Bob Dylan’s Guitars: The Instruments That Defined His Folk and Electric Eras

Since the release of A Complete Unknown, the highly anticipated Bob Dylan biopic, there has been a renewed fascination with the early years of his career—especially his transformation from a Greenwich Village folk troubadour to the electrified poet who completely revolutionised rock music.

Dylan’s sound from 1961 to 1965 remains one of the most influential periods in modern music history, and the instruments he used played a crucial role in shaping his artistic evolution.

From the well-worn Martins and Gibsons of his folk days to the sunburst Fender Stratocaster that sent shockwaves through the Newport Folk Festival in 1965, Dylan’s gear tells the story of a musician constantly pushing boundaries. Let’s take a deep dive into the tools of the trade that defined his most pivotal years.

Bob Dylan’s early years were defined by a handful of acoustic guitars that helped shape his raw, unpolished folk sound. Each one had its own distinct tone and feel, reflecting his evolving style as a songwriter and performer.

One of Dylan’s first main guitars, the Gibson J-50, was a solid, no-frills dreadnought with a warm, balanced tone. It was a common choice among folk musicians of the time and was used during the recording of his debut album, Bob Dylan (1962). Its strong midrange suited his aggressive strumming style, making it a great companion for his early blues and protest songs.

A small, all-mahogany Martin, the 00-17 was one of the guitars Dylan played in the early Greenwich Village days. It had a warm, woody tone and was lightweight, making it ideal for busking and club gigs. Though not as full-sounding as some of his later guitars, it was well-suited for the intimate folk sets that helped him build his reputation.

Dylan also used a Gibson ES-335 during early electric recording sessions for Bringing It All Back Home (1965). The ES-335, a semi-hollow body guitar, had a rich, warm tone with the added bite of an electric. It was a favourite among blues and jazz players, offering a mix of sustain and resonance that worked well for Dylan’s early electric recordings. While he didn’t use the ES-335 extensively in live performances, it played a role in shaping the more polished, electrified sound of songs like Subterranean Homesick Blues and She Belongs to Me.

By the time Dylan recorded The Freewheelin’ Bob Dylan (1963), he was using a Martin 000-18, a slightly larger-bodied guitar with a spruce top and mahogany back and sides. It had a brighter, more articulate tone, which suited the intricate fingerpicking on songs like Don’t Think Twice, It’s All Right. This model became a favourite among folk musicians because of its balance between warmth and clarity.

By 1964, Dylan had moved on to a Martin D-28, a classic dreadnought known for its powerful projection and rich, balanced tone. This became his main guitar and was famously played at the Newport Folk Festival in 1964. The D-28’s booming low-end and strong presence made it a perfect match for Dylan’s increasingly commanding performances.

By 1965, Bob Dylan had begun experimenting with electric instruments, marking one of the most controversial and transformative shifts in popular music history. Moving away from his strictly acoustic folk roots, he started incorporating electric guitars into both his studio recordings and live performances.

The following guitars played a key role in his transition to rock, shaping the sound of Bringing It All Back Home, Highway 61 Revisited, and his legendary live performances with The Hawks.

Though not as iconic as his Stratocaster, Dylan briefly played a Fender Telecaster during rehearsals with The Hawks (later known as The Band). The Telecaster was a go-to choice for many rock and blues musicians at the time, known for its sharp, cutting tone and solid build. While Dylan didn’t make it his main guitar, The Hawks' guitarist Robbie Robertson frequently played a Telecaster during their time backing Dylan, influencing the raw, aggressive sound of their 1966 world tour.

Arguably Dylan’s most famous electric guitar, the sunburst Fender Stratocaster was the instrument he played during his historic electric set at the Newport Folk Festival on July 25, 1965. This performance, where Dylan plugged in with The Paul Butterfield Blues Band, was met with both cheers and boos, marking a turning point in his career.

There has been debate over the ownership of the Strat—some reports suggest it was borrowed from guitarist Mike Bloomfield, who was playing alongside Dylan that night. The guitar had a bright, biting tone that cut through the mix, making Dylan’s electrified versions of Maggie’s Farm and Like a Rolling Stone all the more striking. This Stratocaster has since become one of the most legendary instruments in rock history, symbolising Dylan’s bold move into electric music.

The Fender Twin Reverb was one of the amps Dylan used during his early electric recordings in 1965. Known for its clean, shimmering tone and built-in reverb, the Twin Reverb was a staple for many rock and blues musicians of the era. It had plenty of headroom, meaning it could stay clear and articulate even at higher volumes, making it perfect for studio recordings.

A small, all-mahogany Martin, the 00-17 was one of the guitars Dylan played in the early Greenwich Village days. It had a warm, woody tone and was lightweight, making it ideal for busking and club gigs. Though not as full-sounding as some of his later guitars, it was well-suited for the intimate folk sets that helped him build his reputation.

This amp was likely used on tracks like Subterranean Homesick Blues and She Belongs to Me, where Dylan’s electric sound first took shape. The bright, articulate tone of the Twin Reverb allowed the guitars to cut through the mix while keeping the vocals front and centre.

For the Highway 61 Revisited sessions later in 1965, Dylan may have used a Fender Bassman, an amp originally designed for bass but widely adopted by guitarists for its warm, punchy tone. Unlike the Twin Reverb, which had a sparkling clean sound, the Bassman had a grittier, more dynamic quality, making it a great match for the raw energy of Dylan’s new electric style.

The Hohner Marine Band was Bob Dylan’s go-to harmonica throughout his early career, playing a key role in shaping his distinctive sound. Known for its rich, bluesy tone and responsiveness, it was perfect for Dylan’s emotive harmonica style, especially in his folk and protest music.

Dylan used it extensively on albums like Bob Dylan (1962), The Freewheelin' Bob Dylan (1963), and The Times They Are a-Changin’ (1964). Its ability to easily bend notes allowed Dylan to add expressive, soulful flourishes to songs like Blowin' in the Wind and Don’t Think Twice, It’s All Right.

Bob Dylan’s transition from acoustic folk hero to electric pioneer between 1961 and 1965 was marked by his use of iconic instruments, from the rich tones of Martin and Gibson acoustics to the groundbreaking sound of his Fender Stratocaster. Each guitar played a role in shaping the evolution of his music, helping to define an era of artistic rebellion and innovation. If you’re looking to explore similar instruments, you can find Martin, Gibson, and Fender guitars at PMT Online, where you can channel a bit of Dylan’s legendary sound.