October 2019 – The Story of Modern Music in 1,500+ Facts – Part VIII

Introduction

Hello and welcome to the 8th article in this particular magnum opus of modern music history. I hope by now, you know the way this works, so I won’t say much more, other than welcome to the 1980s. If not by the start of the ‘80s, at least by the end of the decade, most readers will likely have some experience of living through the many events documented here, although I cannot assume that to be the case. I hope you have some fond memories of the time – personally, I can’t believe how long ago it was, as it seems like almost yesterday to me.

As always, if you would like to (re)visit any or all of the first seven parts (and well over 375 years) of the story to‑date, you can do so here (each link opens a new browser tab):

Once again, although notably shorter than the last four articles, this month is dedicated to a single decade, if only to ensure that it is given sufficient focus.

The Story of Modern Music Part VIII 1980-1989

While arguably not quite hitting the heady heights of the previous three decades, the 1980s (or simply, ‘the eighties’) still had much to relate both about the human condition and musical variety. The 1980s were notable for many catchy, sing‑along‑able chart choons and the emergence of commercial pop videos, along with accompanying fashion trends. One personal observation is that, perhaps, there were the first real signs of divergence between what was happening culturally and the music being produced. Interdependence between society and its music were still there but, maybe, not quite as strongly intertwined as previously.

Historical Context 1980-1989

The 1980s were sometimes called the ‘greed decade’ or the ‘old school days’. There was a worldwide move away from planned economies and towards laissez‑faire capitalism, allied to a western post-industrial move to supply side economic policies. This shift had a destabilizing effect on international trade that led to many developing countries being faced by crippling debt crises. Following the 1970s’ oil crisis, crude oil was in over supply, resulting in a glut during the 1980s. The start of the 1980s saw widespread economic recession and damaging labour disputes that hit the less well‑off disproportionately hard. Downturn was followed by a period of rapid capitalist growth towards the end of the decade. Increased economic prosperity facilitated the ‘yuppie’ boom, epitomised by hot hatchback/sports cars, wine bars and early ‘brick’ mobile phones, accompanied by an insatiable appetite for designer fashion. Western society’s affluence further polarised the wealth divide between rich and poor. Fervent materialism and a status driven desire for exposure acted as a catalyst for the start of the vapid public fascination with the ‘celebrity’ phenomenon and subsequent emergence of banal reality TV ‘entertainment’. Fundamental industrial restructuring took place in the developed world that migrated many countries away from traditional manufacturing towards economies based on IT, finance, tourism and service sectors. A rapid growth in digital technology and consumerism began that would change how people would live, work and play forever, including the advent of the ‘information superhighway’ that we now call the Internet. During the 1980s, the world’s population grew at the fastest rate yet, causing heightened fears about unsustainable human expansion and its impact on the planet’s fragile ecosystem.

Year

Global Events

1980

The massively popular maze video game Pac-Man was released by Japanese software company Namco.

 

The bitter war between Middle East neighbours Iran and Iraq began, which would last until 1988.

 

American volcano Mount St. Helens in Washington State erupted violently killing 57 people and causing widespread damage.

 

Former actor and Republican politician Ronald Reagan was elected to become the 40th President of the U.S.A.

1981

American President Ronald Reagan was shot and wounded by attempted assassin John Hinckley Jr. in Washington D.C.

 

An assassination attempt on the life of Pope John Paul II took place in Vatican City, when he was shot and wounded by Mehmet Ali Ağca.

 

The IBM 5150 Personal Computer, commonly known as the IBM PC was introduced, soon establishing it as an industry standard.

 

American actress Jane Fonda published her hugely successful book, ‘Jane Fonda’s Workout’, which spawned multiple videos and an album.

 

NASA’s Space Shuttle programme began with the first launch of the Earth orbiter Columbia.

 

Heir to the British throne, Prince Charles married Lady Diana Spencer in St. Paul’s Cathedral, London.

 

The retrovirus that causes HIV (human immunodeficiency virus) and AIDS (acquired immune deficiency syndrome) was identified. The life‑threatening condition spread rapidly, becoming a global public health threat and causing widespread hysteria.

1982

King Henry VIII’s Tudor warship and flagship of the British Navy, the Mary Rose, which sank in 1545 during a battle against the French, was raised from the bed of the Solent off the south coast of England.

 

Britain defeated Argentina to regain control of the Falkland Islands in the South Atlantic Ocean, following an unprompted Argentinian invasion and occupation.

1983

American telecommunications company Motorola introduced the first mobile telephones to North America.

 

The final episode of the Korean War‑set comedy drama ‘M*A*S*H’ was broadcast, achieving the record for most watched television episode to‑date.

1984

English policewoman Yvonne Fletcher was shot and killed by an unknown gunman in the Libyan Embassy in London, prompting an 11‑day siege of the embassy resulting in Libyan citizens being expelled and diplomatic relations between the UK and Libya being severed.

 

Indian Prime Minister Indira Gandhi was assassinated by two Sikh bodyguards, Satwant Singh and Beant Singh, at her residence in New Delhi.

 

American network TV aired the first episodes of crime drama series Miami Vice, produced by Michael Mann for NBC. It was notable for its ground breaking amalgamation of music and visuals. The show ran until 1989.

1985

Politician Mikhail Gorbachev became Russian Premiere and began leading major political and social reform across the USSR.

 

Technology company, Microsoft released the first version of its PC‑based Windows operating system.

 

Acclaimed American screenwriter, director and producer John Hughes released, ‘The Breakfast Club’, followed up a year later by ‘Ferris Bueller’s Day Off’ and ‘Pretty In Pink’.

 

The shipwreck of the ocean liner RMS Titanic was discovered in the North Atlantic Ocean, 73 years after it sank in 1912 following a collision with an iceberg.

1986

The American Space shuttle Challenger exploded shortly after launch at Cape Canaveral, Florida, killing all seven astronauts aboard.

 

The nuclear power plant at Chernobyl in Ukraine, Russia suffered a catastrophic meltdown, causing global pollution and resulting in devastating radioactive environmental damage.

 

The Soviet Union’s Mir project became the first modular manned space station in low Earth orbit. It was used predominantly as a scientific research laboratory. Mir broke up on re‑entry into the Earth’s atmosphere in 2001.

1987

The animated American family comedy, The Simpsons, first appeared on American television as a series of shorts.

 

The film ‘Wall Street’ was released, typifying the zeitgeist of the 1980s and its ‘greed is good’ power of money mentality, directed by Oliver Stone and starring Michael Douglas and Charlie Sheen.

 

The antidepressant medication Fluoxetine, commonly known as Prozac, was approved for use in the U.S.A.

1988

A Pan-Am 747 airliner exploded as a result of a Libyan terrorist bomb, which caused the plane to crash into the village of Lockerbie in Scotland, killing a total of 270 people.

1989

Republican politician George H.W. Bush became the 41st President of the U.S.A.

 

The pro‑democracy protest in Tiananmen Square, Beijing was brutally crushed by Communist Chinese authorities, resulting in many deaths and widespread international criticism over the state’s human rights violations.

 

Russian military forces pulled out of Afghanistan 10 years after invading the country.

 

Significant environmental pollution occurred when the Exxon Valdez oil tanker struck a reef in Prince William Sound off the coast of Alaska, spilling nearly 11 million gallons (37,000 metric tonnes) of crude oil into the coastal waters.

 

The Berlin Wall in Germany, built in 1961 to divide the city and prevent movement between east and west, was demolished, marking massive political change in Europe, including in Poland, Hungary, East Germany, Bulgaria, Czechoslovakia and Rumania.

 

British computer scientist and engineer, Sir Tim Berners-Lee invented the World Wide Web, now known as the Internet, while he was employed at CERN (the European Organization for Nuclear Research) near Geneva, Switzerland.

Musical Genre Development 1980-1989

After the creative revolutions of the 1950s (rock ‘n’ roll), 1960s (rock and pop) and the 1970s (heavy metal, punk, reggae, disco, rap), the 1980s was largely a decade of reflection, consolidation, cross‑fertilisation and diversification. In short, quite a lot happened but, conversely, there was not a lot that was genuinely new in musical genre subversion. Pop was, erm, as popular as ever with artists such as Debbie Gibson, Tiffany, New Kids on the Block, Wham!, New Edition and Kylie Minogue.

Punk rock’s implosion left a vacuum that needed to be filled and the answer came in post‑punk diversity at the beginning of the 1980s. New wave is associated with the birth of MTV and the music video phase and was seen as a more commercial sub‑genre of post‑punk performed by artists such as Blondie, Talking Heads, Devo, The Cars, The Police, Jam, Elvis Costello, The Smiths, Ian Dury, Adam & The Ants, New Model Army, The Fall, Echo & The Bunnymen, and the Pretenders. Also deriving from post‑punk and encompassing a number of different styles was the new romantic sub‑genre heavily influenced by glam rock from the early 1970s, as exemplified by bands like Duran Duran, Culture Club, Visage, Spandau Ballet, Thompson Twins and Eurythmics. Synth pop also came and went in the post‑punk period of the early‑mid 1980s with electronica‑driven artists like Gary Numan, Kraftwerk, Japan, Human League, Depeche Mode, Pet Shop Boys, New Order, Orchestral Manoeuvres in the Dark (OMD) and Ultravox. These highly produced music fads dominated the charts before beginning to decline by the mid‑1980s, followed by a revival of guitar‑driven music, often harking back to previous decades.

World and new age music became popular during the 1980s after being heavily promoted by record companies, even though neither has its roots in the decade. World music (not to be confused with third world music) isn’t really a genre but rather a broad marketing categorisation for a very wide and diverse range of traditional and contemporary music from around the globe including western music that doesn’t fall easily within more clearly defined genres. It also covers music that fuses ethnic influences from other genres to create something different. The umbrella term may also be used to promote niche music that was potentially under threat from music’s big business. Since 1987, World Music Day has become an annual celebration of the global music scene. Two of the leading artists associated with world music are African bands Ladysmith Black Mambazo and Savuka. Western artists such as Paul Simon and Peter Gabriel have embraced world music, fusing it with their own material. New age music is another loose marketing category for music that aims to promote positive mental wellbeing, spirituality and meditation. It is also used to complement physical activities such as yoga and massage. It has also been used to enhance inspiration and to manage stress. New age music is often acoustic or electronic and predominantly ambient (i.e. not having an obvious beat, rhythm or structure), regularly instrumental and minimalist or comprising recorded sound effects from nature. Popular western new age artists include Tangerine Dream, Vangelis, Jean Michel Jarre, Mike Oldfield, Klaus Schulze, Enya, Enigma and Clannad. Both world and new age music have influenced numerous subsequent musical ventures and projects.

Other established genres experienced revivals during the 1980s. For instance, hip hop’s ‘golden era’ spawned a plethora of artists, including LL Cool J, Run–D.M.C., Public Enemy and the Beastie Boys. Jazz also made a concerted comeback of sorts starting in the ‘70s and continuing into the ‘80s with jazz/rock fusion artists like Mahavishnu Orchestra, Weather Report and Pat Metheny. Partly driven by MTV and ubiquitous pop videos, the 1980s saw the rise of success of mega­‑pop stars like Michael Jackson, Madonna, Lionel Ritchie, Billy Joel, Prince and Whitney Houston. Heavy metal saw a 1980s resurgence that lasted well into the 1990s including artists like, Pantera, Queensrÿche, Extreme, Marilyn Manson and Danzig, while Iron Maiden led the charge of the New Wave of British Heavy Metal (NWOBHM) genre along with Def Leppard and Judas Priest. Nu‑metal pioneers began to appear at the very end of the decade including, Korn, Limp Bizkit, Staind and Linkin Park.

Musical Facts 1980-1989

Day

Month

Year

Music Fact

3

January

1980

American lo-fi indie/rock singer, songwriter, guitarist, former member of indie rock band The War On Drugs and successful solo artist, Kurt Vile was born in Lansdowne, Pennsylvania.

26

January

1980

American guitarist, singer and songwriter Prince made his first U.S. television appearance on the show ‘American Bandstand’.

19

February

1980

Scottish singer with Australian hard rock band AC/DC, Bon Scott died from acute alcohol poisoning in a friend’s car in London at the age of 33.

14

March

1980

Renowned American music producer Quincy Jones received a star on the Hollywood Walk of Fame at 1500 Vine Street.

14

April

1980

English heavy metal rock band, Iron Maiden released their storming debut studio album, the self-titled ‘Iron Maiden’ in the UK.

22

April

1980

English indie rock icons, The Cure released their 2nd studio album, ‘Seventeen Seconds’ in the UK.

23

April

1980

English heavy metal band Judas Priest released their classic 6th studio album, ‘British Steel’.

2

May

1980

English alternative post-punk rock band Joy Division played their final live gig with singer Ian Curtis, two weeks before he committed suicide.

18

May

1980

English singer, songwriter and driving force behind post‑punk rock band Joy Division, Ian Curtis was found hanged at this home in Macclesfield, Cheshire at the age of 23.

7

July

1980

English hard rock band Led Zeppelin played their final live concert with John Bonham as drummer in Berlin, Germany.

10

July

1980

Jamaican reggae giants, Bob Marley & The Wailers released their final studio album before Marley’s untimely death, ‘Uprising’.

18

July

1980

English post-punk rock band Joy Division released their classic sophomore studio album, ‘Closer’.

25

July

1980

Australian heavy rock band, AC/DC, released their career-redefining 7th studio album, ‘Back In Black’.

12

September

1980

English rock singer and songwriter David Bowie released his standout studio album, ‘Scary Monsters (And Super Creeps)’ in the UK.

20

September

1980

English heavy metal singer and ex-member of Black Sabbath, Ozzy Osbourne released his debut solo studio album, ‘Blizzard Of Ozz’ in the UK.

23

September

1980

Jamaican reggae star Bob Marley made his final live concert performance in Pennsylvania, USA, during which he collapsed on stage.

25

September

1980

English drummer with rock band Led Zeppelin, John Bonham, died tragically of alcohol-induced asphyxia in Clewer, Berkshire at the age of 32.

3

October

1980

English post-punk rock band The Police released their 3rd studio album, ‘Zenyattà Mondatta’ in the UK.

8

October

1980

American alternative rock band Talking Heads released their exceptional career-best studio album produced by Brian Eno, ‘Remain In Light’.

10

October

1980

American singer, songwriter and guitarist Bruce Springsteen released his 5th studio album, ‘The River’.

20

October

1980

Emerging Irish rock band, U2 released their debut studio album, ‘Boy’, to critical acclaim in the UK.

8

November

1980

English rock band Motörhead, released their massive 5th studio album, ‘Ace Of Spades’ in the UK.

8

December

1980

English former member of The Beatles, John Lennon was murdered by gunman Mark Chapman outside the Dakota hotel in New York City at the age of 40.

12

December

1980

English punk rock band, The Clash released their follow up to the epic ‘London Calling’ with their even more ambitious 4th studio triple album, ‘Sandinista!’.

15

December

1980

English guitarist, singer and songwriter with rock band Kasabian, Sergio Pizzorno was born in Newton Abbot, Devon.

16

January

1981

American guitarist, singer, songwriter and founding member of indie/alternative rock band The Strokes, Nick Valensi was born in New York City.

2

February

1981

English heavy metal rock band, Iron Maiden released their sophomore studio album, ‘Killers’ in the UK.

9

February

1981

American Rock ‘n’ Roll pioneer, Bill Haley, having been diagnosed with a brain tumour, died at his home in Harlingen, Texas at the age of 55.

15

February

1981

American blues/rock guitarist Mike Bloomfield died from an accidental drug overdose and was found in his car in San Francisco, California at the age of 37.

4

April

1981

UK pop group Bucks Fizz won the 26th Eurovision Song Contest with, ‘Making Your Mind Up’.

14

April

1981

Legendary English indie rock band, The Cure released their classic 3rd studio album, ‘Faith’ in the UK.

11

May

1981

Jamaican reggae singer, songwriter and guitarist, Robert Nesta ‘Bob’ Marley died from cancer in Miami, Florida at the age of 36.

21

May

1981

Rastafarian reggae legend Bob Marley received a state funeral in his home town of Kingston, Jamaica.

6

June

1981

The very first issue of weekly heavy metal music magazine ‘KERRANG!’ was published, featuring AC/DC on the front cover.

1

August

1981

Revolutionary 24 hour music video channel, MTV (Music Television), broadcast for the very first time in the USA at 12:01am Eastern Time, introduced by creator John Lack with, “Ladies and gentlemen, rock and roll”

8

October

1981

English post-punk rock band Joy Division released their 3rd and final studio album, ‘Still’.

7

November

1981

English singer and former member of heavy metal rock band Black Sabbath, Ozzy Osbourne released his sophomore solo studio album, ‘Diary of a Madman’.

30

January

1982

Legendary American country blues guitarist, singer and songwriter Sam ‘Lightnin’’ Hopkins died from cancer in Houston, Texas at the age of 69.

14

March

1982

American thrash metal band, Metallica performed their debut live concert at Radio City, Anaheim, California, taglined, ‘Metalus Maximus’.

19

March

1982

American heavy metal guitarist Randy Rhoads, best known as member of Ozzy Osbourne’s band died tragically in a plane crash in Leesburg, Florida at the age of 25.

22

March

1982

English heavy metal rock band, Iron Maiden released their 3rd studio album, ‘The Number Of The Beast’ in the UK.

3

May

1982

English indie rock icons, The Cure released their dark and brooding masterpiece 4th studio album, ‘Pornography’ in the UK.

6

May

1982

American singer and actress, Diana Ross received a star on the Hollywood Walk of Fame at 6712 Hollywood Boulevard.

14

May

1982

English punk rock legends, The Clash released their 5th and penultimate studio album, ‘Combat Rock’ in the UK.

16

June

1982

English guitarist, songwriter and founding member of The Pretenders, James Honeyman-Scott died of drug‑related heart failure in London at the age of 25.

14

July

1982

English heavy metal rock band Judas Priest released their classic 8th studio album, ‘Screaming for Vengeance’.

17

August

1982

Company executives from Philips, Sony and Polygram announced the pressing of the first commercial digital Compact Disc (CD).

20

September

1982

American singer, songwriter and guitarist Bruce Springsteen released his 6th studio album, the often‑overlooked haunting and elegiac, ‘Nebraska’.

1

October

1982

Technology giant, Sony released the first ever digital Compact Disc (CD) player, the CDP-101, to the eager public in Japan.

27

October

1982

Legendary American singer, songwriter, guitarist and producer, Prince, released his top-selling 5th studio album, ‘1999’.

5

November

1982

UK TV broadcaster Channel 4 aired its edgy music and lifestyle programme, ‘The Tube’ for the first time. Presenters included Jools Holland and the late Paula Yates. The show ran for 5 series until April 1987.

30

November

1982

American singer, Michael Jackson released his career‑defining mega‑hit 6th studio album, ‘Thriller’. It is estimated that sales have well‑exceeded 50 million copies worldwide.

11

December

1982

English punk rock and mod revival band, The Jam played their final live concert in Brighton, UK before splitting up for good.

29

December

1982

The Jamaican Post Office released a set of postage stamps commemorating the life and music of reggae legend Bob Marley.

18

January

1983

English guitarist, singer and member of indie pop duo The Ting Tings, Katie White was born in Lowton, Greater Mancester.

28

February

1983

Irish mega-rock band U2 released their highly acclaimed chart-topping gold 3rd studio album, ‘War’.

2

March

1983

The digital Compact Disc (CD) was launched in Europe and America by Philips, Sony and Polygram, 7 months after it had debuted in Japan.

23

March

1983

American Texas blues/rock giants ZZ Top released their massive 7th studio album, the classic, ‘Eliminator’.

14

April

1983

English rock singer David Bowie released his 15th and perhaps most commercial studio album, the great Nile Rodgers‑produced, ‘Let’s Dance’.

30

April

1983

Renowned American Chicago blues guitarist, Muddy Waters (McKinley Morganfield) died from a heart attack at his home in Westmont, Illinois at the age of 70.

16

May

1983

Pioneering English heavy metal rock band Iron Maiden released their massively successful 4th studio album, ‘Piece Of Mind’.

23

May

1983

Jamaican reggae legends Bob Marley & The Wailers released their studio album, ‘Confrontation’ posthumously, after Bob Marley’s death in 1981.

12

June

1983

Influential American blues slide guitarist and singer J.B. Hutto died from cancer in Harvey, Illinois at the age of 57.

13

June

1983

Emerging American blues/rock guitarist and singer, Stevie Ray Vaughan with his band Double Trouble released their debut studio album, ‘Texas Flood’.

25

July

1983

Up-and-coming American thrash metal band Metallica released their standout debut studio album, ‘Kill ‘Em All’.

20

October

1983

American country music guitarist Merle Travis died of a heart attack at his home in Tahlequah, Oklahoma at the age of 65.

10

November

1983

English singer, songwriter and one-time member of punk rock band Generation X, Billy Idol released his highly popular 2nd studio album, ‘Rebel Yell’.

15

November

1983

English singer and former member of heavy metal rock band Black Sabbath, Ozzy Osbourne released his 3rd solo studio album, ‘Bark At The Moon’ in the UK.

2

December

1983

Music television channel MTV aired the full 14-minute pop video to Michael Jackson’s massive hit single, ‘Thriller’ for the first time.

1

January

1984

Widely regarded as the founding father of British Blues, guitarist and broadcaster Alexis Korner died of lung cancer in London at the age of 55.

21

January

1984

American rock band Bon Jovi released their debut studio album, the self-titled ‘Bon Jovi’ in the U.S.

1

April

1984

American soul singer Marvin Gaye was shot and killed by his father in Los Angeles, California at the age of 44.

26

April

1984

Eleven years after the famous original Cavern Club in Liverpool, UK was demolished in 1973, it was rebuilt and the new venue opened its doors.

4

May

1984

The classic music rock/mock/documentary film about the experiences of an English rock band, ‘This Is Spinal Tap’, directed by Rob Reiner, was released in the UK.

15

May

1984

American blues rock guitarist, Stevie Ray Vaughan with his band Double Trouble released their 2nd studio album, ‘Couldn’t Stand the Weather’.

19

May

1984

American southern rock band ZZ Top released their hit single, ‘Legs’ with the B-Side ‘Bad Girl’, both from their career‑defining album, ‘Eliminator’.

21

May

1984

Emerging indie rock band, Nick Cave & The Bad Seeds released their impressive debut album, ‘From Her to Eternity’.

4

June

1984

American singer, songwriter and guitarist Bruce Springsteen released his massive 7th studio album, ‘Born In The U.S.A.’.

14

June

1984

American country singer Dolly Parton received a star on the Hollywood Walk of Fame at 6712 Hollywood Boulevard.

25

June

1984

Legendary flamboyant American musician Prince released the massive original soundtrack album for the film, ‘Purple Rain’.

30

July

1984

American thrash metal rock band Metallica released their sophomore studio album, ‘Ride The Lightning’.

3

September

1984

English heavy metal rock band Iron Maiden released their classic 5th studio album, ‘Powerslave’ in the UK.

16

September

1984

Talented Georgian/British singer, songwriter and guitarist Katie Melua was born in Kutaisi, Georgia.

24

September

1984

English electronic/alternative rock band Depeche Mode released their 4th studio album, ‘Some Great Reward’ in the UK.

27

September

1984

Canadian pop-punk singer, songwriter and guitarist, Avril Lavigne was born in Ontario.

1

October

1984

Irish rock band U2 released their classic 4th studio album, ‘The Unforgettable Fire’ in the UK.

20

November

1984

American pop singer, Michael Jackson received a star on the Hollywood Walk of Fame at 6927 Hollywood Boulevard.

3

December

1984

Assembled super group Band Aid released their massive Christmas charity single, ‘Do They Know It’s Christmas?’ in response to the famine in Ethiopia.

15

December

1984

Charity super group, Band Aid entered the UK singles chart at number 1 with their song, ‘Do They Know It’s Christmas?’ in aid of Ethiopian famine victims.

22

January

1985

Australian guitarist, famous for working with Alice Cooper and Michael Jackson, Orianthi Panagaris was born in Adelaide, South Australia.

13

May

1985

English rock band Dire Straits released their massive hit 5th studio album, ‘Brothers In Arms’.

4

June

1985

American guitarist with heavy rock band Black Stone Cherry, Chris Robertson was born in Kentucky.

29

June

1985

English rock singers David Bowie and Mick Jagger recorded their version of the classic Martha Reeves and the Vandellas’ soul hit, ‘Dancing In The Street’ in support of the Live Aid charity.

13

July

1985

Two Live Aid fundraising concerts took place in London and Philadelphia to benefit the plight of Ethiopian famine victims.

30

September

1985

American blues/rock guitarist Stevie Ray Vaughan with his band Double Trouble released their 3rd studio album, ‘Soul to Soul’.

9

October

1985

Japanese artist Yoko Ono dedicated the Strawberry Fields memorial in New York City’s Central Park to her late husband, John Lennon on what would have been his 45th birthday.

28

October

1985

American Texas blues/rock trio, ZZ Top released their 9th studio album, ‘Afterburner’, the follow up to their massive 1983 hit, ‘Eliminator’.

30

October

1985

American thrash metal masters Anthrax released their career classic 2nd studio album, ‘Spreading The Disease’.

4

January

1986

Irish bass guitarist with rock band Thin Lizzy, Phil Lynott died of complications due to septicaemia in Salisbury, Wiltshire, UK, at the age of 36.

6

January

1986

English singer, songwriter and guitarist of indie/rock bands Arctic Monkeys and The Last Shadow Puppets, Alex Turner was born in Sheffield.

3

March

1986

American heavy metal band Metallica released their 3rd studio album, the last with Cliff Burton playing bass guitar in the line-up, ‘Master Of Puppets’.

14

March

1986

The classic film inspired by the mythology surrounding blues guitarist Robert Johnson, directed by Walter Hill, ‘Crossroads’ was released in the USA.

17

March

1986

English electronic/alternative rock band Depeche Mode released their 5th studio album, ‘Black Celebration’ in the UK.

19

May

1986

English singer, songwriter and former member of progressive rock band Genesis, Peter Gabriel released his commercially successful 5th solo studio album, ‘So’.

20

July

1986

The feature film ‘Sid And Nancy’ focusing on the tragic lives of Sex Pistols’ bass guitarist Sid Vicious and his girlfriend Nancy Spungen premiered in London. The film was directed by Alex Cox and starred Gary Oldman.

25

August

1986

American singer and songwriter Paul Simon released his classic 7th solo studio album, ‘Graceland’.

28

August

1986

American pop singer, Tina Turner received a star on the Hollywood Walk of Fame at 1750 North Vine Street.

27

September

1986

American bass guitarist and songwriter with thrash metal rock band Metallica, Cliff Burton was tragically killed in a tour coach crash in Dörarp, Sweden at the age of 24.

29

September

1986

English heavy metal band Iron Maiden released their 6th studio album, ‘Somewhere In Time’ in the UK.

7

October

1986

American thrash metal band Slayer released their huge genre classic 3rd studio album, ‘Reign In Blood’.

15

November

1986

American hip-hop group from NYC, Beastie Boys, released their debut studio album, ‘Licensed To Ill’, including their massive hit single, ‘(You Gotta) Fight for Your Right (To Party!)’.

2

December

1986

Supremely talented Australian bass guitarist and singer, Tal Wilkenfeld was born in Sydney.

21

January

1987

American soul legend Aretha Franklin became the first woman inducted into the American Rock and Roll Hall of Fame.

22

February

1987

American pop artist and manager of experimental rock band Velvet Underground, Andy Warhol died following gall bladder surgery in New York at the age of 58.

9

March

1987

Irish rock band U2 released their 5th studio album, the massive ‘The Joshua Tree’ in the UK.

22

March

1987

American thrash metal masters Anthrax released their career classic 3rd studio album, ‘Among The Living’.

30

March

1987

Diminutive American singer, songwriter and guitarist Prince released his ambitious, epic change of direction 9th studio album, ‘Sign ☮ The Times’.

2

April

1987

Highly acclaimed American jazz drummer Buddy Rich died from respiratory and heart failure following treatment for a brain tumour in Los Angeles, California at the age of 69.

5

May

1987

English indie rock icons The Cure released their lip‑smacking 7th studio double album, ‘Kiss Me Kiss Me Kiss Me’ in the UK.

2

June

1987

Virtuoso Spanish classical guitarist Andrés Segovia died from a heart attack in Madrid at the age of 94.

14

July

1987

American rock group The Steve Miller Band received a star on the Hollywood Walk of Fame at 1750 Vine Street.

21

July

1987

American hard rock band, Guns N’ Roses released their storming debut studio album, ‘Appetite For Destruction’.

3

August

1987

English heavy metal rock band Def Leppard released their best-selling classic 4th studio album, ‘Hysteria’.

25

August

1987

American singer and songwriter Michael Jackson released his 7th solo studio album, ‘Bad’, as a follow up to his massive 1982 LP, ‘Thriller’.

11

September

1987

Jamaican reggae artist Peter Tosh was shot dead along with two others by a gang of three armed robbers at his home in Kingston, Jamaica at the age of 42.

12

September

1987

English alternative rock singer and songwriter Morrissey left his band, The Smiths to pursue a successful solo music career.

21

September

1987

American bass guitarist and member of jazz fusion band Weather Report from 1976-1981, the inimitable Jaco Pastorius died from injuries following an altercation at a club in Wilton Manors, Florida at the age of 35.

28

September

1987

English electronic/alternative rock band Depeche Mode released their 6th studio album, ‘Music For The Masses’ in the UK.

8

October

1987

Legendary American rock ‘n’ roll guitarist Chuck Berry received a star on the Hollywood Walk of Fame at 1777 North Vine Street.

15

October

1987

American virtuoso instrumental rock guitarist Joe Satriani released his classic 2nd studio album, ‘Surfing With The Alien’.

1

December

1987

Puerto Rican guitarist and singer, Jose Feliciano received a star on the Hollywood Walk of Fame at 6541 Hollywood Boulevard.

31

December

1987

After 17 years and 445 episodes, British TV broadcaster, the BBC aired the final edition of contemporary music show, ‘The Old Grey Whistle Test’.

20

January

1988

Legendary English pop/rock band The Beatles were inducted into the American Rock and Roll Hall of Fame.

11

April

1988

English heavy metal band Iron Maiden released their 7th studio album, ‘Seventh Son Of A Seventh Son’.

5

May

1988

Highly successful English singer and songwriter Adele MBE was born in London.

5

July

1988

American thrash metal rock band, Slayer, released their mega hit 4th studio album, ‘South Of Heaven’.

14

August

1988

American blues/rock guitarist Roy Buchanan was found hanged (a disputed suicide) in a jail cell after he was arrested for public intoxication in Fairfax, Virginia at the age of 48.

25

August

1988

American heavy metal rock band Metallica released their classic 4th studio album, ‘… And Justice For All’.

19

September

1988

Alternative rock band Nick Cave & The Bad Seeds released their highly acclaimed 5th studio album, ‘Tender Prey’.

30

September

1988

English former member of The Beatles, John Lennon received a posthumous star on the Hollywood Walk of Fame at 1750 Vine Street.

10

October

1988

Irish rock band U2 released their classic 6th studio album (and complementary ‘rockumentary’ film), ‘Rattle and Hum’ in the UK.

18

October

1988

American alternative rock band Sonic Youth released their landmark 6th studio album, ‘Daydream Nation’.

19

October

1988

Legendary American delta blues guitarist and singer, Son House died of cancer of the larynx in Detroit, Michigan at the age of 86.

6

December

1988

American singer, songwriter and musician, Roy Orbison died of a heart attack in Hendersonville, Tennessee at the age of 52.

18

January

1989

Music greats, The Rolling Stones, Stevie Wonder, The Temptations, Otis Redding and others were inducted into the American Rock and Roll Hall of Fame.

2

May

1989

English indie rock group The Stone Roses released their eponymous debut studio album, ‘The Stone Roses’.

2

May

1989

English indie rock icons, The Cure released their near‑perfect career-defining 8th studio album, ‘Disintegration’ in the UK.

29

May

1989

American guitarist, John Cipollina of rock band Quicksilver Messenger Service died of alpha‑1 antitrypsin deficiency in San Francisco at the age of 45.

1

June

1989

Underground American grunge band, Nirvana released their debut studio album, ‘Bleach’ to an unsuspecting public.

6

June

1989

Legendary American blues/rock guitarist and singer, Stevie Ray Vaughan with his band Double Trouble released their 4th and final studio album before SRV’s tragic death, ‘In Step’.

15

July

1989

English progressive rock band Pink Floyd performed a live concert on a floating stage at Venice, Italy, watched by over 200,000 people.

25

July

1989

American rap rock band, Beastie Boys released their classic sophomore studio album, ‘Paul’s Boutique’.

12

September

1989

English virtuoso instrumental rock guitarist Jeff Beck released his impressive 6th studio album ‘Jeff Beck’s Guitar Shop’ in the UK.

26

November

1989

British pop/rock band, Squeeze performed in concert for the very first broadcast of ‘MTV Unplugged’ in the US.

13

December

1989

One of the best‑selling artists of all time, American country/pop singer and songwriter Taylor Swift was born in Reading, Pennsylvania.

Tailpiece

Well that’s the eighties for you in a (sizeable) nutshell. We are now getting much closer to the end of the story (at least as far as I am able to document it) and the new millennium beckons tantalisingly out of reach. However, before that, we will fill in the gap with the 1990s next month. Will it be a Brave New World or just more of the same? To discover the facts behind the memories, please return here next month for some more manic music history. Until next time…

CRAVE Guitars’ ‘Quote of the Month’: “Never trust your memories but cherish the good ones regardless”

© 2019 CRAVE Guitars – Love Vintage Guitars.

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July 2019 – The Story of Modern Music in 1,500+ Facts – Part V

Introduction

Okeydokey guitar and music fans out there. If you are reading this 5th part of the series of articles, I hope you know the routine by now, so I won’t bore you with any further preamble and we can get on with the latest episode.

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

Before we delve in to the Fifties, I was asked a very good question following the last article, which was…

Question(s): “A young Elvis Presley sang ‘Old Shep’ in a talent contest… he came 2nd. I would dearly like to know who beat the future ‘King’ of rock and roll. Do you happen to know if it was a fellow pop star?”

Answer: Many reports say that the young Elvis came 2nd. However, in a later interview, Presley said that he came 5th. The photograph of the prize giving presentation suggests that Presley may be correct in his recollection as three others are holding prizes while the young Presley, standing on the far right of the photo below wearing glasses, is standing empty-handed. The winners, as far as anyone knows, did not go on to become famous.

 

This also raises the point of illustrating the facts. I actually have some interesting images for each and every fact listed in these articles. While a picture can convey many words, to add that many photos, each publication would become humongous to wade through. I know people like to see pictures, rather than read volumes of sometimes repetitive narrative. On this occasion, it is probably better not to illustrate each fact. Apologies to all the picture loving people out there.

Once again, so much happened in the course of the 1950s that the decade demands a discrete article to itself. Let’s go…

The Story of Modern Music Part V 1950-1959

For many people, the birth of rock ‘n’ roll heralded a whole new era of popular music. So, as we get to the 1950s, this article will cover what was going on in the world that enabled such a musical revolution to take place and the fundamental cultural changes that went along with it. The world would never be the same again. It is worth remembering that, at the time, not everyone was excited about change and many conservative traditionalists fiercely rejected and resisted such a rebellious and irreversible transformation.

Historical Context 1950-1959

For most developed economies, the 1950s was a period of slow recovery from the severe consequences of WWII. However, the world was not without conflict and warfare in many other regions including in Asia, Africa and South America. The Cold War continued to fester, fuelled by intense competition between the democratic United States and communism Soviet Russia. The bitter rivalry included reciprocal nuclear weapons testing, military escalation and the start of the ‘space race’. The McCarthy ‘witch hunts’ of communist subversive and treasonous American citizens fuelled bitter political conspiracy and widespread public paranoia. The threat of mutually assured destruction maintained a fragile stalemate between west and east. By the end of the decade, as employment and income levels began to improve, individual freedoms and opportunities would lead to a paradigm shift in civilised countries including radical social, political, technological and cultural change that would set the dynamic scene for following decades.

Year

Global Events

1950

The Korean War started between the communist North supported by Russia and China, and the capitalist South supported by America – the war lasted until 1953 when the Korean Demilitarized Zone was implemented to separate North and South.

1951

The precursor to the European Union, the European Coal and Steel Community (ECSC), was formed when six countries signed the Treaty of Paris.

1952

British monarch, King George VI died and Elizabeth II became Queen of the United Kingdom.

 

Republican politician and army general Dwight D. Eisenhower was elected 34th President of the U.S.A.

1953

New Zealand mountaineer Sir Edmund Hillary and Nepalese Sherpa Tenzing Norgay became the first people to reach the summit of the world’s highest mountain, Mount Everest.

 

One of the first films to depict youthful rebellion and which would become a reflection on American social tensions, ‘The Wild One’ was released, directed by Laslo Benedek and starring Marlon Brando.

 

The scientific paper describing the double-helix structure of DNA was authored by Britain Francis Crick and American James Watson.

1954

The term rock ‘n’ roll was coined by DJ Alan Freed and the associated teen culture became hugely popular, particularly in America and Britain.

 

British athlete Roger Bannister becomes the first man to run the four minute mile.

1955

Renowned German physicist Albert Einstein died in Princeton, New Jersey, America in 1955 at the age of 76.

 

The Warsaw Pact defence treaty between Russia and seven neighbouring Eastern Bloc states was signed during the ‘Cold War’ standoff.

 

The classic film drama of teen alienation, ‘Rebel Without A Cause’ was released, directed by Nicholas Ray and starring James Dean.

 

The phenomenally successful MacDonald’s fast food chain was established in America by Ray Kroc.

 

The Vietnam War between the Communist North and the Capitalist South started, which lasted until 1975.

1956

The Suez Crisis erupted following Egyptian nationalisation of the Suez Canal, creating conflict in the Middle East.

1957

Russia launched the Sputnik 1, the first artificial Earth satellite into space, effectively triggering the space race.

 

The European Economic Community (EEC) was established when six countries signed the Treaty of Rome.

1958

The American National Aeronautics and Space Administration (NASA) was set up in Washington D.C.

1959

Marxist leader Fidel Castro established the long‑standing communist dictatorship in Cuba after overthrowing the Batista regime.

 

The British Motor Corporation launched the revolutionary and hugely successful small family car, the Mini, designed by Sir Alec Issigonis. The original model stayed in production until 2000.

 

Alaska and Hawaii formally become an integral part of the United States of America.

Musical Genre Development 1950-1959

The 1950s was a decade of innovation that saw the massive explosion of musical creativity across many genres, fusing influences and generating many new musical styles. Arguably, it was during the 1950s that modern music ‘grew up’ and any suggestions that the popular music crazes of the time were ephemeral ‘fads’ were finally dispelled. Country music remained popular with artists such as Johnny Cash and Hank Williams at the forefront of a revival.

Possibly not a genre in itself but easy listening music became popular in the 1950s and lasted until the 1970s. A form of middle‑of‑the‑road (MOR) music, it found popularity on radio and then extended into various styles of background music, elevator music or ‘muzak’. Easy listening music was often instrumental or vocal interpretations of past popular music standards, rather than anything new in its own right. Some major artists tapped into the appeal, including Burt Bacharach, Henry Mancini, Herp Alpert, The Carpenters and Richard Clayderman.

In the post‑war years, modernistic music, broadly also encompassing experimental and avant‑garde music was being explored by many composers wishing to push boundaries either within existing traditions or by introducing original elements outside prevailing styles. The aim of many composers was to break rules, reject established conventions and challenge audiences in a creative, if frequently alienating, way. Practitioners included Arnold Schoenberg and John Cage.

During the 1950s rhythm and blues music, often shortened to R&B, became popular, being a more upbeat form of blues music. R&B emanated from mainly African‑American music that was widespread during the late 1940s. Record companies promoted R&B toward predominantly urban African American audiences. R&B’s popularity was based on a fusing many influences such as jazz, blues, country and gospel to create strongly rhythmic, beat‑based songs. R&B would, in turn, influence the emergence of rock ‘n’ roll and soul of the late 1950s and 1960s. In response to other influences, R&B changed to include other styles such as doo‑wop. Famous R&B artists of the time included Ray Charles, The Drifters, Sam Cooke, The Platters and the Coasters.

By the mid‑1950s, the cultural clash of blues, jazz and country combined to create a new phenomenon in the United States, rock ‘n’ roll, a phrase popularised by radio disc jockey Alan Freed in 1954. Bill Haley (And His Comets) is often credited as the catalyst although many other artists were instrumental in creating the new youth musical revolution, including Elvis Presley, Jerry Lee Lewis, Fats Domino, Carl Perkins, Chuck Berry and Little Richard. Rockabilly was a very close relation to rock ‘n’ roll at the time popularised by artists such as Buddy Holly and Gene Vincent. Classic rock ‘n’ roll is essentially based on a backbeat dance rhythm performed on electric guitar, bass, and drums, replacing the piano and saxophone as lead instruments. The cultural importance of rock ‘n’ roll cannot be underestimated and its impact went far beyond just a musical genre, influencing lifestyle, film & TV, art, fashion, attitudes, and language. Although its roots can be traced back to the 1930s, it was in the 1950s that rock ‘n’ roll began to pervade modern society, coming as it did at a time of immense post‑war technological, economic, social and political change. On the back of radio coverage, the 45rpm single record would provide a massive boost to sales of rock ‘n’ roll songs to America’s urban counterculture youth. Rock ‘n’ roll began to decline by the early 1960s as other forms of popular music began to dilute its impact.

Musical Facts 1950-1959

During the Fifties, many more household names that we take for granted today came into the world. Modern music began the transition from the traditional forms to more contemporary genres. As younger artists born in the 1930s and 1940s began to create the ‘new’ music, the shift in the balance of ‘facts’ from births, through achievements, to deaths are just beginning to become apparent.

Day

Month

Year

Music Fact

5

January

1950

American guitarist, producer, photographer and co‑founder of punk/new wave/pop band Blondie, Chris Stein was born in Brooklyn, New York.

12

February

1950

English guitarist, former member of progressive rock band Genesis and now a successful solo artist, Steve Hackett was born in London.

13

February

1950

English solo singer, songwriter and ex-member of progressive rock band Genesis, Peter Gabriel was born in Chobham, Surrey.

19

February

1950

English singer, songwriter, guitarist and founder of rock group Wishbone Ash, Andy Powell was born in London.

20

February

1950

American bassist, guitarist, songwriter and co‑founder of jazz rock band Steely Dan, Walter Becker (1950-2017, 67) was born in New York City.

24

February

1950

American singer, songwriter, guitarist and perennial rocker George Thorogood was born in Wilmington, Delaware.

22

April

1950

English born American singer, songwriter and guitarist, Peter Frampton was born 1950 in Bromley, Kent.

13

May

1950

Legendary American soul singer, songwriter, keyboard player and producer, Stevie Wonder was born in Saginaw, Michigan.

13

May

1950

English guitarist, singer, songwriter and member of Anglo‑American rock group Fleetwood Mac from 1968 to 1972, Danny Kirwan (1950-2018, 68) was born in London.

3

June

1950

Pioneering American singer, songwriter, bass guitarist and actor, Suzi Quatro was born in Detroit, Michigan.

18

July

1950

English business entrepreneur and founder of the Virgin empire including Virgin Records and Virgin record stores, Richard Branson was born in London

2

August

1950

English guitarist and singer, best known for his work with rock band Wishbone Ash, Ted Turner was born in Sheldon, Birmingham.

30

August

1950

English guitarist with, amongst others, Whitesnake and Snafu, Micky Moody was born in Middlesbrough, North Yorkshire.

10

September

1950

American guitarist, singer, songwriter and member of rock band Aerosmith, Joe Perry was born in Lawrence, Massachusetts.

14

September

1950

Great English guitarist and co-founder off blues/rock band Free, Paul Kossoff (1950-1976, 25) was born in London.

2

October

1950

English guitarist, bass guitarist and founding member of progressive rock bands Genesis and Mike + The Mechanics, Mike Rutherford was born in Portsmouth, Hampshire.

5

October

1950

Great English guitarist and one-time member of rock band Motörhead, ‘Fast’ Eddie Clarke (1950-2018, 67) was born in London.

20

October

1950

Legendary American singer, songwriter, guitarist, producer and bandleader of The Heartbreakers, Tom Petty (1950-2017, 66) was born in Gainesville, Florida.

22

November

1950

American guitarist, actor and member of Bruce Springsteen’s E. Street Band, Steven Van Zandt was born in Winthrop, Massachusetts.

22

November

1950

American bass guitarist and co-founder of post-punk alternative rock bands Talking Heads and Tom Tom Club, Tina Weymouth was born in Coronado, California.

9

December

1950

Award-winning British singer, songwriter and guitarist, Joan Armatrading was born in Basseterre, Saint Kitts in the Caribbean.

31

January

1951

English guitarist, producer and former member of art rock bands Roxy Music, 801 and Quiet Sun, Phil Manzanera was born in London.

1

February

1951

Great American blues guitarist and skilled slide guitarist, Sonny Landreth was born in Canton, Mississippi.

4

March

1951

Highly accomplished English pop, rock and blues guitarist, singer and songwriter, Chris Rea was born in Middlesbrough.

6

March

1951

Terrific American blues/rock guitarist, singer and songwriter, Walter Trout was born in Ocean City, New Jersey.

17

March

1951

American guitarist, best known as co-lead guitarist with rock bands Thin Lizzy and more recently, Black Star Riders, Scott Gorham was born in Glendale California.

20

March

1951

American blues/rock guitarist, singer, bandmate and older brother of the late Stevie Ray, Jimmie Vaughan was born in Dallas, Texas.

27

April

1951

American guitarist, songwriter, co-founder and former member of hard rock group, KISS, nicknamed ‘Spaceman’, Ace Frehley was born in The Bronx, New York City.

7

May

1951

Formidable Puerto Rican/American rock guitarist, who frequently played with David Bowie and James Brown, Carlos Alomar was born in Ponce.

7

May

1951

Prolific English guitarist and former member of heavy rock band Whitesnake, Bernie Marsden was born in Buckingham, Buckinghamshire.

21

June

1951

American rock guitarist, often seen as sideman to ‘The Boss’, as well as a solo artist, Nils Lofgren was born in Chicago, Illinois.

30

June

1951

Amazing American jazz fusion bass guitarist, composer and founding member of Return to Forever, Stanley Clarke was born in Philadelphia, Pennsylvania.

2

August

1951

English guitarist and member of psychedelic progressive rock band Gong and founder of electronic dance band System 7, Steve Hillage was born in London.

19

August

1951

Retired English bass guitarist for the rock/pop band Queen, John Deacon was born in Leicester.

21

August

1951

English bass guitarist, solo artist, one time member of hard rock band Deep Purple and currently with super group Black Country Communion, Glenn Hughes was born in Cannock, Staffordshire.

7

September

1951

American singer, songwriter, guitarist and founder of post‑punk rock/pop group The Pretenders, Chrissie Hynde was born in Akron, Ohio.

18

September

1951

American punk rock pioneer, bass guitarist and member of the Ramones, Dee Dee Ramone (1951-2002, 50) was born in Fort Lee, Virginia.

2

October

1951

English singer, songwriter, bass guitarist, actor, ex‑member of rock band The Police and successful solo artist, Gordon Sumner CBE, a.k.a. Sting, was born in Wallsend, Northumberland.

3

October

1951

Award-winning American blues guitarist, singer and songwriter Keb’ Mo’ was born in Los Angeles, California.

26

October

1951

Flamboyant American bass guitarist and singer with funk/soul artists James Brown and Funkadelic/Parliament, the illustrious Bootsy Collins was born in Cincinnati, Ohio.

1

December

1951

Influential virtuoso American jazz bass guitarist who worked with Weather Report, Pat Metheny and Joni Mitchell, as well as a solo artist, the incomparable Jaco Pastorius (1951-1987, 35) was born in Norristown, Pennsylvania.

4

December

1951

American guitarist and founding member of Southern rock band Lynyrd Skynyrd, Gary Rossington was born in Jacksonville, Florida.

16

December

1951

Influential American jazz, blues and rock guitarist Robben Ford was born in Woodlake, California.

26

December

1951

Talented American jazz/rock guitarist who has collaborated with many great musicians over the course of his career, John Scofield was born in Dayton, Ohio.

11

January

1952

American contemporary jazz session and solo guitarist, Lee Ritenour was born in Los Angeles, California.

20

January

1952

American guitarist, singer, songwriter, artist and long‑term member of iconic rock band KISS, nicknamed ‘The Starchild’, Paul Stanley was born in New York City.

7

March

1952

The influential and popular weekly music magazine, The New Musical Express (NME), was launched in the UK.

7

March

1952

American guitarist (as well as bassist and drummer), singer, songwriter and member of funk band The Isley Brothers, Ernie Isley was born in Cincinnati, Ohio.

17

March

1952

Irish guitarist and member of heavy rock bands Gillan and Ozzy Osbourne, Bernie Tormé (1952-2019, 66) was born in Dublin.

2

April

1952

American bass guitarist with southern rock band Lynyrd Skynyrd, Leon Wilkeson (1952-2001, 49) was born in Newport, Rhode Island.

4

April

1952

Legendary Northern Irish blues and rock guitarist extraordinaire, Gary Moore (1952-2011, 58) was born in Belfast.

14

May

1952

Scottish/American singer, songwriter, guitarist founder of alternative rock band Talking Heads and solo artist, David Byrne, was born in Dumbarton, Scotland.

15

July

1952

American guitarist, singer, songwriter and member of proto punk rock band New York Dolls, Johnny Thunders (John Genzale, 1952-1991, 38) was born in Queens, New York.

19

July

1952

American guitarist and member of southern rock band Lynyrd Skynyrd, Allen Collins (1952-1990, 37) was born in Jacksonville, Florida.

21

August

1952

Hugely influential English guitarist, singer, songwriter, actor and co-founder of punk rock bands The Clash and The Mescaleros, the great Joe Strummer (1952-2002, 50) was born in Ankara, Turkey.

19

September

1952

Legendary American guitarist, songwriter, producer and co‑founder of funk/disco/dance band Chic, Nile Rodgers was born in New York.

1

October

1952

Great American rock guitarist and sideman extraordinaire, Earl Slick was born in Brooklyn, New York.

8

November

1952

The UK’s first ever popular music singles chart was introduced by The New Musical Express (NME) magazine. At Number 1 was Al Martino with ‘Here In My Heart’.

14

November

1952

Versatile and prolific American guitarist and songwriter, Johnny A (a.k.a. John Antonopoulos) was born in Malden, Massachusetts.

1

January

1953

American country singer, songwriter and guitarist, Hank Williams died of drug and alcohol-related heart failure in Oak Hill, West Virginia at the age of 29.

6

January

1953

Scottish-born guitarist and co-founder of Australian rock band AC/DC, Malcolm Young (1953-2017, 64) was born in Glasgow.

10

January

1953

American jazz guitarist who has played with Blood, Sweat & Tears, Billy Cobham and Miles Davis, as well a successful solo artist, Mike Stern was born in Boston, Massachusetts.

20

February

1953

American guitarist and co-founder of psychobilly rock band, The Cramps, Poison Ivy (Kristy Wallace) was born in San Bernardino, California.

19

March

1953

American bass player who has played with many great musicians and has a successful solo career, Billy Sheehan was born in Buffalo, New York.

28

April

1953

American bassist, guitarist, and vocalist of alternative rock band Sonic Youth, Kim Gordon was born in Rochester, New York.

5

May

1953

Highly respected English folk singer, songwriter and guitarist, Martin Simpson was born in Scunthorpe, Lincolnshire.

15

May

1953

English multi-instrumentalist, composer and talented guitarist, the man behind ‘Tubular Bells’ in 1973, Mike Oldfield was born in Reading, Berkshire.

16

May

1953

Mercurial Belgian-born French gypsy jazz guitarist and composer, Django Reinhardt died from a brain haemorrhage in Fontainebleau, France at the age of 43.

29

July

1953

Influential Canadian singer, songwriter and bass guitarist with rock band Rush, Geddy Lee was born in North York, Ontario.

1

August

1953

Award-winning American blues guitarist, singer and band leader, Robert Cray was born in Columbus, Georgia.

27

August

1953

Hugely influential Canadian guitarist and co-founder of rock group Rush, Alex Lifeson was born in Toronto, Ontario.

27

September

1953

Great Jamaican reggae riddim ‘n’ dub bass guitarist and producer, Robbie Shakespeare, best known as half of Sly & Robbie was born in Kingston.

18

December

1953

American guitarist and singer, well known for his work with The Cars up to 1988, Elliott Easton was born in Brooklyn, New York.

27

February

1954

American guitarist and member of rock groups Santana, Journey and Bad English, Neal Schon was born in Tinker Air Force Base, Oklahoma.

16

March

1954

American singer, songwriter, guitarist and core member of the rock band Heart, Nancy Wilson was born in San Francisco, California.

12

April

1954

Canadian guitarist and singer who has collaborated with many artists over the years and is bandleader of the Pat Travers Band, Pat Travers was born in Toronto, Ontario.

10

May

1954

American rock ‘n’ roll pioneers, Bill Haley And His Comets originally released ‘(We’re Gonna) Rock Around The Clock’. The world wasn’t ready yet and it didn’t hit the charts until 1955.

12

July

1954

19‑year old American singer, Elvis Presley left his job and signed his first recording contract with producer Sam Phillips at Sun Records in Memphis, Tennessee.

19

July

1954

American record label, Sun Records released the debut single by aspiring American rock ‘n’ roll singer, Elvis Presley, ‘That’s All Right’.

22

July

1954

Virtuoso American jazz fusion/Latin rock guitarist Al Di Meola was born in Jersey City, New Jersey.

28

July

1954

Multi-talented American guitarist and member of hard rock band Deep Purple since 1994, Steve Morse was born in Hamilton, Ohio.

12

August

1954

Influential American virtuoso progressive jazz fusion guitarist, Pat Metheny was born in Lee’s Summit, Missouri.

17

August

1954

Award-winning American virtuoso instrumental rock guitarist Eric Johnson was born in Austin, Texas.

25

August

1954

English punk, pop and alternative rock singer, songwriter, guitarist and producer, Declan MacManus (a.k.a. Elvis Costello) was born in London.

3

October

1954

Legendary American blues/rock guitarist, singer, songwriter and producer, Stevie Ray Vaughan (1954‑1990, 35) was born in Dallas, Texas.

1

December

1954

Australian-born British guitarist, singer and songwriter with punk rock band The Slits, Viv Albertine was born in Sydney.

18

December

1954

German guitarist, known for his work with Scorpions and the innovator behind the Sky Guitar, Uli Jon Roth was born in Düsseldorf.

7

January

1955

The classic hit song, ‘Rock Around The Clock’ was re‑released by Bill Haley & His Comets, entering the UK singles chart. Rock ‘n’ roll had truly arrived.

10

January

1955

German guitarist, best known as a member of rock bands Scorpions and UFO, as well as a successful solo career with his own band, Michael Schenker was born in Sarstedt.

24

January

1955

English pianist, singer, songwriter, bandleader, TV presenter and former member of Squeeze, Jools Holland was born in London.

26

January

1955

Dutch/American guitarist, singer, songwriter and producer Eddie Van Halen was born in Amsterdam, Netherlands.

5

March

1955

American singer Elvis Presley made his American television debut on the KWKH TV show ‘Louisiana Hayride’ broadcast from Shreveport, Louisiana.

31

March

1955

Australian guitarist and co-founder of hard rock band AC/DC, Angus Young was born in Glasgow, Scotland, UK.

13

April

1955

American bass guitarist with funk masters Brothers Johnson, Louis Johnson (1955-2015, 60) was born in Los Angeles, California.

31

May

1955

Australian virtuoso session musician and solo guitarist, Tommy Emmanuel was born in Muswellbrook, New South Wales.

26

June

1955

English guitarist and co-founder of punk rock band The Clash and Big Audio Dynamite, Mick Jones was born in London.

1

September

1955

English bass guitarist, singer and songwriter, best known for his work with punk rock band, The Jam from 1972 to 1982, Bruce Foxton was born in Woking, Surrey.

3

September

1955

English guitarist and ex-member of punk rock band Sex Pistols, Steve Jones was born in London.

12

November

1955

Hugely influential Canadian singer, songwriter and guitarist, former member of Buffalo Springfield, CSN&Y, as well as a phenomenal solo artist, the incomparable Neil Young was born in Toronto, Ontario.

15

December

1955

English bass guitarist best known as a member of punk rock icons The Clash and more recently collaborating with Damon Albarn in The Good, The Bad & The Queen, Paul Simonon was born in Croydon.

4

January

1956

English singer, songwriter, guitarist, producer and founding member of post-punk rock bands Joy Division and New Order, Bernard Sumner was born in Salford.

10

January

1956

The ‘King of Rock ‘n’ Roll’, Elvis Presley made his first recordings for RCA/Victor, including the classic hit single, ‘Heartbreak Hotel’.

27

January

1956

Legendary American singer, Elvis Presley released his classic breakout single for RCA, ‘Heartbreak Hotel’.

28

January

1956

American rock ‘n’ roll singer Elvis Presley made his first national television appearance in America on the CBS TV programme, the ‘Dorsey Brothers Stage Show’.

31

January

1956

English singer and member of punk rock bands Sex Pistols and Public Image Ltd, John Lydon (a.k.a. Johnny Rotten), was born in London.

3

February

1956

American guitarist, singer, songwriter, producer, artist and co-founder of alternative rock band Sonic Youth, Lee Ranaldo was born in Long Island, New York.

12

February

1956

Scottish guitarist and one-time member of rock bands Thin Lizzy and Motörhead, Brian Robertson was born in Clarkston.

13

February

1956

English bass guitarist, best known as member of post‑punk rock bands Joy Division and New Order, Peter Hook was born in Salford.

18

February

1956

Renowned American master luthier, innovator, entrepreneur, guitar maker extraordinaire and founder of PRS Guitars since 1985, Paul Reed Smith was born in Stevensville, Maryland.

12

March

1956

English bass guitarist and founder of heavy metal band Iron Maiden, Steve Harris was born in Leytonstone, Essex.

23

March

1956

American singer Elvis Presley released his eponymous debut album, ‘Elvis Presley’, a milestone that heralded the unstoppable explosion of the rock ‘n’ roll era.

4

June

1956

American guitarist, songwriter and producer, known for playing with David Bowie, Tin Machine and indie rock band The Cure, Reeves Gabrels was born in New York City.

26

June

1956

American singer, songwriter, rock (‘n’ roll) guitarist and actor, Chris Isaak was born in Stockton, California.

15

July

1956

Influential American virtuoso instrumental rock guitarist, Joe ‘Satch’ Satriani was born in Westbury, New York.

27

August

1956

English bass guitarist, songwriter and original member of punk rock band Sex Pistols, Glen Matlock was born in London.

29

September

1956

The rock ‘n’ roll era had clearly arrived when Bill Haley & His Comets had 5 songs in the UK Singles Chart Top 30 including the all-time classic hit, ‘Rock Around The Clock’.

4

November

1956

English guitarist and co-founding member of rock band The Pretenders, James Honeyman-Scott (1956-1982, 25) was born in Hereford, Herefordshire.

6

December

1956

Hugely talented American heavy rock guitarist who played with Ozzy Osbourne and Quiet Riot, Randy Rhoads (1956-1982, 25) was born in Santa Monica, California.

6

December

1956

American guitarist, songwriter and co-founder of rock band R.E.M., Peter Buck was born in Berkeley, California.

23

December

1956

English guitarist, songwriter and long-term member of heavy metal rock band Iron Maiden, Dave Murray was born in London.

16

January

1957

The legendary Liverpool live music venue, The Cavern Club opened its doors for business. The Beatles appeared there an impressive total of 292 times.

27

January

1957

English guitarist with heavy rock bands Gillan and latterly Iron Maiden, Janick Gers was born in Hartlepool.

27

February

1957

English guitarist, songwriter and member of heavy metal band Iron Maiden, Adrian Smith was born in London.

17

March

1957

American singer, Elvis Presley bought the famous 23‑room Graceland mansion at 3764 Elvis Presley Boulevard in Memphis, Tennessee for $102,500.

28

April

1957

English guitarist, composer, producer and member of Bristol‑based trip‑hop group Portishead, Adrian Utley was born in Northampton.

10

May

1957

English bass guitarist with the Sex Pistols, John Simon Ritchie, a.k.a. Sid Vicious (1957-1979, 21) was born in London.

27

May

1957

American rock ‘n’ roll band The Crickets, featuring the late Buddy Holly, released their debut hit single, ‘That’ll Be The Day’ in the US.

2

August

1957

American record producer Butch Vig was born. Vig has worked with many famous rock bands including Nirvana, Sonic Youth and The Smashing Pumpkins.

12

September

1957

Acclaimed German film composer and producer, Hans Zimmer was born in Frankfurt.

22

September

1957

Australian alternative/indie rock singer, songwriter, multi-instrumentalist and band leader of The Bad Seeds, Nick Cave was born in Warracknabeal, Victoria.

24

September

1957

American rock ‘n’ roll legend Elvis Presley released his massively popular hit single ‘Jailhouse Rock’ in the U.S.

10

October

1957

American country music legend Johnny Cash released his debut studio album on Sun Records, ‘Johnny Cash With His Hot and Blue Guitar!’

21

October

1957

American guitarist, singer, songwriter, producer, session musician and a founding member of rock band Toto, Steve Lukather was born in San Fernando Valley, California.

1

November

1957

Award-winning American country singer, songwriter, guitarist and actor, Lyle Lovett was born in Klein, Texas.

8

November

1957

English guitarist and artist best known as a member of the original line up of indie/alternative rock band The Cure, Porl (now Pearl) Thompson was born in Surrey.

8

December

1957

English guitarist and long-time member of heavy rock band Def Leppard – one half of ‘The Terror Twins’ – Phil Collen was born in London.

20

December

1957

American rock ‘n’ roll singer Elvis Presley was served with his U.S. Army draft notice while at his home at Graceland in Memphis, Tennessee.

20

December

1957

English guitarist, protest singer, songwriter, charity founder and political activist, Billy Bragg was born in Barking, Essex.

21

February

1958

The very first ‘modernist’ Flying V guitar, designed by the legendary Ted McCarty, was shipped from the Gibson factory in Kalamazoo, Michigan.

24

March

1958

American rock ‘n’ roll singer Elvis Presley was inducted into the U.S. Army in Memphis, Tennessee.

27

March

1958

CBS Records announced the invention of the stereophonic record, ensuring that they were backwards compatible with the mono record players of the time.

31

March

1958

American rock ‘n’ roll legend, Chuck Berry released his all‑time classic hit single, ‘Johnny B. Goode’. 2 min. 30 sec. of pure magic.

19

April

1958

London’s (in)famous music venue, The Marquee Club first opened its doors at 165 Oxford Street, its original site before moving to 90 Wardour Street in 1964.

25

May

1958

The ‘modfather’ of post-punk rock, member of The Jam, The Style Council and solo artist, Paul Weller was born in Woking, Surrey.

7

June

1958

Legendary singer, songwriter and guitarist, Prince Rogers Nelson (1958-2016, 57) was born in Minneapolis, Minnesota.

8

July

1958

The Recording Industry Association of America awarded the first official ‘Gold’ album to the soundtrack of the hit film, ‘Oklahoma’.

9

July

1958

After leaving Sam Phillips at Sun Records, country music legend Johnny Cash signed a lucrative contract with Columbia Records, a successful association that lasted for three decades.

25

July

1958

American guitarist, singer and songwriter with alternative rock band Sonic Youth, Thurston Moore was born in Coral Gables, Florida.

7

August

1958

English singer and on-off-on member of heavy metal band Iron Maiden, Bruce Dickinson was born in Worksop, Nottinghamshire.

14

August

1958

American blues singer, songwriter and guitarist, Big Bill Broonzy died from cancer in Chicago, Illinois at the age of 55 or 65, depending on who you believe.

16

August

1958

American singer, songwriter, actress and entrepreneur, Madonna Louise Ciccone, or as we know her, Madonna, was born in Bay City, Michigan.

29

August

1958

American singer, songwriter and member of the Jackson Five, as well as successful solo artist, nicknamed the ‘King of Pop’, Michael Jackson was born in Gary, Indiana.

19

September

1958

English/American rock guitarist, ex-member of The Runaways and successful solo artist, Lita Ford was born in London.

22

September

1958

American singer and US Army conscript Private Elvis Presley sailed on the USS Randall to Friedberg, Germany to serve in the 1st Battalion, 32nd Armor Regiment, 3rd Armored Division.

22

September

1958

American rock singer, songwriter, guitarist, founding member of the Runaways and Joan Jett & The Blackhearts, Joan Jett was born in Wynnewood, Pennsylvania.

20

October

1958

English bass guitarist, singer and co-founder of jazz/funk/pop band Level 42, Mark King was born in Cowes on the Isle of Wight.

28

October

1958

Scottish guitarist, composer and co-founder of indie/alternative rock band The Jesus And Mary Chain, William Reid was born in East Kilbride.

7

November

1958

American rockabilly/rock ‘n’ roll icon, Eddie Cochran had his first hit with the classic song, ‘Summertime Blues’. It reached number 18 in the UK singles chart.

11

December

1958

American bass guitarist, songwriter, producer and co‑founder of heavy rock band Mötley Crüe, Nikki Sixx (real name Frank Feranna, Jr.) was born in San Jose, California.

17

December

1958

American bass guitarist, singer, composer and founding member of alternative rock band R.E.M., Mike Mills was born in Orange County, California.

1

January

1959

American country music legend Johnny Cash performed his first live concert for inmates at the infamous San Quentin State Prison in California.

17

January

1959

American guitarist, singer, songwriter, actress and co‑founder of pop/rock band The Bangles, Susanna Hoffs was born in Los Angeles, California.

3

February

1959

American singer Buddy Holly and 3 others (including stars Ritchie Valens and The Big Bopper) died tragically in a plane crash in Iowa. Holly was just 22 years old. ‘The Day the Music Died’.

7

February

1959

American blues guitarist, Eddie ‘Guitar Slim’ Jones died of pneumonia in New York City at the age of 32.

7

February

1959

The funeral of American rock & roll singer, songwriter and guitarist Buddy Holly took place in Lubbock, Texas.

10

April

1959

American rockabilly/swing guitarist, songwriter and bandleader of Stray Cats and the Brian Setzer Orchestra, Brian Setzer was born in Massapequa, New York.

21

April

1959

English, guitarist, singer, songwriter, co-founder and main inspiration behind indie rock icons The Cure, Robert Smith was born in Blackpool, Lancashire.

4

May

1959

The first Annual Grammy Awards was held in two venues simultaneously, in Beverly Hills, California and in New York City. Winners included Ella Fitzgerald, Count Basie and Henry Mancini.

5

May

1959

American guitarist and songwriter, best known as guitarist for Billy Idol since the early 1980s, Steve Stevens was born in Brooklyn, New York.

22

May

1959

Controversial English singer, songwriter and former front man of indie rock band The Smiths, Steven Morrissey, was born in Davyhulme, Lancashire.

1

June

1959

The BBC broadcast the first celebrity music panel TV show ‘Juke Box Jury’ in the UK. Guests judged new record releases as a ‘hit’ or ‘miss’. It was hosted by presenter David Jacobs and ran until December 1967.

14

June

1959

American jazz fusion bass guitarist, famed for his work with Miles Davis and Herbie Hancock, Marcus Miller was born in Brooklyn, New York.

11

July

1959

American guitarist, singer, songwriter, producer and long‑term member of rock band Bon Jovi, Richie Sambora was born in Perth Amboy, New Jersey.

17

July

1959

Legendary American jazz singer Billie Holiday died of pulmonary oedema and heart failure caused by cirrhosis of the liver in New York at the age of 44.

29

July

1959

English guitarist, best known for playing with hard rock band Whitesnake, John Sykes was born in Reading, Berkshire.

19

August

1959

American country blues and ragtime guitarist and singer, Blind Willie McTell died from a stroke in Milledgeville, Georgia, at the age of 61.

16

October

1959

English guitarist and member of new wave/pop band Spandau Ballet, Gary Kemp was born in London.

Tailpiece

So… by the end of the 1950s, KABOOM! – Rock ‘n’ Roll had well and truly arrived and there was no going back. The significant influence of rock ‘n’ roll had set in motion further evolutionary strands that would continue to expand horizons in all sorts of different directions during a period of unprecedented creativity. New musical genres demanded technological developments in recording, distribution and consumption of music.

Things are only going to get even more interesting as we go forward. I hope you will return and see what happened in the 1960s and beyond. No cliff‑hanger required, just a touch of gentle encouragement to return here next month. In the meantime, I have plenty more vintage guitars that need some tender loving care, followed by some serious playing workouts. Until next time…

CRAVE Guitars’ ‘Quote of the Month’: “Exercise your right to be you or regret the denial of yourself.”

© 2019 CRAVE Guitars – Love Vintage Guitars.

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November 2018 – A Potted History of the Guitar: Epilogue

Hello again. Just when you thought it was safe to go back into the studio, on stage or rehearsal room… some closure is required.

As before. if you wish to recap on any or all of the previous articles before starting here at the end, the whole ‘Potted History of the Guitar’ series, can be accessed here (each part opens in a new browser tab):

Note: For completists, I’ve updated Part VII (September 2018) to include some empirical data over the last decade to fill out the ‘recovery and rejuvenation’ section. It isn’t vital by any means. Just sayin’.

It was only after I completed the mammoth task of researching and documenting the history of the guitar, that I had another thought. All eight parts were written from scratch with little idea of where it would all end up. At the end of the 8th (and what I thought at the time was the final) part in the series, I mentioned that it had ended with “a bit more of a whimper than some almighty bang”.

After all the effort invested in telling the guitar’s epic journey, I felt a tad disappointed that something was missing but I wasn’t sure what it was. Even though the narrative needed to have a line drawn under it at some point, it wasn’t perhaps up to me to determine the last remaining thoughts about the topic.

As is my wont, and if you’ve read any of my articles before, you’ll know that I tend to have a lot of wonts, I thought about what might be a fitting coda to the outstanding ‘unfinished business’. That ‘missing link’ turned out to be something that isn’t actually part of the historical timeline or anything that I could add myself, but something else altogether.

Whereas the first eight parts were in my own words, I felt that it would benefit from, and indeed deserved, some independently derived anecdotes from some highly respected sources. So… I had this genius (!?) epiphany that I would select some imparted wisdom from people who have made a living either playing or being in the influential presence of the mighty guitar.

While working on social media over the last four years, I have compiled and posted many interesting quotes from musicians. Of the many hundreds of apt and often motivational quotes, quite a number of them make reference to the guitar in one way or another. It seems therefore appropriate to share them in order to give a sense of closure to the guitar’s long story. While I am not alone in my admiration for the instrument, I felt that readers shouldn’t just take my word (or many words as it turned out) for declaring the importance of the humble guitar within the context of music and cultural history. As a result, I will leave it to the professionals to have their say on the subject as they see it from their own perspective. You may recognise some of the names along the way, ranging from ‘Dimebag’ Darrell Abbott to Frank Zappa – a veritable and literal A‑Z of guitar wisdom over the years.

What follows are some of my favourite guitar quotes for your consideration. You may well have others that complement these and which may add something to the overall picture. All in all, I think that they provide the appropriate concluding element that I was unwittingly looking for, bringing a bit of subjective coherency to the factual chronology.

So, from the horse’s mouth of music royalty, so to speak, take the opportunity to internalise what they say into your psyche. You never know, you may end up being a better guitarist (and perhaps a more rounded human being) by taking heed of a thing or two from the masters of their trade. After all, they can say it better – and way more succinctly – than I can, so perhaps it is best left to them to articulate the remainder of this article. Are you sitting comfortably?

Musicians’ quotes about the guitar

Just to mix it up a bit, the quotes are listed in alphabetical order of the quote, rather than by the artist. There are also quite a few pictures this month, so to save repetition, where an artist has more than one quote, their picture only appears next the first one. Enjoy…

A guitar is a very personal extension of the person playing it. You have to be emotionally and spiritually connected to your instrument. I’m very brutal on my instruments, but not all the time – Eddie Van Halen (1955-)

A guitar is like an old friend that is there with me – BB King (1925-2015)

A guitar is something you can hold and love and it’s never going to bug you. But here’s the secret about the guitar – it’s defiant. It will never let you conquer it. The more you get involved with it, the more you realize how little you know – Les Paul (1915-2009)

Ah, I could make it in the shape of a guitar, and it would a) be more affordable, and b) a guitar player could double on this instrument – Leo Fender (1909-1991)

As far as I’m concerned, I’m just a guitar player, and my job is to go out there and play and entertain and do my thing – Les Paul (1915-2009)

Besides being a guitar player, I’m a big fan of the guitar. I love that damn instrument – Steve Vai (1960-)

Describing certain sounds, there’s a common language that guitar players have – Joe Perry (1950-)

Doesn’t matter what guitar you play, as long as you’ve got passion! – Eric Johnson (1954-)

Every time you pick up your guitar to play, play as if it’s the last time – Eric Clapton (1945-)

Finding ways to use the same guitar people have been using for 50 years to make sounds that no one has heard before is truly what gets me off – Jeff Beck (1944-)

For me, I think the only danger is being too much in love with guitar playing. The music is the most important thing, and the guitar is only the instrument – Jerry Garcia (1942-1995)

Guitar is the best form of self-expression I know. Everything else, and I’m just sort of tripping around, trying to figure my way through life – Slash (1965-)

Guitar playing is both extremely easy for me and extremely difficult for me at the same time – Kirk Hammett (1962-)

Guitars are fun. There are plenty of different kinds to play. They look cool. They sound cool. Don’t you want to play guitar? – Joe Satriani (1956-)

Guitars have been the obsession of my life. I first picked one up at the age of four and I’ve been a guitar junkie ever since – Johnny Marr (1963-)

I believe every guitar player inherently has something unique about their playing. They just have to identify what makes them different and develop it – Jimmy Page (1944-)

I can’t even read notes. But I can teach someone how to make a guitar smoke – Ace Frehley (1951-)

I don’t know of a guitar player that has only one guitar. They’re never happy with one. I’m never happy with just one of them. I woke up and ended up with six, even if you can only play one at a time! – Les Paul (1915-2009)

I don’t play a lot of fancy guitar. I don’t want to play it. The kind of guitar I want to play is mean, mean licks – John Lee Hooker (1912-2001)

I don’t want you to play me a riff that’s going to impress Joe Satriani; give me a riff that makes a kid want to go out and buy a guitar and learn to play – Ozzy Osbourne (1948-)

I had no aspirations to be a musician, but I picked up a guitar for two seconds and haven’t put it down since – Slash (1965-)

I just go where the guitar takes me – Angus Young (1955-)

I loved playing the guitar and I knew I was pretty good at it, so that’s what I wanted to do with my life – Ace Frehley (1951-)

I never felt so close to a guitar as that silver one with mirrors that I used on stage all the time – Syd Barrett (1946-2006)

I never stop being amazed by all the different ways of playing the guitar and making it deliver a message – Les Paul (1915-2009)

I never wanted to sing. I just wanted to play rhythm guitar – hide in the back and just play – Kurt Cobain (1967-1994)

I started out playing guitar because Jimi Hendrix was my hero, so my roots were really based on Jimi Hendrix and his style of playing – Joe Satriani (1956-)

I think people must wonder how a white girl like me became a blues guitarist. The truth is, I never intended to do this for a living – Bonnie Raitt (1949-)

I tried to make guitars that were close to what my heroes played. That’s the way it’s done. My experience is that you have to do it like a musician. You have to learn the language before you can learn to be a novelist – Paul Reed Smith (1956-)

I want every girl in the world to pick up a guitar and start screaming – Courtney Love (1964-)

I wanted to connect my guitar to human emotions – BB King (1925-2015)

I wonder if I could make an electric bass – Leo Fender (1909-1991)

I’m just a guitarist in a kick-ass rock and roll band. What more could I ask for? – Eddie Van Halen (1955-)

I’ve had three wives and three guitars. I still play the guitars – Andres Segovia (1893-1987)

If ever there’s an obscene noise to be made on an instrument, it’s going to come out of a guitar… Let’s be realistic about this, the guitar can be the single most blasphemous device on the face of the earth. That’s why I like it… The disgusting stink of a too‑loud electric guitar: now that’s my idea of good time – Frank Zappa (1940-1993)

If something is easy to repair, it is easy to construct – Leo Fender (1909-1991)

If you don’t know the blues… there’s no point in picking up the guitar and playing rock and roll or any other form of popular music – Keith Richards (1943-)

Lean your body forward slightly to support the guitar against your chest, for the poetry of the music should resound in your heart – Andres Segovia (1893-1987)

My guitar is not a thing. It is an extension of myself. It is who I am – Joan Jett (1958‑)

My guitar was a loyal person to me – Dave Mustaine (1961-)

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

Playing guitar was one of my childhood hobbies, and I had played a little at school and at camp. My parents would drag me out to perform for my family, like all parents do, but it was a hobby – nothing more – Bonnie Raitt (1949-)

Running my hands really fast up and down the fretboard… I mean, anybody can do that. It’s the Guitar Olympics, and I can’t think of anything more pointless – The Edge (1961-)

Sometimes the nicest thing to do with a guitar is just look at it – Thom Yorke (1968-)

That’s all I wanted to do as a kid. Play a guitar properly and jump around. But too many people got in the way – Syd Barrett (1946-2006)

The guitar has a kind of grit and excitement possessed by nothing else – Brian May (1947-)

The guitar is a small orchestra. It is polyphonic. Every string is a different colour, a different voice – Andres Segovia (1893-1987)

The guitar is just a wonderful instrument. It’s everything: a bartender, a psychiatrist, a housewife. It’s everything, but it’s elusive – Les Paul (1915-2009)

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

The guitar is the coolest instrument in the world – Steve Vai (1960-)

The guitar is the easiest instrument to play and the hardest to play well – Andres Segovia (1893-1987)

The guitar is your first wings. It’s assigned and designed to unfold your vision and imagination – Carlos Santana (1947-)

The guitar was my weapon, my shield to hide behind – Brian May (1947-)

The media says that equality for women has arrived, but if you look around, you still don’t see girls playing guitars and having success with it – Joan Jett (1958-)

The most important part of my religion is to play guitar – Lou Reed (1942-2013)

The time I burned my guitar it was like a sacrifice. You sacrifice the things you love. I love my guitar – Jimi Hendrix (1942-1970)

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

There’s something about approaching universal truths with the simplicity of the acoustic guitar. You can take it anywhere, and it helps me reach listeners of all ages and walks of life – Jim Croce (1943-1973)

To me a guitar is kind of like a woman. You don’t know why you like em but you do – Waylon Jennings (1937-2002)

To stand up on a stage alone with an acoustic guitar requires bravery bordering on heroism, bordering on insanity – Richard Thompson (1949-)

When the intellectual part of guitar playing overrides the spiritual, you don’t get to extreme heights – John Frusciante (1970-)

When you find yourself in the deepest rut you’ve ever known, don’t ever forget how f*ckin’ good the guitar sounds – ‘Dimebag’ Darrell Abbot (1966-2004)

When you just get mixed up and there’s too much going on, then it’s time to pick up your guitar – Les Paul (1915-2009)

When you think about where guitar playing is going today… it’s going everywhere at the same time – Joe Satriani (1956-)

With my Les Paul, I know I’m small. But I enjoy living anyway – Marc Bolan (1947-1977)

Why did they keep changing guitars and amplifiers when they were perfect? They did the same things with cars, if you ask me. They forgot how to make them right, because they focused on style and bells and whistles – Buddy Guy (1936-)

Your sound is in your hands as much as anything. It is the way you pick and the way you hold the guitar, more than it is the amp or guitar you use – Stevie Ray Vaughan (1954-1990)

Conclusion

Well, there you go. A fascinating summary of the world in which the guitar exists from the real experts. Do I have a favourite quote from among that lot? Nope. How could one pick a single truism out and exclude the remainder? I think that the collective intelligence from these esteemed contributors is what makes the overall message so powerful. Given Fender’s 2018 research that suggests that half of all new guitarists in the U.S. and UK are women, perhaps in the future, it would be good to feature more memorable quotes from prominent female guitarists.

When you think that what they say relates to what is essentially just a bit of wood, metal and plastic (in most cases), the guitar truly stands out as something special. At its most basic, the guitar is an artefact that doesn’t do anything of and by itself, it requires a symbiotic attachment to the person playing it to make it work its magic. It hangs on a strap or sits on your lap and converts the emotional core of the musician’s expression into fantastic guitar music that has touched just about everyone on the planet and has become a global phenomenon like no other.

Whether from musicians or not and regardless of whether there is any profound insight or not, what people will say about the guitar in the future, one can only imagine. Whatever is divulged, ‘the guitar’ will undoubtedly be a topic that will be widely debated for as long as people pick up the instrument and play music on it.

What more can one possibly add? Well… you may have noticed that at the bottom of every monthly article is a ‘CRAVE Guitars’ Quote of the Month’. This is my own way of teasing some mental curiosity as a parting shot. So, while my humble ‘thoughts of the day’ are possibly not worthy of being considered in the company of the hallowed artists quoted above, below is my modest addition to the canon, just where it usually is, at the end of my regular monthly rant. The eagle‑eyed reader may actually recognise it because it appears at the bottom of every CRAVE Guitars’ web page and on all CRAVE Guitars’ related social media profiles. I admit that, when writing this epilogue, I tried to come up with something clever but the attempts were, unsurprisingly, contrived and derivative. So, I went back to where it all began and what I felt deeply when I founded CRAVE (Cool & Rare American Vintage Electric) Guitars over 10 years ago. I looked at it again and realised that it remains a heartfelt and very personal belief, so I reckon it fits the bill as a nice little sign‑off. Nuff said.

Now that really is, possibly, maybe, probably, perhaps the last‑ish part of ‘A Potted History of the Guitar’. Honest. Until next time…

CRAVE Guitars ‘Quote of the Month’: “Love Vintage Guitars. Music matters. Create. Play. Be inspired! Share the passion… Change lives for good”

CRAVE Guitars

© 2018 CRAVE Guitars – Love Vintage Guitars.

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September 2018 – A Potted History of the Guitar Part VII

Welcome back to the latest in a long series of articles chronicling the history of the world’s favourite musical instrument. Last time, we covered the advent of production solid body electric guitars during the guitar’s ‘golden era’ from c.1950-1965. That article also covered some relevant later events, but the essence was about a period of intense invention and creativity, hence why it deserved a separate article dedicated to it, even though much of the content would be familiar to many.

This month’s article mostly focuses on ‘what happened next’ between c.1965-1987, although it does also cover the subsequent period up to the current day, albeit in less depth than the earlier years. Depending on how the rest of the story is covered, this 7th part is likely to be the penultimate episode.

If you’ve been following the various twists and turns along the way, you’ll know that I have tried very hard to strike a balance between light entertainment for the general reader and the level of detail that would appeal to the needs of the nerdiest of guitar geeks out there. As previously stated, this is not an academic thesis – I just don’t have the time or resources to reference every element along the way, so it probably will never make it into book form, which is a bit of a shame but ç’est la vie. However, once the 3,500 year history has been finished, I may try to bring it all together as a ‘box set’ feature on the web site, so it will be easier to find and come back to than monthly instalments. It also provides the opportunity to correct the content. I may also add a bit off the original longer version back in (!!) and to balance the various parts as a more coherent whole.

You may wish to recap on previous articles before starting here at Part VII. If so, the previous segments of ‘Potted History of the Guitar’ series, can be accessed here (each part opens in a new browser tab):

I hope that you’ve enjoyed the journey so far and will stick with it for just a little longer. For me, it has certainly involved a huge amount of hard work researching and learning along the way. There is an enormous amount of information that had to be excluded in order to make it digestible in an online format. As always, while I have been diligent, some errors and omissions will inevitably have crept in. Not only do I apologise if that is the case but also, I welcome feedback from readers in order to correct or clarify. I would also encourage readers who might wish to look at things either from a different perspective or with a different level of detail to explore the fascinating world of guitars for yourselves.

There are not many pictures this month, as the subject matter is largely narrative‑driven. Sorry about that, photo fans.

Post-Modern Reconfiguration, Rejuvenation and Consolidation

It has become generally accepted that the electric guitar’s so‑called ‘golden era’ started at the beginning of the 1950s with the introduction of Fender and Gibson’s solid body electric guitar models and ended in the mid‑1960s around the time that Leo Fender sold up in early 1965, followed by Gibson in 1969.

On the face of it, the years immediately after the mid‑1960s would appear to be of little historic interest, particularly as far as investors and ‘serious’ collectors are concerned. While the 1950s and early 1960s have been very well documented in countless learned tomes, the subsequent years have tended to be characterised by vociferous opinion and anecdote in a relative vacuum, rather than subject to objective scrutiny.

The Internet has, perhaps unsurprisingly, encouraged many already polarised opinions to become even more extreme. Assertive and often throwaway hyperbole of many self‑appointed ‘experts’ has possibly been consistently exaggerated to the point that they have gained some sort of historical validity. Widely read ‘unpopular opinion’ is often misinterpreted as indisputable definitive evidence. It isn’t gospel; there was more to it than what many would have you believe.

This version of the ‘facts’ is arguably simply that and, while every effort has been made to remain impartial, it should be read with a degree of realistic scepticism. This doesn’t mean that there wasn’t some ‘smoke without fire’, just that the flames may have been fuelled by circumstances and intensified by ill‑informed prejudgment.

The music industry wasn’t alone in coming in for acerbic over‑criticism; the American automotive industry was also subject to similar issues during 1960s and 1970s. The parallels extend beyond the superficial with the demise of many historic car brands and the inexorable rise of Japanese competition. As with guitars, some of these old models are now becoming highly sought after. The guitar industry during the latter part of the 20th Century, it seems, was symptomatic of wider deep‑seated socio‑political problems in the world’s largest capitalist economy.

Actually, ‘what happened next’ is an equally fascinating tale and one that is worth spending a little while looking at. At the same time, it’s also worth standing back and looking at the bigger picture as events unfolded. While it’s all a matter of degree, what transpired was rife with intrigue and machination. The appeal of these transitional years is one of the reasons that CRAVE Guitars tends to focus on ‘forgotten underdog’ and quirky cool American electric guitars from between around 1960 and 1989, although not exclusively.

Was that all‑too‑brief 15‑year ‘golden era’ the end of the story? Will guitars built in the ‘dark ages’ between 1965 and 1987 remain ignored most as gross errors of judgement? Will there be another defining period of electric guitar evolution or will musicians spend their lives experiencing mediocrity by default while harking back to that unobtainable time viewed through rose‑tinted spectacles? Perhaps digital technology will deliver the next step‑change with some Darwinian mutation that future writers will look back upon and write about. OK, enough of the rant, on with the story…

The Catalysts

The trouble really started once both Fender and Gibson been acquired by faceless corporations used to running commercial businesses, rather than important customer‑led operations. Despite post‑war prosperity and growth, the period between the mid‑1960s and the mid‑1980s could possibly be described aptly as eventful and tempestuous. In hindsight, whichever way you look at it, the sale of the industry’s ‘big guns’ was a 20th Century watershed for guitar building.

Firstly, let’s take a quick look at what actually happened immediately after the ‘golden era’ drew to a close circa 1965. The subsequent corporate merger & acquisition activity impacted directly on American musical instrument manufacturing up to the end of the 1980s. A few choice examples may help to illuminate the significant strife that befell the industry for a couple of decades (in rough chronological order)…

Rickenbacker – The only one of the major American brands that didn’t ‘sell out’ during the 1960s was Rickenbacker. They had, in some ways dodged that particular bullet, as Adolph Rickenbacker had already sold his company to music industry businessman Francis C. Hall in 1953. In retrospect, the move to transfer the undertaking and to keep it in safe hands seemed both pre‑emptive and positively prophetic. Arguably, the timing enabled Rickenbacker to capitalise on 1950s creative growth and become more resilient to what was to come. RIC (short for Rickenbacker International Corporation) has remained under the ownership of the Hall family since 1953 with John C. Hall as CEO at the time of writing.

Fender – After Rickenbacker, Fender was the first of the big names to capitulate to big business ambition. In 1965, Leo Fender sold his company to CBS (Columbia Broadcasting System) for just over $13m. The reason often given for the sale was Leo Fender’s health, although an injection of capital funding probably was also contributory. Other perspectives cite Leo Fender’s desire to pursue new ideas, which he possibly couldn’t do while running the company. CBS started making changes almost immediately and expanded capacity at Fullerton to increase supply. By agreement, Leo Fender was prohibited from setting up another music instrument company for 10 years, after which he went on to found Music Man (1974) and then G&L (1980). After 20 years under CBS control and on the brink of total collapse, division president William Schultz bought the company, forming Fender Musical Instruments Corporation (FMIC) in 1985. What followed was a period of intense restructuring, with guitar production temporarily moved to Japan for approximately two years before resuming full American manufacturing with the launch of the American Series guitars in 1987. U.S. manufacturing was moved from Fullerton to Corona, California and its headquarters were relocated to Scottsdale, Arizona. Fender was once again back on the path to success as an independent company and has remained so ever since.

Danelectro – Danelectro was originally formed by entrepreneur Nathan Daniel in 1947. Daniel built his business on the back of large scale, low cost department store and mail order demand for electric guitars, often branded as Silvertone and Airline. This enabled him to start building instruments under the Danelectro brand from 1954. By 1966, Daniel sold Danelectro to industry giant MCA (Music Corporation of America). MCA tried unsuccessfully to introduce the Coral brand and to restructure its distribution network. The outcome was that Danelectro ceased production altogether just 3 years later in 1969. The brand was resurrected by the Evets Corporation in the late 1990s and, after several faltering attempts to recapture market share, Danelectro remains in operation as a successful American company with overseas manufacturing based in China and Korea.

Gretsch – Gretsch was originally founded by Friedrich Gretsch in 1883. Two years after Fender and one year after Danelectro, Fred Gretsch sold the family business to the Baldwin Piano Company in early 1967. After many organisational troubles including relocation, factory fires, Chet Atkins withdrawing his endorsement, and misjudged model decisions, Baldwin finally ceased production of Gretsch instruments by 1981. Fred W. Gretsch acquired what little remained of the company in 1985, basically just the Gretsch name and rights ownership. After a number of abortive efforts, consistent output was eventually re‑established in Japan. Rockabilly guitarist Brian Setzer became a key endorsee for Gretsch in the 1990s and consumer interest in the brand was rekindled. Retaining family leadership, Gretsch has been under the patronage of Fender since 2002 and the famous brand is once again a significant player in the guitar industry.

Gibson – Gibson was really the last of the large American names to succumb to corporate ownership. Gibson’s parent company, Chicago Musical Instruments Ltd (CMI) followed the competition in 1969 when Gibson was taken over by a South American brewing company called ECL and then subsumed by Norlin Musical Instruments in 1974. Gibson survived cost‑cutting, relocation to Nashville and general mismanagement largely intact, although its hard‑earned reputation was severely tarnished. Gibson eventually returned to private ownership in 1986 through a consortium management buyout. Despite a major financial crisis and bankruptcy protection initiated in May 2018, there are signs of a positive future for the company.

These were just some of the big players who were able to weather the economic storms during the second half of the 1960s through the 1970s and into the 1980s. In addition to the big names, plenty of other well‑known American companies failed to survive, including:

  • Valco merged with Kay in 1967; a move that included familiar names such as Supro and Airline. However, the newly combined company went bust in 1968
  • National Dobro merged with Mosrite before the latter went bankrupt, also in 1968
  • Harmony lasted until 1975 before it ceased trading

Those that survived the volatility would continue to fight for survival at best. Overall, when viewed in hindsight, it proved a disastrous phase for American guitar making and collectively one that isn’t widely documented, other than in individual circumstances. The ‘golden era’ was, seemingly, definitely over.

As is often the case, the causes of American guitar manufacturing woes between the mid‑1960s and the mid‑1980s are quite complex, based on deep‑seated structural flaws. Looking at the circumstances strategically, there were probably, amongst many other contributory factors, five key issues…

  1. Industry structure and stability – Inward investment and backing of large business should have provided a positive commercial injection to guitar companies who were either struggling with financial difficulties or were unable to grow quickly enough with existing management structures. What actually happened was that big businesses, as is their wont, were looking to cut costs and increase profit, seemingly unaware of the impact that they were having. The large companies tried to stimulate demand by experimenting and introducing new products without assessing whether what they were making was adequately meeting consumers’ needs. For small agile companies, risk taking was a vital part of the creative process, while the bigger firms focused on large scale, efficient production methods, conversely heightening the risks of failure. Remote and disconnected governing bodies tended to dictate business decisions based on balance sheets and shareholder return, rather than customer satisfaction. Arguably, though, the businesses were in dire need of ‘better’ rather than ‘different’ management both before and after takeover.
  2. Industrial relations – Strict operational disciplines, controlled production processes and rigorously applied policies are a fundamental requirement of larger bureaucratic organisations. These management styles were generally not part of the music industry’s ‘way of doing things’ at the time. Companies needed to be managed effectively rather than efficiently and, unfortunately, the pendulum swang too far towards the latter. Business managers exhibited a flagrant disregard for the expertise and skills required to make consistent, high quality musical instruments. Production facilities were relocated, often giving long‑term highly experienced luthiers a ‘move or go’ ultimatum. In addition distribution and dealership networks were changed with little regard for what went before. Unhappy employees and belligerent trade unions led to heated industrial disputes (and worse), thereby causing significant leadership and management problems. Decades of accumulated knowledge, skills, expertise and, perhaps importantly, attitude were lost to the industry in a short space of time – something that would take years to rebuild. The outcome was that quality fell, exacerbating existing deficiencies elsewhere in the industry.
  3. Industry culture – New corporate owners did not fully appreciate or take the time to understand why the guitar industry worked as it did, resulting in fundamental mistakes internally and externally. The latter disenfranchised those involved in the supply chain from distributors to dealers and, ultimately, impacting on paying customers. Crucially, working musicians’ requirements were not being met and, with that dissatisfaction, brand loyalty diminished as professional guitarists looked elsewhere for alternatives. In addition, musical tastes were rapidly changing and short‑lived fads required nimble organisations that knew how to adapt to changes quickly and appropriately. Smaller companies that were better‑tuned into what was going on could flex more easily. The larger corporations, however, were unable to spot change and respond, leading to mismatches and time lags between demand and supply. Many commentators suggest that it was because musicians weren’t running the show. However, guitarists don’t necessarily make good business people (or vice versa!), which might have contributed to the difficulties. Significantly, two of the most influential guitar innovators – Leo Fender and Ted McCarty – didn’t play the guitar at all. Nevertheless, they were effective leaders because they ensured that professional artists were closely involved with business decisions. Importantly, the time when musicians were listened to and relationships were actively cultivated had fallen by the wayside.
  4. Supply problems – Availability of consistent materials, particularly the all‑important tone woods, created challenges for large‑scale American production. Variable density and therefore weight of some imported tone woods meant that it was difficult to manufacture to dependable standards. Depending on the combination of materials, the shortage of quality inputs affected builders to different degrees. Around the same time, sustainability and environmental factors were becoming an issue, leading to further supply issues. Manufacturers started looking to alternative materials including metal (e.g. Kramer, Travis Bean), plastics (e.g. Ampeg/Dan Armstrong) and composites (e.g. Gibson) that were intended to improve consistency and streamline manufacturing processes. Other moves included building guitars not from single pieces of difficult to acquire, expensive wood but from cheaper, smaller, more available cuts. Consumers saw such actions as negative and symptomatic of other perceived underlying problems. Unfortunately for the manufacturers, customers were not impressed by ‘good intentions’ and the changes were seen as cost‑cutting measures taken a step too far. Many consumers saw through superficial claims and resented the big companies for making what they felt were false marketing claims.
  5. Far Eastern competition – Enterprising Japanese companies, revitalised by post‑WWII recovery and able to observe from outside, spotted that American labour and manufacturing costs were contributing to a combination of poor quality and high prices – an equation that would present opportunities to penetrate a previously U.S.‑dominated market. Companies such as Ibanez and Yamaha did two crucial things. The first was to use their structural advantages to make high quality instruments at lower cost, and to produce them in large enough numbers to compete with American products on their own ground. The second thing they did was to brazenly copy iconic American designs, presenting consumers with recognisable products built to (generally but not always) higher standards and sold more cheaply than the American ‘classics’. There is more on the Japanese competitive assault on American guitar makers below. They also used rapidly changing music trends to create openings for entirely new products, including their own designs, thereby beginning to build a strong and more ethical reputation of their own. When the inevitable backlash came (see below), the marketplace had already changed fundamentally.

Lawsuit Guitars and Trademark Protection

During the post‑1965 period, sales of major American brand guitars was in decline and the home industry was in disarray. This provides a broad background against which American companies had to contend. Generally speaking, the way in which the industry and marketplace was organised was not favourable for the likes of Fender, Gibson, Gretsch, Rickenbacker and many others.

The takeovers and general (mis-)management of American firms left the U.S. industry weakened and susceptible to aggressive business manoeuvres. American labour, tooling and material costs didn’t fall, so prices for finished instruments generally remained high for guitars that were increasingly poorly made. It is relatively easy to understand why the 20‑year period between approximately 1965 and 1985 was crucial to reshaping the global guitar making industry.

One particular Japanese guitar maker, Hoshino Gakki Gen, saw an ideal opportunity to enter the fragile American market. Cleverly, Hoshino recognised the potential animosity towards Japanese‑sounding products after WWII and adopted the Ibanez moniker. Incidentally, the Ibanez name was derived from Spanish guitar maker Salvador Ibáñez, who made classical guitars and sold them to Japan from the 1920s. When Ibáñez, failed during the Spanish Civil War (La Guerra 1936-1939), Hoshino acquired the rights to use the name, dropping the accents in the process. Hoshino’s next step was to take over an American company, Elger, which had already been importing Japanese guitars into the U.S. This move gave them ready access to the American territory, initially as Hoshino USA and then Ibanez USA. From 1970, Ibanez began systematically targeting and imitating popular American guitar models, particularly from Gibson, Fender, and Rickenbacker.

Initially, Fender and Gibson chose not to challenge these foreign copies unless they were identical to the originals, i.e. deliberate forgeries. Perhaps they didn’t see the early copies arriving in relatively small numbers as a significant threat and therefore not worth the lengthy and expensive battles through the American court system with no guarantee of success. Perhaps naively, they may have seen the copies as providing entry‑level experience that would lead consumers to trade up and purchase the ‘real thing’. Nobody really knows for sure. However, by taking their eye off the proverbial ball, the already struggling American brands were storing up a hornet’s nest of latent problems.

The relatively cheaply made Japanese copies often used bolt‑on necks, cheap materials and inferior hardware. Having said that, they were often reasonably well made for what they cost the consumer. The slavish copies appealed to many novice guitarists wishing to have guitars that, at least visually, looked like the more expensive American counterparts without the accompanying high price tags. Notably, and perhaps pertinently, Fender’s own low cost ‘student’ guitar lines (the Mustang ‘family’) and Gibson’s budget models (the Melody Maker) didn’t resemble their upmarket pro‑level instruments, further exacerbating the weaknesses in the eyes of customers.

The Japanese picture at the time is typically complex and confusing, particularly when trying to differentiate the production companies from the brands they made and the importers they used. Some of the companies such as Tokai, Greco, Yamaha and Suzuki followed Ibanez’s lead and jumped on the cloning bandwagon, making relatively faithful copies of American guitars.

The huge Kawai Teisco company was a mass producer that made guitars under many names, including Apollo, Domino, Kent, Randall, Sterling, Victoria and Winston. One brand, Antoria was actually a German company (Framus) that imported Japanese Guyatone (Suzuki) guitars that included replica Stratocaster copies. Others, such as British firm CSL (Charles Summerfield Limited) originally rebranded imported Ibanez guitars. Columbus was another brand that simply imported Japanese‑made guitars under its own name. Hondo was an American company that imported Japanese copies, giving them some home‑grown legitimacy. The Spanish‑sounding Fernandes, on the other hand, was a wholly owned Japanese company that also used the name Burny. Many companies made guitars for other companies, so the picture is further obscured. There were many, many Japanese manufacturers that were largely unknown outside the country but were indirectly contributory to the assault on America and Europe in the 1960s and 1970s, including Fujigen Gakki, the aforementioned Hoshino Gakki Gen (who also used the Tama brand), Matsumoku, Moridara and Tombo.

So… just what were all these Japanese companies actually targeting? In particular, Gibson’s Les Paul and SG models, as well as Fender’s Telecaster and Stratocaster came in for ubiquitous copying. Popular Martin, Guild and Gibson acoustics also came in for replication, as they were the world’s most recognisable acoustic instruments at the time. Acoustic copies including names like Takamine, Morris, Pro Martin and Ventura. Even the fonts used for headstock logos often mimicked the original American brand styles.

As volumes increased, the wave of imports understandably caused problems for the original manufacturers and it was only a matter of time before there was a defensive response. That reaction was based largely on Gibson’s famous Les Paul and particularly the outline shape of the headstock.

In June 1977, Gibson’s owners at the time, Norlin, filed a legal case against Ibanez/Hoshino for copying the Gibson ‘open book’ headstock outline. The case was settled out of court by February 1978, by which time Ibanez had already changed their headstock shape. However, since 1974, Ibanez had been astute enough to foresee the complication and had been developing and improving its own unique Artist guitar designs, thereby circumventing any further rights issues. From 1978, once the lawsuit was behind them, Ibanez focused purely on its own designs.

Despite appearances, there was, in fact, only one landmark lawsuit at the time and it only related to the design of the headstock on Gibson guitars. Presumably, other American manufacturers were watching and waiting for the outcome of the Gibson case. Not looking for potentially damaging confrontation in the courts, other Japanese companies sought to avoid the wrath of the American companies and changed their designs just enough so as not to fall foul of further litigation.

Ironically, some of the Japanese ‘lawsuit’ guitars have since become collectable in their own right. Although many copies that claim to be subject to the lawsuit aren’t, they are just guitars made during the ‘lawsuit era’ of the late 1970s. Generally speaking, Japanese guitar making – having made its mark for better or worse – went on to plough their own furrow in the multinational market, establishing a successful business model on which they could build.

The imitation game hasn’t gone away completely though. Many ‘knock off’ guitars in the 21st Century are emanating from China, where there is little effective means of legal challenge. While some of the guitars originating from China replicate American designs and are produced in large volumes, some of the fakes are appearing in small quantities as very convincing forgeries of rare and valuable vintage instruments.

Also, somewhat ironically, the big American brands struck back by strategically shifting manufacture of lower cost instruments off‑shore. Fender made guitars in Japan from 1982, only later changing the name to Squier to differentiate them from the American originals. Similarly, Gibson started Far Eastern manufacture of Epiphone guitars in Japan in the early 1970s, then in Korea from 1983, before relocating production again in 2003 to a dedicated Epiphone factory in Qingdao, China.

In 1984, PRS guitars was established by luthier Paul Reed Smith and has since become one of America’s major guitar manufacturers. To cater for all price points, PRS also introduced Korean production facilities for its SE‑branded guitars in 2003. While on the subject of lawsuits, after PRS had released the PRS Singlecut in 2001, Gibson filed a trademark infringement claim against PRS for allegedly copying the Les Paul design. Gibson’s lawsuit failed at appeal and PRS resumed production of the Singlecut, albeit slightly altered, from September 2005.

Fender now actively defends its trademarks, which exist in perpetuity, unlike patents that have a limited duration. To illustrate the issues, Fender’s defence of its trademark headstock design reads as follows, “The headstock is the key source-identifying feature of the modern electric guitar. In particular, the shape of the headstock (which, in the types of guitars at issue here, is part of a single piece of wood that also includes the guitar neck) is nonfunctional and primarily serves to identify the brand and model of the guitar. Fender owns trademark rights and federal registrations for the shapes of its headstock designs. These marks are instantly recognizable to generations of musicians and music fans as indicators of the source of Fender’s products and of the immense history and goodwill associated with Fender.”

Furthermore, Fender lost a 2009 application to trademark its guitar designs retrospectively. Opponents stated that consumers had had decades of unopposed exposure to those shapes from a wide variety of other guitar makers. This particular ruling opened the door to many look‑alike guitars, bar the familiar and distinctive headstock shapes.

Rickenbacker, unlike many of its counterparts, trademarks its important designs and vigorously protects them through the courts, hence why there are generally fewer Rickenbacker copies on the market compared to Fender and Gibson clones.

The whole issue of who owns what and how owners’ rights can be protected in a global market rife with replicas is a hugely complex issue and the nuanced legal debates are not for this story, so it is time to close this particular case and move on.

The Fallout and Time for Objective Re-assessment?

The Gibson law suit was, however, a wakeup call for American guitar building, as it proved beyond doubt that they were vulnerable to competition. While it may seem a relatively small isolated incident, it was contributory to the way in which guitar making, distribution and sales had to change. It was time for a shake‑out. By getting back to the basics, the rebuilding of American production that took place from the mid‑1980s resulted in vastly improved fortunes, even though it would take years for several companies to return to prosperity. Gibson and Fender were back in private ownership, Rickenbacker had sustained its business and, although Danelectro and Gretsch would find success, it took some time to regenerate historic popularity.

Despite what naysayers, respected journalists and wealthy vintage guitar collectors will delight in telling anyone who will listen, not all guitars built between 1965 and 1987 (when Fender introduced the landmark American Standards) are bad. Yes, there are many examples of poor quality instruments produced during those ‘dark ages’ but, let’s be honest, that has always been the case. Just look at some of the cheap and nasty instruments from the 1950s and early 1960s produced during the ‘golden era’.

Being a bit provocative and controversial, it is the author’s considered belief that there were many very good instruments built in the 1970s but these tend to be overlooked and caught up in the sweeping generalisation that ALL instruments from that period are sub‑standard. Some unique and interesting models only appeared during the 1970s and 1980s as part of the drive for experimentation. Some of these experiments were often made for relatively brief periods before they disappeared again. As a result, many of these rare examples are highly likely to be of interest to collectors in the future. As vintage prices of 1950s and 1960s guitars are rapidly increasing beyond many enthusiasts’ ability to purchase them, 1970s and 1980s guitars are also creeping up in value and are likely to become the ‘next big thing’ in the vintage marketplace. When they do eventually become desirable, which they will, that critical labelling of ‘poor quality’ is likely to be conveniently forgotten as the wheat is separated from the chaff.

Generally speaking, with the introduction of automated and computer controlled construction technologies, instruments from c.1990 onwards are generally consistently well‑made. This means that poor quality instruments are fewer and further between. Value‑for‑money since the 1990s has never been better with some very good guitars available at relatively low prices compared to the past. Broadly categorising the ensuing years between, say, 1990 and 2000 as a period of rejuvenation, resurgence and consolidation in the face of significant and multifarious challenges including economic downturn. The dawn of the new millennium saw further change including diversification, growth and a degree of reconfiguration. The reality, perhaps obviously, isn’t simply a case of general classification though, so such broad descriptions may best be regarded as a bit of artistic licence on the author’s part.

It may seem strange but it was often the inherent manufacturing variations and inconsistencies that have led to the handmade ‘golden era’ guitars becoming so desirable in the first place. As the idiosyncratic traits of the past have been ironed out, consumers have had ready access to consistent, reliable and higher quality guitars at virtually all price points. However, the increase in standardisation means that many modern mass‑produced guitars are often described as ‘generic’, samey and bland. It is also that lack of variation that has led to the boom in boutique, custom and modded guitars in the 21st Century.

Only time will really tell whether some of these maligned 1970s guitars will be re‑evaluated and achieve better recognition. Good examples will undoubtedly become increasingly sought after and collectable.

Recovery and Rejuvenation

Musical tastes continued to change and the 1980s and 1990s were no different. One trend was a move away from guitar music to highly produced electronic keyboard music. Japanese giant Roland (owner of BOSS effect pedals) tried to popularise the guitar synthesizers on the back of the electronica trend, as did consumer electronics company Casio who were more famous for calculators rather than guitars.

Another trend in musical taste was the explosion in popularity of glam, hard and ‘shred’ rock. Ironically, it was companies like Ibanez, once the scourge of copy guitars, which was ideally placed to cater for the trend with some cleverly designed genre‑appropriate instruments, such as their Destroyer, Iceman and Jem guitars.

Ibanez had cleverly repositioned themselves and continued to do so in order to sustain competitive advantage. In another canny move, Ibanez courted the new breed of virtuoso instrumental rock musicians, which proved successful. American guitarists such as Steve Vai and Joe Satriani were regularly seen using and advertising the Ibanez brand. Other Japanese companies followed suit, such as Yamaha and ESP/LTD. American brands such as Dean, Jackson and BC Rich also exploited the growing market for pointy rock alternatives to the old‑hat rock shapes such as Gibson’s Explorer and Flying V. Times had moved on and the traditional industry stalwarts were once again looking tired, on the back foot and at a strategic disadvantage.

By the time that some sort of equilibrium was restored from the late 1990s, the music and guitar landscape was very different from the end of the ‘golden era’. There was room for big music companies to grow, such as Peavey and Ernie Ball, the latter having bought out Leo Fender’s Music Man in 1984. The ‘big four’ brands were still there – Fender, Gibson, Rickenbacker and Gretsch, who continued to expand their ranges into high‑value custom shop as well as low‑priced models. In addition, once the barriers to entry were lowered, there were many small, opportunistic companies that sought to grow market share on their own terms, such as PRS. There was also a whole thriving boutique sub‑industry that focused heavily on producing custom instruments built to individual guitarists’ requirements; a healthy trend that continues to flourish well into the 21st Century.

The 2000s saw a reversal of fortunes with synth‑based dance and pop music becoming clichéd and well‑worn. This change of fortune facilitated a major resurgence in guitar music across a whole range of musical genres but specifically the burgeoning indie/alternative music scene. Indie music also triggered a renewed interest in retro‑styled instruments often evoking quirky designs from the past. This revitalisation enabled many gone but not forgotten guitars to experience a new lease of life. In addition, metal, progressive/contemporary, alt‑country and blues/rock genres have also seen rejuvenation and/or revivals, together with relevant instruments to suit. Even the likes of Fender, Gibson, Gretsch, Danelectro and Rickenbacker have benefitted through reissues of previously defunct models. All in all, many guitar‑based musical styles continue to flourish and guitar sales benefit from the 21st Century appetite for diversity.

Interestingly, in the 2000s and 2010s, with the renewed interest in both retro and vintage designs, many of the old American brand names that went out of business in the 1960s have since re‑emerged, including Supro, Valco, Airline, Harmony and Kay.

The global recession that started in 2008 has been the longest and deepest since the 1930s severely dampened demand for discretionary purchases such as musical instruments. However, the desire to own and play the world’s favourite instrument endures, despite regular proclamations of the ‘death of guitar music’.

Music Trades data shows that total guitar sales in America, either by number or value, have shown a general increasing trend per year since 2009:
Year    Number  Value
2009    1.65m     $924m
2010    1.74m     $922m
2011    1.94m     $921m
2012    2.34m     $903m
2013    2.34m     $821m
2014    2.50m     $839m
2015    2.49m     $935m
2016    2.47m     $1,001m
2017    2.63m     $1,070m

In comparison, the number of electric guitar sales in America has remained largely steady since the start of the recession. Where these figures will go in the future and whether sales will regain pre-crash levels anytime soon is a betting man’s game. The market is, judging by these indicators, likely to stay challenging for some time to come.

One very positive trend is that research by Fender in 2018 shows that 50% of new guitarists in the U.S. and the UK are females, suggesting that equality is finally making progress in the music industry.

Modern‑day guitarists have learned to become fickle and much more discerning. No longer could a few privileged brands expect musicians to be loyal or for their products to be accepted as the default ‘go‑to’ solution. While slower to adapt, the American ‘big four’ fought back and, although often constrained by their past, were forced to innovate and compete or die. Not all of those experiments have been successful but the point is that they are trying to adjust to the inevitability of the brave new world.

Looking at the bigger picture, the diverse structure of the guitar industry is healthy for both producers and consumers. While things will change again, the fragmented nature of the marketplace in the 2010s means that risks of major step change are reduced. For the long‑established brands, the asset value of the ‘classics’ is now cemented and, to some extent, can once again be relied upon in terms of quality and value. The reliance on industry standards also creates a problem for the likes of Fender, Gibson, Gretsch and Rickenbacker, as it inhibits what they can do in a way that consumers will accept, witness Gibson’s failed attempt to move into consumer and lifestyle electronics.

Ultimately, nothing is set in stone and there is very little that can be considered genuinely ‘new’. The only certainty is that change will be continuous and necessarily incremental. Digital music technology will continue to be both a threat to, and an opportunity for, manufacturers. The hybridisation of analogue instruments and digital technologies is still in its infancy and only time will tell, which companies will respond positively and which will fail to adapt and fall by the wayside (again).

That brings us pretty much up to the current day, at the time of writing (2018). As English punk rock pioneer Joe Strummer of The Clash once said, “The future is unwritten” and how true that is. We are nearing the end point of the guitar’s long story… except that the story will continue in perpetuity. All that is really left to do is to describe the current position (again at the time of writing) and to speculate, somewhat idly, about what that unwritten future may hold.

End of Part VII

Here we are at the end of yet another episode in the guitar’s extended tale. We are pretty much up‑to‑date and therefore almost at the end of the journey, with (I think) just one more article to go. I hope that you’ll join me, hopefully next month for the conclusion… as far as there can be one.

I am now beginning to deliberate about a companion series of articles for next year (2019). Before that happens, I need a rest from this massively resource intensive exercise. I can’t yet reveal what that new series is, as I am thinking about things I haven’t thought of yet (if you get my drift). I will have to consider how it might be done in a way that I haven’t seen elsewhere up to now – I need to bring something new to the subject matter, otherwise it is just regurgitating what others have already done. Watch this space… In the meantime, I have to start planning what I’m going to fixate upon for the remainder of this year.

Right now though, it’s time to stop writing about guitars and to start playing one of the darned things, so I’m off to plink my plank! Until next time…

CRAVE Guitars ‘Quote of the Month’: “Whatever was pre-modernism like?”

© 2018 CRAVE Guitars – Love Vintage Guitars.

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February 2017 – Favourite Guitarists And Why

posted in: Observations, Opinion | 0

This month, I’m continuing with a list-like feature. This isn’t laziness, it’s just about time I focused back specifically on guitars and guitarists.

Here are some of the guitarists I enjoy listening to and, linking back to my January 2017 article about why we like what we like, artists that I keep coming back to for more. If there was some sort of formula that is common to all of them, it might be expressed as:

Unique talent + quality instrument + great song writing + timing + opportunity = music history.

The first ‘variable’ above is a key ingredient… talent. Most phenomenal guitarists are instantly recognisable by their distinctive sound, which is more about the person than the instrument they play. Simply put, no-one sounds like them. Why? It comes down to individual technique. It’s the same with classical painters, each one highly recognisable for their outputs, even though the inputs are essentially the same (paint, brushes, canvas, etc.). As the late great Stevie Ray Vaughan sagely commented, “Your sound is in your hands as much as anything. It is the way you pick and the way you hold the guitar, more than it is the amp or guitar you use”. In addition to the “it’s in the hands” adage, they also often have a ‘how do they do that?’ factor that differentiates them from the hoi poloi (NB. for trivia fans, from the Greek meaning ‘the many’). For guitarists to shine there needs to be strong song writing – it doesn’t actually matter who wrote any particular track, it’s how it is interpreted that matters.

Most guitarists will own several guitars and use then for certain situations. Many top guitarists may have extensive collections, although they tend to have one instrument or model with which they are uniquely associated. Combine that stylistic talent with, perhaps, a ‘signature’ instrument and the basics are there. By ‘quality’, I simply mean ‘fit for purpose’ within this context. Using a ‘favourite’ guitar is not a prerequisite, however, it is likely that removing a physical impediment to technique (i.e. an inappropriate guitar) has liberated many players to feel, rather than think, about their playing. There is something special in the relationship between player and preferred instrument that adds a ‘secret ingredient’ that no-one else could muster from it.

Another characteristic of accomplished guitarists with longevity is that they usually have a refined sense of song writing, either on their own or as part of a band, often prolifically so. They instinctively know what people tune into, including well-honed sense of harmony, melody, tempo, etc. They also adapt their writing over time to accommodate changing listening tastes. It isn’t just about image or the axe that they wield.

There is something to be said about time period and cultural context and being in the ‘right place at the right time’. If any of these guitarists were struggling to establish a career in today’s Spotify-saturated, X‑Factor sterilised world, would they stand out and have a chance? I would wager not. Many of these greats were also pioneers who broke the mould at their time in some way – they are not generic or homogenous. Musical integrity and coherency have been shattered by our seemingly insatiable appetite for the iTunes attention deficit disorder-oriented society. It is so much harder to be genuinely innovative now, which may explain why there are so few challengers striving to not only usurp the thrones of the exalted ‘old-timers’ but also to stay there. Aspiration and ambition is just the start, achieving longevity and legendary status is another matter altogether.

Some other characteristics spring to mind, these guitarists were as sound at rhythm guitar as they are at lead lines. So many great tunes would flounder without the solid rhythm chops from great guitarists who knew how to groove in their chosen genre.

I would also argue that these guitarists are/were as great at playing live, as they are/were in the studio. On stage, there is nowhere to hide and these artists have to work very, very hard to earn and sustain credibility over many years of continuous touring.

So… to the point… at long last. As my guitarists of choice are diverse in style, genre, time period, success, etc., it was impossible to rank them from 1-20, so they are presented in alphabetical order for fairness and simplicity. I’ve indicated the instrument(s) that they are often associated with, as well as a track that, for me, acted as an entry point into their canon (not necessarily their best or most well-known track), a catalyst if you will for grabbing my aspirational attention.

1. Jeff Beck (1944-) – Where on Earth does one start with a genius like Mr Beck? Invention, reinvention, experimentation and continually challenging the boundaries of what can be done with 6 strings on a Strat. No-one comes close to decades of innovation. As soon as you think you’ve nailed his rut, he surprises by a change of direction with consummate musicianship in whatever he does. Listen: ‘Brush With The Blues’ (1999). Guitars: Fender Stratocaster, Gibson Les Paul Standard, Fender Telecaster

2. Ritchie Blackmore (1945-) – Ignoring well-documented character traits, Blackmore’s Deep Purple/Rainbow rock era featured some of the most incendiary, flamboyant and flashy lead lines, all seemingly delivered with minimal effort. Extraordinary. Credit for following his passion in traditional guitar, rather than selling out/cashing in by endlessly regurgitating ‘Smoke On The Water’ for decades. Listen: ‘Child In Time’ (1972). Guitar: Fender Stratocaster

3. Dimebag Darrell (1966-2004, 38) – Sadly, the late ‘Dimebag’ Darrell Lance Abbott was taken too young. Metal guitarists are often easily categorised without really appreciating their innate talent and abilities. Darrell was a terrific guitarist with soul and technical skill that is hugely under-appreciated both for storming southern-tinged riffs and searing lead lines with Pantera. Listen: ‘Cemetery Gates’ (1990). Guitar: Dean ML

4. Rory Gallagher (1948-1995, 47) – A unique talent not sufficiently acknowledged while he was alive, his contribution and reputation has rocketed since his demise. The modest and unassuming Gallagher had a tremendous ear for fusing blues tropes with an astounding melodic sensibility evoking his Irish roots. A great slide player too. Live, he was astounding, consumed with energy and passion that few could match. Listen: ‘Calling Card’ (1976). Guitar: Fender Stratocaster

5. Billy Gibbons (1945-) – With his roots deep in Texan blues, ‘the greatest beard in rock’ can make his axe sing with great feeling, as evidenced by early material. As part of ZZ Top, he pushed R&B boogie into the limelight with mega commercial success, thereby adding more flavours to his not inconsiderable palette. Listen: ‘Blue Jeans Blues’ (1975). Guitars: Gibson Les Paul Standard, Gretsch Billy Bo

6. Kirk Hammett (1962-) – Another metal guitarist who knows how to use a guitar in anger as a member of Metallica. Listen to his playing and there is much more than flashy thrash metal guitar work. His legacy will forever be integrated with the riff from ‘Enter Sandman’. Look beyond those few familiar notes and be rewarded. Listen: ‘Seek & Destroy’ (1983). Guitar: ESP

7. Jimi Hendrix (1942-1970, 27) – Predictable. To attempt to explain in a few words what James Marshall Hendrix unleashed on rock music during his short career would be inadequate. He was a true revolutionary and showman, imbued with massive talent and skills honed through passion, dedication and commitment. Contemporary music owes a massive debt to a true pioneer and just think what he could have achieved. Listen: ‘All Along The Watchtower’ (1968). Guitars: Fender Stratocaster, Gibson Flying V

8. Steve Hillage (1951-) – Easily overlooked because of his relatively obscure ‘hippie’ career (Gong, System 7), Hillage is a talented and individual guitarist with a very recognisable tone and style. Even in later years, which focus heavily on electronic dance grooves, guitar remains an important stylistic element. His contribution is much undervalued. Listen: ‘Hurdy Gurdy Glissando’ (1976). Guitars: Fender Stratocaster, Gibson Les Paul Standard

9. John Lee Hooker (1917-2001, 83) – Hooker was a true individualist who always played by his own rules. He is one of the most expressive and soulful bluesmen, his emotions emanating through his guitar and gravelly vocals. Yes BB may be the King but JLH was a blues Hooker at one with his delta roots. At his best just him and his guitar, rather than the sanitised reverential collaborations. Listen: ‘Crawlin’ Kingsnake’ (1991). Guitars: Epiphone Sheraton, Gibson ES-335

10. Tony Iommi (1948-) – Where would rock be without Black Sabbath. Another guitarist who ploughed a furrow that hadn’t previously been ploughed and as the ‘godfather of metal’, his influence has justly pervaded the landscape of modern hard rock and metal for decades. How much of his individual style resulted from his infamous industrial accident, we can never know. Listen: ‘Sabbath Bloody Sabbath’ (1973). Guitars: Jaydee Custom S.G. ‘Old Boy’, Gibson SG

11. John Martyn (1948-2009, 60) – Martyn started off in traditional English folk music and then something happened and he became a true experimenter using delay and other effects to create something completely new and adventurous, mostly on acoustic guitar. In addition to innovating, he also retained the heartfelt lyrical nature of his music, using guitar to complement his unique voice. Listen: ‘I’d Rather Be The Devil’ (1973).  Guitar: Martin D‑28

12. J. Mascis (1965-) – Often described as an alternative maverick, born of the New York punk era, Mascis is a genuine one-off and enduring front man of Dinosaur Jr. A bit like Neil Young on steroids. As a guitarist, he doesn’t stun with millions of notes and sterile technical ability but, boy, does he put some energy and power into his searing, laser-guided lead lines that have impressed consistently over the years. Always on the fringe. Listen: ‘Out There’ (1993). Guitar: Fender Jazzmaster

13. Brian May (1947-) – Dr. May’s melodic and harmonic brilliance will forever be remembered for his Mercury-period Queen. However, like his distinctive home‑made guitar, the astrophysicist created a unique and recognisable guitar style that pervades western culture. His MTV pop sensibilities are as strong as his earlier rock riffs. Listen: ‘Seven Seas Of Rhye’ (1974). Guitar: Brian May Red Special

14. John McLaughlin (1942-) – In terms of phenomenal ability, dexterity and skill, McLaughlin is near, if not at, the top of the tree. Not only is his speed and proficiency astounding, his genre-spanning flexibility is formidable. Describing his playing can only be achieved through hyperbole. An extraordinary guitar superman. Listen: ‘Vital Transformation’ (1971). Guitar: PRS

15. Gary Moore (1952-2011, 58) – In later years before his untimely death, Moore concentrated on the blues, joining the ranks of the few white, non-American blues legends. Go back earlier in his career and his abilities at rock and fusion show just what a great and adaptable guitarist he was. Listen: ‘Stormy Monday’ (2001). Guitars: Fender Stratocaster, Gibson Les Paul Standard

16. Tom Morello (1964-) – Probably the youngest of the guitarists to make the list. Go back to RATM’s debut album and reflect on the pounding riffs and genuinely innovative lead playing and recognise that Morello is one of those guitarists who could take the mainstream and adapt it into something no-one had heard before. Listen: ‘Bombtrack’ (1992). Guitar: ‘Arm The Homeless’ custom

17. Carlos Santana (1947-) – Renowned for his ability to sustain notes, Carlos was also a very fluid player and highly acclaimed for his feel. From his appearance at the end of the 1960s to today, he can produce an inimitable and remarkable guitar tone. He could play blindingly fast and he could also turn out achingly emotive lead lines. Listen: ‘Samba Pa Ti’ (1970). Guitar: PRS Santana

18. Jimmy Page (1944-) – Like Blackmoore, Iommi and Hammett, Page is another guitarist whose legacy may be forever associated with a single track in the consciousness of the music listening public (Stairway To Heaven). However, Zeppelin-era Page is a multi-talented guitarist. It is a shame that he hasn’t been able to shine to the same extent in his post-Zep solo career. Listen: ‘Kashmir’ (1975). Guitar: Gibson Les Paul Standard, Danelectro 3021

19. Stevie Ray Vaughan (1954-1990, 35) – SRV is another guitar phenomenon taken from us way too young. Unapologetically Texas blues to his core, he shared Hendrix’s immense ability to introduce many other styles into his playing, including jazzy influences. Another whose formidable combination of talent and relentless hard work set him apart from the crowd. Listen: ‘Tin Pan Alley’ (1999). Guitar: Fender Stratocaster

20. Neil Young (1945-) – Quite often referred to as the master of the one-note guitar solo, this underrates his ability to wring considerable emotional content from just a few well-chosen, emotionally driven and sparingly targeted tones. One thing is for sure, his distinctive tone and style has sustained his well-deserved reputation over many decades. Listen: ‘Southern Man’ (1970). Guitar: Gibson Les Paul Standard

Most of these guitarists will, perhaps, be obvious entries. However, there may be a few unexpected curve balls thrown in for good measure. Of course (don’t you just hate it when people say that!), there is a very long list of superb guitarists that didn’t make the 20 above, including the likes of George Benson, Joe Bonamassa, Eric Clapton, Robben Ford, John Frusciante, Peter Green, Steve Hackett, Allan Holdsworth, BB King, Paul Kossoff, Robby Krieger, Randy Rhoads, Mick Ronson, Joe Satriani, Slash, Steve Vai, Van Halen, Jack White, Johnny Winter, Zakk Wylde, Angus Young, Frank Zappa, etc., etc., etc. It’s virtually impossible to name them all. While I recognise their massive influence, this is my list of guitarists, not a regurgitation of anyone else’s list or a contrived list of ‘stature derived through perceived wisdom’.

There are also guitarists who aren’t listed above and who perhaps aren’t considered ‘great’ guitarists stylistically but are still notable for the instrument being an integral part of their music, e.g. Marc Bolan, Robert Smith, Thurston Moore, etc.

I also haven’t strayed into bass guitar but that’s an easy one for me, evidenced by the mercurial virtuoso skills of the incomparable, and sadly late, great Jaco Pastorius. Danny Thompson and Tal Wilkenfeld also deserve honourable mentions in this category for me.

Interestingly, 7 of the above guitarists (35%) are sadly no longer with us. Thankfully, at least 13 (65%) of them still are. I have been fortunate enough to see just over half of them play live and, of the ones I have seen, I can attest to their consummate skills. One thing I noticed when researching this article is how many of these guitarists regularly wear/wore hats when playing live (around a quarter of them). Head apparel seems a quintessential part of a guitarist’s touring equipment for many.

In terms of a ‘golden era’, many of these artists had their zenith between the late 1960s and the early 1980s. After a 10-year hiatus in the proverbial doldrums of the post-punk electronic era, there was a gradual resurgence of interest in guitar music from the 1990s that thankfully reignited a passion for the art into the 21st century. Thankfully that interest continues to flourish and diversify today, which will hopefully incentivise whole new generations of exciting new guitar heroes (genuine ones, not the ‘game’) to carve an identity for themselves.

One thing that does bother me is that there are no female guitarists on the list. This is more a reflection of historical exposure that male guitarists have had compared to female guitarists. It is not a misogynistic trait, just circumstance. There are great guitarists out there, e.g. Carrie Brownstein, Eva Cassidy, Lita Ford, Charlotte Hatherley, Kaki King, Orianthi Panagaris, Bonnie Raitt, Nancy Wilson, etc., they are just not my most listened to guitarists. There are also many girl bands, like Warpaint, Haim, Dum Dum Girls, Sleater Kinney, Smoke Fairies, etc., which is positive. Those who are familiar with my rants on the subject will know that I believe ‘girls with guitars are cool’. My view is that, as in any other streak of life, gender should not pose a barrier to success and there are some very accomplished female guitarists out there. Personally, I would dearly like to see equality and inclusion. Having said that, I don’t believe girls are actively excluded, it’s just that the prevailing environment isn’t conducive to girls seeking guitar playing as a job in the same way as there is, for instance, in orchestral classical music.

Also, as mentioned at the start, there essentially are no modern-era guitarists on the list. The most recent on the list above are from the 1990s, rather than the noughties and teenies; this is still around a quarter of a century ago now. There are many, many very talented modern-day guitarists out there but, again, they just didn’t make my list. I look forward to emerging guitarists taking up the reins. One wonders who we might admire in the future, in addition to the current greats.

What, though, really separates the greats from the very talented also-rans who also work very hard at their craft? If we all knew that, it wouldn’t be a question. Is it serendipity, happenstance, luck, contacts, situation? Perhaps the old adage that ‘it’s not what you know, it’s who you know’, plays its part.

I only wish I had a minute fraction of the ability demonstrated by the guitarists mentioned here. Sadly, I don’t have that kind of talent (despite the hard work), so I have to end up writing about them!

One thing we might learn from them is that we shouldn’t try to imitate them. By all means emulate and pay homage to them but only if you can actually do what they do better than them – try that particular strategy and see how far you get! Perhaps another lesson for stalwart gear heads is that the guitars don’t make the guitarist, mostly anyone can own a Fender Stratocaster or Gibson Les Paul but not everyone can be a SRV or Jimmy Page – guitars are simply the professional tools of the expert craftsman. However, put the two together and something very special can happen. Modern music would not be the same without the skilled practitioner and their axes of choice, creating magic for us mere plebs to wonder at and aspire to.

CRAVE Guitars ‘Music Quote of the Month’: “If music is the result of passion, passion is the music of life.”

© 2017 CRAVE Guitars – Love Vintage Guitars.

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