September 2023 – Adventures in Ambient: Music of Another Dimension

Prelude

In the last article (August 2023), I explored the alluring realm of dub reggae, as one of my musical passions. This month, as we race headlong into autumn with its cooler, darker evenings, I’d like to explore another musical genre close to my heart, ambient electronica. There seems to be a great deal of consensus about where ambient came from while, at the same time, a great deal of disagreement about what it is today, let alone where it is going. While this may sound inherently contradictory, the convoluted world of ambient music is quite fascinating, at least to me. Unlike reggae, which had a defined geographical origin – the small island of Jamaica in the Caribbean – ambient has a completely different set of roots. Also, while dub reggae and ambient seem entirely discrete, there are some crossovers.

Once again, like dub reggae, the ambient musical landscape is not really guitar‑based. It is essentially one of three things, acoustic – mainly classical – instruments, the sounds of the natural and built world all around us, and electronic sounds, primarily but not exclusively synthesizers.

As with all previous articles, this is not intended to present any sort of definitive academic analysis, it is purely my interpretation of ambient music, past and current, as I see (or rather hear) it. There are a lot of blurred overlaps and permeable boundaries here, so I am certain that some readers will disagree vehemently with my version of the story. That is their prerogative and this is my article, so I’m sticking to my biased version. This is also only the proverbial ‘tip of the iceberg’ with lots more to discover.

No AI has been used in researching and writing this article. All images used are royalty free courtesy of Pixaby and Wikimedia Commons.

So, get comfy, chill and absorb yourself into the mesmerising universe of ambient music for a while.


Defining ambient

Perhaps a good starting point is to understand what the solitary word ‘ambient’ actually means, both in non‑musical and musical contexts.

Literally, ambient is an adjective meaning ‘of the surrounding area or environment’, ‘existing or present on all sides’ or ‘enveloping or completely surrounding’. As a noun, it means ‘an encompassing environment or atmosphere’. In this article we are not talking about ambient temperatures or ambient pressures, although these may affect sound vibrations in the environment. We are also not talking ambient light, although this may affect mood and temperament.

Defining ambient sound

Ambient sound is the total of all background or surrounding noises that exist in every direction, in any immediate surroundings, as measured by sound pressure level (SPL – expressed in decibels). Decibel levels are important because they provide information to the brain on how quiet or loud a sound is in relative terms. Human ears and brains are designed to detect slight variations in SPL in stereo (binaural hearing), which help us determine from which direction a sound originates. Basically, ambient sound is the total of what you can hear in the present moment, wherever you are.

Ambient sound is always present, even if it is at very low levels. Humans cannot tolerate near‑0dB for long. 0dB is unobtainable under normal conditions. Experiments have shown that people who are deprived of ambient sound can quickly become unsettled or disoriented because humans rely on ambient sound to locate themselves within their environment. The dissociation of sight and sound is inherently problematic for us. The quietest place on Earth is an anechoic chamber at Orfield Laboratories in Minnesota, USA. It is so quiet that the longest anybody has been able to experience it is just 45 minutes.

The simple fact is that there is always some ambient sound present in our lives. These ever‑present characteristics play a part in ambient music compositions.

Defining ambient music

Ambient music is a term that means, ‘a genre of instrumental music that focuses on patterns of sound rather than typical melodic form and is used to promote a certain atmosphere or state of mind’. Another definition is ‘incidental music intended to serve as an unobtrusive accompaniment to other activities and characterised by quiet and repetitive instrumental phrases’.

So far, so what? Useful background info but it doesn’t really mean much on its own. So let’s delve a bit deeper.


A brief pre‑history of ambient music

There is a significant amount of information on the hinterwebby thingummy about the history of the genre, so this is a brief retelling of the essential elements, starting in France, then Germany before crossing the Atlantic to America and then back to the UK. These unfolding events were probably all ahead‑of‑their‑time and in the vanguard of experimental art.

Let us begin by going all the way back to 1917. French composer Erik Satie (1866‑1925) used Dadaist‑inspired explorations to invent what he called musique d’ameublement (‘furniture music’ or, more literally, ‘furnishing music’), music played by live musicians and designed to be unconsciously experienced rather than consciously listened to. Satie described his compositions as music that could be performed at a function to create a background atmosphere for the function, rather than being the prime focus of it. In Satie’s words, his music would, “… be part of the noises of the environment”.

Satie’s use of repeated short compositions is said to have influenced ‘minimal music’ from 1960s onwards, particularly the experimental avant‑garde music of composer John Cage. Satie is also regarded as an essential forerunner to modern ambient music and a key influence on British artist, Brian Eno.

During the 1940s, Frenchman Pierre Schaeffer (1910‑1995) who was, amongst other things, a composer, engineer and musicologist took a different approach. Schaeffer experimented with recording sound, then processing the signals to create an abstract sound collage. The resulting sounds and tones were unrecognisable from the originating source material. Schaeffer used musical instruments, vocals, recorded environmental ‘sound objects’ and electronic sound synthesis. This type of music composition became known as musique concrète (concrete music).

Prolific and controversial German composer Karlheinz Stockhausen (1928‑2007) was a pioneer in electronic music. Stockhausen’s electronic music compositions comprised abstract noise collages created through the use of tape loops, oscillators and recorded sounds. He also specialised in ground breaking ‘spatial music’, using multiple sources to locate sounds within a three dimensional space (an early form of surround sound). Stockhausen created one of the first examples of purely electronic music using sine wave generators and filters, called ‘Studie I’ (1953). In 1954, he pushed the boundaries of classical music using acoustic instruments augmented by electronic sounds. The same year, he published the first fully electronic music score. Stockhausen, the so‑called ‘father of electronic music’, was an important figure who rejected conventions and heavily influenced multiple genres outside classical music, including jazz, pop and rock decades later.

Muzak is a type of background music created by American inventor George Owen Squier in 1934. Known commonly as elevator music (or lift music in the UK), it became used predominantly in public spaces, retail stores and other venues. The word muzak has become embedded in the public consciousness as synonymous with all types of generic and inconspicuous background music. Muzak was particularly prominent during the 1960s and 1970s. Muzak has been a registered trademark of Muzak LLC since 1954. Ambient by stealth?

From the 1950s, particularly in Germany, elektronische musik (electronic music) took precedence over previous forms such as musique concrète. The term ‘elektronische musik’ was first used by German composer and musicologist Herbert Eimert in 1952 to describe music created only by the use of electronic instruments and technology. As the genre developed, elements of musique concrète were incorporated into electronic music. Natural environmental recordings combined with music resurfaced later as a popular element of new age music. German electronic music heavily influenced krautrock, an experimental rock genre that emerged out of West Germany in the late 1960s and early 1970s with bands like Can and Neu!.

American composer John Cage was another influential figure in post‑war avant‑garde music including electroacoustic music. He had been experimenting with studio electronics since the late 1930s. In 1952, Cage ‘performed’ his now‑famous composition, 4′33″. The piece is not, as many believe, silence; it is the intentional ‘absence of deliberate sound’. The musicians do nothing but be on the stage with instruments. For the aforementioned duration of the piece, the audience is encouraged simply to listen to and experience the ambient sounds in the auditorium around them.

Minimal music is a form of art music that, as its name suggests, uses a very limited array of components to produce a composition. Minimal can apply to the instruments used, the sounds/tones produced, as well as the studio processes employed. Minimalism may comprise continuous drones, pulses or repetitive phrases. Minimalism emerged in New York in the late 1960s with American composers such as Philip Glass, Terry Riley, Steve Reich and La Monte Young. It has been suggested that minimalism was one influence behind experimental rock band The Velvet Underground during the 1960s and, much later, on electronic dance music (EDM) sub‑genres such as minimal techno. In 1990, British electronica duo The Orb used a sample from Steve Reich’s work on their hit single, ‘Little Fluffy Clouds’.

At this point, it is worth making quick mention of cinematic music, a.k.a. film scores or original soundtracks (OSTs). The first music to accompany film goes back to the earliest part of the 20th Century if not further, although its use really came into its own, ironically, with the advent of talking pictures in 1927. Cinematic music is composed specifically as a background to fit well with what is happening on screen by creating a certain atmosphere. Many classic theme music pieces would simply not exist without the films for which they were created. Some of the best cinematic music is an integral part of the audio‑visual experience, rather than the music being consciously listened to in isolation. The best soundtracks are equally good pieces of music in their own right and the art form has become highly respected (and profitable). John Williams, Ennio Morricone, Jerry Goldsmith, John Barry, Bernard Herrmann, Lalo Schifrin, Vangelis, Jóhann Jóhannsson and Hans Zimmer are some of the principal cinematic music composers.

In the field of television, the BBC Radiophonic Workshop, set up in 1958, stands out for its experimental work in electronic incidental sound design and music for radio and TV. Key members of the unit included Delia Derbyshire, Daphne Oram and David Cain.


A brief history of electronic sound synthesis

It is probably true to say that synthesizers changed the world of music forever. Here’s a short resume of how that change came about. Warning! This is the techy bit.

Analogue synthesizers – The word synthesizer was first used by RCA in 1956, although it has widely been used to refer to electronic musical instruments from the early 20th Century onwards. Early electronic analogue sound synthesizers were developed in the 1920s and included the Theremin, invented by Leon Theremin in Russia in 1920, the Ondes Martenot, invented by Maurice Martenot in France in 1928 and the Trautnium, invented by Friedrich Trautwein in Germany in 1929.

There are basically only three parts to an analogue synthesizer; one or more oscillators to produce the sound, filters to change the sound, and voltage‑controlled amplifiers to adjust the volume of the sound. In addition, envelope generators are frequently used to change the behaviour of the sound (commonly referred to as ADSR – attack, sustain, delay, release).

Another major development in electronic sound synthesis was by American engineer Robert Moog (1934‑2005) who invented the first commercially available analogue synthesizer, the Moog Modular in 1964. The first fully integrated synthesizer, including the keyboard, was the Minimoog released in 1970. Moog developed his products in response to demand for more practical and affordable electronic musical instruments.

Moog Synthesizer

Samplers – A sampler is an electronic device that captures, records and plays back sections of the recordings. The first example was the Chamberlin, invented by American Harry Chamberlin in 1946. The British Mellotron, introduced in 1963, was perhaps the first famous electro‑mechanical instrument used to play back tape recorded sound samples.

Sequencers – A key factor in making music synthesizers usable was the introduction of the programmable sequencer to program and play back multi‑part arrangements. The first example was probably the analogue Buchla 100 synthesizer in 1964. More importantly, Moog introduced the Moog Modular Sequencer Module – the 960 Sequential Controller in 1968.

As synthesizers became more complex, additional features were added, such as arpeggiators that automatically play a sequence of notes based on a chord or scale, and a range of effects used to process the sound even further.

Digital synthesizers – The first digital synthesizer was made by Synclavier in 1977, while the first commercially successful model was made by Yamaha in 1983. The first production polyphonic synthesizer, able to play chords, was the analogue Oberheim Polyphonic Synthesizer, designed by Tom Oberheim, produced from 1975 to 1979. Yamaha, however, may disagree, citing their GX‑1 ‘Dream Machine’. These were followed shortly thereafter by the Polymoog. Another first was the programmable analogue Prophet 5 made by Sequential circuits in 1978. The culmination of these inventions was the introduction of the Fairlight CMI (standing for ‘Computer Musical Instrument’) in 1979, the first polyphonic digital synthesizer, sampler and sequencer.

Finally, polyphonic digital sound synthesis was here to stay, as was the studio recording technology able to exploit it. Miles away from ambient while owing a debt to it, Donna Summer’s massive disco hit single, ‘I Feel Love’ (1977), written and produced by Giorgio Moroder, was seen as a milestone and “a rejection of the intellectualization of the synthesizer in favour of pure pleasure”. It did, however, herald sound synthesis to the popular market. The phenomenal boom in synthpop during the 1980s, leading to the EDM boom of the 1990s, was the tangible result of lengthy electronic music development.

MIDI – MIDI (Musical Instrument Digital Interface) is a powerful industry standard protocol introduced in 1983 that enables wide variety of electronic musical instruments, computers, and audio devices to communicate. MIDI has become essential for synchronizing, playing, editing, and recording music.

These, and many other tools, were a valuable resource for the new generation of experimental composers and musicians. Everything was pretty much now in place.


A brief history of ambient music

Up to this point it is probably fair to say that elements of ambient music’s predecessors existed, and indeed thrived, on the periphery of the popular music of their time, rather than being front and centre of the mainstream. During the 1960s, that was about to change, albeit relatively slowly.

One interpretation of ambient music is that it is a style of calm, often electronic instrumental music with no discernible rhythm or beat, used to create or enhance mood or atmosphere. Ambient music emphasises tone and textural layers of sound that focus on the actual sounds being produced rather than the traditional musical form in which those sounds would normally reside. As such, ambient music may well intentionally eschew formal structured composition, harmony, melody and metre.

While now commonplace, ambient music, at least in the past, broke the rules of what we understand as familiar music or song content. Ambient music is not limited by accepted tropes of how it is produced, making use of acoustic and electronic musical instruments, unorthodox implements used as instruments, environmental sound recordings and sometimes vocals. A large proportion of ambient music is instrumental, not requiring narrative arrangement through either sung lyrics or spoken words.

One characteristic of ambient music since the 1990s has been the ubiquitous use of looping, creating repeated sections of sound, initially using tape and most commonly through digital effects. Another key trait has been the use of modern digital reverb and delay techniques to provide a sense of space, disconnection and otherworldliness.

One key element of ambient music is the way it can reward equally both passive and active listening. The listener can either focus on the content or allow ‘cognitive drift’ to occur, which can encourage a sense of calm, introspection or contemplation, meditation or as an aid to sleep.

While ambient music is a self‑contained genre, it does not stand alone; it has been incorporated into, or fused with, many other musical genres. This fact, in part, contributes to the debate about what ambient music actually means today and why it has become successful both artistically and commercially.

At last, getting to the point now… Ambient music as we now (think) we know it emerged in various forms during the 1960s and 1970s, largely thanks to the commercial availability of synthesizers. The album that is widely regarded as the watershed that brought ambient music to wider attention was, ‘Ambient 1: Music For Airports’ (1978) by British musician, producer and artist Brian Eno. This studio album also established the term ‘ambient music’ in the public mind set. Eno, either solo or in collaboration with other artists, released many subsequent ambient works, further defining the genre. By the early 1980s, the ‘new’ genre had become recognised and widely accepted. Eno has been oft‑quoted that “ambient music must be able to accommodate many levels of listening attention without enforcing one in particular; it must be as ignorable as it is interesting”.

In 1995, Brian Eno used the term ‘generative music’ to describe any music created by a computer system that is ever‑different, non‑repeating and always changing. Eno has frequently used generative ambient music as a background for visual art installations, thereby creating an immersive audio visual experience. There are now a number of autonomous ambient music generators available on the Internet, such as Generative.fm, that provide completely unique compositions that never end, never repeat and last as long as the listener wants them to. The introduction of Artificial Intelligence (AI) into music is likely to expand the scope of generative music considerably.

A discrete subset of the genre is Japanese ambient pioneered by artists such as Hiroshi Yoshimura, Haruomi Hosono, Midori Takada, Osamu Sato and Susumu Yokota during the 1980s. The offshoot aligned with the Japanese concept of ‘wa’, meaning harmony and serenity. Japanese ambient was an expression of the deep cultural appreciation for nature, an aesthetic preference towards minimalism, and traditional values of maintaining peace.

Ambient has heavily influenced many sub‑genres of downtempo dance music, including ambient house, ambient techno, ambient dub, trip‑hop, nu‑jazz, new age, chillwave and deep house. Ambient has undoubtedly come a very long way from its avant‑garde artsy origins. Ambient was now cool and it was here to stay.

In recent years, ambient music has continued to evolve and expand. Some contemporary artists have incorporated elements of jazz, classical music, and other genres into their work, while others have experimented with new digital technologies such as AI and virtual or augmented reality to create new experiences. Improvisation and extemporisation have become integral elements of many ambient compositions.

Overall, ambient music has remained a vibrant and innovative genre that continues to explore the limits of what is possible in music. Perhaps, the essence of ambient music continues to flourish at the margins, requiring some effort to discover as the means of dissemination moves away from traditional record companies, labels, distributors and physical media. The Internet and streaming services may become the only means to access these esoteric future forms.

Ambient music’s experimental aspirations, though, have been an on‑going thorn in its side, which seems particularly hard to expunge. Partly because of its eclectic roots, many regard the lofty art & culture baggage of ambient as self‑absorbed, arrogant, sanctimonious, pompous and pretentious – or just plain dull and boring. Brian Eno in particular has attracted considerable scorn for refusing to conform to populist ideals and short‑term fads. The fact that he is not fazed by such clichéd criticisms and follows his own path regardless, encourages his opinionated detractors even further.

A predilection for ambient music is a choice, not a requisite and it doesn’t carry any cache amongst some imaginary elitist intellectual cultural community. It is, though, not for everyone, with many seeing ambient as a tedious interminable din. Indeed, if anything has been learned through the decades about ambient music is that its appeal is, at least partially, subliminal, nurturing our subconscious need for enlightened contemplation and therefore beyond our ability to control whether we appreciate it or not. Discuss…

Influential artists that have dabbled in ambient music either in part or whole include (in no particular order) Brian Eno, Aphex Twin, William Basinski, Steve Roach, Robert Rich, Pauline Oliveros, Cluster, Biosphere, Harold Budd, John Hassell, Max Richter, Tim Hecker, Terry Riley, William Orbit, Four Tet, Steve Hillage, Stars Of The Lid, Bonobo, Mark McGuire, Ash Ra Tempel, Alice Coltrane, Jon Hopkins, Edgar Froese, Oneohtrix Point Never, The Caretaker, Laurie Speigel, Tycho, GAS, Boards Of Canada, Burial, Fripp & Eno, Slowdive, Air, Julianna Barwick, A Winged Victory For The Sullen, Ben Chatwin, Richard Norris, Luke Abbott, The Cinematic Orchestra, Daniel Avery, Darshan Ambient, The Gentleman Losers, Ibizarre, A.M.P. Studio, Orbient, Nacho Sotomayor, Sigur Rós, Johnny Jewel, Bicep, Marconi Union, Memory Tapes, Neon Indian, Com Truise, The Orb, The KLF, Divination, Lawrence English and The Irresistible Force.


A brief history of other music genres related to (but not) ambient music

New age music –New age music emerged in the 1970s and 1980s, influenced by a variety of styles including classical music, jazz, world music, religious music, folk and rock. New age music often explores arcane folklore, ancient traditions, ethnic groupings, astrology, mythology, mysticism, spiritualism, fantasy and even the occult. Lacking any precise definition, it is often seen as an umbrella for many different and often divergent styles. Ambient and new‑age music are two distinct genres albeit with some overlap between them.

Starting with the similarities… New age music is a genre of music characterised by its soothing and relaxing qualities. It often features acoustic instruments such as flutes, harps, guitars and pianos, traditional Asian or African instruments as well as nature recordings and synthesizers. New‑age music is often used for relaxation, contemplation, yoga, massage, stress relief and anxiety management. As background music, it is used to create a calm, serene, peaceful atmosphere for other activities.

… and some key differences… Ambient music tends to be more experimental and abstract than new‑age music, with a greater emphasis on soundscapes and textures rather than rhythm, melody or harmony. New age music tends to be more melodic, structured and more easily accessible than ambient music.

Overall, both ambient and new age music are genres designed to create a sense of serenity in the listener (the ends). However, they go about achieving this goal in different ways (the means).

New age music has habitually been ridiculed (erroneously) for being part of hippie culture, with acolytes that embraced new age beliefs being called ‘zippies’. From the 1990s. Zippies were in favour of new age principles such as social change, environmentalism, and alternative lifestyles while also being influenced by rave culture, cyberculture, and psychedelic drugs.

New Age Travellers are a loose grouping of people primarily in the United Kingdom generally adopting new age beliefs along with the counter culture movement of the late 1960s. Their nomadic lifestyle often brought them into conflict with static communities and the authorities.

Prominent new age artists include Enigma, Enya, Deep Forest, Clannad, Gregorian, Phil Thornton, Patrick Kelly, Peter Gabriel, Bernward Koch, Paul Winter, Grouper, All About Eve and William Ackerman.

Nature recordings – Ambient nature sounds or, technically, field recordings are a popular sub‑genre of ambient music that feature environmental recordings such as the sounds of water, animals, thunderstorms, wind and even fire. The origins of combining natural sounds with musical compositions can be traced back to the early 20th century. Field recording is regarded by many as a genre in its own right, with or without music.

Field Recording

The use of field recordings in music became more widespread in the 1950s and 1960s with the advent of portable recording equipment and with digital recording from the 1980s. Musicians such as John Cage and Dan Gibson began using natural or built environmental sounds into their compositions.

The use of field recording in ambient music can be traced back to Brian Eno’s ‘Ambient 1: Music for Airports’, which featured recordings of airport terminal announcements and other environmental sounds. Since then, many ambient artists have incorporated field recordings to create captivating soundscapes that blur the line between music and environmental sound.

Some popular ambient nature sound artists include David Dunn, Chris Watson, Dan Gibson, Diane Hope, Lawrence English, Biosphere and Francisco López.

Downtempo and chillout music – Ambient music did not burst onto the scene overnight and, at least initially, it did not attract significant commercial success. With the popularity of EDM and the domination of house and techno in nightclubs, ambient experienced a mini‑revival towards the late 1980s with sub‑genres including ambient house, ambient trance, ambient techno and ambient dub. During the dance‑dominated 1990s, ambient music became trendy as an after‑party ‘comedown’ with the advent of ‘chillout rooms’; spaces within clubs that served as venues for a relaxing alternative to the high‑energy ‘rave rooms’.

Chillout is a form of downtempo music (or vice versa) characterised by relaxed rhythms, mellow beats, laid back grooves and atmospheric soundscapes intended to induce a tranquil mood – fertile ground for ambient music to proliferate. Chillout is heavily derived from EDM, but typically at slower tempos and with sonic palettes often reminiscent of ambient, electronic‑styled new age, progressive electronic and even elements of instrumental hip hop, dub, deep house and breakbeat.

However, neither chillout nor downtempo come under the definition of ambient, due to their prominent use of structure and rhythm. Sunset beach bars, restaurant venues and cult dance clubs in Ibiza in the 1990s jumped onto the ambient/downtempo/chillout bandwagon as an escape from the more intense side of life and a counterpoint to the hectic rave and acid house scenes of the time. In the UK, the Bristol trip hop scene also capitalised on the chillout boom.

The chillout zeitgeist during the late 1990s was partly due to a proliferation of commercial chillout compilation albums from record labels such as Ministry of Sound, Café del Mar, Café Mambo, Beyond Records, Kompakt Records and Mercury Records. Mainstreaming ultimately motivated underground producers to move away from chillout into other more adventurous leftfield ventures. By the early‑mid 2000s, popularity of chillout music faded heavily. However, it would see a revival in the 2010s and 2020s (so far), which aimed to recapture the spirit of earlier forms of the genre.

Ambient and downtempo/chillout and are not interchangeable, although the boundaries between them are often unclear. Downtempo and chillout would go on a different path to influence subsequent genres like psybient, psychedelic trance, chillwave, lounge, post rock, lo‑fi hip hop, hypnagogic pop and nu‑jazz.

Prominent downtempo and chillout artists include The KLF, The Orb, Thievery Corporation, Deep Dive Corp, East India Youth, The Album Leaf, Nightmares on Wax, Falco, Robert Miles, Morcheeba, Bowery Electric, Mr. Scruff, Tosca, Hallucinogen and Ultramarine.

Trip Hop – Trip hop is a genre of electronic music that emerged from downtempo/chillout in the early 1990s. Trip hop is characterized by its use of hip hop beats, samples, and dense atmospheric soundscapes, fusing influences from jazz, soul, funk, reggae, dub and R&B. Like other forms of electronic music, trip hop uses structure, melody and beats, differentiating it from ambient. The term trip hop was first used in an article in Mixmag magazine in 1994 about American artist and producer DJ Shadow. Trip hop music was popularised mainly by artists from Bristol in the UK such as Portishead, Massive Attack and Tricky. Trip hop further influenced genres like instrumental hip hop and UK garage.

Other artists that have made use of trip hop leanings include Sneaker Pimps, Aim, Howie B, The Dining Rooms, FKA Twigs, Glass Animals, Kosheen, Martina Topley‑Bird, Poliça, Smoke City, 9Lazy9, Bomb The Bass, Coldcut, Morcheeba, Pretty Lights, DJ Shadow, DJ Food, DJ Vadim, Funki Porcini, Gorillaz and London Grammar.

Electronica – Electronica is a massively broad term for music that uses electronic instrumentation and sound manipulation technology as the primary means of production. As such, it is a catch‑all for music that doesn’t slot easily into existing sub‑genres. In its widest sense, electronica is pervasive, directly or indirectly, in much of modern contemporary music. There is, therefore no point in defining it or attempting to establish its scope here.

Since the 1960s, electronica artists have both influenced and taken influence from many other music genres. The commercial breakthrough of electronic music occurred with the advent and subsequent domination of synthpop, Europop and Eurodance in the 1970s. This was followed by EDM sub‑genres such as house, techno and electro from the 1980s onward. The burst in electronic creativity was fuelled by a self‑perpetuating feedback loop, pushing things further in the popular mainstream as well as in the margins that continues to this day.

Some prominent artists under the diverse panoply of electronica include (again in no particular order) Clara Rockmore, Kraftwerk, Aphex Twin, Depeche Mode, Daft Punk, Kraftwerk, Röyksopp, Gary Numan, Japan, David Sylvian, Natural Snow Buildings, Global Communication, Moby, The Chemical Brothers, Orbital, Underworld, The Human League, Visage, Thomas Dolby, Howard Jones, Ultravox, Rick Wakeman, Jean‑Michel Jarre, Skrillex, Leftfield, Herbie Hancock, Electronic, Deadmau5, Fred Again.., Sven Väth, Major Lazer, Armin van Buuren, Sasha, Thom Yorke, Emerson Lake & Palmer (ELP), Daft Punk, Four Tet, Floating Points, Flying Lotus, Hot Chip, Pet Shop Boys, Fatboy Slim, The Prodigy, Giorgio Moroder, M83, Goldfrapp, Amon Tobin, Carl Cox, Crystal Castles, Infected Mushroom, Groove Armada, Eat Static, LCD Soundsystem, Faithless, Disclosure, System 7, 777, Erasure, Yazoo, Paul van Dyk, Eric Prydz, Heaven 17, Orchestral Manoeuvres In The Dark (OMD), Tears For Fears, Monaco, Bronski Beat, Vince Clarke, Eurhythmics, Thompson Twins, Yello, Squarepusher, Machinedrum, Pendulum, Romare, Calvin Harris, Apollo 440, Ladytron, MØ, Flume, Public Service Broadcasting, Solar Fields, The Grid, X‑Press 2, Arms And Sleepers, Caribou and ATB.


A brief history of ambient electronica (and related) artists

OK, so we’ve looked at some of the genres that have led up to the current day and the prevailing view of ambient music in context. Now, it’s time to take a brief look at some key artists involved along the way, whether they could strictly be considered proponents of ambient music or not. Here are some of the most prominent.

Tomita – Isao Tomita (1932‑2016) was a Japanese composer, regarded as one of the pioneers of electronic music and space music, and as one of the most famous producers of analogue synthesizer arrangements. Tomita is known for his electronic versions and adaptations of familiar classical music pieces as well as futuristic science‑fiction themes and trance‑like rhythms. Tomita received four Grammy Award nominations for his studio album based on music by classical composer Claude Debussy, ‘Snowflakes Are Dancing’ (1974). He also famously adapted Gustav Holst’s ‘The Planets’ (1976).

Wendy Carlos – Wendy Carlos (1939‑) is an American musician and composer born as Walter Carlos and transitioning to female gender in 1972. She is known for her pioneering electronic music and film scores. Carlos studied physics and music at Brown University before studying music composition at Columbia University in New York City. She helped in the development of Robert Moog’s first commercially available synthesizer. Carlos’ breakout release was Grammy Award‑winning ‘Switched‑On Bach’ (1968), an album of music by Johann Sebastian Bach performed entirely on synthesizer. Carlos went on to release further synthesized classical music adaptations, as well as experimental and ambient electronic music. She composed film scores for three major studio films, ‘A Clockwork Orange’ (1971), ‘The Shining’ (1980), and ‘Tron’ (1982).

Tangerine Dream – Tangerine Dream is a German band founded in 1967 by Edgar Froese (1944‑2015). The best‑known incarnation of the group was the mid‑1970s trio of Froese, Christopher Franke and Peter Baumann. Tangerine Dream is considered a pioneer in electronic, ambient and space music, a.k.a. kosmische musik (‘cosmic music’). Tangerine Dream were key members of the so‑called Berlin School of electronic music. Despite having released over one hundred albums over the years, they are best known for their use of synthesizers and sequencers, including milestone albums, Phaedra (1974) and Rubycon (1975). Tangerine Dream has also composed over sixty film soundtracks as well as the score for the video game Grand Theft Auto V. However, it is their mid‑1970s material that profoundly influenced the development of electronic music styles such as ambient, new age and EDM.

Klaus Schulze – German electronic music composer and musician Klaus Schulze (1947‑2022) is considered one of the pioneers of electronic music since the late 1960s. Schulze was an early member of the band Tangerine Dream before leaving to pursue a solo career in 1970. Schulze had a prolific career, releasing over sixty studio albums. Schulze’s music is known for its long, repetitive sequences and its use of analogue synthesizers. His early work was influenced by the psychedelic rock of the late 1960s and early 1970s, while his later work was more experimental and ambient. Schulze’s music has been used in films such as ‘The Exorcist’ (1973).

Brian Eno – English musician, composer, producer and artist Brian Eno (1948‑) has become synonymous with contemporary ambient music, pioneering and contributing to the ambient, electronica and minimalist drone genres. He started out in experimental rock, glam rock, art pop and art rock as former keyboard player with Roxy Music. Along with his extensive solo career, Eno has also collaborated on many side projects with other artists including Harold Budd, David Bowie, David Byrne, Fred Again.., Jon Hopkins and Cluster. Many of his collaborations explored beyond the scope of purist ambient music. He has also been prominent behind the studio desk producing many artists including John Cale, David Bowie, Jon Hassell, Laraaji, Talking Heads, Ultravox, Devo, U2, Coldplay, Daniel Lanois, Laurie Anderson, Grace Jones, Slowdive, James, Kevin Shields and Damon Albarn. In addition, Eno has composed a number of film scores. If that wasn’t enough, Eno has also worked prolifically in other media, including audio visual installations, art installations, film and as an author. As mentioned above, Eno pioneered the introduction and growth of generative music. A little known fact is that Eno also composed the six‑second music snip that accompanied the start‑up of the Windows 95 computer operating system, known as ‘The Microsoft Sound’. Love him or loathe him, Eno’s legacy is probably as far reaching as it is incalculable.

Brian Eno (courtesy of Cosciansky)

Kratwerk – German electronic band Kraftwerk was founded in Düsseldorf in 1970 by Ralf Hütter and Florian Schneider. Kraftwerk is widely regarded as an innovator and pioneer of electronic music and was one of the first successful acts to popularise and commercialise the genre. The group began as part of West Germany’s experimental krautrock scene in the early 1970s before adopting electronic instruments for which they are best known, including synthesizers, drum machines, and vocoders. Their massive hit single and album, ‘Autobahn’ (1974) cemented their reputation. Kraftwerk inspired many artists including David Bowie, Joy Division, New Order, Daft Punk and LCD Soundsystem.

Jean‑Michel Jarre – Jean‑Michel Jarre (1948‑) is a French composer, musician and record producer. He is widely regarded as an innovator in electronic, ambient, new age and synthpop music. His breakout studio album, ‘Oxygene’ (1977) has become an electronica classic, selling over 18 million copies worldwide. Jarre’s musical style builds on the work of Tangerine Dream and adds a bit of populist French va‑va‑voom. He is famous for organising extravagant outdoor events involving laser light shows, visual projections and pyrotechnics to accompany his stage music. One of his concerts in Moscow, Russia in 1997 holds the world record for the largest audience for a single outdoor event, estimated at 3.5 million people.

The Orb – The Orb is an English electronic music group founded in 1988 by Alex Paterson and Jimmy Cauty. The duo began as ambient and dub DJs based in London before making the move into music production. The Orb is well known for their psychedelic ambient space sound. Over the years, The Orb has developed a cult following among clubbers ‘coming down’ from drug‑induced highs and, as such, their music became popular in club chillout rooms. Their influential debut studio album ‘The Orb’s Adventures Beyond The Ultraworld’ (1991) established the UK’s underground ambient house trend. The Orb’s second album, ‘U.F.Orb’ (1992) confirmed the band’s popularity and ensured their longevity. The Orb was influenced heavily by predecessors, Brian Eno and Kraftwerk. The Orb has maintained their signature science fiction aesthetic throughout their prolific career.

Amorphous Androgynous – British electronic music duo Amorphous Androgynous and its better known alter ego, The Future Sound of London (FSOL), was founded by Garry Cobain and Brian Dougans in 1988. The duo’s music is characterized by its psychedelic, ambient, and experimental sound. They acted as a bridge between the underground and well‑established electronic artists and has been influential in the development of electronic music genres such as ambient house, ambient dub and trip hop. They have released several albums, including ‘Tales of Ephidrina’ (1993) and ‘Lifeforms’ (1994).

Orbital – Orbital is an English electronic music duo founded by brothers Phil and Paul Hartnoll in 1989. The band has had on‑off periods of activity, breaking up and reforming on more than one occasion through the years. The band’s name is taken from the M25, London’s orbital motorway, which was key to the early (illegal) rave scene and (legal) acid house scene of the late 1980s and early 1990s. Orbital’s involvement with dance music has led to its strong reputation as a live band. They have mixed ambient sounds along with techno, trance, breakbeat and electronic rock styles. They have also been hugely influential in the development of modern electronic sub‑genres such as glitch, wonky and Intelligent Dance Music (IDM), as well as EDM.

The Chemical Brothers ‑ English electronic music duo The Chemical Brothers, originally known as The Dust Brothers, was formed in 1989 by Tom Rowlands and Ed Simons in Manchester, UK. Along with peers, The Prodigy and Fatboy Slim, they were pioneers in bringing the big beat, techno, house and EDM to popularity. Their breakout studio album, ‘Dig Your Own Hole’ (1997) rapidly became a rave classic. Like Orbital, they have become regular headliners on the festival and arena circuits. While their music is far from ambient, the origins are still evident and their enduring influence has also been widespread.


Contemporary music genres related to ambient

Here we are now, well into the 3rd decade of the 21st Century, so what position does ambient occupy now? Has it stagnated, frozen in aspic? Is it languishing in some obscure genre limbo? Or is it still evolving either on its own terms or in other ways? Let’s look at where ambient influences have led us and which may give a clue to where it might be going in the future. Here are eight of the most important modern‑day ambient spin‑offs.

Drone – Drone is a music genre that plays on long, sustained tones or repeated single notes. Unlike other genres that use drones as a component, drone music puts drones at the forefront, removing most melody and rhythm. As such, it bears many similarities to ambient. Drone music explores the changing timbre of individual sounds over time. For electronic drone, this is often achieved by slight fluctuations in the drone’s pitch, tone and amplitude.

The origins of drone, whether electronic or classical, are found in traditional music from across the world and date back to the 1940s with ‘Monotone Silence Symphony’ (1949) by Yves Klein. Drone developed through minimal music and through rock. Drone has seen a resurgence in the 2020s. Drone music has expanded to influence countless other genres, including ambient, EDM, drone metal and post‑rock.

Progressive Electronic – Progressive music in its widest sense generally attempts to expand existing stylistic boundaries associated with a specific genre of music. It also places emphasis on creating a sense of progression or development throughout a piece of music. Layered soundscapes, intricate changes in rhythm, a wide range of sound effects and textures are commonly used. Improvisation is also a key characteristic of progressive electronic music, as many musicians use improvisation to create new and inventive sounds rather than relying on pre‑recorded samples or synthesizer presets. Another important aspect is the use of lengthy, extended compositions, with tracks frequently having multiple sections and mood changes. Basically, progressive electronic covers a large proportion of electronic music from the late 1960s to the current day, including post rock. Is it a genre in itself? Make up your own mind.

Vaporwave – Vaporwave emerged in the early 2010s and is characterised by its use of synthesizers, slowed‑down samples and a great deal of studio manipulation including time shifting and cutting up of sound clips, then applying reverb, echo and other studio effects. The advent of computer‑based digital audio workstations (DAWs), such as Pro Tools, Logic Pro, Abelton and Cubase, greatly aided production and the Internet provided the means of distribution through platforms like YouTube, Bandcamp and SoundCloud.

Vaporwave got its name from ‘vaporware’, a term applied to computer hardware or software which is announced by a developer well in advance of release, but which then fails to emerge.

At first, vaporwave was a nostalgic reflection of the sounds of the 1980s and 1990s, drawing from popular music, contemporary R&B, smooth jazz and muzak, as well as from consumer culture, corporate logos, films, radio broadcasts and television commercials. Vaporwave has been described as a form of ‘post‑Internet’ electronic musical movement that reflects the fragmented and disorienting experience of living in the digital age.

The release of ‘Eccojams Vol. 1’ (2010) by Daniel Lopatin, under one of his aliases Chuck Person, is widely regarded as the foundation of vaporwave as a genre. The debut was followed ‘Floral Shoppe’ by Macintosh Plus and ‘Far Side Virtual’ by James Ferraro (both 2011), bringing greater visibility to vaporwave and its associated aesthetics. Despite this, vaporwave remains niche with tracks not readily available on physical media such as CDs or vinyl.

Like ‘pure’ ambient, vaporwave shuns structure and rhythm. The use of looping, glitching, pitch‑bending, panning, and echoing sound samples came to define the sound of vaporwave, giving the patchwork sound a hazy, surreal, dreamy and atmospheric quality with a focus on hyperreality. The vapor movement alludes to a disconnection or separation from reality presented through its original form.

In addition, vaporwave gave birth to a distinct aesthetic based on subcultures like cyberpunk, seapunk, manga and anime. Artist names, album titles and track listings often used uncommon symbols and Japanese script. In conjunction with the heavily manipulated and often intentionally degraded sound of vaporwave music, much of the genre’s artwork featured low‑grade image distortion or digital artefacts, bringing the limitations and flaws of past technology and positioning it within the broader post‑internet artistic landscape. The integration of the visual and the music elements can be interpreted as a criticism of consumer capitalism and hi‑tech culture.

Dreampunk – Dreampunk is an evolution of Vaporwave, also emerging in the mid‑2010s. Dreampunk artists wanting to experiment with more minimal and atmospheric compositions while, at the same time, distancing themselves from the nostalgic restrictions of the 1980s. The Internet record label, Dream Catalogue, helped popularize dreampunk within the vaporwave community as well as further afield.

The abstract, hypnotic, atmospheric soundscapes and repetitive structure of vaporwave is perhaps closer to ambient music, although the presence of rhythm differentiated it from its predecessor. This contributes to the dreamlike ethereal sound for which the genre is known. Dreampunk artists tend to seek anonymity, with many using several Internet aliases to create a sense of mystique around their music, hiding behind the aesthetic, often utilizing abstracted imagery of cityscapes, neon‑lit night scenes and incorporating futuristic dystopian and cyberpunk themes. Like vaporwave, dreampunk also uses Japanese scripts to further mystify their image. Classic dystopian and cyberpunk films such as ‘Blade Runner’ (1982) and ‘Ghost in the Shell’ (1995) also influenced and inspired the music genre. Both vaporwave and dreampunk continue to thrive in the underground.

Ambient, morphed through the lens of vaporwave and dreampunk, heavily influenced other genres such as hypnagogic pop, chillwave, VHS pop, witch house and slushwave.

Some popular vaporwave and dreampunk artists include Blue In Tokio, Fishmans, T e l e p a t h (テレパシー能力者), 2 8 1 4, Windows96, SkyTwoHigh and Lindsheaven Virtual Plaza.

Chillwave – Chillwave, a.k.a. glo‑fi, is an Internet genre that originated predominantly from the United States circa 2009. Chillwave, like vaporwave, looked back to the aesthetics and musical styles of the 1980s and 1990s, intentionally evoking a sense of nostalgic reflection. Chillwave melded analogue instruments with modern recording technologies and techniques to create a hazy dreamlike atmosphere. Chillwave appropriated elements of synthpop, funk, downtempo, EDM and alternative/indie genres like indie pop, neo‑psychedelia and synthwave.

Chillwave, vaporwave and dreampunk led to a great deal of fusion and crossover material, blurring the differences between them. Chillwave declined in popularity by the start of the 2020s but like many other genres, the end of chillwave may have been greatly exaggerated. Expect it to come back to the fore in due course. Chillwave’s influence would go on to play a part in genres such as cloud rap, alternative R&B, future bass, synthwave, ethereal wave and bedroom pop.

Prominent chillwave artists include Toro y Moi, Neon Indian, Washed Out, Memory Tapes, Flume, Com Truise, Tycho, Panda Bear, Lemon Jelly and Nite Jewel.

Intelligent Dance Music and its spin offs, glitch and wonky – Intelligent Dance Music (IDM) is a genre of electronic music that emerged in the early 1990s as a derivative (and rejection) of EDM. It is characterized by complex rhythms, intricate melodies, and a focus on sound design and experimentation. IDM artists often use unconventional time signatures, polyrhythms, glitches and de‑tuned sounds to create a unique listening experience. The genre is also known for its use of ambient textures and atmospheres, which can create a vague or otherworldly feel. IDM has been influential in the development of other electronic music genres such as ambient techno, and intelligent techno.

Some of the most well‑known IDM (and glitch/wonky) artists include Aphex Twin, Four Tet, Daniel Avery, Actress, Floating Points, Machinedrum, Moderat, Oneohtrix Point Never, Boards Of Canada, Mouse On Mars, Flying Lotus, LFO, Clark, Luke Vibert, Autechre and Squarepusher.

Dream pop – Deriving more from structured alternative and indie rock rather than ambient, dream pop uses reverb‑laden guitars, effects‑rich vocals, and dense studio production, to create a psychedelic, spacious, ethereal and surreal sound, albeit with a de‑emphasized beat accompanied by quiet, breathy harmonised vocals to elevate the music from its origins.

Dream pop is commonly fused with other genres such as shoegaze and noise pop, although dream pop does not solely depend on ‘walls of sound’, heavily distorted guitar layers or feedback. Dream pop relies heavily on modulation effects such as chorus, tremolo, vibrato, delay and reverb, to create mesmerising sonic textures. Dream pop bands often employ synthesizer layers to add atmosphere and lush soundscapes. Influences include slow core, post rock and trip hop.

In a similar way to shoegaze, vocals focus on melody and timbre, rather than lyricism. It is not uncommon for dream pop groups to have multiple vocalists to make good use of harmony and ‘instrumental’ vocals.

Prominent dream pop artists include Warpaint, 2:54, Lanterns of the Lake, Beach House, Cigarettes After Sex, The xx, Bat For Lashes, Low, Chromatics, Spiritualized, Julee Cruise, Broadcast, Zero 7, Phantogram, Yo La Tengo, Cocteau Twins, Dévics, Esben And The Witch, Pure Bathing Culture, School Of Seven Bells, His Name Is Alive, How To Dress Well, Lush, London Grammar and Mazzy Star.

Ambient dub – Ambient dub fuses ambient music with dub electronica. Ambient dub is a chillout fusion of ambient, dub reggae and future dub, featuring the atmosphere of the former and the Jamaican‑style basslines, percussion, and psychedelic production techniques of the latter. The name of the genre was coined by record label Beyond Records with a series of compilation albums of the same name, starting with, ‘Ambient Dub Volume 1: The Big Chill’ (1992). Many of the prominent artists within the genre also perform or mix in elements of dub techno, dubstep or ambient techno, which has led to some confusion over ambient dub’s actual sound. While the lines are indistinct between such electronic genres, ambient dub can genuinely be discerned by its denser atmospheres, a heavier use of reverb and/or delay, and an emphasis on bass akin to traditional dub, as well as reggae rhythms.

Notable ambient dub artists include: The Dub Syndicate, Bill Laswell, Dreadzone, Higher Intelligence Agency, The Orb, Ott, Loop Guru, Transglobal Underground, Jon Hopkins, Jah Wobble, Mad Professor, Burnt Friedman, Deadbeat, The Bug, Solar Quest, Ladytron and Banco de Gaia.

Dark ambient – before we leave, it’s worth a quick mention about dark ambient, a.k.a. ambient industrial. While most ambient music creates a peaceful, welcoming and safe place, dark ambient is intended to disturb. Dark ambient emerged as a post‑industrial counterpoint to the wider ambient landscape. It is characterised by an ominous, brooding, eerie, sinister and overbearingly gloomy atmosphere, often with discordant overtones, dissonant timbres and lengthy drones. Dark ambient often crops up in film scores intended to unsettle the audience and create a sense of disorientation or suspense.

Dark ambient artists include Deathprod, Agalloch, David Lynch, Throbbing Gristle, Angelo Badalamenti, Nine Inch Nails, Trent Reznor, William Basinski, Blut Aus Nord, Mortiis, Cabaret Voltaire, Dolorian, NON, Controlled Bleeding, Earth, Jóhann Jóhannsson, Sunn O))) and Steven Wilson.

STOP! Enough already! I hear you cry. We are beginning to go down a bit of a proverbial rabbit hole here, so the short list that follows suggests other sub‑genres heavily influenced by ambient and its derivatives. These sub‑genres include black ambient, ritual ambient, space ambient, space music, ambient Americana, ambient house, ambient techno, ambient trance, psybient, psydub, minimalism, modern classical, ambient industrial, tribal ambient, pop ambient, dubstep and turntable music. Phew!


Key ambient+ albums:

As with my previous article on dub reggae, it would be remiss not to mention some of the key albums that have impressed over the years. Here are some predictable and some very unpredictable selections to showcase the vast expanse of electronic ambient music as it is today. As this article has hopefully shown, ambient isn’t a clearly defined pigeon hole with unbreakable rules but rather a constantly changing complex and diverse approach to experimental soundscapes. Hence this ‘top 20’ collection is more like ‘ambient+’ (as I call it; remember, you read it here first!), intended to demonstrate the ecosystem’s multiplicity. Another ‘desert island disc’ compendium to daydream about. Again, it was a difficult decision‑making process with many excellent works that didn’t make this particular cut. These albums are all classified as contemporary, i.e. 1975 to the current day.

  1. Aphex Twin – Selected Ambient Works 85‑92 (1993) and Vol. II (1994). Two seminal albums in the ambient genre that feature a mix of electronic and acoustic sounds. It is known for its dreamy, otherworldly soundscapes and has been described as ‘a journey through a strange and beautiful world’.
  2. Brian Eno – Ambient 1: Music For Airports (1978). Basically, the one that started it all. Essential listening for devotees of the ambient music genre. A starting point for the many great ambient works that followed and an entrée into Eno’s many other ambient works.
  3. Tangerine Dream – Rubycon (1975). Along with its predecessor, ‘Phaedra’ (1974), the pair stand out from the band’s extensive canon. The band had stopped using traditional instruments in its compositions and focused on analogue synthesizers and sequencers. Truly remarkable.
  4. Max Richter – Sleep (2015). Almost 8½ hours of sweet lilting lullaby, a transcendent, cinematic, post‑minimalist ambient album of gentle music intended to be experienced as much as it is to be listened to, awake or asleep (or, interestingly, in between – a phenomenon known as ‘eyelid movies’; what the mind conjures up when one is in the transitional state of near sleep).
  5. GAS – Pop (2000). A comforting, immersive experience and a lesson in how to make electronica sound organic and engrossing. Transcendent and transformative. A lysergic trip for your ears.
  6. Fripp & Eno – Evening Star (1975). Combining the talents of Brian Eno and Crimson King guitarist Robert Fripp. Good to see guitar making a contribution to ambient music.
  7. Four Tet – Rounds (2003). Not really ambient, more IDM and glitch. However, a disarmingly elegant stripped back intimate album. Perhaps, Kieran Hebdan’s landmark album.
  8. Boards Of Canada – Music Has The Right To Children (1998). Focusing on concepts of childhood nostalgia, created by the use of obscure samples and masterly manipulated layers of sound. The album has become rather essential listening along with ‘The Campfire Headphase’ (2005) and ‘Geogaddi (2002).
  9. Bonobo – Black Sands (2010). Lush, sumptuous and beguiling. Not ambient in a true sense but a great example of downtempo electronica from Simon Green. Also worth a listen is, ‘The North Borders’ (2013). Both also have excellent remix albums.
  10. The KLF – Chill Out (1990). A classic ambient album that features a mix of samples and original music. It’s known for its dreamy, atmospheric soundscapes and has been described as ‘a road movie in music form’.
  11. Stars Of The Lid – Tired Sounds Of Stars Of The Lid (2001). An album that features long, slow‑moving pieces that are built around drones and other ambient textures.
  12. Chromatics – Night Drive (2001) – More ambient pop, dream pop and synthwave than pure ambient. Chromatics’ ethereal style was featured by David Lynch in his surreal TV series, ‘Twin Peaks’.
  13. Burial – Untrue (2007). Enigmatic London‑based dubstep artist burst onto the scene with an album that is stark, blurred, eerie, tender and hauntingly evocative. A breath taking and inimitable event.
  14. William Basinski – The Disintegration Loops I‑IV (2002‑2003). Four albums that feature loops of decaying tape recordings. The music is haunting and melancholic, and has been described as ‘a meditation on loss and decay’. Dedicated to the victims of 9/11. Tape music entropy as it happens, captured for posterity.
  15. Tim Hecker – Radio Amor (2003). An album that features a mix of electronic and acoustic sounds, including guitar and piano. It’s known for its dense, layered soundscapes and has been described as ‘a beautiful, immersive experience’.
  16. Banco de Gaia – Last Train To Lhasa (1995). Along with its predecessor, ‘Maya’ (1994), it shows the approach of Toby Marks to progressive ambient electronica. Again, not really ambient but hugely influenced by it.
  17. Thievery Corporation – The Richest Man In Babylon (2000). Along with its remix EP, ‘Babylon Rewound’ (2004) it takes other influences including reggae and dub and brought it into the downtempo chillout world.
  18. The Higher Intelligence Agency – Freefloater (1995). British artist Bobby Bird started off running experimental electronic music nights in Birmingham. Ambient techno meets ambient dub meets ambient. Also worth a listen is, ‘Colourform’ (2010).
  19. Lindsheaven Virtual Plaza & SkyTwoHigh – Imaginary Pathways (2021). The final Internet album by Brazilian musician and producer, Cesar Alexandre before his untimely death due to covid. More dreampunk, ambient techno and downtempo with a hint of vaporwave rather than ambient. Blissful.
  20. The Gentleman Losers – The Gentleman Losers (2006). Finnish brothers that take a mix of ambient, post rock, lo‑fi, dreamlike slowcore and even a hint of Americana and blend it into a strange place where one isn’t certain of what is light and what is dark.
20 Ambient+ Studio Albums

In addition, referring back to ubiquitous compilation albums of the 1990s, one of the most significant events was ‘Ambient Dub Volumes 1‑4’ by various artists (1992‑1995) – A series of ambient dub compilation albums from Beyond Records that announced ambient dub to the world. The last of the four isn’t quite up to the first three but best seen as a whole. Another name check is for the annual ‘Pop Ambient’ compilations (2001‑) curated by Wolfgang Voigt, the man behind Kompakt Records and his nom de guerre GAS (see #5 above).


The future of ambient and ambient‑related music

The legacy of ambient music in all its facets has had a major impact on pretty much everything we listen to, even if we aren’t always aware of it. The question is, where is it going?

Ambient has exhibited somewhat of a resurgence in the early 2020s. Part of this renewed interest may be because of what is called multi‑sensory branding, where media events attempt to evoke memories through stimulation of all the senses. Another reason may be the rediscovery of obscure Japanese ambient music, as well as an interest in previously experimental, niche or underground music now garnering mainstream recognition. Streaming services make accessing unconventional music much easier. In addition, the growth of interest in mindfulness and mental health & wellbeing as a ‘cure’ for stress and anxiety caused by an increasingly frenetic and unpredictable world has reinforced the search for aids to relaxation, introspection and contemplation.

One thing we’ve learnt from this escapade is that ambient and ambient+ (or whatever else you want to call it) has been pushing the boundaries ever since the start of the 20th Century. If nothing else, it will continue to explore the outer limits while influencing the mainstream.

Probably the most significant tool in the future of ambient electronica won’t even involve human beings or actual instruments! AI will make significant inroads into generative music. Ultimately, though, this is likely to be a bit of a creative dead end. The drawback of AI is that it can only learn from what has come before it, it lacks the imagination and inventiveness of the human mind. At some point, AI generated ambient will become stale and derivative and human creativity will, once again be needed to bring spontaneity and unpredictability back to front and centre of music. Go People!

Given the inherent limitations of traditional musical instruments, electronic music may, arguably, have the greatest potential for innovation and creativity. One can only imagine the possibilities yet to be explored.

While many critics view electronica as soulless, cold and inert, it is sure to develop the ability to elicit more organic, fluid emotional responses. Many artists are looking backwards to analogue instruments and production techniques to add warmth and to create beauty out of its inherent imperfections.

Genre developments can only surprise once before they become part of the historical mosaic. One possible future is that ambient reaches a point where it becomes sterile and disposable. One might envisage it derided in the way that elevator muzak has become. Arguably, a proportion of current‑day throwaway popular music is already demonstrating that bleak possibility with anything new ultimately being short‑lived around the periphery before being subsumed into universal, amorphous homogeneity.

How we will be listening to music is another factor. If music becomes more clichéd, contrived and derivative, it will become more and more dismissible, fading into the background environment. However, isn’t that exactly what Erik Satie intentionally started with back in 1917?

For some, like the author, ambient resonates with the psyche on both a subconscious and conscious level. Others, meanwhile, may find the genre melancholic or even highly irritating. Ultimately, like all music preferences, it is partly a deliberate decision and partly predetermined in some obscure way.

Personally, I have confidence that people who appreciate ‘real’ music and have a passion for creating and performing it that will perpetuate this idiosyncratic form of music into a healthy future. Once again, discuss…


Tailpiece

So… there you have it. Another lengthy (apologies) delve into a relatively narrow niche of the wondrous world of music. Back to the real world, sadly. I cannot write about things that I don’t have some sort of fascination with. Having said that, these ambient+ genres are not exclusive listening. However, they can be just the ticket when one feels like some chillaxing, escaping from reality or as an antidote to insomnia.

Why do I dig ambient and electronic ambient+ music? It just resonates with me, It creates a welcoming oasis of contemplative calm away from a crazily intense ‘real’ world and it is somewhere to go that isn’t, well, here. Nothing profound, transcendent or conceited. See you in The Matrix soon.

I have no idea what’s up next, so it will come as much of a surprise to me as it will to you. Thoughts on a postcard please.

Until next time…

CRAVE Guitars’ ‘Quote of the Month’: “If you could literally have the world, what, exactly, would you do with it?”

© 2023 CRAVE Guitars – Love Vintage Guitars.

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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.

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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.

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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.

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June 2017 – At Last… New in at CRAVE Guitars

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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…

CRAVE Guitars’ ‘Quote of the Month’: “Stop the fussin’ and fightin’, we all should be uniting, no more blood should be spilled, if our destiny is to be fulfilled”

© 2017 CRAVE Guitars – Love Vintage Guitars.

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May 2016 – New Stuff At CRAVE Guitars

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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.

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