June 2019 – The Story of Modern Music in 1,500+ Facts – Part IV

Introduction

Welcome once again all guitar and music aficionados. We are now half way through 2019 and not only are the evenings once again beginning to draw in but also the end of the ‘noughties’ is just a few months away. What a sobering thought. One wonders whether the 2020s will match the exhilarating heights (and lows) of the ‘Roaring Twenties’ of last Century. Sometimes, I doubt it and there are too many ‘harbingers of doom’ for optimism and hope to reign too strongly but perhaps it was ever thus – I hope I’m wrong. However, that sort of future speculation is for another place an time, as this month we are looking back to some 70‑80 years’ ago.

We are here in the midst of a series of articles chronicling the story of modern music by way of numerous guitar‑oriented facts and events. If you’ve been following the series so far, you’ll already know that, so I won’t bang on about it any longer.

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

The Story of Modern Music Part IV 1940-1949

There are so many facets to the 1940s that to cover the 1950s as well would make for an overlong article, so for the sake of our mutual sanity, let’s take it one step (and decade) at a time. So… this month, we concentrate solely on the 1940s, a watershed decade during which epochal change was increasing in both pace, scale and scope. Without further ado, assuming you know the routine and format by now, let us dispatch our ‘boots on the ground’ and get on with the show. Onward to the fascinating Forties…

Historical Context 1940-1949

The 1940s was known simply, and rather unimaginatively, as ‘The Forties’. During the first half of the decade the world was dominated by major conflict and brutal warfare. As if the world had not already seen enough, almost as soon as WWII ended, the Cold War began, again raising international political and military tensions between the capitalist west and communist eastern blocs, a struggle that would last for several decades. Ordinary people in many countries suffered on‑going economic austerity, adversity and disadvantage for many years as a consequence of WWII. Socially, concerns over the possibility of widespread post‑war friction sat at odds with hopes for long‑term peace. Technological progress was closely linked to competitive military advances and many major innovations spawned during the 1940s would ultimately benefit future generations.

Year

Global Events

1940

Conservative MP Winston Churchill became British Prime Minister and would remain in power to lead Britain to victory in WWII.

 

The mass evacuation of more than 330,000 allied soldiers from the beaches of Dunkirk in northern France to England took place during WWII.

 

In WWII, the German Luftwaffe carried out the ‘Blitz’, the massive air bombardment of London, UK.

 

The WWII aerial Battle of Britain took place in the skies over Britain and Europe.

1941

Russia entered WWII when German‑led Axis forces crossed the area covered by the German–Soviet Nonaggression Pact, thereby effectively invading the Soviet Union.

 

The classic motion picture film, ‘Citizen Cane’ directed by and starring Orson Welles was released.

 

After 14 years of labour, the Mount Rushmore National Memorial in Black Hills, South Dakota was opened to the public, depicting the massive sculptures of four American presidents; George Washington, Thomas Jefferson, Theodore Roosevelt and Abraham Lincoln.

 

America joined WWII after the Japanese attacked Pearl Harbor in Hawaii.

1942

The classic movie, ‘Casablanca’ was premiered, starring Humphrey Bogart and Ingrid Bergman.

1943

The world’s largest office building and headquarters of the United States Department of Defense, The Pentagon, was completed in Virginia.

1944

Operation Overlord (commonly known as ‘D-Day’) saw 150,000 allied troops successfully storm the beaches of Normandy in France against German defences.

1945

Germany surrendered to the allied forces, effectively ending WWII in Europe.

 

U.S. atomic weapons testing was undertaken at the Trinity nuclear test site in New Mexico as part of the research & development programme known as the Manhattan Project.

 

Two American atomic bombs were dropped on Hiroshima and Nagasaki in Japan leading to unconditional surrender and the formal end of WWII. Over 60 million people were killed during the conflict.

 

The United Nations (UN) organisation was formed, with a mission to maintain international peace and security.

 

Democrat Harry S. Truman became 33rd President of the U.S.A. following the death of Franklin D. Roosevelt.

 

The Nuremburg Trials began; a military tribunal established to prosecute the most prominent political and military leaders of Nazi Germany for war crimes during WWII.

1946

ENIAC (Electronic Numerical Integrator and Computer), the first programmable electronic computer was unveiled at the University of Pennsylvania.

1946/

1947

The Cold War between Russia with its neighbouring Eastern Bloc states and America with its western allies started and lasted until the collapse of Communism and the Soviet Union between 1889 and 1991.

 

The transistor semiconductor was developed by American technology company, Bell Labs in New Jersey.

1947

Italian motor company Ferrari started production of luxury sports cars in Modena.

 

American test pilot Captain Chuck Yeager became the first person to break the sound barrier in level flight in a rocket-propelled Bell X-1 aircraft that he nicknamed ‘Glamorous Glennis’, achieving a recorded top speed of Mach 1.06 (807.2mph) at an altitude of 45,000 ft.

1948

British author George Orwell wrote his prophetic dystopian novel, ‘1984’.

 

The independent state of Israel was established after the British pulled out of Palestine.

 

The British National Health Service (NHS) was founded and would become the model for universal health care in the country. The NHS was part of the wider liberal welfare state system reforms that were implemented the UK.

1949

The Communist People’s Republic of China was proclaimed by Chairman Mao Zedong.

 

The North Atlantic Treaty Organisation (NATO) was formed comprising 29 independent member states committed to mutual defence in response to an attack by any non‑member countries.

Well that is where the world was at, at the time. Now to refocus our attention onto the matter in hand, musical history.

Musical Genre Development 1940-1949

Music of the 1940s built on the sustained popularity of jazz, bebop and swing/big band music to provide upbeat positivity against the background of WWII, as played by Duke Ellington, Count Basie and Artie Shaw. Electric blues had spread to the west coast of America, particularly California, performed by artists such as T-Bone Walker and B.B. King. Chicago also became a vital locus for electric blues, as played by Buddy Guy, Howlin’ Wolf and Muddy Waters, as did Detroit with the likes of John Lee Hooker, and Indiana with Albert King and Jimmy Reed. Blues remained strong in the southern states, including artists like Lightnin’ Hopkins and Freddie King. Country and western music also became popular again with ‘singing cowboys’ such as Gene Autry and Roy Rogers. Wartime songs would feature across many musical genres and many entertainers helped to support the allied forces at home and abroad, including Vera Lynn, Gracie Fields and The Andrews Sisters. It was also during the 1940s that the influence of Latin music began to be felt across other genres, popularised by the likes of ‘The Brazilian Bombshell’, Carmen Miranda brought to western cinemagoers by film director Busby Berkeley.

Around 1945, bluegrass began to make its mark. Bluegrass fused many American, European and African roots styles culminating in a unique blend of country, folk, traditional and Appalachian mountain music incorporating blues and jazz influences. The music is usually played on acoustic string instruments including fiddle, five-string banjo, guitar, mandolin, and upright bass. Bluegrass was particularly popular for dancing, including dance styles such as buckdancing, flatfooting and clogging. The term ‘bluegrass’ arose not only from a type of grass in the region near Kentucky but also from the name used by pioneers of the genre, Bill Monroe and the Blue Grass Boys. Monroe is often called the ‘Father of Bluegrass’ and his band notably featured Earl Scruggs on banjo and Lester Flatt on guitar. In the early days, bluegrass was categorised along with country & western, hillbilly and folk music before being defined as a discrete genre that remains popular today.

Traditional popular music is generally defined as having broad appeal for a wide audience and has existed throughout time and across the globe. While the ‘pop song’ originated in the 1920s, modern popular music is largely accepted to be Anglo‑American in origin and arose during the 1940s as the big bands declined and before rock & roll music took off in the mid‑1950s. Popular music was notable for structured song writing, often comprising repeated verse and chorus with a middle bridge section. Popular music was often based on musical standards, sung by ‘crooners’. In addition, popular music was also often composed by professional songwriters, which was then performed by a vocalist accompanied by a backing band or orchestra. Success was characterised by record sales and chart position as a measure of achievement. Perhaps the most famous popular music artists of the early popular music era were Frank Sinatra and Bing Crosby who achieved enormous commercial success. The familiar term ‘pop music’ actually appears to have its origins in Britain in the mid‑1950s. Popular music is often referred to as, but not synonymous with, ‘pop’ music; however, pop music developed as a major separate genre during the 1960s and has largely remained so to the current day. Another characteristic is that popular music is constantly evolving into many different formats and styles to keep pace with social and cultural changes, including aging western populations. Traditional popular standards were being released well into the 1950s by the likes of Perry Como, Tony Bennett, Nat King Cole and Dean Martin.

During the late 1940s, there was already indicative evidence of the sounds that would coalesce and become what we now call rock ‘n’ roll during the 1950s, particularly by blues/R&B artists such as Sister Rosetta Tharpe. That fundamental step-change is now for the next article.

Musical Facts 1940-1949

Many legendary artists that we now take for granted as part of today’s musical landscape were not yet born or still mere fledglings yet to make their indelible mark on our collective consciousness. As with last month’s article, a large proportion of the musical facts relate to births of future stars.

Looking down the long list of nearly 200 musical events during the 1940s, it could quickly become repetitive, e.g. American/English blah‑de‑blah was born in blah, blah. However, just a scan of the names and places gives a sense about what these youthful individuals were experiencing as teenagers during the ‘big bang’ of rock ‘n’ roll and the tsunami of the ‘British Invasion’, just a few years later. Just think of the exposure they had to sweeping new music crazes and how the fads might have inspired and stimulated these curious youngsters on to great music careers that they could never have foreseen. Some of these fabulous flames would burn brightly and briefly, while others would endure as wizened veterans still working hard and influencing today’s generations. As time passes, the balance between births, lifetime achievements and, sadly, deaths will shift considerably.

Day

Month

Year

Music Fact

1940

American blues/rock guitarist, singer and songwriter, Seasick Steve was born c.1940 or 1941 (date not disclosed) in Oakland, California.

27

July

1940

Billboard magazine published its first Music Popularity Chart. Topping the chart at No. 1 was Tommy Dorsey with his hit song, ‘I’ll Never Smile Again’.

9

October

1940

Massively influential of English singer, songwriter, guitarist, former member of The Beatles and successful solo artist, John Lennon MBE (1940-1980, 40) was born in Liverpool.

26

November

1940

Hugely influential English folk guitarist, Davey Graham (1940-2008, 68) was born in Market Bosworth, Leicestershire.

21

December

1940

Prolific genius, American guitarist, singer, songwriter and composer, the one and only Mr Frank Vincent Zappa (1940-1993, 52) was born in Baltimore, Maryland.

9

January

1941

Legendary perennial American folk/protest singer, songwriter, guitarist, and political activist, Joan Baez was born in Staten Island, New York.

15

January

1941

Influential American rock singer, songwriter and musician, Don Van Vliet (better known as Captain Beefheart) was born in Glendale, California.

24

January

1941

Acclaimed American singer, songwriter, guitarist and actor Neil Diamond was born in Brooklyn, New York.

24

January

1941

English folk singer, songwriter and guitarist Michael Chapman was born in Leeds, Yorkshire.

14

February

1941

Prolific English studio session guitarist Big Jim Sullivan (1941-2012, 71) was born in Uxbridge, Middlesex. Sullivan appeared on about 750 chart singles including 54 chart toppers.

24

April

1941

Australian virtuoso classical and contemporary guitarist, as well as one-time member of instrumental fusion rock group SKY, John Williams was born in Melbourne.

24

May

1941

Nobel prize-winner for literature, American folk/rock singer, songwriter and guitarist, Bob Dylan was born in Duluth, Minnesota.

18

July

1941

Influential country/blues/rock guitarist and singer songwriter, Lonnie Mack (1941-2016, 74) was born in West Harrison, Indiana.

14

August

1941

American singer, songwriter and guitarist, founder of The Byrds and Crosby, Stills & Nash, Hall of Famer, David Crosby was born in Los Angeles, California.

20

August

1941

The ‘grandfather of space rock’, English guitarist, singer, songwriter and co-founder of psychedelic rock band Hawkwind, Dave Brock was born in Isleworth, Middlesex.

13

October

1941

Living legend, American singer, songwriter, guitarist, formerly half of Simon & Garfunkel and a successful solo artist, Paul Simon was born in Newark, New Jersey.

21

October

1941

Multi-Hall of Famer, American guitarist, songwriter, record producer and member of Stax Records’ house band Booker T. & the MG’s, Steve Cropper was born in Dora, Missouri.

28

October

1941

English guitarist, singer and songwriter, best known for his uniquely distinctive work with The Shadows, Hank Marvin was born in Newcastle upon Tyne.

2

November

1941

English guitarist, singer, songwriter and producer, best known as an original member of instrumental pop/rock band The Shadows, Bruce Welch OBE was born in Bognor Regis, West Sussex.

20

November

1941

Great American singer, songwriter, pianist and occasional guitarist Dr John was born in New Orleans, Louisiana.

4

January

1942

English jazz/rock fusion guitarist, composer, solo artist and member of Mahavishnu Orchestra, John McLaughlin was born in Doncaster, South Yorkshire.

28

February

1942

English guitarist and founding member of rock band The Rolling Stones, Brian Jones (1942-1969, 27) was born in Cheltenham, Gloucestershire.

2

March

1942

Legendary American virtuoso jazz guitarist Charlie Christian died from tuberculosis in New York at the age of just 25.

2

March

1942

American singer, songwriter and guitarist with The Velvet Underground and as a successful solo artist, Lou Reed (1942-2013, 71) was born in Brooklyn, New York.

24

April

1942

Oscar-winning American singer, songwriter, actress and film maker Barbra Streisand was born in New York City.

17

May

1942

Hugely influential American blues guitarist, singer and songwriter, Taj Mahal (a.k.a. Henry Saint Clair Fredericks, Jr) was born in Harlem, New York.

1

June

1942

Highly influential virtuoso Spanish flamenco guitarist, Paco Peña was born in Cordoba.

18

June

1942

English bass guitarist, singer, songwriter and former member of pop/rock bands The Beatles and Wings, as well as a successful solo artist, Sir Paul McCartney MBE was born in Liverpool.

13

July

1942

American singer, songwriter, guitarist and co-founder of rock band The Byrds, Roger McGuinn was born in Chicago, Illinois.

1

August

1942

Influential American singer/songwriter and guitarist with Grateful Dead, Jerry Garcia (1942-1995, 53) was born in San Francisco, California.

27

November

1942

A true music legend, American rock guitarist, singer and songwriter, the one and only James Marshall Hendrix (1942-1970, 27) was born in Seattle, Washington.

31

December

1942

English guitarist, composer, member of rock band The Police and successful solo artist, Andy Summers was born in Poulton-le-Fylde, Lancashire.

10

January

1943

American folk/rock singer, songwriter and guitarist, Jim Croce (1943-1973, 30) was born in Philadelphia, Pennsylvania.

19

January

1943

Legendary American psychedelic blues/rock singer Janis Joplin was born in Port Arthur, Texas.

25

February

1943

English singer, songwriter, guitarist and member of The Beatles, George Harrison (1943-2001, 58) was born in Liverpool.

22

March

1943

Influential American jazz/soul/R&B guitarist, singer and songwriter, George Benson was born in Pittsburgh, Pennsylvania.

2

April

1943

American jazz guitarist, the ‘Godfather of Fusion’, Larry Coryell (1943-2017, 73) was born in Galveston, Texas.

14

May

1943

Scottish bass guitarist, singer, songwriter and former member of blues rock super group Cream, Jack Bruce (1943-2014, 71) was born in Bishopbriggs, Lanarkshire.

5

July

1943

Canadian guitarist, songwriter, composer, producer and former member of Americana rock group The Band, Robbie Robertson was born in Toronto, Ontario.

26

July

1943

English singer, songwriter and occasional guitarist, a founding member of rock band the Rolling Stones, Mick Jagger was born in Dartford, Kent.

28

July

1943

Renowned American blues guitarist and Hall of Famer, Mike Bloomfield (1943-1981, 37) was born in Chicago, Illinois.

24

August

1943

American guitarist and founder of west coast rock bands Quicksilver Messenger Service and Copperhead, John Cipollina (1943-1989, 45) was born in Berkeley, California.

6

September

1943

English bass guitarist, singer, songwriter and co-founder of progressive rock band Pink Floyd, Roger Waters was born in Great Bookham, Surrey.

5

October

1943

American guitarist, singer, songwriter and bandleader, Steve Miller was born in Milwaukee, Wisconsin.

3

November

1943

Sublimely talented Scottish guitarist and founding member of folk revival band Pentangle, Bert Jansch (1943-2011, 67) was born in Glasgow.

7

November

1943

Highly influential Canadian folk, jazz, rock and pop guitarist, singer and songwriter Joni Mitchell was born in Fort Macleod, Alberta.

28

November

1943

Highly acclaimed American singer, songwriter and composer of numerous film scores, Randy Newman was born in Los Angeles, California.

8

December

1943

Iconic American singer, poet, counter-culture rebel and front man of rock band, The Doors, Jim Morrison was born in Melbourne, Florida.

12

December

1943

American guitarist, singer, songwriter, composer and founding member of rock band The Allman Brothers Band, Dickey Betts was born in West Palm Beach, Florida.

18

December

1943

Legendary English guitarist, singer, songwriter and co-founder of rock band The Rolling Stones, Keith Richards was born in Dartford, Kent.

21

December

1943

Hugely talented English guitarist and songwriter known for his country/rock hybrid picking style, Albert Lee was born in Lingen, Herefordshire.

31

December

1943

American singer, songwriter, guitarist and producer, John Denver (1943-1997, 53) was born in Roswell, New Mexico.

9

January

1944

English musical innovator and legendary guitarist, best known for his work with hard rock band Led Zeppelin, the highly influential Jimmy Page OBE was born in Heston, Middlesex.

23

February

1944

Great American blues guitarist and Blues Hall of Famer, Johnny Winter (1944-2014, 70) was born in Beaumont, Texas.

1

March

1944

English singer, actor, founder and long-term front man of rock group The Who, Roger Daltrey was born in London.

23

March

1944

Trailblazing English guitarist and founder of blues/rock band Groundhogs, Tony McPhee was born in Humberston, Lincolnshire.

15

April

1944

Welsh rock guitarist, singer, songwriter and producer Dave Edmunds was born in Cardiff.

28

May

1944

American Motown legend and award-winning ‘Empress of Soul’, the formidable Gladys Knight was born in Atlanta, Georgia.

7

June

1944

American bluegrass and country rock guitarist who was a member of rock band The Byrds and an accomplished session musician, Clarence White was born in Lewiston, Maine.

8

June

1944

American singer, songwriter and guitarist, former member of the Steve Miller Band and a successful solo artist, Boz Scaggs was born in Canton, Ohio.

17

June

1944

Respected, versatile and prolific English session guitarist, singer and producer, Chris Spedding was born in Staveley, Derbyshire.

21

June

1944

English singer, songwriter, guitarist and former front man of pop/rock band The Kinks, as well as solo artist, Sir Ray Davies CBE was born in London.

24

June

1944

Outstanding and prolific English instrumental guitar genius, as well as former member of blues/rock band The Yardbirds, Jeff Beck was born in Wallington, Surrey.

8

August

1944

Renowned English guitarist and songwriter, known for his work with Bert Jansch and folk revival group Pentangle, John Renbourn (1944-2015, 70) was born in London.

16

August

1944

English singer, songwriter and guitarist with psychedelic rock band Soft Machine, as well as a successful solo artist, Kevin Ayers (1944-2013, 68) was born in Herne Bay, Kent.

9

October

1944

Legendary English bass guitarist with rock band The Who, nicknamed ‘The Ox’, John Entwistle (1944-2002, 57) was born in London.

19

October

1944

Jamaican reggae guitarist, singer and songwriter, a member of Bob Marley & The Wailers and a successful solo artist, Peter Tosh was born in Grange Hill, Jamaica.

15

December

1944

Famous American big band leader and musician Glenn Miller was killed when the plane in which he was flying disappeared in bad weather over the English Channel during WWII at the age of 40.

18

December

1944

British guitarist, best known as member of progressive rock band Man, Deke Leonard (1944-2017, 72) was born in Llanelli, South Wales.

19

December

1944

Highly regarded English guitarist, singer, and member of blues/rock group Ten Years After, Alvin Lee (1944-2013, 68) was born in Nottingham.

3

January

1945

American guitarist, singer and songwriter, famous for his work with Buffalo Springfield and Crosby, Stills, Nash & Young (CSNY), Stephen Stills was born in Dallas, Texas.

6

February

1945

A true legend as well as a great ambassador for Jamaica and reggae music with The Wailers, Rastafarian singer, songwriter and guitarist Bob Marley (1945-1981, 36) was born in Nine Mile, Jamaica.

9

March

1945

English blues/rock guitarist who came to fame as a member of rock band Procol Harum, before embarking on a long and successful solo career, Robin Trower was born in London.

11

March

1945

American guitarist, member of Canned Heat amongst others, and one of the first to popularise the two-handed tapping playing technique, Harvey Mandel was born in Detroit, Michigan.

30

March

1945

Highly renowned English blues/rock guitarist, singer, songwriter and Hall of Famer, Eric Clapton CBE was born in Ripley, Surrey.

13

April

1945

Great American guitarist, singer and songwriter with Little Feat, Lowell George (1945-1979, 34) was born in Hollywood, California.

14

April

1945

Hugely influential English guitarist and co-founder of hard rock bands Deep Purple and Rainbow, as well as folk rock duo Blackmore’s Night, Ritchie Blackmore was born in Weston-super-Mare, Somerset.

6

May

1945

American rock singer, songwriter, guitarist, pianist and leader of the Silver Bullet Band, Bob Seger was born in Detroit, Michigan.

19

May

1945

English rock guitarist, singer, songwriter and member of The Who, Pete Townshend was born in London.

28

May

1945

American rock singer, songwriter, guitarist and former member of Creedence Clearwater Revival, John Fogerty was born in Berkeley, California.

1

July

1945

American singer, songwriter, actress and founding member of rock band Blondie, Debbie Harry was born in Miami, Florida.

31

August

1945

Northern Irish rhythm & blues singer, songwriter and producer, Sir Van Morrison OBE was born in Belfast.

4

September

1945

Amazing American ‘Redneck Jazz’ guitarist, Danny Gatton (1945-1994, 49) was born in Washington D.C.

10

September

1945

Prolific Puerto Rican guitarist, singer and songwriter, José Feliciano was born in Lares.

11

September

1945

Extraordinary American multi-genre acoustic guitarist and a true master of his instrument, Leo Kottke was born in Athens, Georgia.

26

September

1945

English singer, songwriter and former front man of glam art rock band Roxy Music, Bryan Ferry CBE was born in Washington, County Durham.

3

October

1945

American singer Elvis Presley made his first public performance at the age of 10 when he sang ‘Old Shep’ at the Mississippi/Alabama Dairy Show talent competition. Reports say he came 2nd and won $5, while Elvis later recollected coming 5th and not winning a prize.

31

October

1945

English guitarist, singer, producer and one time member of rock band Argent, Russ Ballard was born in Waltham Cross, Hertfordshire.

26

November

1945

English bass guitarist with rock bands John Mayall’s Bluesbreakers and then Fleetwood Mac, John McVie was born in London.

30

November

1945

Welsh bass guitarist, songwriter and producer, best known as a member of heavy rock bands Deep Purple and Rainbow, Roger Glover was born in Brecon, Powys.

24

December

1945

English bass guitarist, singer, songwriter and founder of rock band Motörhead, Ian ‘Lemmy’ Kilmister (1945-2015, 70) was born in Stoke-on-Trent, Staffordshire.

25

December

1945

English bass guitarist and member of the Jimi Hendrix Experience, Noel Redding (1945-2003, 57) was born in Folkestone, Kent.

3

January

1946

English bass guitarist, songwriter, former member of hard rock band Led Zeppelin, solo artist as well as a member of Them Crooked Vultures, John Paul Jones was born in Sidcup, Kent.

6

January

1946

English singer, songwriter, guitarist and founding member of psychedelic/progressive rock band Pink Floyd, Syd Barrett (1946-2006, 60) was born in Cambridge.

8

January

1946

American guitarist, singer and songwriter, best known as a key member of rock band The Doors, Robby Krieger was born in Los Angeles, California.

19

January

1946

Larger-than-life American country music legend, successful business woman and actress, Dolly Parton was born in Pitman Center, Tennessee.

20

February

1946

American guitarist and leader of The J. Geils Band, John ‘J’ Geils (1946-2017, 71) was born in New York City.

6

March

1946

English guitarist, singer, songwriter, and former member of Pink Floyd, as well as a successful solo artist, the incomparable David Gilmour was born in Cambridge.

12

March

1946

Oscar-winning American singer and actress, Liza Minelli was born in Los Angeles, California.

1

April

1946

English bass player, singer, songwriter and founder of rock bands the Small Faces and the Faces, Ronnie Lane (1946-1997, 51) was born in Plaistow, Essex.

4

April

1946

English guitarist and member of pop/glam rock band Slade, Dave Hill was born in Holbeton, Devon.

16

May

1946

One of the great experimental English guitarists of our time and member of progressive rock band King Crimson, Robert Fripp was born in Wimborne Minster, Dorset.

26

May

1946

Great English rock guitarist and close companion of David Bowie, Mick Ronson (1946-1993, 46) was born in Kingston upon Hull.

7

June

1946

Welsh guitarist and co-founder of progressive/psychedelic rock band Man, Micky Jones (1946-2010, 63) born in Merthyr Tydfil.

15

June

1946

English guitarist and singer with glam pop/rock group Slade, Noddy Holder MBE was born in Walsall, Staffordshire.

6

August

1946

Extraordinarily talented English virtuoso fusion/rock guitarist Allan Holdsworth (1946-2017, 70) was born in Bradford.

23

August

1946

Influential and eccentric English drummer and member of rock band The Who, Keith Moon, was born in Wembley, Middlesex.

5

September

1946

Flamboyant English singer with rock/pop band Queen, Freddie Mercury (real name Farrokh Bulsara) was born in Stone Town in the Sultanate of Zanzibar (now Tanzania).

14

October

1946

English singer, songwriter and guitarist with rock band The Moody Blues, Justin Hayward was born in Swindon, Wiltshire.

29

October

1946

Highly acclaimed and influential English guitarist and co-founder of blues/rock band Fleetwood Mac, Peter Green was born in London.

5

November

1946

American country rock guitarist with The Byrds, Gram Parsons (1946-1973, 26) was born in Winter Haven, Florida.

17

November

1946

Great English guitarist, best known as a long-term member of rock band Jethro Tull, Martin Barre was born in Birmingham.

20

November

1946

Legendary American guitarist and co-founder of the Allman Brothers Band, nicknamed ‘Skydog’, Duane Allman (1946-1971, 24) was born in Nashville, Tennessee.

22

November

1946

Jamaican bass guitarist and producer who played with reggae bands Bob Marley & The Wailers and The Upsetters, Aston ‘Family Man’ Barrett was born in Kingston.

24

December

1946

Dutch progressive rock and jazz fusion guitarist best known for his work with rock band Focus, as well as a long solo career, Jan Akkerman was born in Amsterdam, Netherlands.

30

December

1946

Influential American singer, poet and activist, part of the vibrant New York punk movement, Patti Smith was born in Chicago, Illinois.

1947

American session guitarist and collaborator, best known for his work with Steely Dan, Elliott Randall was born (exact date not known).

8

January

1947

A true legend, English singer, songwriter, occasional guitarist and actor, the one and only David Bowie (1947-2016, 69) was born in London.

22

January

1947

English punk pioneer, the manager of New York Dolls and the Sex Pistols, as well as a solo music artist, Malcolm McLaren was born in London.

30

January

1947

English ‘mod’ guitarist with rock bands Small Faces and Humble Pie, Steve Marriott (1947-1991, 44) was born in London.

3

February

1947

English guitarist, singer and songwriter who, along with his older brother Ray, provided the driving force behind pop/rock band The Kinks, Dave Davies was born in London.

14

February

1947

American multi-genre singer, songwriter and guitarist, Tim Buckley (1947-1975, 28) was born in Washington D.C.

15

March

1947

American musician, composer, songwriter and phenomenal slide guitarist, Ry Cooder was born in Los Angeles, California.

25

March

1947

Flamboyant multi-award-winning English pop singer, songwriter and pianist, Sir Elton John CBE was born in Pinner, Middlesex.

8

April

1947

Great English guitarist, songwriter and producer best known as a long-time member of progressive rock group Yes, Steve Howe was born in London.

1

June

1947

English guitarist with rock band The Rolling Stones and previously the Faces and the Jeff Beck Group, Ronnie Wood was born in Hillingdon, Middlesex.

5

June

1947

American guitarist, singer, co-founder of funk band Sly And The Family Stone, and now a Christian pastor, Freddie Stone was born in Vallejo, California.

9

June

1947

English guitarist and long-time member of rock band Uriah Heep, Mick Box was born in Walthamstow, East London.

12

July

1947

Influential English guitarist, singer, songwriter and former member of pub rock band Dr. Feelgood, Wilko Johnson was born in Canvey Island, Essex.

19

July

1947

Award-winning English guitarist, astrophysicist, animal rights activist and co-founder of rock/pop band Queen, Dr. Brian May CBE was born in Hampton, Middlesex.

20

July

1947

Highly acclaimed Mexican/American guitarist, songwriter and main man for Latin/jazz/fusion/rock group Santana, Carlos Santana was born in Autlán de Navarro, Jalisco.

3

September

1947

Northern Irish blues/rock guitarist and founder of rock group Thin Lizzy, Eric Bell was born in Dublin.

30

September

1947

Massively influential English glam rock pioneer Marc Bolan of Tyrannosaurus Rex and then T.Rex (1947-1977, 29) was born in London.

1

October

1947

English bass guitarist, singer and founding member of rock band Wishbone Ash, Martin Turner was born in Torquay, Devon.

8

November

1947

English guitarist, singer, songwriter and former member of pop/rock bands The Move, Electric Light Orchestra (ELO) and Wizzard, Roy Wood was born in Birmingham.

10

November

1947

English bass guitarist, singer and songwriter, famous for his work with progressive rock bands King Crimson and ELP, as well as a successful solo artist, Greg Lake (1947-2016, 69) was born in Poole, Dorset.

10

November

1947

American guitarist best known for working with the original Alice Cooper band, Glen Buxton (1947-1997, 49) was born in Akron, Ohio.

12

November

1947

American guitarist with rock band Blue Öyster Cult since its formation in 1967, Buck Dharma (a.k.a. David Roeser) was born in Long Island, New York.

20

November

1947

Great American guitarist, singer, songwriter, solo artist and member of country rock band Eagles, Joe Walsh was born in Wichita, Kansas.

8

December

1947

American guitarist, singer, songwriter and co-founder of the Allman Brothers Band, Gregg Allman (1947-2017, 69) was born in Nashville, Tennessee.

21

December

1947

Highly influential Spanish virtuoso Flamenco guitarist, Paco de Lucíá (1947-2014, 66) was born in Cadiz.

12

January

1948

English jazz fusion guitarist supreme and long-term member of progressive rock band Soft Machine, John Etheridge was born in London.

15

January

1948

American singer and frontman of Southern rock band Lynyrd Skynyrd, the great Ronnie Van Zant was born in Jacksonville, Florida.

2

February

1948

American guitarist, songwriter, producer and ex-member of funk band Earth Wind & Fire, Al McKay was born in New Orleans, Louisiana.

4

February

1948

Theatrical American rock singer, songwriter, actor and presenter, Alice Cooper was born in Detroit, Michigan.

19

February

1948

English rock guitarist with Black Sabbath and the ‘Godfather of Heavy Metal’, Tony Iommi was born in Birmingham.

2

March

1948

Legendary Irish blues/rock guitarist, singer and songwriter Rory Gallagher (1948-1995, 47) was born in Ballyshannon, County Donegal.

2

March

1948

American jazz fusion guitarist, composer and prolific multi‑genre session musician, the great Larry Carlton was born in Torrance, California.

4

March

1948

Renowned English bass guitarist and co-founder of progressive rock band Yes, Chris Squire (1948-2015, 67) was born in London.

6

April

1948

Talented English multi-genre guitarist and composer, Gordon Giltrap was born in Brenchley, Kent.

30

April

1948

American guitarist, singer, songwriter, producer, composer and co-founder of rock band MC5, Wayne Kramer was born in Detroit, Michigan.

15

May

1948

Pioneering experimental English composer, producer, musician and founding member of glam rock band Roxy Music, Brian Eno was born in Melton, Suffolk.

18

June

1948

Columbia Records began mass producing the 33RPM long‑playing (LP) record. The original concept of the vinyl ‘album’ has endured and has undergone a retro revival in the digital age.

19

June

1948

Highly respected English singer, songwriter and guitarist, Nick Drake (1948-1974, 26) was born in Rangoon, Burma (now Myanmar).

20

June

1948

Scottish bass guitarist and founding member of 1970s pop group, The Bay City Rollers, Alan Longmuir (1948-2018, 70) was born in Edinburgh.

22

June

1948

American singer, songwriter, guitarist and producer, solo artist and founding member of progressive rock band Utopia, Todd Rundgren was born in Philadelphia, Pennsylvania.

17

July

1948

American guitarist and songwriter with Iggy Pop and the Stooges, Ron Asheton (1948-2009, 60) was born in Washington D.C.

2

August

1948

Welsh singer, songwriter, guitarist and founding member of rock band Amen Corner, Andy Fairweather Low was born in Ystrad Mynach.

24

August

1948

French electronic composer, instrumentalist and producer, Jean-Michel Jarre was born in Lyon.

31

August

1948

German rhythm guitarist, songwriter and founder of hard rock band Scorpions, Rudolf Schenker was born in Hildesheim.

11

September

1948

Hugely influential and innovative British singer, songwriter and guitarist, John Martyn (1948-2009, 60) was born in London.

8

October

1948

Pioneering American punk rock guitarist and songwriter with the Ramones, Johnny Ramone (1948-2004, 56) was born in New York.

12

October

1948

English guitarist and long-term member of rock band Status Quo, Rick Parfitt (1948-2016, 68) was born in Woking, Surrey. ‏

6

November

1948

American guitarist, singer, songwriter, actor and founding member of country rock band Eagles, Glenn Frey (1948-2016, 67) was born in Detroit, Michigan.

3

December

1948

English singer, songwriter, TV personality and member of heavy metal rock band Black Sabbath, nicknamed ‘The Prince of Darkness’, Ozzy Osbourne was born in Birmingham.

13

December

1948

American guitarist, best known for his work with Steely Dan, The Doobie Brothers and Spirit, Jeff ‘Skunk’ Baxter was born in Washington D.C.

13

December

1948

Controversial American singer, songwriter and guitarist, known for his ultra-conservative political views, the ‘Motor City Madman’, Ted Nugent was born in Redford, Michigan.

18

December

1948

English guitarist, singer, songwriter and producer best known for his work with experimental rock band Be-Bop Deluxe, Bill Nelson was born in Wakefield, Yorkshire.

22

December

1948

American guitarist, singer and songwriter with rock band Cheap Trick, Rick Nielsen was born in Elmhurst, Illinois.

17

January

1949

English guitarist and former member of blues/rock bands John Mayall’s Bluesbreakers and The Rolling Stones, Mick Taylor was born in Welwyn Garden City.

19

January

1949

English pop/rock singer and songwriter and member of rock bands Vinegar Joe and the Power Station, Robert Palmer was born in Batley, Yorkshire.

7

February

1949

English bass guitarist and founding member of pop/rock band Status Quo, Alan Lancaster was born in London.

31

March

1949

Record company, RCA Victor released their first 45RPM 7″ single, ‘Texarkana Baby’ by Eddy Arnold… on green vinyl.

3

April

1949

English guitarist, singer, songwriter, solo artist and former member of folk rock band Fairport Convention, Richard Thompson was born in London.

4

May

1949

Scottish guitarist, best known for his work with The Sensational Alex Harvey Band in the 1970s, Zal Cleminson was born in Glasgow.

17

May

1949

English guitarist, singer, composer and founder of progressive rock band Camel, Andrew Latimer was born in Guildford, Surrey.

19

May

1949

American bass guitarist and long-term member of southern blues/rock band ZZ Top, Dusty Hill was born in Dallas, Texas.

29

May

1949

English singer, songwriter and guitarist with rock/pop band Status Quo, Francis Rossi OBE was born in London.

17

July

1949

Great English bass guitarist with heavy metal rock band Black Sabbath, Terence ‘Geezer’ Butler was born in Aston, Birmingham.

12

August

1949

British guitarist, singer, songwriter, producer, composer and co-founder of rock band Dire Straits, Mark Knopfler OBE was born in Glasgow.

20

August

1949

Irish bass guitarist, singer, songwriter and founding member of rock group Thin Lizzy, Phil Lynott, (1949-1986, 36) was born in West Bromwich, Staffordshire, England.

25

August

1949

Israeli/American bass guitarist, singer, actor, businessman and co-founder of rock band KISS, Gene Simmons, nicknamed ‘The Demon’ was born in Tirat Carmel, Haifa, Israel.

28

August

1949

English guitarist, singer, songwriter and ex-member of punk rock pioneers, The Stranglers from 1974-1990, Hugh Cornwell was born in London.

5

September

1949

English guitarist with rock bands Colosseum, Humble Pie and a successful solo artist, Clem Clempson was born in Tamworth, Staffordshire.

14

September

1949

American guitarist with southern rock band Lynyrd Skynyrd, Steve Gaines (1949-1977, 28) was born in Seneca, Missouri.

14

September

1949

American guitarist and bass guitarist with southern rock band Lynyrd Skynyrd, Ed King (1949-2018, 68) was born in Glendale, California.

23

September

1949

American living legend that is ‘The Boss’, Mr. Bruce Springsteen was born in Long Branch, New Jersey.

3

October

1949

American guitarist, singer and songwriter primarily with rock band Fleetwood Mac and now solo, Lindsey Buckingham was born in Palo Alto, California.

8

November

1949

American blues, rock, Americana roots and with a hint of country guitarist, singer, songwriter and activist, Bonnie Raitt was born in Burbank, California.

6

December

1949

American blues/folk guitarist and singer, Lead Belly (Huddie William Ledbetter) died of motor neurone disease in New York at the age of 61.

7

December

1949

Prolific and hugely influential American singer, songwriter, composer and actor, Tom Waits was born in Pomona, California.

13

December

1949

American singer, songwriter and guitarist with alternative post-punk rock band Television, Tom Verlaine was born in Denville, New Jersey.

16

December

1949

American guitarist, singer and songwriter with blues/rock band ZZ Top and solo artist, Billy F. Gibbons was born in Houston, Texas.

23

December

1949

American guitarist and singer with a long solo career and known for his work with British progressive rock band King Crimson and a host of others including Frank Zappa, David Bowie and Talking Heads, Adrian Belew was born in Covington, Kentucky.

Tailpiece

Well, that’s it for another month – that is a veritable roll call of rock ‘n’ roll, all packed into just 10 years. The thing that struck me most about this article is the overwhelming focus on America and Britain as the drivers for musical change in the 20th Century. Today, we readily accept a much more diverse, global infusion of styles and influences. One can pontificate that it had to start somewhere and these two countries largely made it happen bilaterally; maybe not exclusively but certainly predominantly. Unsurprisingly, perhaps given the period, it is also male dominated.

Just how quickly we proceed from here depends entirely on the volume of the content. At this rate, we could be at this for a while yet. I didn’t realise when I started, what a colossal exercise it was going to be. However, I have found it fascinating to focus on musical evolution through this lens and I hope that you have found something of interest along the way. Maybe the Forties were not a great deal of interest to you, they were certainly before my time. We will get around to other periods that may motivate your attention span in a different way, I promise… eventually.

We are now well past the chronological midway point but we haven’t yet reached half way in terms of content. The massive upsurge of musical events that took place over the latter part of the 20th Century has still to unfold fully, raising the anticipation of plenty more to come… and, boy, is there plenty more! The ambitious effort to bring an interrelated bunch of musical factoids to life within the context of the broader human condition continues unabated. I hope you will join me on the rest of the journey, hopefully reconvening here‑ish next month. Until next time…

CRAVE Guitars ‘Quote of the Month’: “Material things feed the vanity of the ego, while music nourishes the spirit and sustains the soul.”

© 2019 CRAVE Guitars – Love Vintage Guitars.

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June 2018 – A Potted History of the Guitar Part IV

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

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

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

Needing to be heard

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

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

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

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

The electro magnetic guitar pickup

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

The electric guitar amplifier

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

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

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

The Amplifier

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

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

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

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

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

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

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

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

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

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

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

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

The Loudspeaker

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

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

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

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

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

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

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

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

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

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

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

 

Guitar Amps

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Get connected

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

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

End of Part IV

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

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

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

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

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

© 2018 CRAVE Guitars – Love Vintage Guitars.

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