August 2020 – Even More Whazzup at CRAVE Guitars

posted in: News, Observations, Opinion | 0

Prelude

GREETINGS GREAT GUITAR people and welcome back to some ‘even more whazzup at CRAVE Guitars’, herein the third and final part of the triptych of guitar‑related ‘current affairs’ articles. You may be pleased to know that this one is a wee bit shorter than usual. You might well conclude that I pad out these monologues because I revel in writing voluble blurb for the sake of it. If there isn’t much to say, I won’t… or will I?

For the record, at the time of writing, current COVID‑19 statistics indicate that there are now over 25 million confirmed cases and 843,000 deaths recorded globally and still rising. These are scary and truly staggering statistics for a health pandemic during the modern era. Like every other responsible adult, CRAVE Guitars is not only weary of the enforced constraints of living through coronageddon but also aghast at the sheer arrogant stupidity of selfish covidiots who ignore the threat and risk prolonging the danger for the rest of us. GGggrrrr. Right, got that out of my system, now back to business.

While I cannot promise oodles of delightful entertainment, I can at least deliver on what I said that I would do two months ago which is to bring you all bang up‑to‑date with what else has been happening down here in the south west of the UK during 2020. As a rapid recap, the first slice of this recent 3-parter was to cover last year’s (2019) purchases in some detail, the second was to cover the on‑going vintage guitar repatriation project, and this third part is basically a ‘what’s new in at CRAVE Guitars’ in 2020 so far. So, getting right to the point, what shiny new old stuff has come CRAVE Guitars’ way?

New in at CRAVE Guitars in 2020, so far

Well, for starters, it has been a very quiet time for guitars recently. This is primarily because a) I’m trying futilely to save funds for the much‑vaunted but little‑actioned cellar conversion, and b) actually finding the 5 guitar Rs – the right instruments at the right time in the right place in the right condition at the right price. Then there is the COVID‑19 situation triggering the worst recession in living memory going on in the background, which is affecting the fundamental economics of supply and demand.

CRAVE Amps has been equally quiet but more eventful than last year. While there has been only one purchase, it is a doozy and one I’ve been after for a couple of years. Amps take up a lot of space and demand a lot of attention, as well as resources, so buying a whole bunch of them isn’t exactly a high‑priority large‑scale exercise.

It is CRAVE Effects where I’ve been most active this year; I’ve been a very busy boy (for me). Effect pedals have a number of advantages; they generally require less capital outlay per item (but not always!) and most take a lot less space to accommodate. There also seems to be a plethora of choice (unlike guitars at the moment). Under current circumstances, and with another deep economic downturn looming, effect pedals have proved less financially risky all round, which is a good thing as funds are very limited. Having said that, a couple of these pedals cost nearly as much (or more!) than an ‘affordable vintage’ guitar, so perhaps I need to have a rethink. Effect pedals also make a great complement to the guitars and amps and they can be great fun to amass. So… here is the shortlist of what has actually come this way in the last 8 months.

CRAVE Guitars (2)

  • 1984 Gibson Flying V Designer Series
  • 1979 Peavey T-60

CRAVE Amps (1)

  • 1973 Fender Princeton Reverb

CRAVE Effects (11)

  • 1986 BOSS DD‑2 Digital Delay
  • 1984 BOSS DM‑3 Delay
  • 1980 Electro‑Harmonix Bad Stone Phase Shifter
  • 1981 Electro‑Harmonix EH4600 Small Clone Mini‑Chorus
  • 1982 Ibanez CP9 Compressor/Limiter
  • 1981 Ibanez PT‑909 Phase Tone
  • 1978 MXR Analog Delay
  • 1982 MXR Micro Flanger
  • 1982 MXR Phase 100
  • 1982 MXR Stereo Chorus
  • 1976 Sola Sound Tone Bender Fuzz

Plus 3 replacements for existing pedals:

  • 1982 BOSS DM-2 Delay
  • 1975 MXR Phase 90
  • 1980 MXR Dyna Comp (compressor)

The whys and wherefores

Just sharing a list of gear doesn’t give any sense about the rationale behind searching them out or how they fit into the overall CRAVE Guitars strategy. Although unforeseen opportunities cannot be ignored, there is generally some rhyme and reason to purchasing decisions. In order to give some insight to what the heck I’m doing, it’s worth a little bit of exposition in each case.

1984 Gibson Flying V Designer Series – Believe it or not, up to now I didn’t have a ‘normal’ Flying V. I was actually looking for a vintage Gibson Explorer E2 and got within a hair’s breadth of getting hold of a very nice example but sadly it proved ultimately unsuccessful. This was very disappointing, as it would have been a perfect partner for my groovy Flying V2. Anyway, I’d been holding off on a couple of other vintage guitars while looking into the E2, which were quite tempting. Then I came across this very nice example of a cool and rare all‑original Flying V Designer Series in pinstriped ivory. It was happily residing in restful retirement in sunny Florida, USA, so I took it upon myself to do a ‘Cocoon’ on it and transport it over to a chilly and soggy UK. Basically, I didn’t want to lose out on another guitar, so I bit the bullet and jumped in (darn that FOMO!). The exchange rate, customs duty, VAT and fees made it a highly unprofitable transaction but to heck with it. At least the relaxation in CITES regulations didn’t prevent the rosewood fingerboard from flying (sic!) my way. As it turned out, I think I was lucky to grab it when I did. Thankfully, I am not driven by monetary gain, as I’ll probably never get the full cost back, so I’ll just hang onto it and enjoy it, which is what CRAVE Guitars is all about. Original Flying Vs from the 1960s and now even the 1970s are getting incredibly expensive. I’m sure it won’t be long before the evil profit‑motivated collectorati get their heads around the up‑to‑now not very popular 1980s Flying Vs. Personally, I like them and that’s plenty good enough for me.

1984 Gibson Flying V Designer Series

1979 Peavey T-60 – I’d been interested in the Peavey T‑60 for a while, as it’s a bit of an underground underdog, which often piques my curiosity. The T‑60 was Peavey’s first venture into electric solid body guitars, so it really is the first of its kind. The people who have owned them tend to rave about them but they don’t tend to come anywhere near the top of the list for collectors (a good thing too, if you ask me). I thought I’d satisfy my inquisitiveness and try one out for myself. They are still relatively good value for a vintage guitar, especially when compared to the aforementioned Flying V for instance! The T‑60 is bit of a heavy beast at just under 10lbs (4.4kg), so that particular reputation is on the button but… remember that weight was seen as a ‘good thing’ at the time. It has very 1970s style with its slightly ungainly outline and natural ash finish. On close inspection, it is quite intriguing with its subtle carved top and now‑ever‑so‑trendy thin but tough satin finish. The T‑60’s electrics are unique in that the tone controls blend from single coil to humbucker, a feature that I think remains unique to this day. In addition, a small phase switch adds further flexibility when both pickups are in use, making the T‑60 a very versatile and underrated instrument. It may seem an odd choice for a CRAVE Guitar but, to me, it makes perfect sense – cool, rare, American, vintage and electric. Nuff said.

1979 Peavey T-60

1973 Fender Princeton Reverb – I have been using American valve amps for years and the Fender Princeton Reverb has been top of the ‘wanted’ list for a quite a while. I was fortunate enough to find one in the same county, so off I trundled just before the coronavirus lockdown and brought her home with me. It was just what I was after, a 1973 ‘silverface’ Princeton Reverb in fantastic condition. I am not wealthy or pedantic enough to aspire to a ‘blackface’ or ‘tweed’ Princeton, so this will do very nicely thank you. It is still hand‑wired and true to its origins. My vintage Fender Champ and Vibro Champ have been reliable little home workhorse amps and my Music Man 210 ‘sixty five’ can deliver big noise when needed but I was pining for some valve driven spring reverb in a small package and this is just the ticket. I had been using a BOSS RV‑2 Digital Reverb with the Champs but this brings all the basics together in one neat solution. It has been modified to a 240V UK mains power supply, a very practical mod, which is fine by me. I have to say that it sounds awesome for its diminutive size. The valve tremolo is not as pronounced as other Fender amps but apparently that is quite normal and I can live with it. I am now looking for a vintage ‘silverface’ Fender Deluxe Reverb to compare the Princeton’s 10” speaker with the Deluxe’s 12”. Is that getting greedy?

1973 Fender Princeton Reverb

1986 BOSS DD‑2 Digital Delay – You may already know that I am a huge fan of analogue solid state echo pedals. However, the limited delay time usually tops out at c.300ms and the tails can get a bit mushy. Sometimes, longer delays and crisp clarity are called for. The DD‑2 was Boss’ first digital pedal and the first compact digital delay. It is one of the few digital effects worth having that appeared before my vintage cut‑off year of 1989. Last year, I got hold of a 1980s BOSS RV‑2 Digital Reverb and they go well together, so here they are, now part of the CRAVE Effects family. If nothing else, it shows that I’m not a complete digital‑phobe.

1986 BOSS DD 2 Digital Delay

1984 BOSS DM‑3 Delay – Going back to analogue delays after my digital excursion (see above), the DM‑3 fits that bill. It is remarkably similar to the outgoing DM‑2. The internal circuit was tweaked to improve fidelity and reduce noise but there really isn’t that much between them. The only visible difference is the screen printing and the unique knobs used on this model. Other than that, it is business as usual and it does sound very similar to its predecessor. So, an interesting variation on the classic DM‑2. The DM‑3 was the last analogue delay pedal made by BOSS until they released the DM‑2 Waza Craft in the 2010s.

1984 BOSS DM 3 Delay
[Image: 1984 BOSS DM 3 Delay]

1980 Electro‑Harmonix Bad Stone Phase Shifter – The EHX Bad Stone was another pedal that I had back in the 1970s, so I have a soft spot for it. I had retained a Small Stone but the Bad Stone obviously ran away with a better guitarist than me. So, it was a case of reuniting with an old friend and feeling that comfort that comes with rose‑tinted familiarity. It sounds great, just like it did back in the day. All’s well that ends well. Good EHX Bad Stones are getting surprisingly expensive on the vintage effect market. Welcome home, mate.

1980 Electro Harmonix Bad Stone Phase Shifter

1981 Electro‑Harmonix EH4600 Small Clone Mini‑Chorus – Now here is another big‑time elite (a.k.a. expensive) classic pedal. I was never really into chorus pedals when I was younger, so this was a new one for me. I preferred my faithful trio of EHX pedals, the Big Muff Pi (fuzz), Electric Mistress (flanger) and Deluxe Memory Man (echo). The Small Clone didn’t really achieve reverential status until Kurt Cobain used it to great effect (sic!) in Nirvana’s revolutionary grunge exploits. Yes it is good for what it is but is its hallowed status truly warranted? I guess so if you want to imitate the past but there are many other competent chorus pedals out there. Original vintage Small Clones seem to be very scarce and when they do come up they are pricey and/or in a bit of a state, so I think I was fortunate to grab this one.

1981 Electro Harmonix EH4600 Small Clone Mini Chorus

1982 Ibanez CP9 Compressor/Limiter – Compressor pedals are strange things. They aren’t in‑your‑face effects that will immediately blow you away. They add a glossy sheen to playing that is very effective but also quite subtle. They give a studio produced feel to playing dynamics when used properly. Compact pedals are very simple compared to their studio counterparts and a bit of experimentation is needed to hit the ‘sweet spot’. Good compressor pedals are probably best left on full‑time and it’s only when they are switched off that you realise what magic they have been weaving. The ‘9’ series Ibanez CP9 was made famous by David Gilmour, so everyone then jumped on the CP9 bandwagon in a vain attempt to sound like him. Probably a pedal for the guitarist who doesn’t have one and didn’t know they needed one. The CP9 is still very good value on the used vintage market despite the strong artist association.

1982 Ibanez CP9 Compressor/Limiter

1981 Ibanez PT‑909 Phase Tone – Alongside the iconic Ibanez TS‑808 Tube Screamer, there were a whole range of other ‘0’ series pedals sporting the familiar square footswitch. The PT‑909 is one of those ‘other ones’. Ibanez got through a huge number of phase pedal models in a short period of time and this is just one in that long line. It’s a phase pedal and it sounds like most other phase pedals, which pretty much says it all. Incidentally, I actually have more phase pedals than any other type of effect. I guess I’m a bit jaded or perhaps it’s just a phase (sic!) I’m going through. The PT‑909 does its job well but it doesn’t necessarily stand out from the crowd (more below). It is, though, better sounding, more ergonomic and sturdier than the previous ‘narrow box’ PT‑909. Another vintage stomp box that remains reasonably priced at the moment.

1981 Ibanez PT 909 Phase Tone

1978 MXR Analog Delay – Right, now we’re really talking. The 3rd echo pedal in this catch‑up and the 2nd analogue one. The now‑vintage Electro‑Harmonix Deluxe Memory Man is my all‑time favourite delay pedal and I’ve had mine since new, so there is a lofty pedestal with which to compare. The Japanese BOSS and Ibanez delay pedals are all very well but there is something about good American delay effects that sets them apart. The MXR Analog Delay is a large, unwieldy, mains powered box with just 3 controls and, boy, does it do a grand job? I really, really respect this analogue delay for its warm, lush repeats. OK, so the delay tops out at the typical c.300ms but when it sounds this good, does it really matter? Well, sometimes, to be honest. The enclosure paintwork is a little scuffed here and there but that’s nothing, as it is the sonic signature that excels. Does it beat the EHX? No, not quite but it really is a marvellous effect. The MXR Analog Delay is much heard on recordings but for some reason, it isn’t much talked about. They are quite scarce, so they tend to be quite pricey. However, in my humble view, they’re definitely worth it. Don’t delay… or, on second thoughts, do.

1978 MXR Analog Delay

1982 MXR Micro Flanger – Once again, I find the American pedals beat the Japanese, even though the latter make some very good effects and sold them very successfully. I can’t be objective as to why I feel that way, so perhaps it is just a subjective bias. This rather demure looking MXR Micro Flanger is one is one of the later ones with LED status light and DC power input, so it is immediately more convenient than the older ones. It also sounds great. It isn’t up there with my favourite flanger, the Electro‑Harmonix Electric Mistress but it is very creditable. I’m now on the lookout for a large box, mains powered MXR Flanger to see what it can do that the Micro Flanger can’t. I think it may improve on it by a small margin and perhaps challenge the EHX, let’s see. Watch this space.

1982 MXR Micro Flanger

1982 MXR Phase 100 – I’m already a lucky owner of a vintage ‘script’ MXR Phase 45 and the iconic Phase 90. One of those aforementioned unforeseen opportunities came up to get my grubby hands on a large box Phase 100, so here it is. This pedal is unique in the MXR Innovations canon in having this size/shape of enclosure, somewhere between the familiar ‘micro’ boxes and the larger mains powered big boxes. I haven’t had a Phase 100 before and it really was an epiphany for me; this thing sounds awesome. Given that I’m a bit blasé about phasers, using that adjective is saying something. It has a 4‑way preset switch and two rotary controls so, compared to its smaller single‑knob peers, it is very flexible. Perhaps it’s the 6‑stage phasing that raises it above its competition. Whatever fairy dust MXR sprinkled on its innards, it worked and I wasn’t really prepared for the engaging sounds it exudes. It is also in fantastic original condition, which is icing on a tasty cake. The Phase 100 has quickly become my favourite vintage phaser. Sorry Bad Stone, your post has been pipped.

1982 MXR Phase 100

1982 MXR Stereo Chorus – Around the same time that I came across the MXR Analog Delay, I had the opportunity to get this enhanced version of the MXR Micro Chorus (which, to be honest, was the one that I was actually looking for and still don’t have). Like the Analog Delay, the Stereo Chorus is a large, bulky, mains powered behemoth with three controls. Like phasers, I can’t put my hand on my heart and assert that the chorus effect is the bee’s knees but it is certainly very creditable. Comparing this to the Small Clone revealed the answer to my previous question about whether the EHX pedal deserves its post in chorus royalty. Spoiler warning: not really. This one is in exceptionally clean condition and actually quite a bargain as well. Result!

1982 MXR Stereo Chorus

1976 Sola Sound Tone Bender Fuzz – Okey dokey, now we’re getting serious again. Last year, I ventured out of safe territory and acquired two iconic (and very expensive) vintage effect pedals, a 1969 Dallas Arbiter Fuzz Face and 1981 Ibanez TS‑808 Tube Screamer Pro. The Sola Sound Tone Bender Fuzz is another of those exclusive vintage pedals, which is a little surprising given its roots in cheap British effects of the 1970s. It also came under the banner of the British Colorsound brand. I had a Tone Bender back in the day and this was an interesting reintroduction, albeit just a bit (!!!) pricier nowadays. This version of the Tone Bender is based largely on the Electro‑Harmonix Big Muff Pi, so if you’re familiar with that, you know you’re in the right ballpark, tone wise. Plenty of fuzzy goodness. This one is in very good all‑original condition and fuzzes, fizzes and froths in all the right ways. I adore great vintage fuzz pedals. A classic, for sure, but why SO expensive? Really.Hhhhh’jdf

1976 Sola Sound Tone Bender Fuzz

I won’t go into the three replacement pedals here, suffice to say that they were all bought to improve marginally on the ones I had, which can now move on to good homes elsewhere. The image below is of the new replacements (from left to right), 1982 BOSS DM-2 Delay, 1975 MXR Phase 90 and 1980 MXR Dyna Comp (compressor). All very cool effects.

Other 2020 Pedals

One good question might be, how do these purchases all tie together? Well, believe it or not, there is an inherent coherency to the plan. “Though this be madness, yet there is method in’t” (as said by Polonius in Shakespeare’s ‘Hamlet’).

The two new old guitars integrate seamlessly into the other vintage guitars in the family. Similarly, the amp is very complementary to my other vintage amps and, although I don’t have many, that’s plenty enough… for now. The effects fall into three main camps, the Japanese BOSS and Ibanez range, the American Electro‑Harmonix and MXR lines, plus the odd one or two from Europe or other manufacturers. They generally all derive from the 1960s to the 1980s so, once again, job done.

Full features on both these guitars, amp and effects will appear on the CRAVE Guitars web site in due course (see more below).

Help Needed

Apologies, this is the 3rd article in a row where I’ve made this earnest plea. A few of the effect pedals above have minor electrical issues like extraneous noise, non‑working DC or battery input, LED faults, etc. If there is someone out there with the requisite skillset to help maintain these vintage effects as well as the guitars and amps, and who is local to SE Cornwall in the UK, I would be interested in exploring mutually beneficial opportunities. Is there anyone out there attracted to the proposition? If there is, please contact me at the e-mail address at the bottom of every page on the website. Talking of which…

CRAVE Guitars Web Site

I will probably cover this in more detail in coming articles but I thought that this might be a good place to mention it. For over 2½ years, the CRAVE Guitars’ web site remained largely static and unchanged. This was largely due to more pressing personal circumstances, as it takes a lot of time to do it properly. I have, at long last, finally started the desperately‑needed updates to the web site. Overall, it won’t look much different and its structure remains the same, it’s the content that matters.

CRAVE Guitars – Web Site

So far, the underlying technology has been brought right up‑to‑date and many behind‑the‑scenes components have been made current. It is actually quite a fundamental change to the mechanics, which aren’t immediately apparent when viewing the pages – it’s a bit like a car’s engine rebuild hidden away under the bonnet (a.k.a. hood for American readers).

I have also started the process of introducing a whole raft of new content. Again, at the moment, it isn’t immediately obvious because I’m starting off by replacing what is already there before moving onto adding brand new material.

To give you an idea, there are over 120 existing pages and more than 70 monthly articles. There are 60+ incumbent guitar feature pages to revamp and 15 new guitar feature pages to add. There are only 2 amps to add, then there are 30+ effect pages to overhaul and 26 new effect pages to add. Then there are all the galleries, new features on brands and model histories to add. The resources pages need to be completely re‑worked as they are completely out of date, often irrelevant and error‑prone. Even the main CRAVE Guitars logo has been very subtly refined.

Also, the bass guitars have gone from the site, as have the newer guitars that don’t (yet) qualify as vintage. This makes the material a bit more focused than it was. I hope to re‑introduce CRAVE Basses in the future but it’s not an immediate priority.

In coming weeks and months, I hope to make many fundamental changes. Well over 1,000 new photographs have been taken and many dozens of new features have been written. It is a colossal task and one that I’ve been actively prevaricating (?!) for way too long. Now that I’ve started, I will actually relish rejuvenating the site and making it a lot more relevant, and hopefully a respected resource for people to enjoy. There is so much to do that it will probably take until the end of the year before the project is completed (and then the on‑going updates and maintenance). By the time the main job is done, every single page and post will have been updated in some way or other. Some pages have already been finished and have gone live. I will work through the immense backlog as quickly as I can.

If anyone has any positive and constructive thoughts or ideas about what you’d like to see on the web site, let me know and I’ll give it serious consideration. Also, some typos and errors will undoubtedly creep in, so I would appreciate being informed of any corrections and clarifications to help improve the quality of the narrative.

Tailpiece

There isn’t a lot of time to go now until the end of a thoroughly miserable and depressing 2020. There also isn’t much time to take action to acquire some of those elusive items that were on last year’s ‘most wanted’ list. I think I’m going to fail big time on the guitars but I’m very content with how other things are going. I realise how fortunate I am to have all these great vintage guitars, amps and effects, so I’m not going to complain about my lot… much. Anyhow, the quest continues and it’s time to get back to the graft!

Who knows what I’ll be pontificating about for the next article but I’m sure I’ll come up with something. In the meantime, I will be in splendid misanthropic solitude and voluntary seclusion to work on the web site and play vintage guitars. Sounds good to me. Until next time…

CRAVE Guitars’ ‘Quote of the Month’: “Why are so many people so determined to be so stupid?”

© 2020 CRAVE Guitars – Love Vintage Guitars.

← Return to ‘Musings’ page

Like it? Why not share it?

December 2019 – Out With the Old, In With the Old

posted in: News, Observations, Opinion | 0

Welcome to the very end of December 2019 one and all. Due to the time of year, there is a short break in the ‘Story of Modern Music…’. After 9 straight months of factoid overload, I have taken the executive decision to take a rest and reflect on the here and now. There are other advantages of a temporary hiatus in that this article is MUCH shorter than the recent monthly detailed dissection of music history. Abnormal service will be resumed as soon as impossible.

So, that was 2019, the year that was. Not only do we end the year with this article, we also see the culmination of the ‘teenies’. Before anyone corrects me, yes, I know that technically the decades don’t change here but pretty much everyone accepts it that way, so just for once – shock, horror – I’m going with the flow. I don’t know about you but the last decade, and indeed the last 12 months, seems to have passed in a blur.

I am sure you’re fed up with the traditional lazy television programming that seems to dwell on retrospectives and lists as is usual for this time of year. You may be displeased that I’m about to do the same, although I doubt that this tangential view of existence will ever get broadcast nationally.

Personally, it’s been a really, really bad year again, with far too much pain, misery and torment, and little sign of light at the end of a (collapsed and blocked) tunnel. I genuinely cannot remember what joy or pleasure feels like. For self‑preservation, I must look to the future with some hope and positivity for a bit of much‑needed karma, justice, salvation and redemption. There, I’ve got it off my chest and I won’t bang on about it again (or maybe just a little!).

Departures in 2019

As ever, we have to say au revoir to some great guitarists who have climbed aboard that spiritual transit van to the infinite jam session with the angels (and possibly the occasional demon). In contrast to recent years, this year’s list is thankfully short, although I expect those who are on it would prefer not to be. They and their music will be missed…

  • Dick Dale, 16 March, aged 81
  • Bernie Tormé (Gillan, Ozzy Osbourne), 17 March, aged 66
  • Boon Gould (Level 42), 30 April, aged 64
  • Leon Redbone, 30 May, aged 69
  • Roky Erickson (13th Floor Elevators), 31 May, aged 71

Non-guitarist departures included:

  • Ross Lowell (the inventor of gaffer tape), 10 January, aged 92
  • Jim Dunlop Sr. (Dunlop Manufacturing), 6 February, aged 82
  • Keith Flint (The Prodigy), 4 March, aged 49
  • Scott Walker (The Walker Brothers), 22 March, aged 76
  • Dr John, 6 June, aged 77 (NB. he did play guitar regularly)
  • Ginger Baker (Cream, Blind Faith, Baker Gurvitz Army), 6 October, aged 80

Old in at CRAVE Guitars – vintage gear acquisitions in 2019

It seems to have been a better year for guitar‑related accumulation than I’d anticipated a mere 12 months ago. This is partly because of delayed house works (ggrrr!).

The trend of the last couple of years seems to be continuing, with a greater focus on the 1970s and 1980s. This is predominantly because 1960s artefacts are rapidly becoming well beyond my modest price range. Rather than pay nonsensical ‘silly money’ for older guitars just because they are old and expensive, I’m looking at what is currently a bit more reasonably priced from later decades, while also being selective about notable and interesting instruments. As you might expect, the purchases had to fit the CRAVE Guitars’ criteria (cool, rare, American, vintage electric) – the only exceptions being effect pedals from Japan and Europe. At least for the time being, some of this year’s purchases are just about ‘affordable’, while others were almost regrettably extravagantly decadent given my borderline financial disposition. Anyhoo, without further ado, time for some introductions…

CRAVE Guitars (9)

Before listing new ‘old’ arrivals, let’s just backtrack for a moment…

Example #1 – In 2016, I looked ahead and mentioned a couple of guitars on the ‘most wanted’ list. One was a 1970s Fender Starcaster and the other was a 1950s Gibson ES‑150. Perhaps not surprisingly, I failed dismally in 2017… and again in 2018.

Example #2 – In 2017 and again in 2018, I speculated about the possibility of getting a 1965 Gibson Melody Maker and… yup, failed again.

Example #3 – In 2018, I thought about finding a 1970s Fender Stratocaster and… guess what? Fail.

Remarkably, that has now changed and I managed to lay my grubby mitts on all four of the above during the last 12 months. I also went overboard just a little bit with some other spontaneous impulse buys.

So, 2019 actually saw 9 vintage guitars, covering 42 years from the 1940s to the 1980s, with at least one from each decade joining the CRAVE Guitars family. Herewith, the profligate plethora of pulchritude (apologies for the pompous alliteration)…

  • 1982 Fender Bullet H2
  • 1976 Fender Starcaster
  • 1979 Fender Stratocaster Anniversary
  • 1983 Fender Stratocaster Elite
  • 1983 Fender Telecaster Elite
  • 1947 Gibson ES-150
  • 1965 Gibson Melody Maker
  • 1989 PRS Classic Electric
  • 1959 Silvertone 1304
CRAVE New Guitar Arrivals 2019

CRAVE Amps (0)

Despite intensive but unsuccessful searches, there were no amplifiers that joined the family during 2019. Like with guitars, in both 2017 and 2018, I set out to find a 1970s ‘silverface’ Fender Princeton. To‑date, that lustful ambition remains unrequited… for now, the search goes on.

CRAVE Effects (5)

As it turned out, 2019 was a funny year for effect purchases. It was a case of quality over quantity and I did manage to lay my hands on two highly sought after iconic (and therefore exorbitantly expensive) pedals. These weren’t just gap‑filling, they have been on the ‘to do’ list for some time but considered them to be way out of my price range. Consequently, fewer budget purchases made them just about possible. They were…

  • 1987 BOSS RV-2 Digital Reverb
  • 1969 Dallas Arbiter Fuzz Face
  • 1982 Ibanez PT9 Phaser
  • 1981 Ibanez TS-808 Tube Screamer Overdrive Pro
  • 1980 MXR Micro Amp
CRAVE New Effect Arrivals 2019

Once the full ‘Story of Modern Music…’ has been published, I may well return to 2019’s purchases and explain the rationale behind what is a relatively diverse range of acquisitions.

Repatriation update

In addition to the newcomers, it was way back in January 2019 that I was pleased to welcome home 42 guitars, 40 of them vintage, from an extended period of enforced storage (long story!). I set out on an ambitious mission to re‑home them with respect and to lavish upon them some much‑needed overdue TLC. The aim is that they can once again be used for their intended purpose, which is to be played regularly. I wasn’t going to rush the exercise, so it has been a bit of a long haul. I wanted to ensure that each one was given the sensitive treatment it deserved. For some, it was just a clean‑up and a tweak here and there to set them up before they were re‑strung – job done. For others, some more intensive care was necessary and I have worked on them as far as I can take them, due to my lack of ability in the practical side of things. There are a few, however, that need more expert skills than I have to sort them out properly. Thankfully, I know my limits and don’t pretend to be a proficient technician.

So far, 32 of the 42 returnees have been tended to, which means that there are still 10 repatriated guitars still to work on. Six of these are vintage guitars and are next on the to‑do list. Another two are vintage bass guitars which I suspect both need some neck work, so they will be near the back of the queue. The privilege (?) of going last will go to the only two non‑vintage guitars which I own. In theory, being the newest, they won’t need as much remedial work done on them. Fortunately, none so far have been ruined. Some have degraded a bit more than I would have liked but there is nothing serious to be concerned about. Phew!

Once the ‘conservation’ work has been completed and they are once again in good playing condition, they have been/will be photographed and documented. Feature articles have also been drafted on each one. The intention is to update the web site to exhibit them at their best. Then, it will be just a case of playing and enjoying them.

Building works

I cannot let the dastardly year dissolve into history without making a comment about the long overdue building works to convert the house’s dark, dank cellar into a safe, secure accommodation for the guitar members of the family. Due to egregious actions of spiteful and vindictive neighbours, it had to be deferred yet again. Basically, this means that no progress whatsoever was made during 2019.

Music albums released in 2019 (40-ish)

Surprisingly, after a (very) slow start it actually seems to have been a pretty good year for new music. I was quite sceptical up to about two thirds of the way through the year, despairing that the musical landscape was becoming ever more moribund. Then, out of nowhere, there seemed to be a veritable flood of interesting music to close the year out. I bought a shed load of old and new music in 2019 and the following are the diverse highlights of this year’s releases for me. One can hope that there may be some future ‘classics’ among them.

  • !!! – Wallop
  • Amon Amarth – Beserker
  • Beck – Hyperspace
  • Jade Bird – Jade Bird
  • The Black Keys – ‘Let’s Rock’
  • Blood Red Shoes – Get Tragic
  • Cage The Elephant – Social Cues
  • J.J. Cale – Stay Around
  • Nick Cave & The Bad Seeds – Ghosteen
  • The Chemical Brothers – No Geography
  • The Comet Is Coming – Trust In The Lifeforce Of The Deep Mystery
  • Cigarettes After Sex – Cry
  • The Cinematic Orchestra – To Believe
  • Crumb – Jinx
  • The Cure – CURÆTION-25: From There To Here | From Here To There / Anniversary: 1978-2018 Live in Hyde Park
  • Dream Theater – Distance Over Time
  • Billie Eilish – When We All Fall Asleep, Where Do We Go?
  • Foals – Everything Not Saved Will Be Lost Part 1
  • Foals – Everything Not Saved Will Be Lost Part 2
  • Rory Gallagher – Blues
  • Hawkwind – All Aboard The Skylark/Acoustic Daze
  • Hot Chip – A Bath Full Of Ecstasy
  • Khruangbin – Hasta El Cielo
  • Trini Lopez – The Very Best Of Trini Lopez (compilation)
  • Membranes – What Nature Gives… Nature Takes Away
  • The Murder Capital – When I Have Fears
  • New Model Army – From Here
  • Rammstein – Rammstein
  • Lana Del Rey – Norman Fucking Rockwell!
  • Joanne Shaw Taylor – Reckless Heart
  • Sleaford Mods – Eton Alive
  • Sleater‑Kinney – The Center Won’t Hold
  • Slipknot – We Are Not Your Kind
  • Bruce Springsteen – Western Stars
  • Toro y Moi – Outer Peace
  • Robin Trower – Coming Closer To The Day
  • The Twilight Sad – It Won/t Be Like This All The Time
  • Underworld – Drift Series 1: Sampler Edition
  • Thom Yorke – ANIMA
  • Neil Young – Colorado

Plus (album-like) EP:

  • Black Stone Cherry – Black To Blues 2

Major concerts in 2019 (1):

Due to personal circumstances, there was just one major live music event in 2019:

  • Hyde Park – Bob Dylan, Neil Young, Laura Marling, Cat Power, Sam Fender

Unfortunately, even Cornwall’s local Looe Live music festival wasn’t attended, despite it being right on the doorstep.

Social Media Quotes from 2019:

Over the year, I’ve been posting thousands of snippets on Twitter and Facebook. The following are actual comments from some very nice people about CRAVE Guitars that came this way during 2019. I don’t usually get much in the way of acclaim, and neither do I seek external validation for what I do, so these kind words of feedback felt extra special to me. They are truly appreciated and, frankly, I am humbled and overwhelmed by them.

“I love the variety of artistry you tweet about. Keep it up!”

“Thanks for the history lessons every day from @CRAVE_Guitars”

“Hey you bring it every day, man! You’ve turned me on to things I’d likely not see otherwise! Keep on rocking it!”

“Great people, knowledge, posts and positive vibes to all! 5 star”

“Thank you for expanding my guitar horizons!”

“Once again, I have been enlightened by CRAVE Guitars. They don’t teach this history in college.”

“I finally went to your website and understand you so much better now… Nice collection!!! Very eclectic and impressive! Great website, Crave!”

“You post such cool guitars. Ones that I’ve never seen before. Some truly unique ones too. Keep up the great work friend, you run a great account”

“Thank you! Hats off to crave guitars!”

“Love your photos! Thank you so much!!”

“Thank you for all your fabulous postings”

“…like always Awesome posts and great follow ups I really appreciate it, Respectfully from the USA!!!”

“Crave Guitars is one classy company”

“Thx Crave this is most excellent.”

“… thank you for sharing the great guitars and posts of Rock N Roll truly enjoy checking out your page daily.”

“Love guitars. Love music. Love Crave. <3”

“… I have to give you a separate kudos for the photography. What a picture…”

“I really enjoy these trivia posts as much as the guitar pictures. Thank you”

“That’s wonderful and thank you. Awesome page”

“You should have “A Potted History of the Guitar” as a pinned tweet. I know that you’re modest, but that thing is epic.”

“You have a great Twitter page my friend and always something to learn about with your topics.”

“Congratulations with Continued Success Great Crave Guitars!!!”

“Great stuff on your Twitter page! Love it! Keep it coming!”

“Great Twitter page! Love it. Keep it up. Always great informative and interesting.”

“You have a great Twitter Page. Love it. Great stuff. Keep it up.”

“I really like your collection. it’s very impressive and interesting.

Have a great day, Crave.”

“I totally dig your archives guitars & their players! So great! 100% fan”

Also, during November 2019, Twitter followers exceeded 6,000 for the first time. A huge “thank you” is extended to everyone who has shown interest and support.

CRAVE 6,000 Twitter Followers

So… looking forward… here is what might be coming up in 2020:

There, that’s the obligatory retrospective done, so it is now time to look forward to the coming year and the start of a brand new decade.

Vintage gear for 2020

I have been very cautious over the past few years about ‘most wanted’ gear, believing that circumstances would be very different. So, this year, I’m going to be a touch more ambitious in stating what I’m searching for in 2020, although I guarantee that not everything on the list will be procured. If the building works go ahead, the list will have to be shortened. It won’t be easy but I am back on the quest for some ‘forgotten’ models, which are more difficult to source, especially in good condition in the UK. However, apart from one wild expensive aspiration, the rest should (?!?!) be a bit more ‘affordable’ than some of this year’s purchases. I am not greedy and I don’t expect to achieve the full list, so it is purely indicative and should be considered more of a direction of travel.

Guitars

  • 1960s Danelectro (no specific model)
  • 1970s Fender Bass VI
  • Any one (or more) of the ‘forgotten’ Gibsons from the 1970s or 1980s, e.g.:
    • Gibson Challenger
    • Gibson Firebrand
    • Gibson Marauder
    • Gibson S-1
    • Gibson US-1
    • Gibson Victory MVX
    • Gibson Les Paul DC XPL 400
  • 1970s Guild (S-100 and/or S-300)
  • 1970s Peavey T-60

Amps

  • 1970s ‘silverface’ Fender Princeton Reverb
  • 1970s ‘silverface’ Fender Deluxe Reverb

Effects

  • 1980s BOSS DD-2 Digital Delay
  • 1970s Colorsound/Sola Sound Tonebender (fuzz)
  • 1970s Electro‑Harmonix Bad Stone (phaser)
  • 1970s Electro‑Harmonix Small Clone (chorus)
  • 1970s MXR Micro Chorus

Help needed (x3)

I know my limitations on several fronts. It therefore makes sense to seek outside assistance with a number of up‑and‑coming key tasks. These are NOT New Year resolutions but they are effectively my self‑imposed targets for 2020. All three, however, rely on other people’s expertise.

Task #1 – I would dearly like to make progress with the long‑deferred cellar works. The first step is to understand what may be involved. If that looks promising, I may well finally proceed. I need someone who knows how to ‘tank’ a 90‑year old cellar effectively and to ensure it stays dry, warm and well‑ventilated enough for safe and secure guitar storage.

Task #2 – Routine completion of the repatriation programme should be reasonably straightforward and achievable. In terms of more involved remedial work on a number of instruments, I am looking for a competent luthier/guitar tech, experienced in working on vintage electric guitars, based local to me in south east Cornwall UK, and who would like to work with me on this extra degree of ‘restoration’.

Task #3 – In addition, I would really like to improve my guitar playing. I’m not starting from scratch but I have limited competence and confidence. I am sure I also have a number of bad habits. This means taking up guitar lessons on a one‑to‑one basis, principally for the interaction, as I’ve never got on well with self‑learning books or videos. I have never been formally trained and feel that I could do much better. I would benefit from an additional level of inspiration, technique and knowledge that a tutor could bring.

If there is anyone out there who could either help or knows someone who could help with one, two or all three of the above, please contact me. I shall report back on degree of achievement, if any, during and at the end of 2020.

Major gigs

There will be very few opportunities to see live music in 2020. However, one major concert has been lined up, which I’m really looking forward to:

  • Rammstein (Cardiff in June 2020)

Hopefully, I might get to participate in the local Looe Live festival in September.

Web Site

Another thing that I really, really must get to grips with is a long overdue major overhaul of the CRAVE Guitars’ web site. The material is there, so it will be a case of expunging the procrastination and get on with it.

Proceed to check out

I really don’t think that there is much more that I can add at this juncture, so it is time to wrap things up for 2019 and the ‘teenies’. Roll on the New Year and hope that the (roaring or whimpering) twenties are an improvement on the last 2 challenging decades.

On a broader front, one has to remain optimistic that humankind will come to its senses and live in sustainable peace, equitable prosperity and cordial harmony. One can dream.

On a practical level, ceteris paribus, I will hopefully get back to the ‘Story of Modern Music…’ next month. In the meantime, it’s back to refurbishing and playing some vintage guitars. Result!

Happy New Year/Decade everyone. Until next time…

CRAVE Guitars ‘Quote of the Month’: “The idea of peace, love and music may not have the power to change the world in the way we might hope but just think about what the world would be like without it.”

© 2019 CRAVE Guitars – Love Vintage Guitars.

← Return to ‘Musings’ page

Like it? Why not share it?

December 2017 – That Time for Guitar Lists and Stuff

posted in: Observations, Opinion | 0

So, yet another infernal year draws to a close. Why infernal? Well, I was never going to like 2017 on principle, as 2,017 is a prime number. My dislike of prime numbers is one of my weird traits – I have no idea why – at least I’m not primonumerophobic, i.e. fearful of the darned things. At least the next prime year is 2027, which is a whole decade away yet. Fun Trivia: while many people fear the prime number 13 (triskaidekaphobia), many primonumerophobes fear the number 2, it being the only even prime number.

Anyhoo… I digress, as is my wont. In tried and tested (and predictable) fashion, it is time to reflect on the year now departing from platform 2017, re-assess the way things are now, as well as to look forward to new opportunities in the year ahead. One cannot change the past but one may be able to influence both the here and now as well as the future, so it’s a time to take a deep breath, muster up one’s energy and be both positive and forward thinking.

2017 in retrospect

Well, 2017 was certainly a year of major change, that’s for sure, with events during 2017 definitely impacting on CRAVE Guitars.

At the equivalent point last year, the relocation was looming and structural works were underway to make the ‘new’ (90‑year old) place safe, if not fully habitable. The move has now taken place but that is just the start. The structure still needs considerable work before even the basic works can be described as complete. At the time of writing, it is even now only barely habitable with little in the way of what many people expect of basic ‘home’ comforts. Carpets? Nah. Curtains? Nah. Heck, we’ve only just got heating and hot water after 7 months. Getting trustworthy, cost-effective workmen is proving aggravatingly difficult.

However, something about the ‘old’ life had to change and along with that realisation came major risks. After weighing up the cons and the even bigger cons, we embarked on the new venture with our eyes wide open. The two main drivers for change comprised basic economics and quality of life due to family health issues, so it had to be done, as the alternatives were simply unsustainable. So here we are in the south west of the UK.

As a direct result of the relocation, the major part of the vintage guitar ‘collection’ is currently in temporary storage until I can create safe and secure accommodation for them in the new location. This is why I haven’t been able to update all the photos on the web site. I am very, very concerned about the far from ideal environmental conditions at both the old and new places, so there is no easy answer. However, beggars can’t be choosers and, as ‘they’ say, needs must. The precious (to me) guitars will just have to endure their enforced incarceration for a while longer. I can only hope and pray that they aren’t unduly compromised by the interlude. Until they can be retrieved and re-homed, I just won’t know for sure what condition they are in. They are a couple of hundred miles away and I now have to be at this end, so all I can do is hope for the best. At least I have a few modest vintage guitars available here to pluck in the meantime, whenever I get a few rare moments to spare.

CRAVE Guitars – Cases

Also back in December 2016, I declared my hand and stated an ambition to secure two specific vintage instruments during 2017 – a 1970s Fender Starcaster and a 1950s Gibson ES-150. How did that turn out? Regrettably, I have to report that I failed dismally on both counts. In context, it really doesn’t matter a jot. I possibly could have achieved what I set out to do but circumstances and timing didn’t align to make it possible. Now, in the absence of sufficient lucre, I need to reassess and reprioritise my aspirations.

At the start of 2017, I was about to embark on a culling of the (guitar) herd to strengthen the focus on vintage gear. As a consequence of the clear out, I had the rare opportunity to reinvest some of the proceeds in a small number of ‘cheap’ and unusual vintage guitars (see below). I prefer the term ‘cool and rare’ but let’s be honest, there have been some peculiar budget vintage axes that have crossed my path this year. I wanted to use the funds to invest in maybe 1 or 2 great guitars, as mentioned above, but ‘best laid plans’ and all that.

The year hasn’t been without many other significant difficulties, particularly around significantly deteriorating family health. I’m afraid that’s the way our cookies tend to crumble. Don’t expect details; this article is supposed to be about guitars and music!

Still, stepping back and looking at the bigger picture, at least there remains a way forward on a few fronts, albeit experiencing very slow and frustrating progress.

CRAVE Guitars acquisitions in 2017…

On a more positive note, there has been more instruments than I expected to be inducted into the CRAVE Guitars family over these past 12 months. I had anticipated that 2017 was going to be quite a barren year guitar-wise, especially with everything else going on.

There were some interesting acquisitions that were intentionally offbeat and not at all what one might have predicted 365 days ago. This unorthodox approach is now kinda becoming CRAVE Guitars’ raison d’être. As it turned out, there were no ‘classic’ models at all, probably because – to be honest – they would have represented ‘more of the same’. If you have followed these monthly articles, you’ll have picked up the conscious rationale for venturing off the beaten track. I must admit that, on reflection, even I have been surprised by the way things have panned out, which was actually a nice surprise. 2017 purchases included…

Guitars (7):

CRAVE Guitars – 2017 Guitars

Given that seven non-vintage guitars left the fold during 2017, there was a net increase of… zero guitars overall. It also represents more than double the number of vintage guitars purchased in 2016 (only 3).

Amps(1):

1979 Fender Musicmaster Bass

That is an overall net reduction of one (non-vintage) amp on this time last year.

Effects (6):

CRAVE Guitars – 2017 Effect Pedals

This represents an overall reduction of seven effects in the year. Just 6 purchases in 2017 compares to 17 vintage effects bought in 2016. Admittedly, I was on a mission last year and limited funds meant that expenditure tended towards effects rather than guitars.

All in all, I think that is not bad going under circumstances.

Guitarists that departed us in 2017 (9):

As is inevitable, all things come to pass and this year, like every other before it, has seen the demise of some truly inspirational musicians. At this time of year it is customary to take a few moments to contemplate those guitarists that we have lost in 2017 and recall what musical treasures they have left us. Their talents will be sorely missed and it is sad to think that there will be no more distinctive music from these guys (no gals). Rest in Peace ineffable rock dudes and forever rock the big gig in the sky. Sad losses include:

  • Deke Leonard (Man) on 31st January, aged 72
  • Larry Coryell on 19th February, aged 73
  • Chuck Berry on 18th March, aged 90
  • Allan Holdsworth on 15th April, aged 70
  • Gregg Allman (The Allman Brothers Band) on 27th May, aged 69
  • Glen Campbell on 8th August, aged 81
  • Walter Becker (Steely Dan) on 3rd September, aged 67
  • Tom Petty on 2nd October, aged 66
  • Malcolm Young (AC/DC) on 18th November, aged 64

New recorded music in 2017 (18):

One of the things I learnt from the late, great British DJ John Peel is to appreciate fresh new music as well as the respected classics. I had expected that access to new releases would have been a bit limited in 2017 but it seems to have been roughly on a par with previous years. There seems to have been a wealth of good music released this year from both established and new artists covering a broad range of genres. 2017 new music album purchases include (in artist alphabetical order):

  • !!! – Shake the Shudder
  • Bonobo – Migration
  • Cats In Space – Scarecrow
  • The Correspondents – Foolishman
  • Dub Pistols – Crazy Diamonds
  • Eric Gales – Middle Of The Road
  • Hurray For The Riff Raff – The Navigator
  • The Jesus And Mary Chain – Damage And Joy
  • Kasabian – For Crying Out Loud
  • King Creature – Volume One
  • LCD Soundsystem – American Dream
  • London Grammar – Truth Is A Beautiful Thing
  • Imelda May – Life Love Flesh Blood
  • Prophets Of Rage – Prophets Of Rage
  • Royal Blood – How Did We Get So Dark?
  • The War On Drugs – A Deeper Understanding
  • The xx – I See You
  • Neil Young – Hitchhiker

I don’t think that I have a single ‘album of the year’ from this modest but diverse bunch, as my tastes change with mood. One wonders if any of these releases will be considered timeless classics in years to come.

Live Music in 2017 (2)

As you may know, I am also a big fan of live music of all kinds from street entertainers through pub gigs and concerts of all types and sizes, right up to minor and major festivals featuring a broad range of interesting musical experiences. One great thing about live music is that there is always something new and surprising to discover. I am also regularly amazed at the quality of musicianship exhibited across the board, including by artists that one may never hear of again. The talent out there is phenomenal and sadly puts my playing abilities to shame.

Due to constraints imposed by family health, live music attendance has had to be very limited in 2017 with just one major concert (Black Sabbath’s amazing ‘The End’ tour in January) and one boutique festival (Looe Music Festival in September/October, punching well above its weight). Now we are located in the south west of the UK, getting to major music venues is proving more challenging than in previous years.

Social Media

There were a couple of minor achievements during 2017. CRAVE Guitars more than doubled the number of followers it has on Twitter, now standing at over 2,700. The number of followers also now consistently exceeds the number followed, another small landmark. A heck of a lot of hard work went into cultivating this social media audience. Although it earns diddley-squat at precisely £0, it is, I hope, an investment in the brand, at least in terms of time and diligence. Along the way, I have learnt quite a lot, so there is a modicum of knowledge gain. It’s a shame that other social media platforms have proved less successful, so the proportion of effort has to be targeted at Twitter.

2018 in Prospect

Looking forward, it looks like 2018 is going to be a really, really tough year. The family health situation that partly precipitated the move is likely to be life changing and VERY challenging during the year ahead. It is all very sad and the inevitable outcome is beyond my (or anyone else’s) ability to change.

At least there is not another relocation to manage on top of increasing caring duties. It also looks like the renovation works are likely to take most of the year and all my patience, as well as resources. Of course, it isn’t possible to predict what will actually happen and experience suggests that the unexpected is likely to do its best to derail any reasonable plans. It is therefore best to approach the next 12 months with trepidation and no fixed expectations.

As a result of the uncertainties, the operating status of CRAVE Guitars’ is resolutely in ‘ticking over’ mode and I suspect that it is likely to stay that way for the foreseeable future. I intend to maintain a modicum of incremental improvement and will endeavour to keep foundation‑building in the background while I can. The hope is that the venture should be ready to fly, given half a chance.

So… being a bit more specific, what music gear tops CRAVE Guitars’ affordable vintage ‘most wanted’ list for 2018? I have relinquished any hope of acquiring last year’s ambition for a Fender Starcaster and/or Gibson ES-150. This coming year, I will have to set my sights at an altogether different level and go for something on a more realistic budget. I am casting the net a bit wider and shallower this time. If I can get just one guitar, one amp and one effect from the following list this coming year, I’ll be content:

Guitars:

  • 1960s Danelectro (no specific model)
  • 1970s Fender Bronco
  • 1960s Gibson Melody Maker (type 3)
  • 1970s Guild (perhaps a S-100 or S-300D)
  • 1970s Peavey T-60

Amps:

  • 1970s ‘silverface’ Princeton (with or without reverb)
  • 1970s ‘silverface’ Fender Champ

Effect pedals:

  • 1980s BOSS CE-2 Chorus
  • 1970s Electro Harmonix Zipper (envelope follower)
  • 1980s Ibanez PT9 Phaser
  • 1970s MXR Micro Chorus

In order to achieve even 2018’s moderate ambition (just 3 items over 12 months), a lot of penny pinching is still likely to be required. I also don’t have much leeway to ‘trade up’ existing models. For instance, I wouldn’t mind some selective substitution, i.e. replacing a couple of later-year instruments with examples from earlier years, or to swap out a couple of current guitars for ones that are in better condition or are more original. The intention is really not to grow the ‘collection’ but to consolidate and improve it. All this needs funding of course. I also have to keep options open for those unforeseen, unmissable opportunities that might arise from time to time during the year, i.e. when the dreaded irresistible temptation strikes! We’ll just have to wait and see what transpires.

Hopefully, despite constant building setbacks on the residence, I want to try and create a safe home for the majority of the guitar ‘collection’. Currently, while this is top of my personal priorities, it isn’t top priority overall (grrr, argh). The necessity for very basic habitability and adaptation must come first. Finances are either completely used up or committed and now that I’m a full‑time carer, there is no other income on which I can rely, so I really hope there are no (further) unforeseen expensive catastrophes to contend with.

Frustratingly, I actually have the physical space earmarked for on-site guitar storage. Unfortunately, in its present‑day state, it is far from suitable. The space currently comprises a small, dark, dank and musty cellar suitable only for severely vertically challenged troglodytes and the occasional adventurous spelunker. Basically, the cellar is mostly underground (built into a solid rock cliff face) and is pretty much as it was when the house was built 90 years ago (single‑skinned concrete block walls with no damp‑proofing), so it needs some pretty extensive work(!).

The first step is for the walls and floor to be ‘tanked’ and drained to reduce rampant damp. Once dry, insulation, heating and ventilation are needed to keep the relative humidity and temperature within acceptable parameters for storing vintage musical instruments. Due to the adverse environment conditions, it may also require active de‑humidification. In addition, there needs to be suitable interior access to the cellar so all the guitars can be swapped around regularly but this has implications for the rest of the ground floor. The list goes on and on… lighting and power are essential to provide basic utility. Finally, reasonable security is required to keep pesky scoundrels and ne’er‑do‑wells out. I’m not too bothered about prettying it up to make it presentable; it is far more important that it is functional and fit‑for‑purpose. That’s all!!!!!

CRAVE Guitars – Cellar

Considering the current condition of the cellar and what needs to be done to make it usable, this is one heck of a project to take on, especially on a shoestring budget with everything else that needs doing. The trouble is that the works can’t really be broken down into smaller, more manageable chunks – it currently looks like an all‑or‑nothing exercise. If the project could be phased over a longer period, it would certainly help, although it would extend the current storage compromise – it is something worth exploring though. Despite the obstacles, it is an exciting proposition and something I would really like to take on if I can. If nothing else, it would be a welcome distraction from some of the other difficulties.

Even then, because of the adaptations required, it will never be ideal, particularly the limited accessibility and very low headroom. I can only work with what I’ve got. For instance, it isn’t possible to excavate into solid rock and underpin the existing (poor) structure. Financially, it won’t be an investment. If I am going to be making a long‑term success of CRAVE Guitars, it has to be able to work under one roof. It is essentially the only feasible option I have and there is no ‘Plan B’. If I can’t do it, I will have to think again about the viability of CRAVE Guitars and/or its location. If I can embark on this ‘exciting’ venture, I will try to log progress through these regular articles. Wish me luck.

If I can liberate all the stored guitars from their enforced confinement, I am pretty sure that I will need to find a local luthier/guitar tech to work through any conservation work that needs to be done to get/keep them in as good a condition as can be expected after their prolonged period of internment. Most of the remedial work is likely to comprise setups and tweaks but I suspect that a few guitars may require some expert intervention. For instance, a couple could have potential truss rod issues, which may or may not turn out to be complicated, and there are probably also some electrical issues that need investigating (scratchy pots, intermittent switches, dodgy sockets, etc.). There may also be some finish or corrosion problems.

I have to be honest here – I am not one of those tinkerer types; I hate changing guitar strings, let alone anything more involved. I am wise enough to understand that I should leave anything complex to the specialists, especially if it involves a soldering iron! I am pretty certain that, by attempting to do any serious guitar work myself, I would probably make any problems worse. Where vintage guitars are concerned, a cautious approach makes a lot of common sense – leave it to the experts every time.

Changing the subject matter a little bit. Strange as it may seem after 40 years of playing, I would actually like to take some guitar lessons. I am not sure that tuition could do much to improve my technical or theoretical skills (see previous articles) but it might be able to inspire me to make better noises than I do now. It might also motivate me to play with others again and maybe, just maybe, encourage me to play live with a band again. I’m not committing to anything and it looks unlikely that 2018 will be the year that it happens. I’m running out of years though, so perhaps I’d better get a move on if I’m to achieve that particular bucket list item. Even if learning is purely a recreational exercise, my playing could definitely do with significant improvement. Like many musical types, I suffer crippling self‑doubt, so I’d hope that my confidence would benefit greatly as well. If I don’t enjoy the fruits of such hard work, it isn’t worth doing, so I’m a bit dubious. Acquiring skill is as much in the mind as it is in the physical dexterity. The trouble is that I’m very much a loner in my old age and I’m not sure I could collaborate easily with others. I would, however, also like to record some of my guitar music, if only for personal gratification and, perhaps, posterity.

At this particular juncture, it really isn’t possible, or advisable, to look any further forward or to speculate more strategically about what may happen either more generally or to CRAVE Guitars. So, it is probably best to let 2018 play out as it sees fit. I must trust that good things will happen and let fate take its course. They say you make your own luck, so I will try my hardest to influence good fortune. Let’s face it, despite my best endeavours, luck hasn’t been on my side for many years but I persevere and try to do the right thing to the best of my abilities and hope that things will work out alright in the end.

What else is in store for 2018? Well that depends on many other things. If possible, I would like to improve the CRAVE Guitars web site and enhance the social media content on platforms other than Twitter, Google+ and LinkedIn. I would also like to spend a little more time researching and writing seriously about my obsession with guitars and contemporary music. However, being brutally realistic, 2018 will simply be just keeping things going on the back burner. I would dearly like to say that it will be a year of exciting new developments but I think I’d be raising expectations beyond what I’ll physically be able to deliver.

In terms of recorded music, I have to admit that I am a Luddite as far as streaming and download services are concerned. I like to go into retail stores and purchase a tangible product that I can take home and appreciate visually as well as aurally. My tastes are not stuck in any particular period and I am a big fan of both old and new music alike. Who knows what new recorded music will be released in 2018 but I look forward to finding out.

I also don’t think that there is much likelihood of attending many live music events in 2018. However, all other things being equal one of my all‑time favourite bands is playing live in 2018 and tickets are already booked. Indie rock legends Robert Smith and The Cure are celebrating their 40th anniversary by playing London Hyde Park BST concert in July. I also hope to repeat Looe Music Festival in September if I can.

A message of hope for 2018 and the future

Fundamentally, I don’t like to plan things out in great detail for two principal reasons: a) things never seem to work out for me and I would only get downcast when things don’t go as intended and, b) no-one really knows what is going to happen and prescribing a set of immutable circumstances in advance inhibits the potential for the sort of spontaneous opportunity that may make life really worth living (one can hope!).

One thing experience has taught me is that life is too short to get hung up on trivial things and maintaining a positive mental attitude is the only way to deal with life’s harsh realities. Perhaps it is the juddering realisation of one’s mortality that hangs over us all (but some more than others) like the proverbial sword of Damocles that makes me so philosophical. One cannot afford to be laid back about life otherwise precious time will be squandered in the pursuit of idle mundanity. So, I will take one day at a time, aim to do the best one can in every situation, make the most of every moment, and see what transpires. If I can be more profound and fundamental, I shall attempt to do so. I hope that I’ll still be here waffling on interminably this time next year (December 2018).

I am not a religious person. However, the Buddhist philosophy tends to resonate with my own outlook on life, so I will share the following quotes ascribed to Buddha. I reflect on these (and other) words of wisdom from time to time in an attempt to find internal solace, particularly during difficult times. Perhaps, through sharing, they may make a difference for others too:

“The secret of health for both mind and body is not to mourn for the past, nor to worry about the future, but to live the present moment wisely and earnestly.”

“Have compassion for all beings, rich and poor alike; each has their suffering. Some suffer too much, others too little.”

“I do not believe in a fate that falls on men however they act; but I do believe in a fate that falls on them unless they act.”

“To be idle is a short road to death and to be diligent is a way of life; foolish people are idle, wise people are diligent.”

“Better than a thousand hollow words, is one word that brings peace.”

What does all this have to do with vintage guitars, you may well ask? Well, if I can get everything else turning out positively, it may increase the likelihood that CRAVE Guitars could prove to become a success. It is, at least, something on which I can focus. Call me crazy but I remain determined to make something of CRAVE Guitars sooner or later, preferably sooner. It may not become a reality in 2018, but, as long as I can keep things moving forward in the right direction, however slowly, it may just happen… eventually. The following quotes are others that seem appropriate…

 “If you can’t fly, then run. If you can’t run, then walk. If you can’t walk, then crawl. But whatever you do, you have to keep moving forward” – Martin Luther King Jr (1929-1968)

“Great things are not accomplished by those who yield to trends and fads and popular opinion” – Jack Kerouac (1922-1969)

I don’t have any great words of comfort, grace or insight to impart either in retrospect or prospect, other than the obligatory monthly CRAVE quote (see below). Praying for world peace, an end to suffering and justice for all seems trite, given the current poor state of world affairs. So, perhaps, a simple personal message of “I hope that 2018 will be good for you” to all guitar aficionados out there will suffice.

That’s it for now. The holiday season should be a time to sit back and plink one’s plank(s), so I’m off to pick up a geetar (or two). Play on. Until next time (and next year)…

CRAVE Guitars ‘Quote of the Month’: “Inspiration is everywhere around. Think deeply about what you experience every day and then act on what matters to change some things for the better.”

© 2017 CRAVE Guitars – Love Vintage Guitars.

← Return to ‘Musings’ page

Like it? Why not share it?

June 2017 – At Last… New in at CRAVE Guitars

posted in: News, Observations, Opinion | 0

Finally, the much-heralded and eagerly(!)-awaited relocation (see March 2017 article → click to read) has taken place and the work really starts on making the new crib habitable first, and then liveable in. This has to be completed before CRAVE Guitars can be properly resurrected, so it is still some way off before ‘normality’ returns.

More importantly within this context, CRAVE Guitars’ ‘collection’ of vintage instruments is in temporary storage until I can create safe, secure and environmentally appropriate musical equipment space. Providing them all with a home will take both time and significant funds. In the meantime, the availability of vintage instruments, effects and amps to hand is limited, as only 4 made the initial expedition. Eek!

The recent thinning out of the guitar herd means that CRAVE Guitars is now substantially smaller (by about 15%) than before the move. In addition, a load of studio gear, modern amps and a plethora of modern, far eastern effects pedals, have now found new homes.

The advantage of marginal rationalisation is that CRAVE Guitars’ operating model has become better focused. For instance, after the cull, the only instruments and amps remaining are American-made, of which only two that are newer than 1989 (mainly for reference comparisons). In comparison, vintage effects are a bit more diverse. While the most modern was in 1988, the pedals come from America, Japan and Europe. Stomp boxes are, and always have been, a justifiable exception to the ‘made in USA’ rule simply because they are so integrated into our musical culture.

Another advantage of the pre-relocation clear out is that it released some limited funds for reinvestment. A modest injection of cash enabled the acquisition of a few interesting vintage bits and pieces, including:

Guitars:

1977 Gibson L6-S Deluxe
1970s Ovation Breadwinner 1251

Amp:

1979 Fender Musicmaster Bass

Effect Pedals:

1981 BOSS PH-1r Phaser
1981 Ibanez CS-505 Chorus
1985 BOSS TW-1 T Wah
1978 Ibanez PT-909 Phase Tone
1976 Electro-Harmonix Octave Multiplexer
1978 MXR Envelope Filter

Features and galleries on all these items can be found on the web site, so I won’t repeat the content here. Both of the ‘new’ guitars, the amp and two of the pedals were made in the USA, with the remainder of the effects coming from Japan. I think that they are all great additions to the CRAVE Guitars fold.

While keeping the core spotlight on Gibson and Fender guitars, the diversification into other brands is intended to broaden interest and appeal, recognising that there is more to musical heritage than the mainstream. Economics also plays a part, with vintage values rapidly increasing for the big brand’s desirable models. There are some fascinating cool and rare vintage instruments to explore.

It seems opportune to make no apology for the emphasis on 1970s and 1980s gear. Primarily, it was during these decades when my youthful obsession with music and, specifically, guitars began and probably peaked. Those new or second-hand guitars of that period are now becoming sought-after collectables, so I have a soft spot for them.

There are plenty of well-moneyed collectors scavenging 1950’s and 1960’s vintage pieces, hiking up the prices to ridiculous levels (again) while at the same time vociferously criticising some very credible 1970’s equipment in the process. The result is that many of us ordinary, enthusiastic mortals are increasingly becoming excluded (again) from instruments made in the ‘golden years’ by greedy investors and speculators.

I agree that there was some poor quality manufacturing from large conglomerates in the 1970s and 1980s, often caused by commercial pressures, manufacturing techniques and essential cost-cutting. However, progress needed to be made, especially in the face of far eastern competition. We shouldn’t forget that, during and the 1970s in particular, a swathe of innovation and experimentation took place that enabled the brands to sustain and rejuvenate. These strategic business factors are often overlooked or downplayed. The thing about innovation is that only some of it becomes successful, whenever it takes place. Let’s be honest, there has been plenty of dire output at other times too.  We do need to take care that we don’t fall into the trap that old is automatically good. So… my point is that the situation isn’t clear cut and, with careful selection, there is some really fine stuff out there, whatever the period.

Furthermore, and being a tad heretical, if it wasn’t for those major corporations rescuing and then keeping the failing brands going through lean years, they might have been lost to us altogether. Had they totally disappeared, we wouldn’t have the modern classics being made now by companies that care about the heritage. It is too easy to jump on the bandwagon and criticise the ‘70s and ‘80s without a thought for the practical. Wait a few years, see what happens and you decide whether my appraisal has some merit. It will be interesting to see what the long-term effect will be as a result of the exemplary output produced by the ‘boutique boom’ of the current decade.

Picking and choosing can lead to some fine vintage instruments being acquired at reasonable prices, if only because the avaricious vultures haven’t looked to make a big profit from them yet. Inevitably, it will happen and then, almost overnight, what these ‘experts’ call uncool now will suddenly become cool in order for them to make a buck. In the meantime, CRAVE Guitars is hopefully redressing the balance a bit and bringing some common sense to the debate. It is for these reasons that CRAVE Guitars is actively celebrating these guitars, amps and effects and stewarding as much as I can for future generations to enjoy.

Right… rant over (for now), so time to change the subject. While the ramifications of the relocation are working through, I am trying to keep CRAVE Guitars’ going as best as I can.

The CRAVE Guitars web site has been spruced-up. While on the surface, it doesn’t look very different, about a quarter of the site has been updated in one way or another. There is so much that I want to do with it. Hopefully, the opportunity will arise to improve it over coming months.

CRAVE Guitars Website
CRAVE Guitars

I am trying to sustain CRAVE Guitars social media output, as it is one area where one can’t take one’s eye off the ball. The platform is notoriously fickle and inactivity leads to being forgotten very quickly. During June 2017, CRAVE Guitars surpassed 2,000 Twitter followers (@CRAVE_Guitars). It took 2½ years of ceaseless hard work and over 11,000 Tweets to get there. I doubt that there is any tangible value other than global exposure for the brand (it is more a reputation than a business). One can only hope the investment in time and effort will be worth it in the end.

CRAVE Guitars – 2,000 Twitter Followers

Since the last article, Glastonbury Festival 2017 has come and gone. For the second year running, attendance wasn’t possible for family health reasons. It was very frustrating being relegated to an armchair/TV viewer. Nevertheless, this year’s festival which, even though I wasn’t there, got substantial CRAVE Guitars social media coverage. I have to say that the absence of the traditional festival quagmire was galling – mud-free Glastos are a rare thing and it would have been nice to experience a dry one. Even worse, there is no Glastonbury Festival in 2018, as it’s a fallow year to allow the dairy farm to recover. Furthermore, it isn’t clear whether the next one in 2019 will be held at Worthy Farm, Pilton, Somerset, UK. The farm is its spiritual, historical and, to me, only home. I hope that this year does not turn out be the last ever ‘real’ Glasto. If it moves away, it risks becoming just another bland event amongst a plethora of other generic music gatherings. I watch with interest and a touch of trepidation.

To compensate (a little) for missing Glastonbury, I’m looking forward to the local Looe music festival taking place at the end of September, almost on the doorstep. The Jesus And Mary Chain, Lulu and Happy Mondays are headlining. Interesting variety for a small regional event held towards the end of the festival season.

Note to self: Time to unpack and get back into plinking my planks. Until next time…

© 2017 CRAVE Guitars – Love Vintage Guitars.

← Return to ‘Musings’ page

Like it? Why not share it?

May 2016 – New Stuff At CRAVE Guitars

posted in: News | 0

It’s been a few months now since I covered any new CRAVE Guitars’ acquisitions and it suddenly occurred to me that quite a bit has happened since Christmas 2015. So, I’ve put arrogant, pretentious rhetoric on hold in order to get back to the core of what CRAVE Guitars is all about.

In March 2016, I mentioned that I am on a new mission, money permitting, to accumulate a range of classic vintage guitar effect pedals. Progress to-date has largely fallen into 3 categories:

  1. Purchasing a range of cool vintage effect pedals
  2. Recovering a number of older effects from storage that I bought new in the 1970s
  3. Getting out a horde of modern effects, some of which will probably have to go over coming weeks/months to fund further vintage purchases

Only some of the ‘new’ vintage pedals have made it to the web site at the time of writing – I am in the fortunate position of having a backlog of features and galleries to update, so keep an eye open to see newly published material. There is too much to cover in this article, so take a peek at the ‘Amps & Effects’ features pages (click here to see feature menu page…). These particular pedals have been selected because they were the tools of the trade in the late ‘70s and early ‘80s, so represent familiar territory for me.

In summary, cool vintage stomp boxes that are ‘new in’ since March 2016 include:

  • 1981 BOSS DS-1 Distortion
  • 1985 BOSS OC-2 Octave
  • 1976 Electro-Harmonix Doctor Q (envelope follower)
  • 1982 Ibanez AD9 Analog Delay
  • 1984 Ibanez CS9 Stereo Chorus
  • 1981 Ibanez FL301-DX Flanger
  • 1982 Ibanez FL9 Flanger
  • 1981 Ibanez TS9 Tube Screamer (overdrive)
  • 1980 Jen Cry Baby Super (wah)
  • 1977 MXR Blue Box (octave/fuzz)
  • 1975 MXR Distortion +
  • 1977 MXR Phase 90
Vintage Effects x 8

My personal collection of cool vintage Electro-Harmonix effect pedals includes:

  • 1977 Electro-Harmonix Big Muff Pi (fuzz)
  • 1977 Electro-Harmonix Deluxe Memory Man (echo)
  • 1977 Electro-Harmonix Electric Mistress (flanger)
  • 1976 Electro-Harmonix LPB-2 (clean boost)
  • 1977 Electro-Harmonix Small Stone (phase)
Vintage E-H Effects x 5
 

Now, if you know about or even have a passing interest in vintage effect pedals, that’s quite an impressive little haul for starters, albeit from the mainstream brands. Like all CRAVE Guitars items, they will be used (but not, I hasten to add, all at the same time!).

That’s not all folks… Despite my declared ‘temporary change of direction’ I haven’t completely been able to resist the temptation to purchase more vintage guitars. There have been 2 new purchases that are complete polar opposites in almost every respect. Both are great instruments; they are just very, very different from each other. Both guitars have features written on them, so I won’t repeat the detail here, other than to say that they are fabulous additions to the CRAVE Guitars stable. Go take a deeper look:

1962 Gretsch 6120 Chet Atkins
1981 Gibson RD Artist

The time is coming for a bit of rationalisation at CRAVE. If anyone out there is interested in purchasing any ‘modern’ (i.e. post-1990) guitars, amps and/or effects pedals, let me know and I’ll send a list. I’m not a dealer, so I’m not sure about how much they are worth, so I might just let eBay auctions determine the market value (time permitting). They deserve more use than they’re getting now.

While the stomp box mission is in full swing, I am also mildly interested in getting hold of another vintage valve amp. I’m thinking of one of the smaller ‘student’ models from Fender (black or silver face), probably from the late 1960s up to the mid‑1970s – perhaps an all-original Champ, Vibro Champ or a Princeton in good used condition (and UK 240V).

Guitar-wise, I am also browsing the Internet for some cost-effective vintage guitars to fill gaps, for instance a 1970s Fender Bronco, a 1960s Danelectro and a 3rd generation Melody Maker from the mid-1960s (these are the ‘ugly duckling’ ones with the amateur-looking pointy cutaways, i.e. not the pretty 2nd generation or the SG-like 4th generation ones). I am more pernickety about guitars and these have to be in good-to-excellent original condition (i.e. no refinishes, major modifications or breakages).

I simply can’t afford ambitious ‘retail’ vintage prices for guitars, amps and effects, but we may be able to find common ground around realistic values. What may come my way will be shared on the site.

That’s more than enough for now. Stay cool. Until next time…

CRAVE Guitars ‘Music Quote of the Month’: “Music is not necessarily the only road to true enlightenment. According to many musicians that’s also what sex and drugs are for.”

© 2016 CRAVE Guitars – Love Vintage Guitars.

← Return to ‘Musings’ page

Like it? Why not share it?