September 2019 – The Story of Modern Music in 1,500+ Facts – Part VII

Introduction

Welcome to the 1970s. Well kinda. Yep, here we are yet again, with the 7th article in the current series of musical discovery, focusing on the delightful ‘Seventies’. As is often the case with monumental projects, the amount of work involved has been colossal and the amount of information has been considerable. The scale alone has meant that compressing it all into logical and manageable chunks has proved somewhat of a challenge. Unsurprisingly, perhaps, it has been the 1950s, 1960s and 1970s that have proved to be the most eventful and remarkable. This month’s article focuses on the unpredictable 1970s as it follows on from the previous two tumultuous decades.

If you would like to (re)visit the first four parts (and over 300 years) of the story to‑date, you can do so here (each link opens a new browser tab):

In terms of this article as part of the overall series, the 1970s has, by far, more content than any other single decade. While it is inherently fascinating, it makes for quite a hefty read (over 300 facts this month)… so be prepared and apologies.

The Story of Modern Music Part VII 1970-1979

The so-called ‘golden era’ of music (1950s-1970s inclusive) was characterised by major seismic musical movements. The 1950s saw rock ‘n’ roll burst onto the scene, the 1960s saw the fan hysteria of the ‘British Invasion’ followed by heady idealism of hippie flower power full of peace & love, while the 1970s heralded a very different form of youth rebelliousness, veritably bristling with vigorous nihilistic punk attitude.

Gone was the positivity and optimism to be replaced with disaffection distrust and deeply seated urban angst. Instead of striving for some sort of wistful, unobtainable utopia, the desperate pursuit for a grimy dystopian anarchy became almost an end in itself. The zeitgeist of warts‑and‑all realism was striking back.

The 1970s would ultimately descend into gritty and chaotic demands for change without a clear idea of what outcome the disillusioned generation was rebelling for or against. In many respects, it didn’t matter as the alienated youth voice was seen as irrelevant to detached and remote institutions who weren’t listening and, worse, seemed not to care.

As social provocateur Malcolm McLaren proclaimed, “What matters is this: Being fearless of failure arms you to break the rules. In doing so, you may change the culture and just possibly, for a moment, change life itself.” He went on to comment, “I always said punk was an attitude. It was never about having a Mohican haircut or wearing a ripped T-shirt. It was all about destruction, and the creative potential within that.”

Civilisation wasn’t really breaking down of course and not everything was tainted by dismal doom and gloom. However, western societies were being tested and forced to adapt to a darker, more uncertain, complex and ambiguous new world.

Historical Context 1970-1979

The self-indulgent 1970s was described as the ‘Me Decade’ (coined by writer Tom Wolfe), with a move away from the model of social collectivism (communities) to individualism (self). To many, the ‘70s may well be remembered as a caricature of kitsch, a gaudy facsimile of 1960s’ sybaritic, exuberant excess. While not devoid of conflict and warfare, particularly in Asia and the Middle East, the world was slowly becoming accustomed to a period of extended and stable peace around the globe. Even the tension of the Cold War became a continuous mutual standoff. Progressive political, cultural and social change that began in the 1960s continued, including the emergence of the Women’s Liberation Movement, enabling greater social mobility for many. The ever‑more liberal ‘permissive society’ was well under way representing a crucial stage in that generation’s struggle for greater individual freedom and equality. Technology was developing at a rapid pace, providing much greater work, leisure and recreational opportunities for people in their everyday lives. However, a number of disruptive economic and political events began to destabilise a long period of post‑war economic expansion. Widespread social discontent and a rejection of a stagnant status quo resulted in widespread riots, protests, labour strikes, direct action and hints of anarchy, culminating in the UK with the infamous ‘winter of discontent’.

Year

Global Events

1970

Manned moon mission Apollo 13 narrowly avoided tragedy after an emergency in space, ultimately returning all 3 astronauts safely to Earth.

 

After being signed in 1968, 43 nations ratified The Treaty on the Non‑Proliferation of Nuclear Weapons, intended to curb the spread of nuclear weapons and promote co‑operation on the peaceful use of nuclear power.

1971

The phenomenally successful coffee empire, the Starbucks Corporation, was founded in Seattle, Washington, U.S.A.

 

The massive Aswan High Dam across the River Nile in Egypt was opened. The project had required moving the ancient Egyptian temples of Ramses at Abu Simbel (in 1964) above the rising waters of Lake Nasser.

1972

The first commercial video game, Pong was released by Atari.

 

The classic gangster movie, ‘The Godfather’, directed by Francis Ford Coppola and starring Marlon Brando was released.

 

Britain imposed direct rule over Northern Ireland following the so‑called ‘Bloody Sunday’ massacre.

 

A Palestinian terrorist group killed 11 Israeli Olympic team members and a German police officer at the 1972 Olympic Games in Munich, West Germany.

 

Apollo 17 became the last moon landing (to‑date) where humans have walked on the surface of the Moon.

1973

The United Kingdom joined the expanding European Economic Community (EEC).

 

The seminal and controversial ‘horror’ movie about faith, ‘The Exorcist’ was released, directed by Willian Friedkin and starring Linda Blair.

 

A global oil crisis was triggered by OPEC, the confederation of Arab oil producing nations, which imposed an embargo on oil exports to countries supporting Israel in the Yom Kippur War, also known as the Arab-Israeli War.

 

The famous Spanish artist and co‑founder of the Cubist movement, Pablo Picasso died at the age of 91.

1974

American President Richard Nixon resigned from office following the Watergate scandal, to be succeeded by Gerald Ford as the 38th U.S. president.

 

The popular 3-D combination puzzle Rubik’s Cube was invented by Hungarian sculptor and professor of architecture, Ernő Rubik.

 

The ubiquitous Bar Code was introduced. It was notable because it was the first standardised method of representing data in a visual, machine-readable form.

1975

America finally pulled out of the Vietnam War after the Fall of Saigon, leading to the formal reunification of north and south Vietnam.

 

An historic joint American/Russian Apollo and Soyuz space mission took place in Earth orbit. It was the first time that spacecraft from different nations docked in space.

 

Widely recognised as the first modern summer blockbuster film, ‘Jaws’ was released, directed by Steven Spielberg and based on the novel by Peter Benchley published in 1974.

 

American technology innovators, Bill Gates and Paul Allen co‑founded the Microsoft Corporation in Albuquerque, New Mexico.

1976

American technology entrepreneurs, Steve Jobs, Steve Wozniak and Ronald Wayne co‑founded Apple Computer Company (now Apple Inc.) in California.

 

The infamous ‘Son of Sam’ serial murders began in New York City, sparking the largest manhunt in the city’s history. The notorious killer, David Berkowitz, was finally arrested in 1977.

 

Chinese communist leader, Chairman Mao Zedong died, effectively ending the decade‑long Chinese Cultural Revolution.

1977

South African activist and anti-apartheid campaigner Stephen Biko died while in police custody after violating an order to restrict his movements.

 

The cinema phenomenon and start of a major film and merchandise franchise, Star Wars Episode 4 was released, directed by George Lucas.

1978

English woman Louise Brown, the world’s first test tube baby, was born after conception by in‑vitro fertilisation (IVF).

 

The classic video game created by Tomohiro Nishikado, Space Invaders was released.

 

The Camp David Accords signifying a negotiated peace agreement between Israel and Egypt was signed in Maryland in the U.S.A, leading to the Egypt‑Israel Peace Treaty of 1979.

1979

Conservative Party leader Margaret Thatcher became the UK’s first female Prime Minister. She was Prime Minister for nearly 12 years.

 

Russia invaded the Democratic Republic of Afghanistan, starting the Soviet‑Afghan war that would last until 1989.

 

Revolutionary Iranian religious leader Ayatollah Khomeini proclaimed Iran to be an Islamic Republic in the Middle East, starting decades of international isolation.

 

The epic Vietnam war film, ‘Apocalypse Now’, written and directed by Francis Ford Coppola, starring Martin Sheen and Marlon Brando was released.

 

In Africa, the notorious Ugandan president and dictator Idi Amin was forced to leave the country into exile.

 

The nuclear power plant at Three Mile Island in Pennsylvania, America suffered a catastrophic meltdown.

Musical Genre Development 1970-1979

If the 1960s was memorable for its own musical revolutions, the 1970s was about to unleash its own rebellious step changes. The music of the 1970s can be categorised by bursts of creativity, using existing musical styles to come up with something relevant, new, raw and vital with something important to say. Perhaps more than any other decade, the 1970s produced greater musical diversity than any other before or since. Pop music continued to be commercially successful into the 1970s including artists like David Cassidy, The Osmonds, Abba, The Bay City Rollers and the Jackson 5.

Progressive rock, often abbreviated to ‘prog’, is a broad musical genre that grew largely from psychedelic rock and the British Canterbury Scene to achieve significant appeal in the late 1960s and early 1970s. Progressive rock can be characterised by long instrumental compositions influenced by fusing classical, jazz, rock and folk styles often complemented by elegiac, poetic lyrics. Prog music was usually only released by bands on LP albums rather than singles. Studio technology and instrumental proficiency were central to the artistic soundscapes used. Like most classical music, it was intended to be listened to, rather than danced to. To some critics, prog rock was seen as avant‑garde, pompous, overblown and boring, being not readily accessible to casual listeners. For some prog musicians, it was important to elevate music from largely populist to the status of art and included experimental arrangements to create debate and stimulate interpretation. This attitude was regarded by some as pretentious and elitist, pushing the genre into somewhat of a dead end niche. Prog rock reached its peak around 1973 and had largely been rejected by the rise of punk rock in the mid‑1970s. Early artists associated with prog rock include Procol Harum, Colosseum, Soft Machine, Barclay James Harvest, Caravan and Curved Air, paving the way for the progressive giants of the genre, including Jethro Tull, King Crimson, Yes, Genesis, Van der Graaf Generator, Emerson, Lake and Palmer (ELP), as well as Pink Floyd and Mike Oldfield.

The underpinnings of heavy metal began in the late 1960s as hard rock explored new musical territories. Often cited as the pioneers of the genre were Led Zeppelin, Deep Purple and Black Sabbath, all forming in 1968. Arguably, though, the first two, while clearly influencing metal, lean more towards hard rock and its successors. Even though many of the characteristics of metal had been used before, Black Sabbath are widely regarded as the true forefathers of today’s heavy metal. The sound of heavy metal took hard rock and laid on layers of thick, heavy distorted riffs using power chords, high volume levels, searing guitar solos, pounding drums and thundering bass. Vocals were often strong and bold and had a dark or satanic emphasis. During the formative 1970s, there were a few bands that adopted the metal tropes, including Judas Priest. By the end of the 1970s, a new wave of British heavy metal (NWOBHM) was spearheaded by bands such as Iron Maiden, Def Leppard, Saxon and UFO. Although more rock than metal, Motörhead played their part in promoting heavy rock to audiences. The sub‑culture surrounding heavy metal grew alongside the music with fans branded as ‘headbangers’ with a dress code not unlike the rockers of the previous decade but taken further. By 1984 and the release of the mockumentary film ‘This Is Spinal Tap’, metal had reached a point of self‑parody. During the 1980s and beyond, metal gave birth to sub‑genres including hair metal (Van Halen, Bon Jovi and Mötley Crüe), thrash metal (Metallica, Slayer, Anthrax and Megadeth), groove metal (Pantera, Blackstone Cherry and White Zombie), industrial (Rammstein and Marilyn Manson), alternative metal (Alter Bridge, Avenged Sevenfold, Slipknot, Deftones, Tool and Queensryche) and nu‑metal (Linkin Park, Limp Bizkit, Papa Roach, Korn and Disturbed), amongst many others such as glam metal, progressive metal, black metal, doom metal, death metal, power metal, metalcore, Christian metal, etc. Possibly more than any other style of music, heavy metal has proliferated sub‑genres.

Glam rock is a relatively short‑lived offshoot of rock music that developed in the early 1970s, particularly in the UK. Glam rock’s heyday was roughly between 1970 and 1975. The music was tightly interwoven with flamboyant and colourful fashions, being performed by musicians who wore outrageous costumes, stark makeup and pronounced hairstyles. The impact of the symbolism was to blur the traditional gender stereotyping that was prevalent before 1970. The visuals often extended to custom instruments used by some artists. Although it may not appear obvious, glam rock influenced subsequent genres such as punk rock, new romantics, Goth rock and new wave that followed. Significant artists included Marc Bolan and T.Rex, David Bowie, Queen, Sweet, Slade, Elton John, Mud, Roxy Music and Gary Glitter. Although its impact was lower profile in the USA, artists such as Alice Cooper, New York Dolls and Iggy Pop adapted glam imagery for their own purposes.

Reggae emanated from Jamaica in the late 1960s and significantly became popular internationally during the 1970s. Reggae evolved from ska and a transitional form between ska and reggae called rocksteady. Reggae is distinctive in that it has a 4/4 rhythm with the drum marking the 3rd beat of the bar with a guitar or keyboard staccato ‘skank’ on the 2nd and 4th (off) beats of the bar. Reggae is also often associated with strong and heavy rhythmic bass lines, sometimes complemented by horn arrangements. Reggae is often but not exclusively connected to Rastafarianism which also features strongly in many reggae songs, as does the use of marijuana. Roots reggae refers to its African roots and the black diaspora. Jamaican record producers also played a strong part in moulding the sound of reggae and developed a complete sub‑genre known as ‘versions’ or dub reggae that used production techniques to remove vocals and remix instrumental elements of drum, bass and guitar. Dub reggae was often played on loud PA sound systems. Key producers include Lee ‘Scratch’ Perry, King Tubby, Mad Professor and Scientist. Reggae has been successfully exported worldwide, although the UK remains a key consumer market. One of the major artists who not only popularised commercial reggae globally but also acted as an ambassador for Jamaica was Bob Marley who, with his band, The Wailers became an international icon. Other major artists also include Peter Tosh, Toots & The Maytals, Burning Spear, Augustus Pablo, Horace Andy, I‑Roy, U‑Roy, The Abyssinians, Black Uhuru, Sly & Robbie, The Upsetters, Desmond Decker, Jimmy Cliff, Johnny Nash, Third World, Gregory Isaacs and many others. British reggae artists include Aswad, Steel Pulse, Linton Kwesi Johnson and UB40. After Bob Marley’s death, the genre diversified into other forms, such as dancehall and ragga.

The origins of rap and hip hop music derived from vocal a cappella rapping and African American urban street music originating in New York house and block parties in the Bronx during the early 1970s. The largely vernacular spoken rhyming lyrics were backed by rhythmic percussive soul, funk and disco beats of the period. The sub‑culture expanded by the late 1970s to include MCing, DJ scratching, sampling and beatboxing frequently using drum machines. Also associated with rapping were break dancing, urban graffiti art and aggressive gangland/gun culture. The broader cultural definition has become widely known as hip hop, which is the current common categorisation. Early practitioners included Grandmaster Flash & The Furious Five, the Sugarhill Gang and Afrika Bambaataa. The genre spread widely during the ‘golden age of hip hop’ from the 1980s up to the early 1990s spawning many sub‑genres, often associated with the region or country. For instance, there was intense rivalry between U.S. West Coast and East Coast hip hop during the 1990s, coining the term ‘gangsta rap’. Hip hop became massively influential in many other mainstream musical genres who adapted the rhyming lyrical style and sparse percussive beats. Despite a decline in the mid‑2000s, hip hop is now a global phenomenon with numerous offshoots and diverse styles. While its origins are African American, a few white artists have been successful including the Beastie Boys and Eminem. There are way too many hip hop artists to mention all of them. However, they include Run-D.M.C., LL Cool J, Public Enemy, A Tribe Called Quest, De La Soul, Ice‑T, Ice Cube, Snoop Dogg, Cypress Hill, N.W.A., The Notorious B.I.G., Tupac Shakur, Wu-Tang Clan, Dr. Dre, 50 Cent, OutKast, Jay‑Z and Kanye West among many others.

Like other musical forms, funk and disco adapted from previous genres, becoming mainstream during the 1970s. Funk emerged from African American communities and mixed soul, jazz and R&B. Funk is recognisable by have an addictively danceable groove. Funk focused on a strong first beat of the bar and was driven by strong insistent bass and drum rhythms. Funk artists included James Brown, Sly & The Family Stone, Parliament/Funkadelic, Chaka Khan, Earth Wind & Fire and Kool & The Gang. Later, artists like Rick James and Prince would adopt funk as a key ingredient in their dance‑fused arrangements. Funk tends to be more musically complex than its sister genre, disco. Disco originated in America and rapidly spread to the UK. It is associated with urban nightclubs and DJs mixing dance records through loud sound systems to audiences in clubs and discothèques. Discos also used complex light and strobes to emphasise the beat. Disco is a heavily produced bass and drum‑driven 4/4 rhythm, often using electronic instruments to add syncopation. Disco’s core rationale was music to dance to, so disco dancing became very popular. Culturally, disco is also associated with fashion, drug use and promiscuity. Disco artists included Gloria Gaynor, The Bee Gees, Donna Summer, The Village People, Sylvester and Chic. Disco was hugely influential on later dance genres such as house, techno, drum ‘n’ bass and rave. Like many other broad genres, funk and disco have diversified into many other related sub‑genres over the years.

Widespread social dissatisfaction and a rejection of established musical forms on both sides of the Atlantic during the mid‑1970s led to the emergence of punk rock. Loud, brash, nihilistic and stripped‑back arrangements performed mainly on guitar, bass and drums were used to support often angry and alienated anti‑establishment lyrics. The result was short, sharp bursts of controversial and provocative music. The emergence of punk in America is associated with artists such as Television, Patti Smith and Ramones, building on the work of proto‑punk bands like Velvet Underground, New York Dolls and Iggy & The Stooges. Meanwhile a parallel evolution in the UK was epitomised by bands such as Sex Pistols, The Clash, The Damned, Buzzcocks, Sham 69 and The Ruts. As with many other music‑related sub‑cultures, punk led to distinctive fashions (Vivienne Westwood), art (Jamie Reid) and agressive attitudes. The anarchic punk movement spread rapidly and by 1977 was pervasive in many westernised countries. As popularity increased and punk sensibilities were adopted by the commercial mainstream, the essential ethos of punk imploded and was overtaken by the music business machinery that, ironically, was punk’s original anathema. The demise of chaotic punk rock principles led to post‑punk sub‑genres that expanded its appeal beyond the original audience, including artists like Joy Division, Bauhaus, Siouxsie & the Banshees, Ian Dury, The Cure and The Sisters Of Mercy. Punk in its purest form could not and did not last long. However, it was very influential in subsequent styles such as new wave, new romantic, emo and Goth sub‑genres. Live music venues were very important for audiences to experience the visceral nature of punk rock first hand, including CBGBs in New York and the Marquee in London. Punk saw a revival in the 1990s with bands like Green Day, Blink‑182 and The Offspring but it was far more commercial and lacking the authenticity of the original.

Musical Facts 1970-1979

Day

Month

Year

Music Fact

26

January

1970

American folk rock duo Paul Simon and Art Garfunkel released their 5th and final classic studio album, ‘Bridge Over Troubled Water’.

3

February

1970

Multi-talented American guitarist, singer, songwriter, producer, solo artist and member of rock super group The Winery Dogs, Richie Kotzen was born in Reading, Pennsylvania.

13

February

1970

English heavy metal legends Black Sabbath released their classic, game-changing self-titled debut album, ‘Black Sabbath’ in the UK (NB. appropriately on Friday 13th).

14

February

1970

English rock band The Who performed a concert at Leeds University. The show was recorded and released as the band’s first official live album, ‘Live At Leeds’.

5

March

1970

American guitarist, former member of rock band Red Hot Chili Peppers and solo artist, John Frusciante was born in New York City.

9

March

1970

After changing their name from Earth, English heavy metal rock band Black Sabbath performed their debut live concert at the Roundhouse in London.

22

March

1970

Marc Bolan and Tyrannosaurus Rex released their last studio album before transforming into glam rockers T.Rex, ‘A Beard of Stars’.

10

April

1970

English singer, songwriter and bass guitarist, Paul McCartney issued a press statement that he was leaving The Beatles, signalling the band’s break up.

21

April

1970

American Chicago blues guitarist Earl Hooker died of complications from tuberculosis in Chicago, Illinois at the age of 40.

1

May

1970

English guitarist, singer, songwriter, producer and former member of indie rock band Suede, Bernard Butler was born in London.

3

May

1970

English rock band The Who released their classic live album, ‘Live At Leeds in the UK.

8

May

1970

Legendary English pop/rock band The Beatles released what would be the group’s 12th and final studio album, ‘Let It Be’, after the band split up.

3

June

1970

British heavy rock band Deep Purple released their classic breakout studio album, ‘Deep Purple in Rock’ in the UK.

5

June

1970

English heavy rock band Deep Purple released their breakthrough hit single ‘Black Night’ in the UK.

6

June

1970

American rhythm guitarist and co-founder of Nu-Metal rock band Korn, James Shaffer (a.k.a. Munky) was born in Bakersfield, California.

8

July

1970

Innovative and massively talented American alternative rock singer, songwriter, guitarist and producer, Beck was born in Los Angeles, California.

18

July

1970

London hosted the third Free Concert held in Hyde Park featuring Pink Floyd, Roy Harper, Kevin Ayers, and the Edgar Broughton Band.

14

August

1970

English psychedelic space rock band Hawkwind released their debut studio album, the eponymous, ‘Hawkwind’.

23

August

1970

American singer, songwriter and guitarist Lou Reed performed his final live concert appearance with The Velvet Underground (bar reunions) at Max’s Kansas City rock club in Manhattan, New York City.

26

August

1970

The famous Isle of Wight Festival began at Afton Down, attracting between 600,000 and 700,000 attendees, the largest open air music festival of its kind. Tickets for the weekend cost £3.

28

August

1970

Well over half a million people attended the 3rd day of the UK’s famous Isle of Wight Festival to see artists including Taste, Chicago, Family and Procol Harum.

29

August

1970

The 4th day of the massive Isle of Wight Festival continued starring Joni Mitchell, Miles Davis, Ten Years After, ELP, The Doors, The Who and Sly & The Family Stone.

30

August

1970

The 5th and final day of the gigantic Isle of Wight Festival took place starring Jethro Tull, Jimi Hendrix, Joan Baez, Leonard Cohen and Richie Havens.

4

September

1970

English rock group The Rolling Stones released their classic live album, ‘Get Yer Ya-Ya’s Out’ in the UK.

6

September

1970

Legendary American rock guitarist Jimi Hendrix played his final live concert at the Isle of Fehmarn in Germany.

11

September

1970

American rock guitarist, singer and songwriter Jimi Hendrix gave his final interview for the UK weekly music magazine New Musical Express (NME).

12

September

1970

London hosted the fourth Free Concert held in Hyde Park (the 2nd that year) featuring Canned Heat, Eric Burdon and War, John Sebastian, Michael Chapman, Stoneground and others.

18

September

1970

Legendary American rock guitarist, singer and songwriter, Jimi Hendrix died tragically of asphyxia in his London flat at the age of 27.

18

September

1970

Pioneering English heavy metal rock band, Black Sabbath released their classic sophomore studio album, ‘Paranoid’ in the UK.

19

September

1970

The very first Glastonbury Pop, Folk & Blues Festival took place at Worthy Farm, Pilton, Somerset, UK, attended by approximately 1,700 people.

19

September

1970

Canadian singer, songwriter and guitarist Neil Young released his classic 3rd studio album, ‘After The Gold Rush’.

1

October

1970

American guitarist Jimi Hendrix’s funeral service took place at Dunlap Baptist Church in his hometown of Seattle before he was buried at the Greenwood Cemetery in Renton, also in Seattle.

2

October

1970

English glam rock band Marc Bolan and T.Rex released their classic breakout hit single ‘Ride A White Swan’ in the UK.

2

October

1970

English progressive rock band, Pink Floyd released their 4th studio album, ‘Atom Heart Mother’ in the UK.

4

October

1970

Respected American rock, soul and blues singer Janis Joplin was found dead following an accidental heroin overdose in Los Angeles, California at the age of 27.

5

October

1970

English heavy rock band Led Zeppelin released their classic 3rd studio album, ‘Led Zeppelin III’ in the UK.

10

October

1970

English heavy metal rock band, Black Sabbath had their classic 2nd studio album, ‘Paranoid’ reach No. 1 in the UK album chart.

23

October

1970

The Jimi Hendrix Experience released the song ‘Voodoo Child (Slight Return)’ shortly after the guitarist’s untimely death. It reached number 1 in the UK singles chart.

23

October

1970

English progressive rock band Genesis released their breakout studio album, ‘Trespass’ in the UK.

1

November

1970

Legendary American psychedelic rock band Grateful Dead released their classic 5th studio album, ‘American Beauty’.

4

November

1970

English singer and songwriter David Bowie released his classic 3rd studio album, ‘The Man Who Sold the World’ in the UK.

6

November

1970

Emerging American rock band Aerosmith made their debut live appearance in the gymnasium at what was Nipmuc Regional High School (now Miscoe Hill Middle School) in Mendon, Massachusetts.

9

November

1970

American blues/rock guitarist, singer and member of the Tedeschi Trucks Band along with hubby, Derek Trucks, Susan Tedeschi was born in Boston, Massachusetts.

15

November

1970

American alternative rock band, The Velvet Underground released their 4th and possibly most commercial studio album, ‘Loaded’.

27

November

1970

Former member of English rock band The Beatles, George Harrison released his hugely successful solo triple studio album, ‘All Things Must Pass’ in the UK.

11

December

1970

English singer, songwriter and guitarist, Marc Bolan and T.Rex released the first post-Tyrannosaurus Rex studio album, ‘T.Rex’ in the UK.

11

December

1970

English singer and songwriter John Lennon released his post-Beatles solo album, ‘John Lennon/Plastic Ono Band’ in the UK.

12

December

1970

American rock band, The Doors played their final live concert with singer Jim Morrison at the Warehouse in New Orleans, Louisiana.

16

January

1971

American blues rock band, ZZ Top, released their debut studio album, ‘ZZ Top’s First Album’ in the UK.

17

March

1971

Renowned Canadian singer, songwriter and poet, Leonard Cohen released his classic 3rd studio album, ‘Songs of Love and Hate’ in the UK.

19

March

1971

English progressive rock band Jethro Tull released their classic 4th studio album, ‘Aqualung’ in the UK.

16

April

1971

English blues rock band The Rolling Stones released their huge hit single, ‘Brown Sugar’, taken from the album, ‘Sticky Fingers’.

23

April

1971

The Rolling Stones released what was probably their career peak 9th studio album, ‘Sticky Fingers’.

29

April

1971

American rock band, The Doors released their massive 6th studio album, ‘L.A. Woman’, including the classic single, ‘Riders On The Storm’, recorded shortly before singer, Jim Morrison’s death.

22

June

1971

The second Glastonbury Festival took place in Pilton, Somerset, UK, attended by c.12,000 fans. Artists included Hawkwind, Traffic, David Bowie, Joan Baez, Fairport Convention, Quintessence and Melanie.

2

July

1971

English glam rock group T.Rex, led by the late Marc Bolan, released their classic hit single ‘Get It On’.

3

July

1971

American singer, poet and member of rock band The Doors, Jim Morrison died from reported heart failure at an apartment in Paris, France at the age of 27.

6

July

1971

American jazz trumpeter and singer, Louis Armstrong died of a heart attack in a New York hospital at the age of 69.

31

July

1971

American guitarist known for his work with heavy rock bands Marilyn Manson and Rob Zombie, as well as a solo artist, John Lowery (a.k.a. John 5) was born in Grosse Pointe, Michigan.

25

August

1971

English rock band, The Who, released their 5th studio album, ‘Who’s Next’ in the UK.

9

September

1971

English singer, songwriter, guitarist and former Beatle, John Lennon released his career-defining solo studio album, ‘Imagine’ in the UK.

15

September

1971

English heavy rock band, Deep Purple released their flaming hot 5th studio album, ‘Fireball’ in the UK.

21

September

1971

UK broadcaster, the BBC aired their highly regarded long-running contemporary music TV programme, ‘The Old Grey Whistle Test’ for the first time.

8

October

1971

English psychedelic space rock band Hawkwind, released their 2nd studio album ‘In Search Of Space’ in the UK.

29

October

1971

American guitarist and co-founder of rock band The Allman Brothers Band, Duane Allman died tragically in a motorcycle accident in Macon, Georgia at the age of 24.

30

October

1971

English former member of The Beatles, John Lennon had his classic solo studio album, ‘Imagine’ reach number 1 in the UK album chart.

1

November

1971

The classic hit single ‘Jeepster’ was released, performed by English glam rock pioneer Marc Bolan and T.Rex, reaching No. 2 in the UK singles chart.

1

November

1971

British guitarist, singer and songwriter John Martyn released his classic 3rd solo album ‘Bless The Weather’ in the UK.

5

November

1971

Supremely versatile English lead guitarist with alternative rock band Radiohead, Jonny Greenwood was born in Oxford.

8

November

1971

English hard rock band Led Zeppelin released their classic multi-million-selling 4th studio album, ‘Led Zeppelin IV’ in the UK, which included the track, ‘Stairway To Heaven’.

12

November

1971

English progressive rock band Genesis released their ambitious 3rd studio album, ‘Nursery Cryme’ in the UK.

13

November

1971

English progressive rock band Pink Floyd released their outstanding 6th studio album, ‘Meddle’ in the UK.

4

December

1971

The Montreux Casino in Switzerland, built in 1881, burnt down during a Frank Zappa gig, inspiring Deep Purple’s classic rock song, ‘Smoke On The Water’.

17

December

1971

Legendary English rock singer, songwriter and actor, David Bowie released his classic 4th studio album, ‘Hunky Dory’ in the UK.

27

December

1971

Remarkable English guitarist with The Aristocrats and noted guitar teacher, Guthrie Govan was born in Chelmsford, Essex.

21

January

1972

English glam rockers Marc Bolan with T.Rex released the classic hit single ‘Telegram Sam’ in the UK.

10

February

1972

English glam rock singer David Bowie made his debut live appearance as his legendary alter-ego, Ziggy Stardust at the Toby Jug pub in London.

17

February

1972

American singer, songwriter, guitarist, front man and co‑founder of pop punk rock band Green Day, Billie Joe Armstrong was born in Oakland, California.

25

February

1972

English singer, songwriter and guitarist, Nick Drake, released his sublime 3rd and final studio album, ‘Pink Moon’.

25

February

1972

Legendary Canadian singer, songwriter and guitarist, Neil Young, released his classic 4th studio album, ‘Harvest’.

3

March

1972

English progressive rock band Jethro Tull released their classic 5th studio album, ‘Thick As A Brick’ in the UK.

25

March

1972

English heavy rock band Deep Purple released their classic 6th studio album, ‘Machine Head’ in the UK, which included the track, ‘Smoke On The Water’.

29

April

1972

English hard rock band Wishbone Ash released their career-defining classic 3rd studio album, ‘Argus’.

5

May

1972

English glam rockers, Marc Bolan and T.Rex released their classic hit single ‘Metal Guru’ in the UK.

12

May

1972

English rock band, The Rolling Stones released their massive 10th studio double album, ‘Exile On Main Street’.

6

June

1972

English glam rock singer and songwriter, David Bowie released his classic 5th studio album, ‘The Rise and Fall of Ziggy Stardust and the Spiders From Mars’.

3

July

1972

American country blues guitarist, Mississippi Fred McDowell died from cancer in Memphis, Tennessee at the age of 66.

23

July

1972

British glam rock band, Marc Bolan and T.Rex released their classic studio album ‘The Slider’ in the UK.

8

September

1972

British glam rock star Marc Bolan and his band T.Rex released the classic hit single ‘Children Of The Revolution’.

11

October

1972

Mexican-American guitarist Carlos Santana with his band released their classic 4th studio album, ‘Caravanserai’.

17

October

1972

American rapper and hip-hop artist, Eminem was born as Marshall Bruce Mathers III, a.k.a. ‘Slim Shady’ in St. Joseph, Missouri.

10

December

1972

British singer, songwriter, guitarist and co-founder of alternative rock band Placebo, Brian Molko was born in Brussels, Belgium.

5

January

1973

American rock band, Aerosmith, released their eponymous debut studio album, ‘Aerosmith’.

5

January

1973

American singer and songwriter Bruce Springsteen released his debut studio album, ‘Greetings From Asbury Park, N.J.’.

30

January

1973

After changing their name to KISS, the American rock band made their debut live performance in Queens, New York.

1

February

1973

British singer, songwriter and guitarist, John Martyn released his classic 4th solo studio album, the sublime and career-defining, ‘Solid Air’.

7

February

1973

American proto punk rock band Iggy The Stooges released their hugely influential 3rd studio album, ‘Raw Power’.

8

February

1973

Max Yasgur, who owned the New York dairy farm on which the legendary Woodstock Festival was held in August 1969, died from a heart attack in Florida at the age of 53.

23

February

1973

English pop/rock band Slade released their classic hit single, ‘Cum On Feel The Noize’ in the UK.

2

March

1973

British glam rockers, Marc Bolan and T.Rex released their classic hit single ‘20th Century Boy’ in the UK.

16

March

1973

English progressive rock group Pink Floyd released their career pinnacle 8th studio album, ‘The Dark Side Of The Moon’ in the UK.

23

March

1973

English progressive rock band King Crimson released their 5th studio album, ‘Larks’ Tongues in Aspic’.

28

March

1973

British heavy rock band Led Zeppelin released their 5th studio album, ‘Houses Of The Holy’ in the UK.

12

April

1973

English glam rock singer, David Bowie released his milestone classic 6th studio album, ‘Aladdin Sane’ in the UK.

13

April

1973

Jamaican Reggae legends, Bob Marley & The Wailers released their classic 4th studio album ‘Catch A Fire’ in the UK.

17

May

1973

American singer, songwriter, guitarist, producer, actor and founder of rock bands Queens Of The Stone Age and Eagles Of Death Metal, Josh Homme was born in Joshua Tree, California.

25

May

1973

Richard Branson’s Virgin Records label was launched, marked by the release of Mike Oldfield’s seminal studio album, ‘Tubular Bells’.

18

June

1973

American folk rock singer, songwriter and guitarist, Ray LaMontagne was born in New Hampshire.

22

June

1973

English glam rock singer David Bowie released his classic hit single, ‘Life On Mars?’, with ‘The Man Who Sold the World’ on the B-side.

3

July

1973

English glam rock star David Bowie announced that his iconic on-stage persona, Ziggy Stardust was to retire (not Bowie himself, as was widely reported in the press).

13

July

1973

English rock/pop band Queen released their great debut studio album in the UK, the eponymous ‘Queen’.

15

July

1973

American bluegrass and country rock guitarist, a member of rock band The Byrds and an accomplished session musician, Clarence White died in a car accident in Palmdale, California at the age of 29.

26

July

1973

American southern blues/rock power trio ZZ Top released their critically acclaimed 3rd studio album, ‘Tres Hombres’.

6

August

1973

Influential American blues singer, songwriter and guitarist Memphis Minnie (real name Lizzie Douglas) died from a stroke in a nursing home in Memphis, Tennessee at the age of 76.

13

August

1973

American southern rock band, Lynyrd Skynyrd released their storming debut album, ‘(pronounced ‘lĕh-‘nérd ‘skin-‘nérd)’, featuring their career-defining signature song, ‘Freebird’.

11

September

1973

American rock singer, songwriter and guitarist, Bruce Springsteen released his sophomore studio album, ‘The Wild, the Innocent & the E Street Shuffle’.

19

September

1973

American guitarist with country rock band The Byrds, Gram Parsons died of a drug overdose in Joshua Tree, California at the age of 26.

20

September

1973

American folk/rock guitarist, singer and songwriter, Jim Croce died tragically along with 5 others in a plane crash in Natchitoches, Louisiana at the age of 30.

1

October

1973

British singer, songwriter and guitarist John Martyn released his remarkable change of direction 5th studio album, ‘Inside Out’ in the UK.

9

October

1973

Influential American blues singer, songwriter and guitarist Sister Rosetta Tharpe died from a stroke in Philadelphia, Pennsylvania at the age of 58.

12

October

1973

English progressive rock band Genesis released their classic 5th studio album, ‘Selling England By The Pound’.

19

October

1973

Jamaican reggae legends (Bob Marley &) The Wailers released their classic studio album, ‘Burnin’’ in the UK.

19

October

1973

English singer and songwriter David Bowie released his 7th studio album comprising cover songs, ‘Pin Ups’ in the UK.

26

October

1973

English rock band, The Who, released their classic 6th studio double album; the rock opera and ode to the UK’s mod movement, ‘Quadrophenia’.

11

November

1973

Legendary Irish blues/rock guitarist, Rory Gallagher, released his 4th studio album, ‘Tattoo’ in the UK.

1

December

1973

English heavy metal band Black Sabbath released their 5th studio album, ‘Sabbath Bloody Sabbath’.

5

December

1973

English former member of The Beatles, Paul McCartney and Wings released his 5th and most successful ‘solo’ studio album, ‘Band On The Run’ in the UK.

10

December

1973

The legendary New York alternative, punk and New Wave music venue at 315 Bowery, Manhattan, CBGB & OMFUG, was opened by club owner Hilly Kristal.

31

December

1973

Australian heavy rock band AC/DC made their debut live performance at a local bar in Sydney, Australia.

17

January

1974

Legendary American guitarist, singer and songwriter Bob Dylan released the studio album recorded with The Band, ‘Planet Waves’.

15

February

1974

British hard rock band, Deep Purple released their classic 8th studio album, ‘Burn’ in the UK.

20

February

1974

American jazz rock band Steely Dan released their critically well-received and commercially successful classic 3rd studio album, ‘Pretzel Logic’.

8

March

1974

English rock band, Queen released their classic 2nd studio album, ‘Queen II’ in the UK.

15

April

1974

American southern rock group, Lynyrd Skynyrd released their classic breakout 2nd studio album ‘Second Helping’.

17

April

1974

Swedish guitarist, singer and songwriter with progressive death metal rock band Opeth, Mikael Åkerfeldt was born in Stockholm.

18

April

1974

Accomplished American guitarist, singer and songwriter with rock bands Creed, Alter Bridge and as a solo artist, Mark Tremonti was born in Detroit, Michigan.

24

April

1974

English glam rock legend, David Bowie released his classic 8th studio album, ‘Diamond Dogs’ in the UK.

1

June

1974

Talented Canadian singer, songwriter, guitarist, producer, activist and actress Alanis Morissette was born in Ottawa, Ontario.

15

June

1974

English rock super group Bad Company released their self‑titled debut studio album, ‘Bad Company’ in the UK.

1

July

1974

English blues/rock guitarist, singer and songwriter Eric Clapton released his classic 2nd studio album, ‘461 Ocean Boulevard’.

21

July

1974

Highly acclaimed Irish blues/rock guitarist Rory Gallagher released his hugely successful live album, ‘Irish Tour ‘74’.

29

July

1974

Perennial Canadian singer, songwriter and guitarist Neil Young released his classic 5th studio album, ‘On The Beach’.

16

August

1974

American punk rock band Ramones played their first live concert at the legendary CBGB & OMFUG music venue in New York City.

6

September

1974

English space rock band, Hawkwind, released their classic 4th studio album, ‘Hall of the Mountain Grill’.

14

September

1974

English guitarist, singer and songwriter Eric Clapton released his cover of Bob Marley’s ‘I Shot The Sherriff’ as a single, which reached number 1 in the U.S.

6

October

1974

English progressive rock band King Crimson released their 7th studio album, ‘Red’.

12

October

1974

American punk rock band Blondie made their first appearance at the legendary CBGB & OMFUG music venue in New York City.

25

October

1974

Jamaican reggae legends, Bob Marley & The Wailers released their studio album, ‘Natty Dread’ in the UK, the first Wailers’ album to bear Marley’s name in the title.

29

October

1974

Hugely impressive American blues/rock guitarist, Eric Gales was born in Memphis, Tennessee.

8

November

1974

English rock band Queen moved in a more commercial direction and released their successful 3rd studio album, ‘Sheer Heart Attack’ in the UK.

18

November

1974

English progressive rock band Genesis released their 6th studio double concept album, and their final LP with singer Peter Gabriel, ‘The Lamb Lies Down on Broadway’.

25

November

1974

English singer, songwriter and guitarist, Nick Drake died from a drug overdose at his home in Tanworth-in-Arden, Warwickshire at the age of 26.

28

November

1974

English former Beatle, John Lennon made his final live appearance, joining Elton John on stage at Madison Square Garden in New York City.

16

December

1974

After 5 years as a member of The Rolling Stones, English guitarist, Mick Taylor announced that he was leaving the band.

17

January

1975

English former member of The Beatles John Lennon released his classic solo covers album, ‘Rock ‘n’ Roll’ in the UK.

18

January

1975

American jazz, blues and country rock guitarist, Johnny Hiland was born, growing up in Maine.

20

January

1975

Legendary American guitarist, singer and songwriter, Bob Dylan released his renaissance studio album, ‘Blood On The Tracks’ in the UK.

24

January

1975

Influential and pioneering British singer, songwriter and guitarist John Martyn released his 6th studio album, ‘Sunday’s Child’.

7

February

1975

American guitarist and member of nu-metal band Limp Bizkit and Black Light Burns, Wes Borland was born in Richmond, Virginia.

17

February

1975

Australian hard rock band, AC/DC released their debut studio album, ‘High Voltage’.

24

February

1975

English heavy rock band, Led Zeppelin released their epic 6th studio double album, ‘Physical Graffiti’.

7

March

1975

English singer, songwriter and true rock legend, David Bowie released his change of direction classic 9th studio album, the soul-oriented ‘Young Americans’ in the UK.

11

March

1975

English pop/art/rock band 10cc released their hugely successful 3rd studio album, ‘The Original Soundtrack’ in the UK.

16

March

1975

American blues legend, Aaron Thibeaux ‘T-Bone’ Walker died from pneumonia following a stroke in Los Angeles, California at the age of 64.

17

March

1975

English singer, songwriter and guitarist, best known as member of hard rock band The Darkness, Justin Hawkins was born in Chertsey, Surrey.

29

March

1975

Experimental virtuoso English rock guitarist, Jeff Beck released his seminal and commercially successful 2nd solo album, ‘Blow By Blow’ in the UK.

2

April

1975

English super group Bad Company released their classic sophomore studio album, ‘Straight Shooter’.

8

April

1975

American hard rock band Aerosmith released one of their most successful records, their 3rd studio album, ‘Toys In The Attic’, including the hit track, ‘Walk This Way’.

9

May

1975

English space rock perennials, Hawkwind, released their 5th studio album ‘Warrior On The Edge Of Time’ in the UK.

23

May

1975

English pop/rock band 10cc released their superbly written and produced massive hit single, ‘I’m Not In Love’.

20

June

1975

Canadian singer, songwriter and guitarist Neil Young released his classic 6th studio album, ‘Tonight’s The Night’.

23

June

1975

Hugely talented Scottish multi-genre singer, songwriter and guitarist, KT Tunstall was born in Edinburgh.

29

June

1975

Influential American singer, songwriter and guitarist Tim Buckley died from a drug overdose in Los Angeles, California, at the age of 28.

9

July

1975

Mercurial American singer, songwriter and flamboyant guitarist with The White Stripes, The Dead Weather and The Raconteurs, as well as solo artist, Jack White was born in Detroit, Michigan.

11

July

1975

British/American rock band Fleetwood Mac released their self-titled 10th studio album, ‘Fleetwood Mac’.

17

July

1975

Jamaican reggae icons, Bob Marley And The Wailers performed the first of 2 live concerts at London’s Lyceum. The concerts were recorded for the classic live album, ‘Live!’

25

July

1975

English singer and songwriter, David Bowie released his hit single, ‘Fame’, co-written with Carlos Alomar and with backing vocals by John Lennon. It was reportedly a jibe at Bowie’s artist management.

16

August

1975

English singer and songwriter Peter Gabriel announced that he was leaving Genesis, the progressive rock band he co‑founded.

25

August

1975

American rock icon Bruce Springsteen released his massively successful 3rd studio album, ‘Born To Run’.

1

September

1975

British singer, songwriter and guitarist John Martyn released his masterful live concert album, ‘Live At Leeds’.

5

September

1975

English progressive rock band Jethro Tull released their 8th studio album, ‘Minstrel In The Gallery’ in the UK (8 September in the U.S.).

12

September

1975

English progressive rock band, Pink Floyd released their massive classic 7th studio album, ‘Wish You Were Here’.

23

October

1975

English singer and songwriter, Elton John received a star on the Hollywood Walk of Fame at 6915 Hollywood Boulevard.

6

November

1975

British punk rock band, Sex Pistols made their debut live performance as a support act in the Common Room of Saint Martin’s School Of Art at Charing Cross Road in central London.

10

November

1975

Canadian singer, songwriter and guitarist, Neil Young with his band Crazy Horse released the classic 7th studio album, ‘Zuma’.

2

December

1975

English pop/rock band Queen released their 4th studio album, ‘A Night At The Opera’, including the massive hit single ‘Bohemian Rhapsody’.

5

December

1975

Jamaican reggae legends Bob Marley And The Wailers released their classic live album, ‘Live!’ recorded at London’s Lyceum Theatre on 17 & 18 July 1975.

13

December

1975

American punk rock singer, beat poet and political activist, Patti Smith released her classic anti‑establishment debut studio album, ‘Horses’, produced by John Cale.

13

December

1975

American guitarist, singer, songwriter, producer and co‑founder of pop punk rock band Blink-182, Tom DeLonge was born in Poway, California.

20

December

1975

American guitarist Joe Walsh joined the country rock band Eagles, replacing former band guitarist Bernie Leadon.

5

January

1976

Renowned American guitarist, singer and songwriter, Bob Dylan released his classic mid-career studio album, ‘Desire’ in the UK.

10

January

1976

American blues legend Howlin’ Wolf died from complications of kidney surgery in Hines, Illinois at the age of 65.

23

January

1976

Legendary English rock singer and songwriter, David Bowie released his classic 10th studio album, ‘Station To Station’.

9

March

1976

Country music legend Johnny Cash received a star on the Hollywood Walk of Fame at 6320 Hollywood Boulevard.

18

March

1976

The classic sci-fi film ‘The Man Who Fell To Earth’, directed by Nicolas Roeg and starring English singer David Bowie was released in the UK.

19

March

1976

English guitarist with rock band Free, Paul Kossoff died from a drug-related heart attack on a flight from Los Angeles to New York City at the age of 25.

21

March

1976

Guitar pioneer, innovator and entrepreneur, Adolph Rickenbacker died from cancer in Orange County, California at the age of 89.

23

March

1976

English heavy metal band Judas Priest released their classic sophomore studio album, ‘Sad Wings of Destiny’.

26

March

1976

Irish rock group, Thin Lizzy released their breakout classic 6th studio album, ‘Jailbreak’.

28

March

1976

American guitarist with rock group The Killers, Dave Keuning was born in Pella, Iowa.

31

March

1976

Legendary English heavy rock band Led Zeppelin released their 7th studio album, ‘Presence’.

3

April

1976

British pop group Brotherhood Of Man won the 21st Eurovision Song Contest with, ‘Save Your Kisses for Me’.

23

April

1976

American punk rock band, Ramones released their eponymous debut studio album, ‘Ramones’.

30

April

1976

Jamaican reggae legends, Bob Marley & The Wailers released their commercially successful studio album, ‘Rastaman Vibration’.

3

May

1976

American hard rock band, Aerosmith, released their 4th studio album, ‘Rocks’.

4

July

1976

British punk rock band The Clash made their live concert debut supporting the Sex Pistols at the Black Swan pub (known to locals as ‘The Mucky Duck’) in Sheffield, England.

27

July

1976

English singer, songwriter, guitarist and former member of The Beatles, John Lennon, finally had his application for permanent American residency approved by the U.S. Government.

31

July

1976

American hard rock band, Blue Öyster Cult released their signature tune and huge commercial hit, the classic single, ‘(Don’t Fear) The Reaper’.

29

August

1976

Exemplary American blues guitarist and singer, Jimmy Reed died from respiratory failure in Oakland, California at the age of 50.

13

September

1976

American southern rock band Lynyrd Skynyrd released their great live double album ‘One More From The Road’ in the US.

7

October

1976

Following an appeal hearing, English former member of The Beatles, John Lennon had his permanent residency of the USA confirmed.

8

October

1976

American jazz fusion pioneer and bass guitarist Stanley Clarke released his ground breaking studio album ‘School Days’.

22

October

1976

Influential American poet, singer, songwriter, artist and activist Patti Smith released her 2nd studio album, ‘Radio Ethiopia’.

24

October

1976

Legendary Irish guitarist, Rory Gallagher, released his classic 6th studio album, ‘Calling Card’.

25

November

1976

Canadian/American rock group, The Band, played their final concert in San Francisco, California, ‘The Last Waltz’, documented by filmmaker Martin Scorsese.

26

November

1976

English punk rock pioneers, Sex Pistols released their controversial debut single, ‘Anarchy In The UK’ on EMI Records.

2

December

1976

The photoshoot for the iconic album cover to Pink Floyd’s ‘Animals’ (released in 1977) took place at Battersea Power Station in London, complete with giant inflatable pig.

3

December

1976

Jamaican reggae star Bob Marley was wounded when gunmen shot him, his wife and manager at his home in Kingston. The incident was widely thought to be a politically motivated act.

5

December

1976

French electronic musician Jean Michel Jarre released his milestone 3rd studio album Oxygène in France.

8

December

1976

American country rock band Eagles released their top‑selling and career-defining classic 5th studio album, ‘Hotel California’.

12

December

1976

English guitarist with hard rock bands The Darkness and Stone Gods, Dan Hawkins was born in Chertsey, Surrey.

28

December

1976

American blues guitar legend, Freddie King died of complications from ulcers and acute pancreatitis in Texas at the age of 42.

14

January

1977

English rock singer David Bowie released his 11th studio album and the first part of his highly acclaimed ‘Berlin Trilogy’, ‘Low’ in the UK.

23

January

1977

Highly acclaimed English progressive rock band, Pink Floyd, released their 10th studio album, ‘Animals’, in the UK.

4

February

1977

Anglo-American rock band, Fleetwood Mac released their massive career-topping 11th studio album, ‘Rumours’ in the US.

26

February

1977

American delta blues guitarist and singer Booker T. Washington ‘Bukka’ White died from cancer in Memphis, Tennessee at the age of 67 or 70 (age disputed).

2

March

1977

English singer, songwriter, co-founder and front man of band Coldplay, Chris Martin was born in Exeter, Devon.

10

March

1977

English punk rock band Sex Pistols controversially ‘signed’ a short-lived recording contract with A&M Records outside Buckingham Palace in London.

21

March

1977

Australian hard blues/rock band, AC/DC, released their 4th studio album, ‘Let There Be Rock’.

8

April

1977

English punk rock band, The Clash released their classic eponymous debut studio album, ‘The Clash’. Often considered to be one of the finest British punk albums.

8

May

1977

Great American blues rock guitar maestro, Joe Bonamassa was born in New Hartford, New York.

27

May

1977

In the same year as Queen Elizabeth II’s Silver Jubilee, British punk pioneers Sex Pistols released their controversial 2nd single, ‘God Save The Queen’ in the UK.

31

May

1977

The BBC and the Independent Broadcasting Authority banned the Sex Pistols’ controversial single, ‘God Save The Queen’ from being played on UK radio for being “in gross bad taste”.

3

June

1977

Jamaican reggae icons Bob Marley & The Wailers released their career-defining massively successful 9th studio album, ‘Exodus’.

12

June

1977

Talented American blues/rock guitarist, singer and songwriter Kenny Wayne Shepherd was born in Shreveport Louisiana.

15

June

1977

English punk rock band Sex Pistols infamously performed ‘Anarchy In The UK’ aboard a party boat on the River Thames outside the Houses of Parliament in London.

20

June

1977

Canadian singer, songwriter and guitarist Neil Young released his 8th studio album, ‘American Stars ‘n Bars’.

30

June

1977

Marvel Comics published the first comic book with characters loosely based on members of the American rock band KISS.

2

July

1977

British punk rock pioneers Sex Pistols released their controversial 3rd single, ‘Pretty Vacant’ in the UK.

16

August

1977

American rock ‘n’ roll legend, Elvis Presley died from a drug-related heart attack in Memphis, Tennessee at the age of 42.

18

August

1977

The funeral of American singing legend, Elvis Presley took place at Forest Hill Cemetery in Memphis, Tennessee.

11

September

1977

Welsh guitarist and co-founder of rock band Coldplay, Jonny Buckland was born in London.

16

September

1977

Flamboyant English glam rock guitarist, singer and songwriter Marc Bolan of Tyrannosaurus Rex and later T.Rex died tragically in a car accident in London at the age of 29.

16

September

1977

American alternative rock band, Talking Heads, released their remarkable debut studio album, ‘Talking Heads: 77’.

23

September

1977

English singer and songwriter David Bowie released the single ‘Heroes’, which would become one of his greatest signature songs.

24

September

1977

English heavy rock band Motörhead released their debut studio album, the self-titled ‘Motörhead’ in the UK.

30

September

1977

English post-punk and new wave singer, songwriter and actor, Ian Dury released his debut studio album with The Blockheads, ‘New Boots And Panties!!’ in the UK.

30

September

1977

Fiery American blues/rock guitarist and member of Supersonic Blues Machine, Lance Lopez was born in Galveston, Texas.

7

October

1977

English guitarist Steve Hackett left progressive rock band Genesis to pursue a successful solo career.

12

October

1977

American singer, songwriter and guitarist Bruce Springsteen released his 4th studio album, ‘Darkness on the Edge of Town’.

14

October

1977

English singer and songwriter David Bowie released his 12th studio album, ‘Heroes’, the 2nd part of his famed ‘Berlin Trilogy’.

16

October

1977

Award-winning American blues/rock guitarist, singer, songwriter and producer John Mayer was born in Bridgeport, Connecticut.

17

October

1977

American southern rock band Lynyrd Skynyrd released their 5th studio album, ‘Street Survivors’, just days before the band’s tragic plane crash.

20

October

1977

Several members of American rock band Lynyrd Skynyrd, including singer Ronnie Van Zant, guitarist Steve Gaines and his sister, singer Cassie Gaines were among those tragically killed and injured in a plane crash near Gillsburgh, Mississippi.

21

October

1977

American rock band, Meat Loaf, released their best‑selling debut studio album, ‘Bat Out Of Hell’.

28

October

1977

English punk rock band, Sex Pistols released their controversial debut (and currently only) studio album, ‘Never Mind the Bollocks Here’s the Sex Pistols’.

4

November

1977

American punk rock pioneers, Ramones released their definitive 3rd studio album, ‘Rocket To Russia’.

4

November

1977

British guitarist, singer and songwriter John Martyn released his classic 7th solo studio album, ‘One World’ in the UK.

25

November

1977

English blues/rock guitarist, singer and songwriter Eric Clapton released his classic 5th studio album, ‘Slowhand’.

1

December

1977

American guitarist, producer and founding member of nu-metal rock band Linkin Park, Brad Delson was born in Agoura, California.

25

January

1978

After changing their name from Warsaw to Joy Division, the post-punk rock band made their first live performance in Manchester, UK.

6

February

1978

Influential Dutch/American guitarist, Eddie Van Halen released the eponymous debut studio album that launched the band’s career ‘Van Halen’.

10

February

1978

English heavy metal band Judas Priest released their classic 4th studio album, ‘Stained Class’.

3

March

1978

American punk rock singer, poet, activist and artist, Patti Smith released her classic 3rd studio album, ‘Easter’.

23

March

1978

Jamaican reggae legends, Bob Marley & The Wailers released their 9th studio album and follow up to the massive ‘Exodus’, ‘Kaya’.

5

April

1978

English new romantic and pop/rock band Duran Duran performed their debut live concert at Birmingham Polytechnic.

15

May

1978

Antipodean heavy rock band, AC/DC released their storming 5th studio album, ‘Powerage’.

19

May

1978

British rock band, Dire Straits released their breakout debut single, ‘Sultans of Swing’ in the UK.

2

June

1978

Irish rock band, Thin Lizzy released their massive live double album, ‘Live And Dangerous’ in the UK.

9

June

1978

Mercurial English guitarist, singer, songwriter and founding member of rock band Muse, Matt Bellamy was born in Cambridge.

7

July

1978

American indie rock band, Talking Heads, released their 2nd studio album, ‘More Songs About Buildings and Food’.

7

September

1978

English drummer with rock band The Who, Keith Moon, died of a drug overdose in London at the age of 31.

12

October

1978

English bass guitarist with the Sex Pistols, John Ritchie (a.k.a. Sid Vicious) was arrested for the murder of his girlfriend Nancy Spungen at the Chelsea Hotel in New York City.

30

October

1978

American punk rock band Blondie released their single ‘Hanging On The Telephone’, their first Top 10 hit in the UK singles chart.

2

November

1978

English post-punk rock band The Police released their astounding debut studio album, ‘Outlandos d’Amour’ in the UK.

11

November

1978

The first commercially available vinyl 7” single picture disc was released by the Elektra label, featuring The Cars, ‘My Best Friend’s Girl’.

23

November

1978

American singer, songwriter, artist and occasional guitarist with rock bands, The Kills and The Dead Weather, Alison Mosshart was born in Vero Beach, Florida.

2

January

1979

The trial of English bass guitarist with Sex Pistols, Sid Vicious, started in New York. He was accused of murdering his American girlfriend, Nancy Spungen in 1978.

31

January

1979

American virtuoso jazz guitarist Grant Green died of a heart attack while on the road in New York City at the age of 43.

2

February

1979

English bass guitarist of Sex Pistols, Sid Vicious (John Ritchie) died from a heroin overdose in New York City at the age of 21.

7

February

1979

American guitarist, singer and songwriter Stephen Stills became the first major rock artist to record tracks using digital studio equipment at the Record Plant in Los Angeles, California.

3

March

1979

American guitarist, singer and songwriter, Frank Zappa released his highly successful and humorous part studio, part live double album, ‘Sheik Yerbouti’.

12

March

1979

English singer, songwriter, guitarist and founding member of indie rock bands The Libertines and Babyshambles, Pete Doherty was born in Hexham, Northumberland.

24

March

1979

English rock band, Motörhead hit the mainstream with the release of their classic 2nd studio album, ‘Overkill’.

8

May

1979

English indie rock giants The Cure released their debut studio album, ‘Three Imaginary Boys’ in the UK.

14

May

1979

Great American guitarist, singer, songwriter, producer and member of blues rock band The Black Keys, Dan Auerbach was born in Akron, Ohio.

18

May

1979

Legendary English rock singer and songwriter David Bowie released his 13th studio album and the third part of his ‘Berlin Trilogy’, ‘Lodger’.

8

June

1979

American guitarist, songwriter, member of rock band The Allman Brothers Band and founder of The Derek Trucks Band, Derek Trucks was born in Jacksonville, Florida.

15

June

1979

English post-punk band Joy Division released their impressive debut studio album, ‘Unknown Pleasures’.

20

June

1979

English guitarist, singer, songwriter, former member of indie rock band Ash and then solo artist, Charlotte Hatherley was born in London.

29

June

1979

American singer, songwriter and guitarist with Little Feat, Lowell George died from a cocaine-related heart attack in Arlington, Virginia at the age of 34.

1

July

1979

Japanese technology company Sony launched the first Walkman portable media player, capable of playing Compact Cassettes while on the move.

27

July

1979

Australian hard rock band AC/DC released their classic 6th studio album, ‘Highway To Hell’.

3

August

1979

American alternative rock band Talking Heads released their classic 3rd studio album, ‘Fear Of Music’, produced by Brian Eno.

11

August

1979

English hard rock band Led Zeppelin played their final UK concert with their original line up at Knebworth Festival in Hertfordshire.

12

August

1979

American pop singer and songwriter Michael Jackson released his 5th studio album, ‘Off The Wall’, marking his status as a global superstar.

15

August

1979

English heavy rock band Led Zeppelin released their last album with their original group line up, ‘In Through The Out Door’.

24

August

1979

American guitarist Peter Frampton received a star on the Hollywood Walk of Fame at 6819 Hollywood Boulevard.

17

September

1979

American rock guitarist, singer, songwriter and composer Frank Zappa released his studio album, ‘Joe’s Garage Act I’. The first of 3 ‘parts’.

29

September

1979

English post-punk rock trio The Police had their first UK No.1 hit single with, ‘Message In A Bottle’, the band’s 3rd Top 20 hit.

2

October

1979

Jamaican reggae legends, Bob Marley & The Wailers released their studio album, ‘Survival’ in the UK.

2

October

1979

English post-punk rock band The Police released their massively commercial chart-topping 2nd studio album, ‘Reggatta de Blanc’ in the UK.

7

October

1979

English post-punk rock band Joy Division released their debut single ‘Transmission’ on Factory Records in the UK.

19

October

1979

Anglo-American rock group Fleetwood Mac released their divisive, experimental 12th studio album, ‘Tusk’ amidst reports of the band’s excess.

27

October

1979

English rock band Motörhead released their strong 3rd studio album, ‘Bomber’ in the UK, with the classic line up of Lemmy, Eddie Clarke and Phil Taylor.

19

November

1979

American rock guitarist, singer, songwriter and composer Frank Zappa released his classic studio double album, ‘Joe’s Garage Acts II & III’.

30

November

1979

English progressive rock band, Pink Floyd released their epic 11th studio double concept album, ‘The Wall’. Estimated worldwide sales are around 30 million copies.

14

December

1979

English punk rock band, The Clash released their mighty 3rd studio double album, ‘London Calling’ in the UK.

Tailpiece

That’s more than enough for now! Looking at the list of artists, it is a veritable roll call of modern music. Just contrast the albums that started and ended the decade to see how much irreversible change had occurred in just 10 years. For many, the 1970s was the last decade to witness truly fundamental changes in musical and social paradigms. While not being strictly true, it was always going to be a tough task to sustain the energy and innovation of the 1950s, 1960s and 1970s into subsequent decades. However, this didn’t stop existing and emerging artists trying to break the constraints of predictability. So, the 1980s was to prove a different kettle of fish altogether and that is what the story seeks to explore in the next article. Are you with me? Until next time…

CRAVE Guitars’ ‘Quote of the Month’: “Nobody should have to play a secondary character in their own life”

© 2019 CRAVE Guitars – Love Vintage Guitars.

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March 2019 – The Story of Modern Music in 1,500+ Facts – Part I

Introduction

Welcome to springtime in the northern hemisphere! Starting this month (March 2019), we are about to do something a bit different and embark on a new historical music journey. This isn’t the major writing project that I was going to embark upon this year – the original idea for 2019 requires much more research than I am able to undertake currently and has had to be postponed, probably until 2020 at the earliest. This decision left a bit of a quandary as to what was going to keep me writing this year and then I had this idea to do something a bit different. Little did I know how much work this alternative project was going to take either!!!

The story covers approximately 350 years of ‘modern’ musical from the end of the European Renaissance to the current day. To some extent, this music‑centric sojourn also reflects humankind’s broader cultural development. I hope you’ll join me on this ‘new’ melodious expedition and hope you enjoy whatever bits and pieces you want to gain from it over the coming months.

If you waded through CRAVE Guitars’ 9‑part exploration of the ‘Potted History of the Guitar’ series throughout 2018, you’ll have some background to the instrument’s development from ancient times to today (and an imaginary look forward into the future). Some learned researchers believe (NB. I don’t) that the story of the guitar and the music produced by this remarkably popular instrument really begins around the end of the Renaissance (c.1600 CE) with the Spanish vihuela. Standardisation of the guitar’s structural form developed over time with the Renaissance and baroque guitars and the Italian chitarra battente. By the middle of the 19th Century during the Romantic period (c.1830-1900 CE), the now‑familiar guitar outline had appeared with the refinement of the aptly named romantic guitar. Read the relevant part here ( A Potted History Of The Guitar Part II) Thereafter, modern classical and folk acoustic guitars became well‑established and its development has been well‑documented during the course of the 20th Century, including the introduction of electric guitars from the 1930s.

Having looked at the impact of the instrument itself, it now seems appropriate to look at some of the people, innovations and events that have been directly or indirectly related to the evolution of guitar. As you might expect, what happens in music is closely interwoven with the progress of western civilisation during the same period.

In addition, if you’ve been following CRAVE Guitars’ social media output, you’ll know that I have regularly posted ‘Music Facts of the Day’, musician birthdays and other interesting trivia over the last 4+ years. However, trawling back through social media timelines to pick these out doesn’t give a chronological perspective, just an ‘on this day’ one. So, having done most of the hard work (I thought naively) of collecting the data for another use, it seemed to be a straightforward exercise to present this same information as a historical chronology of ‘facts’, over 1,530 of them in all. As it turned out, this was a much more onerous task than originally envisaged.

Inevitably, the ‘Story of Modern Music’ arranged in this way, it is just a list of seemingly unrelated things that happened over time. However, stepping back and looking at the bigger picture, the chronology does bestow a sense of how modern music unfolded over the years. Hindsight, it turns out, really is a wonderful thing!

The earliest dates in the story are quite scant, so what we’ll do is to cover an extended period of time quite quickly before it starts to get culturally interesting in the 20th Century. The idea of the whole exercise is to present about 3½ centuries of music history largely through the perspective of the guitar, guitarists and guitar music but not comprehensively so, so there is quite a lot of relevant contextual information. Keeping things specific to guitars would, I felt, be too limited, so guitars were used as a starting point and the story broadens out to encompass other musical events.

The reason why I use ‘facts’ in quotes is because, during the research, re‑writing and re‑ordering exercise, some errors will inevitably have crept in, despite my best endeavours, and I apologise if this is the case. Also, to keep the overall scale and scope manageable, each ‘fact’ is presented as a short ’snippet’, regardless of whether they are major or minor points. I may also have missed many notable events, as I’m learning continually and adding things to the collective library. However, I hope this new story gives an alternative view of how we got from post‑Renaissance European classical music to the diverse musical landscape of the current day. Most modern musical events tend to focus on developed western countries, that’s just the way it came about. By the time we get to the end of the story, some events along the way may well change, especially more recent happenings, so the story is presented very much as a point‑in‑time.

Clearly, recording musical ‘facts’ in isolation can also become a bit exclusive, so at the beginning of each article there will be a short background synopsis of the political, economic, social and technological events that occurred during the relevant period. At this point, The cultural background paragraphs are simply an indicator of what else was going on the world at the same time that musical development was taking place. Before we get going, I have to remind readers that I am neither a historian and nor is this is not an academic exercise. Like ‘A Potted History of the Guitar’ endeavour before it, this series of articles is for entertainment only, based on what I have researched over the years. The nature of the article doesn’t lend itself to images, so for lovers of the pictorial story, apologies, there are is little to look at.

So, getting to the point… The first part of our story begins in the latter part of the 17th Century and concludes at the end of the 19th Century. So, let the voyage of discovery begin with a quick look at some global non‑music events…

Historical Context 1650-1900

1650-1700

In 1653, Oliver Cromwell became Lord Protector of England until 1660 when Charles II restored the monarchy. The Great Plague and the Great Fire of London took place in 1665 and 1666 respectively. Europe was being ravaged by war, particularly against France. In America in 1681, William Penn obtained a land grant from the King of England, which led to the formation of modern‑day Pennsylvania. Sir Isaac Newton published his scientific masterwork, the ‘Philosophiae Naturalis Principia Mathematica’ in 1687. A year later, in 1688, the Glorious Revolution ended four years of Catholic rule in England. Although written anonymously in 1660, in 1689 the English philosopher John Locke published the ‘Two Treatises of Government’, which presented the theory of a limited monarchy and stated that a social contract existed between those governed and those being governed, thereby influencing the development of democratic government. In 1692, the infamous witchcraft trials were held in Salem, Massachusetts. The Bank of England was founded in 1694.

1701-1800

Queen Anne of England was crowned in 1702 (and died in 1714). Five years later in 1707, England and Scotland become the United Kingdom of Great Britain. In 1719, Daniel Defoe wrote the novel, ‘Robinson Crusoe’. 1720 saw Sir Edmund Halley become Astronomer Royal. In 1721, Sir Robert Walpole became first British Prime Minister, the same year that Peter the Great became Emperor of Russia. In 1727, physicist and mathematician Sir Isaac Newton died. In 1751, China annexed Tibet. In 1755, English writer Samuel Johnson publishes his landmark ‘Dictionary’. In 1770, Captain James Cook laid claim to New Zealand and Eastern Australia on behalf of Britain. 1773 was marked by the Boston Tea Party, which marked the start of the American Revolution. In France, Louis XVI and Marie Antoinette succeeded to throne in 1774. America finally declared independence from Britain in 1776. In the same year, Scottish economist Adam Smith published his masterpiece, the ‘Wealth of Nations’. In 1783, the French Montgolfier brothers became the first people to fly using their hot air balloon. By 1787, the American Constitution was drafted and two years later George Washington became the first American President in 1789. The first British convicts were deported to settle Australia in 1788, a practice that continued until 1867. 1789 saw the start of the French Revolution when the Bastille fortress in Paris was stormed and by 1793 the French Republic was declared after Louis XVI and Marie Antoinette had been beheaded.

1801-1900

The 19th Century began with Thomas Jefferson becoming American President in 1801, the same year that British inventor Richard Trevithick developed the high‑pressure steam engine. Napoleon Bonaparte declared himself emperor of France in 1804. A year later, in 1805, Lord Horatio Nelson defeated Napoleon at the Battle of Trafalgar. In 1807, the slave trade was abolished in Britain. The new technologies of the industrial revolution ignited the Luddite riots in 1811 England. By 1812, Napoleon’s army was defeated and forced to retreat from the siege of Moscow. In 1814, Robert Stephenson built the early steam locomotive. The Duke of Wellington finally defeated Napoleon at the Battle of Waterloo in 1815. The precursor to today’s computers, the Difference Engine was created by English mathematician Charles Babbage in 1820. The first railway from Stockton to Darlington in England was opened in 1825. By 1829, Sir Robert Peel established the London Police Force. In 1834, the Tolpuddle Martyrs were persecuted to discourage the formation of trade unions in England – unions were finally legalised in 1871. Queen Victoria came to the British throne in 1837, the same year that French artist Louis Daguerre pioneered photography. In 1848, German philosophers Karl Marx and Friedrich Engels published the ‘Communist Manifesto’. In 1857, American industrialist Elisha Otis introduced the first elevator. English naturalist, Charles Darwin published his ground‑breaking theory of evolution, the ‘Origin of Species’ in 1859. Abraham Lincoln became American President in 1861, the same year that the American Civil War began, which lasted until 1865. Thanks to French biologist and chemist Louis Pasteur, pasteurisation was introduced to milk and beer in 1864. The United States of America abolished slavery in 1865. In 1869, the Suez Canal was opened in Egypt. The telephone was developed by Alexander Graham Bell in 1876, a year before Thomas Edison invented the first phonograph in 1877 and the electric light in 1878. The bloody Zulu war took place in South Africa in 1879. Work began on the Panama Canal in Central America in 1880. The world’s first real skyscraper was the Home Insurance Building in Chicago, completed in 1885. By 1886, German engineers, Gottlieb Daimler and Karl Benz produced the first automobiles. In 1896 the first modern Olympic Games were held in Athens, Greece. Between 1888 and 1991, Jack the Ripper was carrying out a campaign of murder on women in London. In France, the Eiffel Tower was built in Paris for the ‘Exposition Universelle’ in 1889. One year later, in 1890, the famous London Underground subway system was opened. Also in 1890, the French Lumière bothers developed motion picture film. New Zealand became the first country to give women the vote in 1893. In 1895, Italian inventor Guglielmo Marconi sent the first radio message. Toward the end of the Qing dynasty, the brutal nationalist Boxer Rebellion in opposition to Western colonialism and Christian missionary activity uprising started in China in 1899, which lasted until 1901.

Let the Music Story Begin

To ease us gently into the long story of modern music, we’ll begin with just a few – a mere 44 – ‘facts’ for now.

This portion of the musical timeline (1650‑1900) is broadly known as the ‘common practice period’ and covers late Baroque (c.1600‑1750), Classical (c.1750‑1810) and Romantic (c.1810‑1900) periods of music. This period is often associated with the birth of the classical music orchestra as we know it today and the rise of the tonal system that leads to the development of modern music theory, focusing on harmonic progression, rhythm and duration.

Are you sitting comfortably? Then we’ll begin…

Day

Month

Year

Music Fact

10

September

1659

Famous English baroque classical composer Henry Purcell was born in London (died 1695).

4

March

1678

Famous Italian classical composer and virtuoso violinist Antonio Vivaldi was born in Venice (died 1741).

23

February

1685

Famous German classical composer, George Frideric Handel was born in Duchy of Magdeburg and worked extensively in London, UK (died 1759).

31

March

1685

Famous classical composer and musician, Johann Sebastian Bach was born in the Duchy of Saxe-Eisenach (died 1750).

31

March

1732

Famous Austrian classical composer Joseph Haydn was born in Rohrau (died 1809).

27

January

1756

Famous Austrian classical composer and musician Wolfgang Amadeus Mozart was born in Salzburg (died 1791).

17

December

1770

Famous German classical pianist and composer, Ludwig Van Beethoven was baptised (birth date not known) in Bonn (died 1827).

27

October

1782

Famous Italian violinist, guitarist, and composer Niccolò Paganini was born in Genoa (died 1840).

31

January

1796

The visionary who founded guitar maker C.F. Martin & Company in 1833, German/American luthier Christian Frederick Martin (1796-1873, 77) was born in Markneukirchen, Germany.

31

January

1797

Famous Austrian classical composer Franz Schubert was born in Vienna (died 1828).

11

December

1803

Famous French Romantic classical composer Hector Berlioz was born in La Côte-Saint-André (died 1869).

1

March

1810

Famous Polish romantic classical composer and virtuoso pianist Frédéric Chopin was born in Warsaw (died 1849).

22

May

1813

Famous German classical composer and conductor Richard Wagner was born in Leipzig (died 1883).

16

September

1814

The American National Anthem, ‘The Star-Spangled Banner’ (originally titled, ‘Defence of Fort McHenry’) was written by Francis Scott Key and set to the tune of ‘Anacreon in Heaven’.

25

October

1825

Famous Austrian classical composer, nicknamed ‘the waltz king’, Johann Strauss Jr was born in St Ulrich near Vienna (died 1899).

7

May

1833

Famous German romantic classical composer and pianist Johannes Brahms was born in Hamburg (died 1897).

25

April

1840

Famous Russian classical composer of the romantic period, Pyotr Ilyich Tchaikovsky was born in Votkinsk (died 1893).

1

May

1856

Legendary American luthier, guitar innovator and founder of Gibson guitars, Orville H. Gibson (1856-1918, 62) was born in Chateaugay, New York.

2

June

1857

Famous English classical composer Sir Edward Elgar was born in Lower Broadheath, Worcestershire (died 1934).

7

July

1860

Famous Austro-Bohemian late-Romantic classical music composer and conductor Gustav Mahler was born in what was then the Austrian Empire (died 1911).

22

August

1862

Famous French classical impressionist composer Claude Debussy was born in Paris (died 1918).

11

June

1864

Famous German classical composer Richard Strauss was born in Munich (died 1949).

24

November

1868

African-American composer and pianist, the ‘King of Ragtime’, Scott Joplin was born in Texarkana, Arkansas.

21

September

1872

Famous English classical music composer, arranger and teacher Gustav Holst was born in Cheltenham, Gloucestershire (died 1934).

12

August

1877

American inventor and businessman, Thomas Edison developed the phonograph and effectively started the sound recording industry.

17

June

1882

Famous Russian-born composer, pianist, and conductor Igor Stravinsky was born in Saint Petersburg (died 1971).

3

April

1886

Great innovator in guitar history, Swiss/American inventor and founder of Rickenbacker guitars, Adolph Rickenbacker (1886-1976, 89) was born in Basel, Switzerland.

20

January

1888

American folk and blues legend, as well as being a great guitarist, Huddie William Ledbetter (a.k.a. Lead Belly) (1888-1949, 61) was born in Mooringsport, Louisiana.

23

May

1888

One of the greatest American Broadway and cinema songwriters of all time, Irving Berlin was born in Tolochin, Russia (now Belarus).

20

October

1890

American ragtime and jazz pianist, bandleader and composer Jelly Roll Morton was born in New Orleans, Louisiana.

April

1891

American guitarist and ‘Father of the Delta Blues’, Charley Patton (c.1891-1934, c.43) born. Sources suggest he was born in April in Hinds County, Mississippi.

27

April

1891

Famous Russian composer, pianist and conductor Sergei Prokofiev was born in Sontsovka (died 1953).

9

June

1891

Highly acclaimed American Broadway composer and songwriter Cole Porter was born in Peru, Indiana.

8

March

1892

Reputed country blues singer and guitarist, Mississippi John Hurt (1892-1966, 74) was born possibly 8 March or 3 March (or several other disputed dates) in Teoc, Carroll County, Mississippi.

21

February

1893

Spanish virtuoso classical guitarist, often called the ‘godfather of the classical guitar’, Andrés Segovia (1893-1987, 94) was born in Jaén.

24

September

1893

American blues guitarist, singer and songwriter, the ‘Father of Texas Blues’, Blind Lemon Jefferson (1893-1929, 36) was born in Coutchman, Texas.

1896

American blues and ragtime guitarist and singer Arthur ‘Blind’ Blake (1896-1934, 38) was born in either Florida or Virginia.

15

August

1896

The Russian inventor of the strange electronic musical instrument, the Theremin (1928), Léon Theremin was born in Saint Petersburg (died 1993).

6

December

1896

American lyricist who worked closely with his younger brother George, Ira Gershwin was born in New York City.

3

June

1897

American blues singer, songwriter and guitarist, Memphis Minnie (1897-1973, 76) was born in Algiers, Louisiana.

5

May

1898

Influential American blues and ragtime guitarist and singer, Blind Willie McTell (1898-1959, 61) was born in Thomson, Georgia.

26

September

1898

American composer and pianist who worked closely with his older brother, Ira, George Gershwin was born in Brooklyn, New York.

29

April

1899

American jazz composer, pianist, and bandleader Duke Ellington was born in Washington D.C.

16

July

1900

Record company RCA Victor registered the famous ‘His Master’s Voce’ logo, featuring the iconic dog Nipper, with the U.S. Patent Office.

Wow, that’s 250 years, from Henry Purcell to Nipper the dog, covered in a flash! Of course, there was much more to this era than covered here, so this is just a teaser of what is to come. Only 120 years to go! As always, readers are encouraged to explore areas of particular interest beyond the scope of this article.

You may be wondering at this point what many of the ‘facts’ shown above have to do with guitars. Well, let’s dip into some relevant quotes to illustrate how interdependent music through the ages can be:

“The violin is my mistress, but the guitar is my master” – Niccolò Paganini (1782-1840)

“The guitar is a wonderful instrument which is understood by few” – Franz Schubert (1797-1827)

“Nothing is more beautiful than a guitar, except, possibly two” – Frédéric Chopin (1810-1849)

“All the good music has already been written by people with wigs and stuff” – Frank Zappa (1940-1993)

Without doubt, the classical composers have had a tremendous influence on modern day music and many of today’s musicians borrow heavily from classical theory, music styles and techniques.

Tailpiece

Next time, hopefully next month, we’ll kick off with the 20th Century, as the twin pillars of modern music, jazz and blues, allied to new‑fangled recording technology, really begin to play their significant part in shaping where today’s music came from. I hope you will continue to partake in this passage of exploration over the next few months.

In the meantime, I’m getting back to the latter part of the 20th Century and my ‘Cool & Rare American Vintage Electric’ Guitars. Until next time…

CRAVE Guitars ‘Quote of the Month’: “Unlike doing, thinking and imagination have no geographical boundaries or physical limitations.”

© 2019 CRAVE Guitars – Love Vintage Guitars.

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June 2018 – A Potted History of the Guitar Part IV

Without further ado, let’s get stuck into Part IV of the history of the guitar. As the story was left at the end of the last article during the 1920s and early 1930s, something new was needed to ensure that guitars would not only be able to compete with other instruments in a live situation but also become the catalyst for a musical revolution to mirror what was taking place in wider society. Just in case you were lulled into a sense of coherent continuity, this month’s article is a bit different from what has been covered so far.

This part is presented as part of a whole. If you wish to recap on previous articles in the ‘Potted History of the Guitar’ series, you can access them here (each part opens in a new browser tab):

Please remember that this is written purely for entertainment purposes and is not intended as an academic tome. While I have tried to be diligent in my research, there are undoubtedly improvements that could be made, so corrections and clarifications are genuinely welcomed. This is quite a long article, so I hope you are sitting comfortably.

Needing to be heard

The problem for guitarists in the 1920s was a simple but fundamental and frustrating one. The amount of volume that could be attained from purely acoustic guitar designs had got as far as it was likely to get at the start of the 1930s. Guitarists were still struggling to be heard in noisy live music environments as part of jazz, swing, big band and dance orchestras. Despite the strengths of steel strung folk guitars, archtop guitars and resonator guitars, the lack of volume continued to be a problem for guitarists throughout the early part of the 20th Century. A number of clever innovations attempted to help acoustic guitarists cut through the mix but they didn’t really capture mainstream attention and passed into obscurity, leaving demanding musicians still yearning for louder instruments.

Creative inventors, engineers and entrepreneurs were determined to find a workable solution. Perhaps the biggest game‑changing watershed in the entire history of guitar building was about to take place in America in the 1930s. The transformation depended on coincidental and mutually dependent developments; the magnetic pickup, the portable valve amplifier and its associated loudspeaker(s). Undoubtedly, the amplifier came first, simply because it could be driven by other inputs, such as early microphones, while the pickup followed to take advantage of the opportunity. Logic suggests that the converse would make little sense, as a pickup without some means of manipulating the signal s essentially redundant.

By the end of the 19th Century, early microphones were being used in telephone, broadcasting and recording industries. In 1916, the first condenser microphone was invented and in 1923, the first moving coil and ribbon microphones were developed. Given the timing, it seemed logical to experiment with microphones to capture the sound from acoustic guitars. However, the results weren’t particularly successful and the microphone proved to be a dead end for guitarists at the time. A more practical and reliable alternative was required to capture the physical energy produced by a stringed instrument and convert it into a usable electrical signal that could then be amplified and output.

Before starting to look at the early electric instruments that changed modern guitar music forever, it is worth taking a temporary detour to look at the catalysts that led to the step change. Once the technical inhibitors had been overcome and the various elements combined, electric guitars became a realistic and achievable proposition.

The electro magnetic guitar pickup

By the 1920s and 1930s, the science of using magnetism and wire coils to induce an electric current had been understood for several decades. It would, however, take some ingenuity to apply the various scientific principles involved to overcome the specific practical problems experienced by guitarists of the time. Within this context, we need to go right back to basics as a starting point.

An electromagnetic guitar pickup is basically a passive transducer that uses Faraday’s law of induction, named after English scientist Michael Faraday (1791‑1867), to produce an electromagnetic force. The physical movement of the vibrating steel string of a strummed or plucked guitar disturbs the magnetic field and induces a small voltage of between 100mV and 1V through the coil. This differs from a simple microphone, which works by converting pressure variations in the air (sound waves), into the mechanical motion of a diaphragm, which in turn produces an electrical signal (depending on the type of technology used).

A simple electromagnetic guitar pickup is generally constructed from one or more permanent magnets, wrapped many thousands of times in a coil made of fine copper wire. Most early guitar pickups comprised only one magnet and coil, hereafter referred to as single coil pickups. The weak electrical signal is then passed down an electrical lead to a separate amplifier where the signal is multiplied many times to drive a passive loudspeaker that reproduces the original signal at greater volume.

Unlike a microphone, the electromagnetic pickup does not reproduce the actual acoustic sound waves emanating from the guitar. The natural resonance of the instrument may cause the strings to vibrate in a certain way and this variation is picked up by the transducer, which may explain the differences in sound between two instruments using the same pickup, electrics, amplifier and speakers. As a result, at least in the early days, the characteristics of the pickup combined with the rest of the signal chain probably had more to do with the sound that audiences heard, rather than that of the actual instrument itself. There are innumerable permutations in which the basic components of magnets and wire can be configured to produce different outputs and over the years, pickup designers have used these variations to differentiate their pickups from those produced by others.

Gibson employee, Lloyd Loar had experimented with stringed instrument pickups as early as 1924, shortly before he left the company. Loar attempted to produce an electrical signal from vibrations passed from the strings through the bridge to the magnet and coil. Loar’s work did not lead to a successful product and guitarists had to wait a while longer.

American inventor and musician, George Beauchamp, who had been involved with the National String Instrument Corporation and the development of their resonator guitars, was also involved with another resourceful enterprise at the beginning of the 1930s. He teamed up with Adolph Rickenbacher to form the company was originally called Ro Pat In Corporation, which later became Electro String Instrument Corporation and later still, Rickenbacker, a name that most guitarists will recognise. Ro-Pat-In was instrumental in taking a fundamental new approach to electric guitar design.

Through Electro String, Beauchamp filed a patent in June 1934 setting out his pickup design as part of a complete ‘Electrical Stringed Musical Instrument’. Beauchamp’s ‘horsehoe’ pickup design comprised two ‘U’‑shaped magnets encircling the strings. Beauchamp’s application was granted by the U.S. Patent Office in August 1937. The patent was important because it was for a solid body electric guitar using a magnetic pickup, not just the pickup on its own – the development of the instrument will be covered in the next part of the story so, for now, the focus is solely on the pickup.

Ironically, in February 1936, Guy Hart filed a patent on behalf of Gibson for an ‘Electric Musical Instrument’ and this was awarded by the Patent office in July 1937, just 28 days before Beauchamp’s earlier patent application was confirmed.

Although unknown at the time, another single coil guitar pickup patent was filed in September 1944 by American inventor and entrepreneur Leo Fender. That application was for a ‘pickup unit for instruments’, which was awarded in December 1948. Although not as historically significant as other pickup patents, it was a clear indication of the direction that Leo Fender was heading prior to founding the company that would bear his name.

Another important principle of basic physics caused a significant problem for early pickup designers, and it still does even today. In addition to the desirable characteristic of electrical induction for guitar pickups, electromagnetic coils also act as directional antennae. As far as musical instruments go, this unwanted ‘feature’ means that single coil pickups not only pick up string vibrations but they also pick up interference from alternating mains current used by electrical appliances. Depending on position of the pickup in relation to other electrical equipment, of which there are usually many in a live music venue, the interference manifests itself as a continuous and insistent hum, which is then in turn amplified by a guitar amplifier.

One ingenious solution to the problem of mains‑induced hum was to invent a guitar pickup that still produced a signal from string vibrations while eradicating the interference from nearby electrical equipment. The clever answer was the invention of the ‘humbucking’ pickup, which uses two magnets, each with a coil of wire wound in opposite directions. Electrically induced mains interference affects both coils equally and, because each one is wound in opposing directions, the interference is cancelled out, thereby eradicating (or ‘bucking’) the hum. More importantly, not only do the coils still induce a voltage, they output a stronger signal because there are two coils instead of one. As the problem is all but removed at source, there is no hum to be amplified.

Arguments persist as to who invented the humbucking guitar pickup. Many commentators give the accolade to Seth Lover (1910‑1997), who was an electronics designer working for Gibson at the time and filed a patent in June 1955. Lover’s closest competitor in the race to be recognised for the humbucking pickup came from Joseph Butts, who later worked for Gretsch. Butts filed another humbucking pickup patent some 18 months later in January 1957. It was Butts’ application that was awarded first in June 1959, while Lover’s patent was awarded in July 1959. As far as many working musicians were concerned, the invention was successful and that was all that mattered.

Generally speaking (but not always, especially if obscured by a cover), it is relatively easy to spot the difference between slim single coil pickups and their larger dual‑coil humbucking counterparts. The latter normally have two coil bobbins traditionally mounted side‑by‑side. Within these two broad types, there are many, many different makes and styles of pickup to suit most needs.

Hum is not the only affliction that electric guitar builders have to deal with. All electromagnetic pickups, even those produced today, are prone to audio feedback, which is often heard as an undesirable high pitched shriek or howl. Feedback is a phenomenon called the Larsen Effect after the Danish scientist Søren Absalon Larsen (1871-1957) who discovered it. Audio feedback is caused by a sound loop that exists between an audio input such as a pickup or microphone and an audio output such as an loudspeaker fed by an amplifier. The electrical signal from the input is amplified through a loudspeaker and is then picked up again by the input and so on, continuously. The sound of the feedback is shaped by the resonant frequencies and proximity of the various components in the loop, including room acoustics. Most of the time, feedback is considered problematic and often unpredictable. However many guitarists have learned to harness and control feedback in a positive musical way to create additional sounds.

Some contemporary pickup manufacturers go to great lengths to replicate the authentic tonal characteristics of vintage pickups. One of those widely imitated pickups is also probably the most famous of humbucking pickups. Used on Gibson guitars from the late 1950s, the PAF (Patent Applied For), named after the black sticker on the baseplate, has come to define Gibson’s sound for many guitarists. The PAFs are particularly revered, as they were used in sunburst Gibson Les Paul Standards from 1958‑1960, often regarded as the ‘golden years’ for Gibson.

Today, many independent pickup builders not only pay homage to vintage designs but also strive to create their own distinctive reputation. Third party pickup builders may make OEM (Original Equipment Manufacturer) and aftermarket pickups in a huge range of types. Such companies include Seymour Duncan, Di Marzio, EMG, Lollar and Bare Knuckle, among many others. Pickup choice in the 21st Century is very much down to personal preference and the options are nigh on infinite – very different from the 1930s.

The sounds generated by single coil and humbucking pickups are noticeably different. Not only do single coil pickups tend to produce a weaker signal, they sound thinner and cleaner, while more powerful humbucking pickups tend to sound fatter and warmer. Guitarists noticed this variation and took advantage of the differences to shape their own playing style and develop their distinctive tone. In addition, humbuckers are often considered better suited to overdriving pre‑amplifiers, thereby adding some controllable, distinctive and desirable harmonic distortion, making them popular in higher gain rock music.

By the 1950s manufacturers were commonly using two or more pickups on a guitar for added tonal versatility, initially adding a second or third pickup of the same type, for instance commonly used configurations include 2 humbuckers (e.g. Gibson Les Paul) or 3 single coils (e.g. Fender Stratocaster). Many guitar makers today mix different types of pickups on one guitar to broaden the range of sounds available.

Some pickup arrangements also allow pickups to be engaged in series or parallel or in/out of phase to give musicians a greater number of tonal options. Since the 1970s, pickup designers have enabled the signal from the two coils of a humbucking pickup to be ‘split’ (NB. not ‘tapped’). By using a switch, guitarists may enable a split humbucker to sound either like a traditional humbucker or to emulate the distinctive sound of a single coil pickup. All these various techniques provide guitarists with greater flexibility from their pickup(s).

Simplistically, guitar pickups may also be described either as passive or active. Passive pickups are the basic devices that have been described so far, while active pickups incorporate some form of electronic circuitry in the guitar to modify the signal, normally powered by an on‑board battery. Outwardly, there is often little to distinguish whether pickups are active or not. Putting active electronics into a guitar has been around since at least the 1960s and can range from a simple pre‑amp to boost the pickup signal to elaborate on‑board effects or even low powered amplification.

Since its inception 1930s, the humble guitar pickup has been adapted into many diverse forms. The majority of pickups in the early 21st Century remain passive single coil or humbucking types. However, there have been other pickup innovations along the way diverging from the norm. These alternative technologies include, amongst many other pickup types; hexaphonic (that feed individual string signals to MIDI/synthesizer controllers), piezoelectric (using crystals to induce current), microphonic (converting sound wave vibrations to electricity), electrostatic (using a capacitor to vary electrical capacitance), optical (interrupting a beam of light detected by a sensor), etc.

The understanding of the science behind pickup materials and dynamics between the components has been improved and refined significantly since the 1930s. However, the basic principles behind the passive transducing electromagnetic pickup remain pertinent today and are likely to remain so for the foreseeable future. Magnetic pickups are, by far, the most common type used by electric guitars in the late 20th and early 21st Centuries. This may be about to change.

With the digital revolution, there are numerous innovations occurring today that will lead to radical new pickup designs in the future. Future musicians can expect many new ways of converting the vibrations from humble plucked guitar strings into electrical signals that can be manipulated in ways we cannot yet contemplate. The possibly unstoppable migration from analogue to digital technology will continue. We can only speculate as to how far digital processes will encroach into the hitherto staunchly analogue domain of the guitar. Already, we have seen digital devices that enable the output from a guitar’ pickup to ‘model’ other types of guitar and even other instruments by modifying the signal digitally. We have also seen guitars as being a source trigger for external synthesis and various guitar synths have been around since the 1970s. It seems somewhat ironic that the digital age is enabling ever more accurate simulations of the earliest analogue pickups including the original’s crude and accidental inconsistencies.

While this section of the story is about guitar pickups, it is worth remembering that pickups have also been used successfully on many other types of stringed instrument.

Once the concept had been proven, the next step was to apply actual real‑world pickups in a practical way. There were essentially two methods of implementing an electromagnetic pickup for use on a guitar. One way was to add a pickup to existing acoustic instruments and the other was to invent an entirely new type of guitar with the pickup as an integral part of the design. How these two approaches came about will be covered in the next part of the story.

The pickup on its own, however, is of little use in isolation. Another crucial part of the equation was to take the weak signal from the guitar’s pickup and manipulate it electronically to make it much louder, which is where a completely different solution was needed.

The electric guitar amplifier

Possibly the major challenge with introducing guitar pickups was to turn the tiny voltage produced by the pickups into a sound that provided practical real‑world volume and tone for working musicians playing in noisy bands on the road.

The essential piece of equipment actually comprises two crucial components, the electrical amplifier and one or more loudspeakers. Amplifiers largely fall into two broad categories – either as discrete units comprising the electronics in a ‘head’ unit with loudspeakers installed in a separate cabinet, or with both amplifier and speaker(s) integrated into a single ‘combo’ amp. It is worth looking at the origins of both the electronics and the loudspeaker separately.

For travelling musicians from the 1930s on, amps also needed to be portable, so size and weight were particular considerations, as was electrical safety, durability and reliability. In addition, some degree of industry standardisation to enable interchangeability between instruments, electronics and venues was important.

The Amplifier

In the early days, amplifying a signal from a pickup was all that a guitar amp was really required to do. Controls were very basic, usually just a single input channel with a volume and, maybe, a tone knob. It would take some time before more flexible electronics were added to these basic amplifier circuits. Nowadays, the diversity of amps ranges from the very simple to the incredibly complex. The latter often including, just for starters, multiple switched channels, gain controls, effects loops, digital modelling alongside advanced EQ, flexible on‑board effects and digital interfaces. However, the fundamental principles of amp utility haven’t really changed that much since amps were first invented in the 1920s and when guitarists started to use them in the 1930s.

Put very simply, an amplifier is made up of active electronics that are designed to take an input signal, multiply it many times in strength and output it to a loudspeaker at a volume that is considerably louder than the original input. The electronics of an amplifier comprise essentially two discrete parts, a pre‑amp that controls the incoming signal and shapes it ready to be boosted and output by the power amp section that then drives the loudspeaker(s). It is these two amp sections that determine the overall character and volume of the audio output.

Amplifier output is usually measured in watts and provides a crude indication of power output (volts x amps = watts). The relationship between watts and sound pressure levels heard by the human ear is logarithmic. Generalising, it takes ten times the output power in watts to double the perceived audio volume. In addition, it takes considerably more amplifier power to reproduce low-frequency sound, especially at high volume, so bass amps tend to have higher power output ratings.

While early amplifiers were configured to the environment in which they were most likely to be put, such as practice, studio or stage amps, many modern amps use various techniques to minimise this artificial distinction, such as master volume controls, power attenuators or circuits used to modify amplifier stages to suit.

Up until the 1970s, thermionic valves – also known as vacuum tubes – were a principal electronic component and one that contributed significantly to both the power and sonic character of the amplifier. A valve is a relatively simple device used to control electrical current between its electrodes. The first valve was invented in 1904 by English electric engineer John Ambrose Fleming (1849-1945).

At its most basic, a valve comprises an external glass container used to maintain a vacuum is attached to the valve base. Inside the valve there is a heater, an electron‑emitting cathode/filament and an electron‑collecting anode/plate. Electrical current, in the form of negatively charged electrons, flows through the vacuum in one direction only from the cathode to the anode. An electrical grid can be used to control the current and is the one often used for amplification because the grid can be used to vary the number of electrons reaching the anode and, thereby, controls the amount of gain. Valves are often described by the number of electrodes, for instance; diode, triode, tetrode  or pentode valves (2, 3, 4 and 5 respectively). The humble valve has been used in many applications, such as amplification, rectification, switching, oscillation, and display.

Valves come in many shapes and sizes and vary according to the function they are required to perform in the amp stages. Generally speaking, pre-amp tubes tend to be smaller, while power amp valves tend to be larger.

There are numerous alternatives and variations of valves and there isn’t room to cover the range of technical differences. Thankfully, there has been a degree of commonality in amplifier design over the decades. Typical valves used in pre‑amps include models such as the 12AX7/ECC83. Typical valves used in power amps include models such as the EL-34, EL-84, KT66/77/88, 6L6/5881 and 5150. Valves impart a characteristic ‘natural’ sonic signature and tend to be sensitive to a guitarist’s playing dynamics, which is why they are still widely favoured by many musicians to this day. While technically outdated and obsolete, there is a notable modern‑day industry built around valve production, amp manufacturing and valve amp maintenance.

The valve is the technological precursor to modern semiconductors. Semiconductors are often made of silicon, although they can be made from other materials, such as germanium. A transistor is a solid‑state semiconductor that roughly performs the same function as a valve and is commonly used for amplification. Transistors are smaller, cheaper, lighter, run cooler, are more reliable and more resilient than valves. Some manufacturers produce hybrid amps that aim to take the best characteristics of both valve and transistor technologies.

Taking things even further away from archaic valve technology, electronics using complex digital microprocessors are commonplace. Not only can DSP (Digital Signal Processor) chips produce their own sounds but also they enable a single unit to model a multiplicity of amplifier models that would be impossible using traditional technology. In addition, they can also emulate multiple effects, speaker cabinets, microphone placements, studio interfaces, and so on. Reliable and robust digital processing amps able to be used equally well at home, in the studio and on stage are once again attempting to usurp territory previously held by archaic analogue amps.

Specialist amps are made to make the most of other, albeit similar, electric instruments. For instance, electro‑acoustic guitars (acoustic guitars with pickups) produce a wider frequency range and tend to be ‘cleaner’ sounding than electric guitar amps, which has led to increasingly elaborate amp electronics to cater for the particular needs of acoustic guitar players. Bass amps and speakers are also engineered specifically to provide for the demanding amplification used by bass guitarists. There are no hard and fast rules, the lines are not always clearly drawn and there is inevitably some interchangeability between the general types.

One of the keys to success is to match the characteristics of the amplifier stages to the loudspeakers, so it is worth looking next at the humble loudspeaker and the important part it plays in the guitar sound’s signal chain.

The Loudspeaker

The latter part of the 19th Century was ripe for invention in the field of sound reproduction. As with other sections, only a few of the key milestones can be covered here. Prior to the invention of the modern loudspeaker, megaphones and bulky ‘radio horns’ had been used to increase acoustic volume. However these proved impractical because of their size and weight, limited frequency range and low sound pressure levels.

German teacher, Johann Philipp Reis was, perhaps, the first to develop a rudimentary type of experimental electric loudspeaker in 1861. Alexander Graham Bell was the first to patent his loudspeaker design in 1876 for use in his telephone, shortly followed by Ernst W. Siemens who patented his ‘magneto-electric apparatus’ in 1874. Thomas Edison and Nikola Tesla were also experimenting with sound around the same time. By 1898, Horace Short was working with compressed air drivers and Oliver Lodge was developing a ‘dynamic’ speaker using magnets and moving coils with horns to amplify sound. Danish‑American engineer Peter L. Jensen (1886-1961) is often cited as co‑inventor of moving coil speakers in 1915 and he started applying the technology for use in real world situations. Jensen founded his company, Magnavox, in 1915 to market products for telephones and public address (PA) systems. Magnavox is now part of the massive Philips corporation.

Things changed considerably in the 1920s with the introduction of the first amplified moving coil loudspeaker using a conical paper speaker diaphragm, which was invented in 1925 by Edward W. Kellogg and Chester W. Rice, both of whom worked for General Electric in New York, USA. Their research was important as it established both the principle of the amplifier to boost a signal and a speaker able to reproduce a wide and uniform frequency range. Rice filed a patent for the electrodynamic direct radiating ‘loud speaker’ in 1925, which was awarded in April 1929. Their speaker was introduced to the market under RCA’s Radiola brand in 1926.

Early speakers used powered electromagnets, as permanent magnets were scarce at the time, although Jensen released a fixed magnet speaker in 1930. Lightweight Alnico alloy magnets became available after WWII, making the technology more accessible enabling further innovations to take place. Other inventions along the way included, for example, 2‑way systems using a crossover to separate frequency bands (1937) and coaxial speakers (1943). Once the concept of the moving coil speaker had been proven in practical applications, it has become the de facto standard within the music industry for nearly a century.

The loudspeaker, as we know it today, is essentially a mechanical electroacoustic transducer that serves the opposite function to a microphone in that it converts an electrical signal into sound waves. A traditional moving coil speaker is passive in that it relies on an already amplified signal being fed to it and it doesn’t require its own power supply. The incoming amplified signal is fed into a coil of wire, known as the voice coil, suspended between the poles of a permanent magnet. The voice coil is attached to the apex of a conical diaphragm known as a speaker cone, originally made of paper. The outer edge of the cone is mounted within a fixed metal chassis, usually within a cabinet. The electrical signal makes the voice coil move back and forth rapidly within the magnet thereby pushing on the cone to produce sound waves. The more air that the moving speaker cone displaces, the louder the perceived sound is. Different sizes and types of speaker are used to deliver different sound frequency ranges. Generally, larger speakers are used to deliver lower bass frequencies and smaller ones used for higher treble frequencies.

Loudspeakers are usually attached to a flat panel (baffle) with circular holes cut into it such that the sound waves produced by the speaker cones can escape directly into the listening environment. The baffle with its speaker(s) is normally mounted inside either an open‑back or closed‑back wooden cabinet.

Like amplifier outputs, speaker output is usually measured in watts, which is the electrical power needed to drive the speaker. More watts generally, although not always, indicates greater volume. Like all electrical devices, a speaker provides some opposition to the signal being fed into it, called impedance, measured in ohms. Some speakers are ‘hard to drive’ and have a low impedance, which means that it requires greater current from the amplifier to result in the same output level than a high impedance speaker. As a result, it is important to match a speaker’s characteristics to the amp that is driving it.

Most loudspeakers, even those produced today, are relatively inefficient devices with only about 1% of the electrical energy being converted into acoustic energy. Most of the remaining energy is converted into heat. The sensitivity of the speaker describes how much relative electrical energy is converted into sound pressure level, measured in decibels.

The other important factor for loudspeaker performance is its frequency response. Human hearing generally covers the range 20-20,000 Hertz (cycles per second). People’s sensitivity to frequencies is not uniform and it varies depending on pitch. Human hearing is usually most sensitive in the 2,000-4,000 Hertz range.

Famous names in the field of loudspeaker manufacturing today include Celestion, Jensen, Weber, Electro Voice, JBL, Bose, Fane, Altec Lansing, Mackie, and Peavey amongst many others.

Despite its many drawbacks, the moving coil loudspeaker was (and generally still is) the most effective mechanism for the job and they remain in very wide use today. Speakers come in a multiplicity of shapes and sizes and are used in so many different ways. However, like the pickup and amplifier, the basic principles of speaker design can be traced back to the early part of the 20th Century.

 

Guitar Amps

Initially, bulky battery‑powered valve amps and speakers were used in PA systems and in movie theatres of the time. Because of their bulk and relative fragility, these early systems tended to be fixed installations. From c.1927, portable AC mains‑powered amps became available and musicians started to adopt the technology.

In 1928, Stromberg‑Voisinet advertised the first electric instrument and amplifier package. However, it was not a commercial success and no verified examples exist today. In 1929, Vega introduced a portable amplifier to be used with banjos.

It wasn’t until 1932 when the Electro String Instrument Corporation – later to become Rickenbacker – was formed to bring the electric guitar to market that things really took off. Electro launched a ‘high output’ guitar amp to accompany their new solid body electric lap steel guitars, as Hawaiian music was highly popular at the time across America. The first commercial solid bodied electric guitar and amplifier made by Electro String essentially established the format for early combo amps comprising an electronic amplifier mounted inside a wooden cabinet along with a speaker. The new combo amp also had a carrying handle to make it portable and, shortly after, the company added metal corners to protect the cabinets in transit.

In 1933, Dobro introduced the first guitar amp combo with twin 8 inch speakers. By around 1935, the demand for amplified electric guitars became unstoppable and the electric guitar music revolution had begun. Other companies such as National, RCA Victor, Audio-Vox, Vivi‑Tone, Premier, Vega, Kay, Valco and Volu‑Tone, promoted their own amps to musicians, with varying degrees of success during the 1930s and 1940s. Gibson was also experimenting with amplifiers in the early 1930s although none were made commercially available at the time. Most of the early valve amplifiers were low powered by today’s standards, usually less than 10-15 watts and using small speakers, often of 10 inches or less in diameter.

In 1938, American electronics technician, Clarence Leonidas ‘Leo’ Fender (1909-1991) established Fender Radio Service to repair a wide variety of electronic equipment. He found that musicians would come to him for PA and amplifier repairs and rentals. Seeing the potential of the music industry and started to focus more on musical equipment manufacture. Fender began a short‑lived venture in 1944 with Clayton ‘Doc’ Kauffman, a former employee of Rickenbacker called K&F Manufacturing Corporation with the intention to build Hawaiian lap steel guitars and amplifiers.

In 1946, after Kauffman and Fender parted company, Leo founded the company with which he will forever be associated, Fender Electric Instrument Manufacturing Company, based in Fullerton, California. Shortly thereafter, they introduced the first guitar amps carrying the Fender name. Early Fender combo amplifiers included the Fender Princeton (1947-1979) and Champion 800 (1948-1982).

In 1952, shortly after Fender introduced their Broadcaster guitar which would become the legendary Telecaster, the company introduced what would be, perhaps, its most celebrated combo amp, the famous Fender Twin. The Twin moniker derived from its dual 12 inch speakers. The Twin has been released in many versions over its long history, with its power output ranging from its original 25 watts to a high of 135 watts in the late 1970s. The perennial Fender Twin remains in production today and has become an industry standard.

Meanwhile, based in Kent, England Tom Jennings (1918-1978) founded British company Vox in 1947 to produce musical equipment. It wasn’t until 1958 that Vox released its first guitar amp, the 15‑watt AC15. A year later, at the request of The Shadows’ guitarist Hank Marvin, Vox introduced its most famous model, the AC30, intended to compete with America’s powerful Fender Twin amp. The AC30 proved to be a very successful product and in updated form, it remains in production today.

It wasn’t until the 1950s that mass produced guitar amplifiers really became commonplace and incorporated many of the features now expected from an amp including, for instance, multiple tone controls, tremolo and reverb.

In addition, contemporary popular music of the time was developing rapidly and guitarists began to experiment by overdriving their amplifiers to distort the guitar’s sound at much higher volumes. From the mid‑1960s guitarists sought to control the level of overdrive and distortion (also known as clipping) as a creative tool. One particular characteristic of natural valve distortion is that clipping also tends to compress the signal as the volume is increased, meaning the output tends to sound ‘thicker’, rather than louder, emphasising the guitar’s sustain.

Guitarist Dave Davies of English band The Kinks is often credited with popularising guitar distortion. On one occasion, Davies himself admitted to slashing the speaker cone of his Elpico AC55 ‘little green amp’ with a razor blade out of frustration and in the process of doing so, he made it sound distorted and nasty. The Kinks’ song, ‘You Really Got Me’ (1964) is often cited, rightly or wrongly, as the first hit record featuring heavy guitar distortion (using a Vox AC30).

The search for new guitar sounds in the 1960s helped to ignite the drive for compact guitar effect pedals, initially with simple fuzz and wah effects. A whole industry developed during the late 1960s and 1970s including brands such as Electro‑Harmonix, MXR, Maestro, Boss and Ibanez, amongst many, many others. Effects have ever since been used to complement guitars and amps as an integral part of a musician’s signal chain. The market for effect pedals has grown into a massive industry in its own right.

The development of guitars, amps and popular musical styles of the 1950s defined the template on which succeeding generations of guitarists would build incrementally. Many modern amps and amplifier innovations hark back to the best examples of this ‘golden’ period. Driven by the success of the 1950s, particularly the popularity of Fender amps, the quest for more volume seemed unquenchable. The first 100 watt amps were made by Leo Fender for surf guitarist Dick Dale, while Jim Marshall of legendary British amplifier manufacturers Marshall did the same for Pete Townshend and John Entwistle of rock band The Who.  Dr. Jim Marshall OBE was affectionately nicknamed, ‘the father of loud’.

High power, high gain valve guitar amps became the norm at the end of the 1960s and into the 1970s. It was not uncommon to see large stages filled with gargantuan ‘stacks’ of loudspeaker cabinets powered by banks of high powered amps. Marshall is the brand most associated with the classic guitar stack, which at its simplest comprises a 50 or 100 watt amp on top of two 4×12” closed back speaker cabinets, thanks again to Pete Townshend of The Who as well as the likes of Jimi Hendrix and Eric Clapton. The guitar stack has since become inextricably linked with hard, heavy and metal rock music. Music and its essential components very much reflected the cultural and social changes of the times.

There have been several technological challenges to the humble valve. A concerted trend away from vacuum tubes towards solid state transistor amps occurred in the 1970s, led by companies like Roland, Peavey and H/H. Other manufacturers adopted a best‑of‑both‑worlds approach by making hybrid solid state/valve amps, led by Leo Fender during his time with Music Man.

Arguably, Fender, Marshall remain the two predominant and recognisable amplifier brands and, respectively, have come to define the ‘American sound’ and ‘British sound’ respectively. Notably, unlike Fender, Gibson has never had much commercial success with building guitar amps, despite producing some credible models along the way. There are now a myriad of other amplifier manufacturers including famous brand names such as Mesa Boogie, Peavey, Ampeg, Randall, Rivera, Bogner, PRS and Supro in America, and Vox, Orange, Blackstar, Victory, Hi-Watt and Laney in the UK. Outside the USA and UK, there are many successful brands including Hughes & Kettner, Engl, Line6, Roland, Yamaha, BOSS, etc. In order to keep production costs down, many budget models are now produced in the Far East, while the majority of small boutique amp builders cater for the high‑end, being manufactured in limited numbers in America and Europe.

Many other famous brand names have passed into history, such as Traynor, Sunn, Multivox Premier, Univox, WEM/Watkins, Sound City, H/H, Selmer, Cornford and Carlsbro although, to be fair, some of these continue to operate in some form or other and may well be rejuvenated at some point. There are far too many brands, past and present, to mention here.

Ironically, there is increasing interest in capturing the retro sound and looks of the earliest guitar amplifiers. Many companies are now recreating classic analogue models of the past, often incorporating modern adaptations for reliability, safety and convenience to meet the demands of today’s guitarists. There are many boutique amp builders looking to take the best of old and new and present something different from the current mainstream manufacturers.

At this point, no article focusing on guitar amps would be complete without mentioning Dumble amplifiers. Dumble amps are made in very small numbers by Alexander ‘Howard’ Dumble in L.A., California, often by request of well‑heeled professional musicians. The Dumble Overdrive Special is widely regarded as the zenith of limited production boutique amps and, as a result of their quality and rarity, new or used examples have gained almost mythical status and demand extremely high values on the open market.

Despite the remarkable sustained popularity of valves, digital modelling technology is now making major inroads into the tube’s traditional territory. As the technological advances behind digital modelling processors that began with the iconic Line 6 Pod through to ever‑improving digital advances from companies like Fractal and Kemper. The audible difference between the ‘antiquated’ originals and modern digital recreations is rapidly diminishing to the point where professional musicians see a competitive advantage in moving to a digital platform.

Despite stiff competition from solid state and digital circuits, the valve guitar amp currently remains the de facto standard for many discerning professional guitarists, despite the decidedly old-world technology involved. It will be interesting to see how long genuine valve amplifiers will continue to prosper in the face of the digital revolution. Only time and hindsight will tell. It is likely that valve, analogue solid state and digital technologies will be able to coexist for many years yet.

Get connected

Guitars need to be connected to an amp in order to work, often with effect pedals in between. Before wireless and/or digital technology takes over completely, the venerable guitar lead has been the necessary link between input and output since the 1930s. At each end of a traditional interconnecting lead is a remarkable piece of analogue kit that most guitarists rarely think about but cannot live without. Similarly, guitars, amps and effects also have the other part of the same connection.

The essential connector in question is the ¼“ (6.35 mm) jack plug and its associated socket, which originally dates from c.1878. The first jack connector was invented by George W. Coy and was used for the first commercial manual switchboard at the telephone exchange in New Haven, Connecticut, USA. It is astonishing that, after nearly 1½ centuries, this enduring piece of industry standard equipment is still in ubiquitous use today, long after it became obsolete in telephone systems.

End of Part IV

This has been a self‑contained article that departs from the usual topic of guitars per se. While it might seem a lengthy, in‑depth examination, it only just scratches the surface. As I don’t have the space, knowledge or resources to write comprehensively on the subject, I highly recommend that readers wanting to delve into the historical detail take a look at the innumerable resources available on the ever‑present hinterwebby thing. NB. Credit to all original photographers for images used from Google Images.

Arguably, without the complementary inventions of the electromagnetic pickup, the dedicated valve amplifier and the moving coil loudspeaker, the revolution in guitar technology that started in the 1930s and which really took off in the 1950s would not have been possible. It is notable that the scientific principles underpinning today’s electric guitars are still relevant nearly a century later. It is, at least to me, remarkable that, technically, we haven’t really evolved a great deal over the intervening decades. Advances have been incremental refinements, rather than ground breaking. Digital technology may change all that. Watch this space.

At long last, in Part V, the story will finally unleash the breakthroughs that led directly to the early electric archtop and solid body guitars. The next revolution in guitar music making was about to happen. Who could possibly have anticipated the impact that the congruence of the three seemingly innocuous bits of music technology covered above would have when brought together.

I hope you have enjoyed the journey thus far and thank you for reading. I also hope that you’ll come back and join me on the next part of the guitar’s long journey to the current day. Time to get some vintage gear out and plug in. Until next time…

CRAVE Guitars ‘Quote of the Month’: “Excess in any form does not indicate wisdom; rather it evidences the lack of it”

© 2018 CRAVE Guitars – Love Vintage Guitars.

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August 2017 – A Peak into the Pandora’s Box of Guitars

posted in: Observations, Opinion | 0

Over the last 30 months or so, I’ve been going on and on about the mainstay of CRAVE Guitars ‘work’, which is to share with you not only stuff about music and stuff about guitars generally but also specifically stuff about Cool & Rare American Vintage Electric Guitars. If you’ve taken a look at the web site, you’ll know that the focus tends to be on mainstream U.S. brands and, within that, if possible, some cool variations of well-established guitar models. However, perhaps stating the bleeding obvious, the guitar world is much bigger than that.

This month I’m dipping a toe in the water of some of the other guitar treasures out there. When one looks across the whole guitar landscape, antique, vintage, old, used, new, American, European, Eastern bloc, Asian, mass manufacture, boutique makers, unique luthiers, home‑made, traditional, basic, hi-tech, innovative and whacky, there is infinite variety and a veritable cornucopia of interesting and wonderful instruments to appreciate. The same goes for amps and effects of course (as colleagues into those things keep reminding me) but there’s not enough room in a single article for those as well. Besides, although I don’t claim to be an expert on guitars, I’m even less well‑acquainted the minutiae of amps and effects – that’s another ballgame altogether. The focus of this article is essentially on electric instruments.

When researching this article, it became ridiculously clear that I simply can’t do justice to every aspect of this enormous topic. I can only mention a figurative iceberg’s tip of what’s out there and I apologise in advance for the probable monumental omissions herein. Before we get going, none of the guitars covered in this article are part of the CRAVE Guitars’ family. In order to illustrate the diversity, I’ve resorted to using pictures sourced from Google Images – I acknowledge all guitar owners and photographers.

Let’s face it, love them or loathe them, the centre of the guitar universe remains occupied by the American ‘Big Two’, Fender and Gibson, along with their subsidiary companies including, respectively, Epiphone and Squier that concentrate on the budget end of the market. Incidentally, Fender and Gibson also own a number of other iconic brands that come under their wing. For instance, did you know that Fender own Gretsch, Jackson, Charvel, DeArmond and Tacoma, and Gibson own Baldwin, Kramer, Steinberger, Tobias and Wurlitzer? Until the mid-2010s, Fender also owned Guild and Ovation guitar brands.

It would be easy to fall into the trap of thinking that Fender and Gibson are massive multinational industrial giants, but in actuality, they are pretty modest business concerns compared to the sheer scale and scope of some truly global companies. Fender and Gibson are, above all, very successful brands with a strong identity, whose reach extends well beyond the music industry. This general public awareness helps to shield them from some of the economic, social and technological pressures facing them. Business fortunes, however, go in cycles and the ‘Big Two’ have had their ups and downs. Both companies, along with many others, were taken over in the 1960s, leading to a period of corporate complacency and weakness that opportunistic competitors were able to exploit. While they have been able to rejuvenate their image, they are now dealing with a radically different global context.

While the ‘Big Two’ are fortunate to have genuinely iconic products including Fender’s Stratocaster, Telecaster and Precision bass, and Gibson’s Les Paul, SG and ES-335 (among others), this otherwise enviable position can also constrain them operationally. It has proved very difficult for them to innovate and stretch too far from the proverbial straightjacket imposed by their core instruments. Existing models are scrutinised minutely and often face intense criticism if they move away from the accepted recipe. At the same time, it is difficult for them to introduce all-new models, as they are often compared unfavourably with the classic mould. Without sustainable growth in a finite market, these companies are commercially vulnerable and their potential success is increasingly limited by their past. This strategic conundrum for Fender and Gibson actually creates fertile ground for other smaller firms to grasp opportunity to enter the market through differentiation, diversification and innovation, as well as imitation.

Circling around the ‘star’ of the Big Two, there are the other recognisable brands such as Rickenbacker, Danelectro, Guild, Ovation, Music Man (now part of the Ernie Ball corporation), G&L, and, as well as the aforementioned Gretsch (the Gretsch family retains major influence as part of Fender) and relative newcomers such as PRS. There are other companies that don’t immediately spring to mind but which have enormous presence in the industry. I include Peavey here, as one of the world’s largest musical manufacturing company. Then there are the other recognisable ‘independent’ American manufacturers that tend to focus on niche markets, such as BC Rich, Dean, Jackson, Alembic, Carvin, Schecter, Steinberger, Suhr, Parker, Heritage, etc. At the same time, some major US guitar companies focus predominantly on acoustic guitars, such as Martin and Taylor.

There is an incredible history surrounding brands that have either disappeared completely or those that have gone, some of which have now been resurrected, e.g. Supro, Airline, National, Dobro (acoustic, now part of Epiphone), Bigsby, D’Angelico, D’Aquisto, Silvertone, Kalamazoo, etc. American guitar manufacturers suffered particularly badly in the 1960s and 1970s as a result of multiple pressures including falling production quality, increasing manufacturing costs (including union labour), and hostile competition from high quality cheap imports from the Far East.

As you might expect, the history of many of the brands already mentioned goes back to the early-mid 1900s (or even further), which means that there are plenty of very cool vintage guitars floating around. In the guitar world, age doesn’t mean valuable – it is the combination of age, rarity, quality originality and current condition that matter for those with an eye on the dollar value. While the Big Two tend to command the premium prices, pretty much across the board, there are plenty of bargains to be had by looking more broadly at these, sometimes ephemeral makes. I recently come across an early 1960s U.S. Airline in all‑original clean condition that went for a little over £300GBP. These never were top‑of‑the‑range instruments back in the day, and they can be picked up as bargain vintage instruments now. Some of these leftfield guitars present low-risk options for entry into the vintage market if you research carefully and don’t expect too much. History suggests that, in all likelihood, they won’t accumulate vintage value very quickly without major artist association. Look around and there are gems to be found from under-the-radar guitar makers. Some are very nice, including Washburn, Hondo (mainly copies), Mosrite, Harmony, Kay, Valco (maker of a number of other brands), etc.

Moving away from the American continent, Europe also has a long tradition of great musical instrument manufacture, with brands such as Vox, Höfner, Baldwin, Burns, Watkins, Framus, Hagstrom, Hohner, Shergold, Hoyer, Wandre, Bartolini, Levin, Goya, Welson, along with newer entrants such as Warwick, Duesenberg and Vigier, Some of these were prolific during the ‘golden years’, capitalising on the rapidly moving musical paradigms of the 1960s and 1970s. A post-war embargo on American guitar imports certainly helped European brands (and bands) get a foothold and to prosper up to the early-mid 1960s. While, as in other markets, the quality of European guitars varied considerably, many models have become synonymous with the period and, as a result, highly collectable, for instance, the teardrop Vox guitar used by Brian Jones of The Rolling Stones or the Höfner violin bass used by Paul McCartney of The Beatles.

Even further away from America, the Japanese companies competed head on with the American brands in the 1970s. Plenty of the budget guitars were blatant copies of American guitars, which resulted in protracted litigation to protect U.S. patents and trademarks. Many ‘older’ guitarists may remember copies from the likes of CSL and Columbus, as well as Ibanez. Japanese firms didn’t just replicate American designs; some also produced original designs and have retained a credible reputation over time for quality and consistency, including their dominant brands – Yamaha and Ibanez. Takamine, which focuses predominantly on acoustic guitars, is also Japanese. There have been plenty of Japanese names that are or have been familiar, including ESP (and subsidiary LTD), Roland, Italia, Aria, Tokai, Teisco, Greco, Guyatone, Apollo, Kawai, Kent, Westone, etc. Many of the instruments made by Japanese companies in the 1960s and 1970s (including some copies) are now becoming very collectable in the off‑the‑beaten‑track vintage niches. If you want some truly whacky vintage designs at reasonable prices, take a look at Japanese guitars. Plenty of people now specialise in conserving these vintage Japanese/Asian instruments.

The old Eastern Bloc countries have also produced a wide range of brands catering for home-grown musicians. The strategy of government-owned manufacture was partly nationalistic, in that they were required to protect their home market from capitalist imports from both the west and east. Many of these guitars were typically utilitarian with little in the way of flamboyance. Many of these brands will be little known in the western world, even now. As you might expect, there are experts who concentrate on collecting these communist bloc guitars for posterity. The ones that have penetrated the western markets offer something different from, and cheaper than, the mainstream names. Look out for names like Aelita, Elgava, Formanta, Migma, Musima, Odessa, Stella, Tonika, Marma (East Germany), Jolana (Czechoslovakia), etc.

There are a few other territories that have developed their own guitar manufacturing, including Godin and Eastwood in Canada and Maton in Australia. In addition, there are a large number of unmarked guitars out there with no means of identifying age or source. Some can be traced back to similar designs by known manufacturers while the creators of others are lost in the mists of time and geography. These ‘pawn shop’ guitars are often poorly made and may be considered curios, although, there are aficionados looking to conserve the more vernacular heritage.

The modern-world picture is far more complicated and can’t be talked about in terms of familiar regional territories. Some multi-national companies, including Fender and Both Fender and Gibson have their headquarters in the US and produce large numbers of their subsidiary ranges in other countries. Some brands are designed in the US and constructed offshore. Some are assembled and quality checked in the US from parts made elsewhere. Larger companies have international distribution operations that channel product to dealership networks within economic regions, e.g. Fender UK servicing the European Union (at the moment!). Others have to manage distribution through networks of independent dealers. Some smaller companies have to rely either on local markets or alternative methods of distribution, direct or indirect. Some companies make instruments that are branded by one or more retail chains. A classic example is Silvertone whose instruments were made by Danelectro, Kay and others, sold through Sears & Roebuck department stores and mail order (remember that?). Similarly, many of the diverse Japanese brand names were actually made by a relatively small number of manufacturers, e.g. Kawai and Teisco.

Another feature of new millennium guitar building is the explosion in bespoke guitar building, either by small specialist companies or individual luthiers. Low volumes, creative designs, alternative materials, custom features, and high quality tend to characterise the sub-industry but there are always exceptions to the rule. There have, pretty obviously, always been bespoke builders catering for the well‑heeled or professional musicians’ need and this has led to further opportunities that are difficult for the mass manufacturers to match. In response, the larger manufacturers, including Fender and Gibson, created custom shop operations to provide tailored services for individual clients. Custom shops also heralded the explosion in vintage-styled recreations and the more recent craze for relic finishes, both building on the growth of interest in vintage guitars.

Remember, even the (now) big companies had to start somewhere, usually with an inspirational leader, visionary pioneer or commercial entrepreneur at the helm, often working on their own or in a small workshop. Many of today’s big brands started out with some names you might just recognise, including Friedrich Gretsch and son, Fred Gretsch Jr, Orville H. Gibson, Christian Frederick Martin, Adolph Rickenbacker, Nathan Daniel (Danelectro), Epaminondas Stathopoulo (Epiphone), and one Clarence Leonidas ‘Leo’ Fender. More recently, Paul Reed Smith has earned a place amongst this exlusive group. Even these industry giants relied on other key individuals and their skills including John Dopyera, George Beauchamp, Lloyd Loar, F.C. Hall, Les Paul, Ted McCarty, George Fullerton, Ray Dietrich, Roger Rossmeisl, etc.

Other well-known names span out of larger companies, for instance, Travis Bean, well known for metal-neck guitars, split from Kramer. Kiesel Custom Guitars is another example, producing some astounding instruments having been formed following the splitting up of American company Carvin in 2015. Perhaps the most successful modern entrepreneur is Paul Reed Smith of PRS Guitars, based in Maryland USA since 1985. While growing his reputation, Smith wisely sought advice from Gibson’s ex‑president Ted McCarty to mentor him, and several PRS models now proudly bear McCarty’s name. The tradition continues with renowned luthier Joe Knaggs setting up his own prestigious guitar company after leaving PRS, producing some wonderful instruments in relatively small numbers.

One of the most celebrated and influential craftsmen to exploit niche demand in the 1960s was Lithuanian immigrant to the UK, Tony Zemaitis who made some very remarkable guitars for some very remarkable guitarists. Zemaitis’ legacy can clearly be seen in other current models from the likes of Duesenberg and Teye, as well as the Japanese company that currently carries on Zematis’ illustrious name.

There have been many excursions into the application of alternative materials to wood. The use of metal in guitar production was pioneered by the likes of National and Dobro in their resonator guitars as a means of producing more volume from acoustic guitars in the pre‑electric era of the 1920s and 1930s. In the 1960s, Valco used fibreglass (coined Res‑o‑Glas) for futuristic designs in the 1960s, such as the stunning National Newport. More recently, acoustic maker, Ovation, used a variation of fibreglass (lyrachord) on its bowlback instruments. Zemaitis experimented with other materials in his guitar construction and many others have followed suit, including the aforementioned Kramer/Travis Bean. Around the same time, there was a ‘fad’ for acrylic guitar bodies, perhaps the most well-known proponent being Dan Armstrong who used acrylic for parent company Ampeg.

On this side of the Atlantic, another luthier has set the bar for innovative use of metal; French luthier, James Trussart, Italian company XoX Audio are making some nice instruments out of carbon fibre. 3D printing also presents opportunities for greater use of plastics and metals in guitar production. Some luthiers have experimented with stone as part of the construction but it is not common – or very practical. With ever increasingly stringent restrictions on sourcing, use, sale and movement of hardwoods commonly used in guitar production, expect wider use of alternative sustainable materials in the future.

There are hundreds if not thousands or even tens of thousands of guitar makers out there, all wanting a proportion of the overall demand for great guitars. Here are a very few notable names from all around the world to keep an eye on, including (in no particular order); Collings, Stone Wolf, Flaxwood, Palm Bay, Hutchinson, Emerald, Ed Roman, Suhr, Mayones, Nik Huber, Matt Artinger, Tom Anderson, Patrick James Eggle, Fano, Gus, Goulding, Prisma, Frank Hartung, Michael Spalt, Michihiro Matsuda, TK Smith, Rick Toone, Carillion, McSwain, John Backlund, Reverend, Ron Thorn, John Ambler, Mule, Tony Cochran, Walla Walla, Ezequiel Galasso, Langcaster… The list could be endless as there are just too many great guitar buillders out there to mention and apologies to those I’ve left out and, sorry, I can’t post pictures of every one – I wish I could. The point, I guess, is to broaden one’s perspective and perhaps open one’s mind to a wide range of other possibilities beyond the obvious in-your-face guitar shop fare. I don’t usually proffer advice but on this occasion, I would simply just say, take a look out there and you might just find something weird and wonderful that you probably didn’t know existed. I regularly feature some of this wonderland of goodies on Twitter for those that may want to take a look (@CRAVE_guitars).

For the amateur hobbyist or artisans with aspirations of becoming the next notable designer, there are now plenty of DIY kits for everything from generic product to some quite fancy customised guitar construction. Access to information the Internet provides plenty of plans and specifications for people to design and build almost any type of instrument without the need to track down books or luthiers willing to share their knowledge. Experimenting in this way can present all sorts of opportunities to be taken. What about you?

Renovation ‘husk’ projects are probably best avoided unless you really know what you’re doing, as there’s probably a reason why they are in that state to begin with. For some, though. a ‘bitsa’ guitar may make an ideal low cost player’s guitar. My lack of practical skills prevents me from trying out a DIY (re-)build beyond my limited capabilities. Besides, given CRAVE Guitars’ fundamental raison d’être, I simply can’t create an authentic American vintage guitar.

I hope that this article has given a tiny indication of the beauty and multiplicity of guitars out there. That’s without going into oddities with unconventional string configurations, double (or more) necks, hybrid instruments, etc. It is this fascination with making things different while also keeping things the same that is quite inspirational and, I think, pretty unique to guitars, at least on this sort of scale. We are blessedly spoilt for choice and there are some ridiculously good guitars out there for very reasonable prices without experiencing the diminishing returns associated with esoteric exotica. Ultimately, this clearly indicates that there is something for everyone with an interest in the world’s favourite musical instrument.

So… you may ask… what’s my favourite out of everything covered here? Truthfully, I can’t say; I find guitars endlessly beguiling and preferences vary continuously. It would be unfair to single any one brand or model from the others. As my obsessive quest for ‘Cool & Rare American Vintage Electric Guitars’ continues, the CRAVE name gives a hint of bias but that is not so dogmatic that I can’t appreciate all aspects of the luthier’s art and craftsmanship. MY position is firmly ‘on the fence’. If any of the names mentioned wish to persuade me off the fence with a prime example of their product(s), I am more than happy to accommodate them (f.o.c. of course!). I optimistically await a swathe of e-mails to that effect (hint, hint).

Me? I’m off to plink a new CRAVE Guitars’ plank. The new addition to the family is something both very recognisable and very unusual at the same time. All being well, I’ll try to cover it in next month’s article. All I’ll say at this juncture is that it is definitely one that fits the Cool & Rare American Vintage Electric Guitar bill very aptly while also strongly dividing opinion. Intrigued? The lengths we go to, to bring you guitar ‘stuff’. Watch this space…

CRAVE Guitars ‘Quote of the Month’: “There is a finite limit to the amount you can know, there is no limit to the amount you can imagine.”

© 2017 CRAVE Guitars – Love Vintage Guitars.

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