custom Shop and the inscription is from Fools Gold. I bought it during the Roses reunion and it was a hotel guitar because it always sounded a bit puny. But it was just in this room when I started writing the album. I knew I was going on holiday during the writing period, so I thought, ‘Why don’t I get a mobile system together?’^[1]

John Squire’s mid-’70s Gibson Firebird V has been identified by fans as a 1976 model, based on its appearance. Featuring the classic reverse-body design with mini-humbucker pickups, it also has banjo-style tuners on the treble side of the headstock and a dark sunburst finish.

This guitar first appeared in Squire’s rig during The Stone Roses’ reunion era (2015–2017). At high-profile shows like Madison Square Garden 2016, attendees noted that he used a Firebird on stage for Waterfall and Don’t Stop.^[2] The Firebird wasn’t part of his earlier career, making it a fresh addition—possibly reflecting his interest in a broader range of Gibson models.

Squire later used the Firebird in 2024 on Just Another Rainbow, where he reported double-tracking the solo with it.^[1] There’s little evidence of modifications, so it likely retains its stock pickups and hardware. Owning a 1976 Firebird may hold sentimental value for Squire, as 1976 was around the time he first started playing guitar as a teenager.

This Larrivée LS-10 acoustic guitar is a custom shop model made around 1994. It’s a small-body “LS” (Larrivée’s Grand Concert size) with a spruce top, rosewood back and sides, an ebony fingerboard, and ornate abalone inlays on the headstock and neck. Squire’s LS-10 was also fitted with a Mimesis soundhole pickup—an early example of a Rare Earth-style acoustic pickup—for amplification.​​ ^[1]

John Squire acquired this guitar around the time The Stone Roses were recording Second Coming (1994) and used it for both studio recordings and live performances during that era.​​ ^[1]

The album features several acoustic-driven songs, and Squire likely played this Larrivée on Tightrope, a fully acoustic track showcasing intricate fingerpicking. Another likely candidate for the LS-10’s use is Your Star Will Shine, another acoustic-led song from the album.

John Squire used a Fender Twin Reverb amp during the recording of the Stone Roses debut album, and on the following tour. The particular amp that he used on the studio sessions was loaded with JBL D120F speakers, and was actually rented.

Inside this setup, Squire used a Fender Twin reverb with JBL speakers, rented from Dreamhire, and played lead parts on the Hofner and rhythm on the Strat, captured with either a Shure SM57 or SM58 together with a Neumann U67.

Classic Tracks: The Stone Roses ‘Fools Gold’

The amp that Squire used for live gigs was also a Fender Twin Reverb, but it was not the exact same amp as the one used in the studio sessions. Actually, it’s most likely that he used at least a few different Twin Reverbs for gigs, one of which was the 1970s model that was modified by his father. This particular amp was sold by Squire at some point at Denmark Street Guitar, and it was recently put on sale again on Reverb.com.

Around 1988–1989, as the Stone Roses’ live venues grew, Squire began incorporating a Mesa/Boogie amp for additional drive and tonal thickness​. He’s reported to have used a Mesa/Boogie Mark IIC combo (a high-gain simul-class 1×12” amp) in his rig​. The Mesa’s richer midrange “beefed up” Squire’s tone and was used alongside or in place of the Twin for live shows in the late ‘80s​.

By 1989–90, his main live rig often consisted of the Fender Twin for clean tones and a Mesa/Boogie for overdriven tones, sometimes running together. Fans note ^[1] that during the Spike Island concert in 1990 and other shows, Squire would use the Mesa’s drive channel in conjunction with his pedals to achieve sustain and saturation that the Twins alone couldn’t produce. (In some gear forums, it’s mentioned that a “Mesa Mark I” was part of his 1989/90 setup​ but this likely refers to the Mark IIC, as the IIC+ was a coveted model at that time.)

During the recording of the Stone Roses’ second album, Second Coming (1994), Squire embraced a more vintage ’70s rock sound. It’s noted that Orange amplifiers were used in the studio sessions to achieve this retro character​. While the specific model isn’t confirmed, it was likely an Orange OR120 or Overdrive head, known for their thick, classic crunch.

In the Seahorses, Squire moved towards Marshall stack amplification. He had a particular affinity for the Marshall JCM900 SLX head – a high-gain 100W amp that delivered a rawer, more “British” distortion tone​

The SL-X version of the JCM900 had an extra preamp tube and no diode clipping, essentially making it closer to a hot-rodded vintage Marshall. Squire likely acquired one as The Stone Roses ended (mid-’90s) or as he prepared The Seahorses’ debut.

With The Seahorses performing in larger venues and a more guitar-driven sound, the Marshalls gave Squire the on-tap crunch that previously he achieved with pedals. Songs like “Love Is the Law,” with its big Zeppelin-esque riffs and solos, were powered by the Marshall’s roar (often still boosted with a pedal for leads).

Squire’s go-to fuzz pedal since the early years is a Dallas-Arbiter Fuzz Face, the same style favored by Jimi Hendrix. He likely acquired a vintage late-60s Fuzz Face early on (or a faithful reissue), drawn by its thick, saturated sustain. This pedal was crucial for many of Squire’s lead tones – for instance, the iconic guitar solo on “I Am the Resurrection” was recorded using the Fuzz Face stacked with an overdrive​.

By stacking the fuzz into an overdrive, Squire achieved a singing, violin-like sustain on that extended solo. Live, the Fuzz Face was used for searing lead moments and heavier riff sections. Notably, Squire’s early Fuzz Face is believed to be a silicon transistor model ^[1] (more stable and biting than the earlier germanium versions), which contributed to a bright, aggressive fuzz tone that cut through the mix. However, later on, he would also use modern Dunlop replicas. ^[2]