July 2020 – More Whazzup at CRAVE Guitars

Prelude

HELLO AND WELCOME to the second half of 2020 for what it’s worth. The fact that most of us meek hominids have made it this far is surely a good thing (for mankind, if not the planet), despite the best efforts of coronageddon. At the time of writing there are over 17 million confirmed cases and 667,000 deaths recorded globally due to coronavirus and sadly the numbers are still rising. I hope you are surviving amongst the mercenary madness. Thoughts, as always, lie with those affected directly and indirectly. Also, it is important to recognise the detrimental effects of the COVID pandemic on mental health & wellbeing; the risk of long‑term psychosis is a concern, worse because it cannot be seen and is rarely disclosed as an issue. Civilisation still has some way to go before it can prove resilient to the virus and worthy enough to survive as a species.

Before further ado, let’s move forward to the past. In the last article, I covered the key acquisitions made by CRAVE Guitars during 2019. As signposted last time, this month I’ll be covering the experience of repatriating 42 guitars and basses (40 of them vintage) after an extended period in enforced storage and bringing them back to as good a shape as they can be. None of the guitars covered here were featured in last month’s article, so there is no overlap between the two.

What are we actually talking about here?

As a reminder, here is the full list of the guitars that eventually returned home (by brand/alphabetic order):

Vintage Fender guitars (13):
  • 1966 Fender Coronado II
  • 1965 Fender Duo-Sonic II
  • 1965 Fender Jaguar
  • 1965 Fender Jazzmaster
  • 1965 Fender Musicmaster II
  • 1966 Fender Mustang
  • 1972 Fender Mustang Competition
  • 1977 Fender Stratocaster
  • 1983 Fender Stratocaster ‘Dan Smith’ Era
  • 1988 Fender Telecaster
  • 1974 Fender Telecaster Custom
  • 1973 Fender Telecaster Deluxe
  • 1972 Fender Telecaster Thinline
1966 Fender Coronado
Vintage Gibson guitars (20):
  • 1983 Gibson Corvus II
  • 1963 Gibson ES-330 TDC
  • 1985 Gibson ES-335 Dot
  • 1983 Gibson Explorer
  • 1984 Gibson Explorer
  • 1982 Gibson Explorer CMT/E2
  • 1984 Gibson Explorer Custom Shop Edition
  • 1984 Gibson Explorer ‘Union Jack’
  • 1976 Gibson Firebird Bicentennial
  • 1966 Gibson Firebird III
  • 1980 Gibson Flying V2
  • 1989 Gibson Les Paul Custom
  • 1977 Gibson Les Paul Deluxe Gold Top
  • 1975 Gibson Les Paul Standard
  • 1964 Gibson Melody Maker
  • 1961 Gibson Melody Maker D
  • 1982 Gibson Moderne Korina Heritage
  • 1981 Gibson RD Artist
  • 1965 Gibson SG Junior
  • 1968 Gibson SG Standard
1981 Gibson RD Artist
Vintage other brand guitars (5):
  • 1966 Epiphone Olympic
  • 1962 Gretsch 6120 Chet Atkins Double Cutaway Hollowbody
  • 1965 Gretsch 6135 Corvette
  • 1974 Rickenbacker 480
  • 1964 Silvertone 1449 ‘Amp in Case’
1974 Rickenbacker 480
Vintage basses (2):
  • 1977 Fender Precision Fretless Bass
  • 1978 Music Man Stingray Bass
1978 Music Man Stingray Bass
Non-vintage guitars (2):
  • 2002 Gibson Les Paul Standard
  • 1998 Gibson Les Paul Standard DC
1998 Gibson Les Paul Standard DC

Many purists may assert that some of these aren’t ‘vintage’. However, that is a debate for another time and place (and has actually been deliberated upon in previous articles). CRAVE Guitars’ cut‑off point is currently the end of 1989, i.e. over 30 years old.

While I might bloviate limitlessly about these musical devices, you will probably be relieved that I won’t be going through each of the guitars in sequence and in forensic detail. Rather, I will try to relate the key headlines, the highs and lows, the learning points and any resultant implications arising from the exercise.

At the time of writing, 38 vintage guitars have been given a well-deserved cossetting and these are the ones I’ll be covering here. The only ones remaining are the two vintage bass guitars, which I dread will both need some expert remedial work, as well as the two newer guitars (1998 and 2002). These remaining instruments will get the treatment they require in due course but now is the time to reflect on the significant work done on the major assets. I abhor calling them that but in this context, I guess that’s what they are.

Where they went and how they returned

In this first section, I may reiterate some points I’ve previously covered, so for regular readers, please forgive me for repeating myself. The elephant in the room is… ‘why?’.

I have to admit that the events that led to ‘here & now’ include a very dark period for me and the impact of the hardship still deeply affects me to my core. I won’t go into the detail of the circumstances, suffice to say that I lost pretty much everything back in 2011 and rapidly had to find a temporary home, not only for us as a family, but also for most of my guitars, which at that time was around 37 of them.

My first job was to document what was going away as best as I could, which included photographs and a comprehensive database covering each guitar. Fortunately for me, a good friend was able to find a safe space for them and they were stored away in a dry and reasonably ventilated roof space. Certainly not the ideal conditions for temperature and humidity but when desperate needs must, it was a saviour of momentous proportions and for which I will be eternally grateful. At least we live in a cool temperate zone, so the swings in climate could be a lot worse.

I had hoped to get back on my feet in a matter of just a few months, however that turned into a year and then several years until they were brought back home in 2019. I felt truly bad about the imposition on my friend and very fearful about what deterioration might be taking place in a less than perfect environment over an extended period of confinement. At least the guitars were all in cases of one sort or other, offering some degree of protection. During the lengthy hiatus, some guitars were retrieved, others swapped out and some were interred. Some of them, however, spent the full 7‑8 years in horrible exile.

We eventually relocated into a new home in the SW of the UK in 2017. When we moved, a few of the newer non‑vintage gear had to be sold off to preserve the core vintage items. A year after our move, my friend also moved home, staying in the SE of England. It was that combination of events that led to ‘the 42’ and I being reunited at long last in January 2019. A specialist haulage company charged the Earth for the pleasure of transporting them 200‑odd miles but at least they arrived OK. I had originally planned to refurbish our damp, dark cellar to make a new home for the guitars first but, as is usually our luck, circumstances got in the way and now I’m living amongst many stacked guitar cases. At least they are always close to hand.

Repatriation Guitar Cases

I knew that it wasn’t just going to be a case of unpacking and playing them as if nothing had happened, so I set about planning a very unhurried and practical approach to assessment and reconditioning. There was no set order to this process; it was very much a case of starting at the beginning and working through in whatever order they happened to be in. Now, in July 2020, I have worked through all the key returnees.

Nevertheless, it has taken over 18 months to complete the programme of refurbishment to this point. Not a quick procedure but not rushed either. I always felt that it would be better to take it easy rather than potentially to make things worse by jumping in too enthusiastically. They are already old, a little longer doesn’t matter.

General Condition

Thankfully, all the guitars were in cases, although the condition of each case varied greatly. Some cases are good and strong, while others have various signs of wear and tear and some are very tatty and weak, providing hardly any physical protection but better than nothing. The oblong cases were far easier to accommodate, being easier and safer to stack, unlike the shaped ones.

The first thing to notice was a predictable coating of general entropy. A lot of people pay a lot of money for genuine old dust and grime (heehee), so the cases stay as they are, as testament to the trials and tribulations to which they had been exposed. I am not one of those snobbish ‘collector’ types that insist on everything being perfect and as‑new. I fully understand that I am only a temporary custodian in their long lifespan that in some cases started before I was born and which most likely will well outlast me. This part of their existence has at least been documented for all to see. It is all part of our collective heritage, albeit a miniscule representation.

Opening each case for the first time and taking each guitar out was the point of maximum trepidation and anxiety, rather than excitement. On initial release, each one was given a cursory once over to see if there was any immediate and obvious appreciable damage. I can report that, so far, that no appreciable impairment has occurred to any of the guitars during stasis. No significant issues requiring immediate corrective work were noticed, which was a massive relief. Phew!

One thing common to many, if not all, guitars was an unidentified surface film/smear, despite being effectively protected from too many outside elements. There were also signs of varying degrees of oxidation and/or corrosion to some metal parts although, again, nothing particularly serious. Most of these ‘issues’ would be rectified by a sensitive clean. A few guitars seemed to have more nitrocellulose weather checking than I remember. Whether this was a result of inaccurate memory or a genuine reaction to environmental factors, I cannot be absolutely sure. While finish crazing can add mojo to a vintage guitar, I’d rather not intentionally make it worse, so I was a bit despondent on that front, as the crazing process is irreversible. So, job number 1 would be a thorough deep cleaning – not enough to ruin the genuine patina of age but just to bring the finish back to life and protect it for the future.

1984 Gibson Explorer

The next thing was a quick acoustic strum and noodle before plugging them in. All of them were strung at full tension to preserve the neck relief but the strings themselves showed various degrees of corrosion and were horribly sticky to the touch. What surprised me was that about 80% of them were still in tune. Impressive. They sounded dead and lifeless though, even acoustically. So, job number 2 would be a full restring and setup for each of them.

Each guitar was then plugged in to an amp to test the instrument’s electrics. This is, sadly, where the most obvious degradation was evident across the board. Initially, some showed no signs of electrical life at all, which was a concern. Others had annoyingly intermittent noisy signals, many had rough scratchy pots, iffy crackly switches and raucous jittery jack sockets. I don’t think that any permanent failures occurred although they clearly needed to be seen to before they could be used in earnest. To be honest, with unkempt electrics and long dead strings, they generally sounded awful compared to how they should be. Not a promising initial analysis. So, job number 3 would be to go over the electrics where necessary to return them to usable operation.

That’s about it. Thankfully, there were no major concerns other than any reservations I might have had anyway (these are vintage guitars after all). The appearance could easily be resolved through some sensitive tender loving care (TLC). The electrics, I was pretty sure could be cleaned up and just used. Restringing and setting them up properly would, I hope give them a new lease of life. Phase 1 sorted then – just 3 key straightforward tasks for each guitar plus anything specifically identified on each one as they went through the TLC procedure.

Playability

As mentioned above, straight out of storage, pretty much every guitar felt dead and lifeless with little resonance from the bodies. Anyone who has followed CRAVE Guitars over the years knows that it is my firm belief that guitars should never be kept as mere trinkets and they need to be played regularly. The guitars seemed to agree wholeheartedly with this observation, as they were telling me loud and clear that they didn’t appreciate not being used for so long. It makes me wonder how many would‑be collectors are put off vintage guitars because they try one out in this unprepared state and then presume that they are all like that.

As I wasn’t in a hurry, I experimented with my approach to this zombie‑like phenomenon. They are just bits of wood, metal and plastic after all; why should a period of abandonment make that much difference? What is it that makes the difference? I decided to take some amateur and idle investigation a little further.

1983 Gibson Corvus

Some guitars I stripped down straight away, while others I decided to play for a while before reconditioning them. The interesting thing is that they didn’t need cleaning or restringing to bring them back to some resemblance of vitality, they simply needed playing for a while. Even with ratty old strings, tarnished finish and creaky electronics, they surprisingly would recover much of their vibrancy after a few days of being used. Some needed more teasing than others – no surprise there. This doesn’t mean that they couldn’t be made even better. Those that were given some TLC first seemed to spring back a bit quicker and stronger with fresh strings on board.

Most of the guitars did not need much in the way of set up to restore their playability. Not one needed a truss rod adjustment (phew!). I suppose the necks have been OK for several decades and they had already settled into how they should be. However, restringing gave an opportunity to check action, nut, bridge saddles, intonation and pickup height to fine tune them. A couple needed appropriate lubrication for the nut, bridge and tuners but not much. Time for some D’Addario/Planet Waves ‘LubriKit Friction Remover’, especially on vibrato‑equipped instruments. Just a few simple things made a lot of difference.

However, getting back to the point, the biggest difference to usability was simply to play them for a while. The comparison between ‘before’ and ‘after’ was remarkable in almost every instance. I’m sure that there must be scientific reasons but I’m not clear in my mind what actual cause and effect is going on here.

General TLC

This is the bit of maintenance that I’m probably best at – the simple stuff. I have mentioned quite a few times that my practical guitar tech skills are limited. What I can do though, is to give guitars a thorough pampering. The first thing is to take the old strings off (and recycle them). Some needed a bit of extra dismantling, for instance to get at the electrics, to shim a bolt‑on neck or to capture neck/body codes and document internal condition.

Cleaning is a relatively straightforward and painless process but it does make a huge difference to aesthetics. If there were specific reasons to do so, I might start off using T‑Cut judiciously to get through thick grime or smooth out some minor scratch marks. However, T‑Cut isn’t recommended to use on vintage guitars but it can help in some circumstances, as long as one is very careful. I have tried other abrasive products with varying degrees of success.

Most of the cleaning process was done using my guitar maintenance ‘system’ of choice, which is D’Addario/Planet Waves products.

More gentle than T‑Cut is D’Addario’s ‘Step 1 Restore: Detailer’, which is good for restoring the underlying nitrocellulose finish without ruining the natural aging and patina that develops over many years. It also helps to reduce minor swirl or plectrum marks, giving a nice healthy overall sheen. The degree of elbow grease required depended on each guitar and it is worth it.

After leaving the finish for a day to stabilise, I then used D’Addario’s ‘Step 2 Protect: Guitar Wax’, which uses premium quality Brazilian carnauba wax to give it a lovely finish and protect it for the future. As a wax, I’m uncertain as to how effective it actually is on nitrocellulose or polyester finishes but I figured that it certainly can’t do any harm. It is important here not to use anything that contains silicon or other unhelpful contaminants.

At this point, I would stop and not use D’Addario’s ‘Step 3 Shine: Spray Cleaner’ unless I continued to play the guitar for some time. It is ideal for use when a guitar needs a quick spruce up after playing, before putting it back into its case and/or moving onto the next one.

Plenty of people prefer other maintenance systems such as Dunlop’s excellent cleaning products. I just prefer the ’Addario/Planet Waves’ products. It may seem like I’m promoting and/or recommending their products, I’m not – it just works for me. They are quite expensive per millilitre but I think worth it on balance.

All rosewood and ebony fingerboards needed a good clean and multiple applications of lemon oil (which, incidentally, ain’t what it used to be!). Here, I use Kyser Lemon Oil, now that I’ve run out of my old good stuff, which it seems you can’t get any more. I’m still looking for something better though. Maple fingerboards only needed the same cleaning as for body/neck finish and it is important not to use lemon oil on lacquered maple fingerboards.

The condition of frets unsurprisingly varied from guitar to guitar, especially in the lower ‘cowboy chord’ frets. A few will require expert fret work at some point but not immediately. There were a few signs of rough surface corrosion. At its worst, rust build up could be removed using very fine grade wet & dry paper, whereas routine sprucing up could be achieved with fine wire wool depending on condition. For a final gleam, I used D’Addario’s ‘Fret Polishing System’. Visually, it does make a difference and it makes playing much nicer, especially when string bending in the higher registers.

Most of the other metalwork was OK and nothing needed anything radical. One has to be careful on gold, chrome or nickel plating, not to abrade the surface too much, so a gentle application of Brasso Metal Polish wadding was usually enough to remove surface tarnish and restore a nice metallic shine. I didn’t need to go further and use something harsher like Solvol Autosol on any guitar metalwork.

The crackly, glitchy, scratchy electrical components, including the usual pots, switches and jack sockets were mostly solved with a dose of electrical contact cleaner and repeated use to clean the surfaces. Here, I use Tone Electro-Sound Guitar Pick-Up & Electronic Cleaner, which is expensive but cheaper than the class leader, DeoxIT. There were a few remaining electrical problems that will require soldering and/or replacement parts/wires but nothing requiring immediate attention. As they were mostly OK when they went into confinement, it was really only new issues that will need sorting out.

1965 Fender Duo-Sonic II

As I’m sure most guitarists will attest, new strings are a key part of the playing experience. Here, I am very pragmatic and don’t insist on a ‘must have’ type of string. I am certainly not a string snob, opting for some (expensive) esoteric boutique product that needs changing after every play. Frankly, I can’t tell the difference. What I will mention is that it requires a level of investment to restring 40+ guitars, especially without ready access to bulk buying as a regular end‑consumer.

For Stratocasters with a vibrato block, I generally use Fender Bullets 10‑46 gauge. For most standard scale guitars, I use Ernie Ball Regular Slinky 10‑46 gauge. For short scale guitars or ones that benefit from a little extra string tension, I’ll go up to Ernie Ball Power Slinky 11-48 gauge. For the Gibson ES‑150, I haven’t decided on a suitable string set yet but it will probably need something like 12-56 semi‑flat wound strings to give it the necessary volume, warmth and resonance that it deserves. With the dreaded Brexit negotiations and no clear trade deals with either the European Union or the U.S.A. (or anyone else for that matter), I may decide to migrate to British‑made Rotosound strings for general use.

A final buffing with a lint‑free duster keeps the guitar’s finish nicely clean and shiny. No guitars are going back into long‑term storage and all will be played regularly over time. They aren’t on constant display and are kept indoors in their cases when not being played.

Remedial Work

Most of the guitars were in pretty good condition when they were stored away, so they didn’t go into incarceration with (m)any outstanding issues. Fortunately, they also came home in pretty good condition too. As mentioned above, I think both basses need some expert attention to their necks. I can’t be sure what issues they may have or what may be required but it is probably best to leave that to the experts.

There are a few guitars that do need electrical work doing, once again, anything beyond cleaning up contacts is best left to the experts. Some have intermittent problems (hums, crackles) or weak signals. On some, the balance of tones doesn’t seem right and could do with investigation. Perhaps some combination of new pots, switches, wires, capacitors, jack sockets, solder joints, etc. may be required.

If replacements and/or repairs are needed, where possible, these will be vintage correct. However, finding genuine vintage parts in the UK is a big issue and importing them is disproportionately expensive, so it isn’t something to be taken on lightly. In several instances, I may have to be pragmatic and replace faulty vintage parts with newer quality equivalents. After all, it is better to have guitars working properly, otherwise they are just planks of wood, bits of metal and plastic that won’t get played. Things like vintage pots can always be fitted retrospectively if need be.

Apart from the basses, not one of the guitars suffered neck problems, which I am genuinely amazed at. I guess they were old and settled anyway. Certainly no fretwork will be needed other than some basic levelling, crowning and polishing. I wish it was something I felt more confident about doing myself but I know that, if I made a mistake, it would undoubtedly be worse than when I started. Best left to a competent technician.

None, thankfully, require any finish work. I would prefer to leave any worn finish, dinks, scuffs, scratches or other marks as they are, rather than refinish a guitar and ruin its authenticity. Besides, I am smitten by the untold stories behind the genuine blemishes and imperfections that give them character. These are not new guitars and neither should they look it. Neither are they museum pieces, so the ravages of daily use are important to both their integrity and charm.

I only have one refinished guitar, which is CRAVE Guitars’ ‘signature’ 1975 Gibson Les Paul Standard. The guitar came to me when it was about two years old and had significant buckle rash on the back. For a while, it was finished in natural before being refinished again in a beautiful cherry sunburst. If you are wondering, it was originally a dark tobacco sunburst. At the time, as a teenager, I didn’t know any better and had absolutely no idea that in several decades that I would a) still have the guitar or b) value original finishes. Oh well. One lives and learns.

1975 Gibson Les Paul Standard

Guitar cases are a different matter. Some of the very old ‘cardboard’ cases are pretty tatty and there is not much that can be done about that. A number of cases have broken latches or missing handles and I would like to work through these to make them at least usable. Sourcing vintage or OEM NOS parts and restoring the hardware isn’t easy, as latches, hinges and handles were mainly riveted on, rather than screwed. Again, this isn’t entirely necessary or urgent, so it can be a project for a future date. Mostly, they are best left as they originally came to me.

Parts and Accessories

There are a few guitars that have had newer parts fitted at some point (not by me, I might add!). Some of these examples could do with sensitive conservation by using vintage original replacement parts. None of this is necessary or urgent so, like several other jobs, it can be done over time as opportunities present themselves. Messing with them or modifying them is not on my agenda.

Case candy is always nice to have but I don’t go out of my way to acquire it, if it wasn’t original to the guitar. Authenticity matters here. We have more than enough fake news and phoney history to contend with, without adding unnecessary doubt to the origins of the guitars.

Some have optional parts missing, for instance, my 1977 Fender Stratocaster doesn’t have its original bridge cover but, let’s face it, does it really matter? It may be another ‘nice to have’ but it serves absolutely no beneficial function.

1977 Fender Stratocaster

Many of the guitars have their original cases but, similarly, many came to me with non‑original or modern cases. While I might like to get vintage original cases for some guitars, that can be inordinately expensive and it kinda messes with originality. Another ‘nice to have’ but not essential. If an occasion comes along to conserve the instrument better, I’ll consider it as and when. It really is the contents that matter.

If I’ve done my buying well in the first place, the acquisition of parts and accessories to restore a guitar to as close to its original condition generally aren’t needed. There are always exceptions to each rule, so it’s on a case‑by‑case basis.

Documentation and Photographs

By now, you’ll have hopefully concluded that they are all in more‑or‑less acceptable playable condition. Everything else is a bonus.

All that is left to do is to document each guitar at this particular point in time. As mentioned above, when the guitars went into storage, they were photographed and their individual characteristics logged onto a comprehensive database. Now, several years later, some of the details on the database can be updated and, where information was missing, new data can be added.

CRAVE Guitars – Database

New photographs have been taken for historical evidence and also added to the database. In the event of some potential future catastrophe such as theft or damage, all the necessary details will be available. Many of the same photographs can also be used on the web site to go with new all‑new features that have been written. I will come back to the web site in due course, so that’s enough on that front for the time being.

In addition, and perhaps more interestingly, this article and the documentation are all part of each these guitars’ long life stories and something that can go with them if and when they ever get passed on. Perhaps for the first time in their long lives, there is a written and photographic moment‑in‑time record for these wonderful heritage artefacts. This extensive task is still only partially completed but there is no ‘burning bridge’ imperative to hurry the task and it can be done at leisure.

The one I couldn’t put down

Rediscovering these lovely vintage guitars all over again was a real pleasure and there weren’t really any major surprises or disappointments. I wasn’t planning on comparing or ranking the returnees. There was, however, one guitar that stood out above all the rest during the process.

It was… drum roll please… the cool 1965 Fender Jazzmaster. It is an all‑original, pre‑CBS standard sunburst Jazzmaster, so there is nothing particularly unusual about it to differentiate it from any other of the period. Once it was resurrected, fairly nearly the end of the programme, it was the one that I just couldn’t put down and I kept playing and playing if for several weeks before I was compelled to move on. The Jazzmaster must have had some fairy dust sprinkled on it for it to stand out from very tough competition.

1965 Fender Jazzmaster

I consider myself to be very fortunate not only to have had all the guitars but also to re‑experience them for a second time. I am therefore largely content with my lot, despite the hellish privations in getting through the wicked times to this redemptive point.

What next?

Well, the obvious next thing to do is to play and enjoy them. That is, after all, the whole point of having these things in the first place, isn’t it? They can’t all be played at once, so organising them so that they can have equal opportunity for playtime will be important.

That brings us back to an oft‑repeated bugbear of mine, which is my priority to refurbish the house’s currently unused cellar to make a safe and secure home for them all. In the meantime, they are arranged not too badly, so they can be accessed without too much heavy lifting.

While I have worked through the vast majority of the repatriated guitars, these only represent about two thirds of all the instruments here at CRAVE Guitars. There are also the other 24 guitars (and counting), some of which could well do with the same sort of pampering that the returnees have had, and some also need similar remedial work to, for instance, frets, electrics, etc.

1967 Gibson Melody Maker SG

I think the cycle of TLC is a continuous one. Once one cycle has been finished, it will be time to start another one. It is a bit like the metaphor of ‘painting the Forth Bridge’, i.e. an on‑going, repetitive and never ending process. Almost the definition of Sisyphean. At least it is a pedestrian task that I can enjoy as therapy from the mad, mad world unravelling outside my little hikikomorian bubble.

While the focus of this article has been on the guitars, there are also effect pedals and amplifiers that need regular attention and some of which were repatriated alongside the guitars. The same basic principles apply to keeping them in tip‑top shape, even though their needs are different.

I don’t need to sell any guitars although a bit of rationalising and trading up may actually be a good idea. The thing is that I’m not one of those people who regularly buys and sells to keep a constant flow of ‘new’ (to me) guitars coming through. I tend to grow an attachment to guitars, and especially these guitars that have been through so much at my expense. There is maybe a small number that I could part with to make space for something else. It’s just whether I can break the emotional ties. Oh, that and the impending global recession will undoubtedly have a bearing on matters.

There will also inevitably be further additions to the ‘collection’ in due course. I can’t see it getting smaller but I can certainly envisage it getting bigger. However, due to the finite constraints of space, time and money, buying anything else is on hold for a while out of plain old and boring necessity.

Help Needed

I mentioned in the last article that vintage guitars, effects and amps need expert attention from time to time to keep them working at their best, so this is basically a reiteration. If there is someone out there with the requisite skillset to help maintain these treasures, and who is local to SE Cornwall in the UK, I would be interested in exploring opportunities. Is there anyone out there attracted to the proposition? If there is, please contact me at the e-mail address at the bottom of every page on the website.

Learning points

Well, having gone through all of the above, I must have learned something, right?

Probably the most important lesson is simply, ‘don’t do what I did’. Don’t store guitars away for long periods, especially in inappropriate environmental conditions. I couldn’t help what happened to me and I did what I had to do using my best judgement at the time. In retrospect, I am not sure what I could have done differently and retain the guitars. I ‘swear to God’ that I don’t ever want to go through that experience again.

The second lesson is ‘to take your time and not rush in’. To do so would risk the integrity of the guitars. After all that time away, a few more weeks waiting to be sorted out made no difference in the big picture. A measured approach worked wonders and also took a lot of the potential stress out of the process. In effect, instead of a single insurmountable task, breaking it down into manageable steps made it more of a therapeutic and cathartic exercise.

The third lesson is to ‘do what you can and do not do any more’. Leave the other stuff to the experts. Be prudent and cautious about what you undertake. Any foolish actions might well prove to be irreversible and therefore regrettable. One also really doesn’t want to make them look like new; they are old and they are meant to look and feel that way. Conserving these artefacts is important, while preserving them (proverbially ‘pickling them in aspic’) is not. Sensitive refurbishment means accepting that what they are is a direct result of what happened to them and to be happy about it. That doesn’t, however, mean that they should now be neglected all over again. They can be played, enjoyed, maintained and kept in good condition, no problem. They’ve survived this long; my job is to ensure that they survive for a long time after me.

That is really it. Three fundamental, profound and straightforward learning points. Simples! The vista of glorious vintage guitars has been re‑opened to me, so that is one thing to celebrate for sure. The haptic experience of playing these gracefully aging instruments has been restored at long last.

Tailpiece

So, that represents some of their story, revealed at long last. After a year‑and‑a‑half, I can finally say that I am relatively pleased with how things are and no longer over‑anxious about what I might find. Why am I not over the moon? Any overwhelming joy or excitement has been surpassed by the detriment of the past decade that I cannot obliviate.

There is still plenty to do, even in one’s splendidly isolated silo of virus‑induced exile. The short‑term aim is largely to continue on the path already set, while also looking forward more ambitiously to the medium‑to‑long‑term future. I have a plan; it is executing the plan that is the problem. That, ultimately, comes down to filthy lucre.

Anyway, that’s two out of the three catch‑up topics now dealt with. I hope you’ll be willing and able to return for another tasty course of ‘whazzup’ delights next month.

Stay safe and hope you continue to survive the coronapocalypse. Remember that the basis of karma is to ‘be good and do good’. Until next time…

CRAVE Guitars’ ‘Quote of the Month’: “Addiction to false beliefs is equivalent to wronging the world’s rights”

© 2020 CRAVE Guitars – Love Vintage Guitars.

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June 2020 – Whazzup at CRAVE Guitars

Prelude

WELCOME BACK ONCE again guitar fans and hello to any new visitors. We are now half way through an extraordinary 2020 and the world is still turned upside down in so many concerning ways. While there may be glimmers of light at the end of the tunnel for COVID‑19, there is still a long way to go and there will be profound ramifications that it will leave in its sizeable wake. At the end of last year, we had no inclination as to what was about to befall, yet here we are now. Perhaps us hooman beans really aren’t as clever as we seem to think we are (shock, horror – hold the front page!). It seems that we also still have some way to go before all people are deemed equal and can live their lives freely, responsibly and peacefully. The first half of 2020 has passed by very quickly and, frankly, good riddance to it. I don’t like wishing life away but it has been 6 months that I’m sure we could all have done without, everything being on‑hold.

Well, here we are and no more historical facts, quotes or predictions on which to ponder this month. I said at the very end of the last article that I would get back to pontificating about ‘cool & rare American vintage electric’ guitars and, at last, I can deliver on that promise/threat (delete as applicable).

There are 3 themes on which I’d like to embark this month. Firstly, I mentioned in my December 2019 article that I had bought some gear (big surprise… not) during last year but I didn’t go any further than to list what they were, without any indication as to the whys and wherefores behind the spending spree. Secondly, after 18 months, most of the 42 repatriated guitars have now been properly assessed and worked through as far as I am able. So far, I haven’t given any real sense about what I found and what I learnt from the exercise. Thirdly, there have been a number of purchases during the first half of 2020 and in due course I can reveal what those are and how they relate both to the existing ‘collection’ and to the ‘wanted’ list from that same December 2019 end‑of‑year/look‑forward roundup.

I think that there is more than enough material to occupy one article, so without further ado, let us begin at the beginning. Sitting comfortably? Good. Then, we’ll begin…

2019 CRAVE Guitars’ Purchases

An Introduction to the 2019 CRAVE Guitars

2019 was certainly an interesting year. Due to circumstances, I started out not anticipating much in the way of guitar purchases. The relatively modest vintage guitar ‘wanted’ list from December 2018 included a Danelectro of some sort, a Fender Starcaster and a Gibson Melody Maker. These had all featured on the target list for more than one year, so it seemed a fairly realistic expectation. What actually happened was a bit more fruitful than I foresaw and I think it deserves some rationale to indicate why they weren’t random purchases. In fact, 2019 resulted in nine new additions to the CRAVE Guitars family, spanning five decades (1940s‑1980s with at least one from each). I couldn’t really afford the outlay but, although it meant sacrifices in other areas, it has probably been worth a bit of hardship. I hope you find this array of short stories moderately interesting.

1982 Fender Bullet H2

This is what happened when esteemed Fender designer John Page was tasked with creating a low cost student model to carry the ‘Made in U.S.A.’ decal and replace the outgoing Mustang and Musicmaster? The result was the Fender Bullet. I’d already acquired a 1981 Fender Bullet which was essentially a Telecaster‑on‑a‑budget model. Several aspects of the first iteration intrigued me and I set about looking for a second generation model, with the more Stratocaster‑like body outline. Initially, I was looking for a ‘standard’ one with twin single coil pickups and the integrated bent steel pick guard and bridge assembly, just like the ‘Tele’ Bullet. Instead, I found a cool Fender Bullet H2 in great all‑original condition in very smart red and white with a maple neck. This version has a more robust standard integrated hardtail bridge/tailpiece with through‑body stringing. The H2 features what at first glance appear to be standard twin ‘humbuckers’. However, looks can be deceiving. The pickups aren’t actually traditional humbuckers – they are actually 4 single coil pickups arranged as two pairs in humbucking configuration. In addition to a normal 3‑way pickup selector switch, the H2 has two additional buttons that ‘split’ the humbucking pickup pairs to give a wide range of tonal options including genuine single coil sounds (unlike most tapped or split humbuckers). When it arrived, one of the 4 pickups wasn’t working and it had to be sent to a pickup expert to fix. Thankfully, it was a weak connection between the coil and pickup lead, so easily sorted. Like the earlier Bullet, the H2 has a very nice standard Telecaster neck. The diverse sounds available from this guitar are nothing short of remarkable and it makes me wonder why this particular unique configuration hasn’t been widely used since. The early USA‑made Bullets were misunderstood and tend to attract a lot of unfair criticism from purists. As a result, like the Fender Leads of the time, they weren’t manufactured for long. Judging it on its own terms, this is really not the cheap Stratocaster imitation it may seem at first glance. I realised that the Fender Bullet H2s are both cool and quite rare, so fit the CRAVE criteria. I never envisaged that it would be so fascinating and collectable while still being affordable. This Bullet H2 came with its original (if battered and stickered) Original Hard Shell Case (OHSC).

1975 Fender Starcaster

The Fender Starcaster (and, no, that isn’t a spelling error) has been a long‑standing ‘wanted’ guitar, ever since I got a 1960s Coronado. There is very little similarity between the two models but as there are very few semi‑acoustic electrics in the brand’s history, I was once again curious. Unusually, I bought this one from a retailer, so I probably paid more than I normally would have considered but it was worth it. Where the Coronado is fully hollow, the Starcaster has a solid centre block running under the pickups and the massive hardtail bridge/tailpiece assembly. Surprisingly, the Starcaster has through‑body stringing like a Telecaster. While the Coronado has DeArmond single coil pickups, the Starcaster uses the sublime Seth Lover ‘wide range’ humbuckers as used on several Telecaster variants from the 1970s. While both the Coronado and the Starcaster use bolt on maple necks, they are, again, very different and the latter is unique to the model with a maple fingerboard. Both the Coronado and Starcaster were reissued by Fender in 2013 although neither are a patch on the originals. The vintage Starcasters are instantly recognisable because of the distinctive bridge assembly and the 5 controls (2 volume, 2 tone plus master volume). When going over the guitar on arrival, I found it was a rare very early 1975 (pre‑production?) model. It has been well used but is still in remarkably good condition with the sort of genuine patina that only age can bestow. The tobacco sunburst and sunburst flame maple is just gorgeous. It is also a fantastic guitar to play with a great neck and I really like the (in‑vogue) offset body shape. Even better, it doesn’t play or sound like any other Fender, ever made. The Starcaster didn’t prove popular on its original release and wasn’t produced for long before being quietly discontinued in 1982. I can understand why it didn’t sell in large numbers but that misses the point about its exclusive charms. Make no mistake, the Starcaster is a high quality instrument just waiting to be rediscovered. This beauty is not to be confused with cheapo far‑eastern Strat imitations from the 2000s that unfortunately carried the ‘Starcaster by Fender’ moniker. The case, while vintage, is not an original Fender Starcaster case. Obtaining a Fender Starcaster was a long‑standing aspiration achieved, which can now be removed from the ‘wanted’ list. These babies are now becoming extortionately expensive on the vintage market, as the ‘collectorati’ are now cottoning onto them. Seems I got this one just about in time‑ish.

1979 Fender Stratocaster Anniversary

I already have a 1977 Stratocaster hardtail and I was kinda looking around for one from the early 1970s with a vibrato before they become unaffordable (rapidly heading that way now). Along the way, I became distracted by the 1979 Anniversary Stratocaster. I missed out on a couple before I finally attained one (once again at a higher price than I intended, unfortunately). The Anniversary is distinctive in that it was Fender’s first foray into limited edition commemorative models, celebrating 25 years since the original Stratocaster’s introduction in 1954. I was attracted by the classic look of silver, black and maple fingerboard. Whether one can regard a massive 10,000 examples as a ‘limited edition’ is debatable. It also comes with a very unsubtle ‘Anniversary’ logo emblazoned on the bass horn plus a much more understated 25th anniversary neck plate which carries its serial/issue number. This one comes with its original certificate of authenticity and most (but not quite all) of its case candy, as well as its ABS OHSC, all of which is nice to have. Like all Anniversary models, this one is heavy at 10lbs (4.6kgs) but I can live with that because of the part this model plays in electric guitar heritage. It looks cool, sounds great and plays very nicely, although the action is a little high. Fundamentally, though, it is essentially a standard Stratocaster with a few aesthetic embellishments. This guitar is in excellent, almost mint condition, which suggests that it was kept as a memento rather than an instrument to be played, which in my view is sacrilege. These aren’t especially rare instruments and many purists would say they aren’t cool. Well, I’m going to stand my ground and say that I like it, which is why it now has a safe home here at CRAVE Guitars.

1983 Fender Stratocaster Elite

This is the first of a pair of Fender Elites that I bought in 2019 (and the second Stratocaster!), both of which I think are quite desirable. As background, the Elite series was only produced in 1982 and 1983 before it was withdrawn shortly before CBS sold Fender in 1984. It is the innovative electronics that really set the Elites apart. The signal chain starts with 3 ‘noiseless’ single coil pickups including an additional dummy coil to reduce hum. These pickups are distinguishable by the Fender logo covers with no visible pole pieces. Instead of a 5‑way pickup selector switch, there are 3 on/off buttons, 1 for each pickup, giving 8 permutations in all (including all ‘off’). This arrangement provides easy access to more sounds than the standard Stratocaster of the time. The switching is unusual but also very intuitive (far better than Fender’s current S‑1 switching). The signal then passes through an on‑board active pre‑amp powered by a 9V battery. The controls are different too and not just the nice soft‑touch logo knobs. There is the usual single master volume complemented by two master tone controls, comprising Fender’s propriety MDX (MiD‑range eXpander) boost and TBX (Treble/Bass eXpander) circuit. The Strat’s iconic jack plate is also absent, with the output moved to the body edge. The bridge assembly is also unique, here it is a top‑loading hardtail Fender Freeflyte bridge. In use, it plays just like a Strat, although it is a touch on the heavy side. The sounds though are, as you might expect, quite different from a normal Stratocaster. Before the purists clamour with cries of sacrilegious iconoclasm, the electronics went on, albeit modified, to be used in both the Eric Clapton and Buddy Guy signature guitars, so the Elite wasn’t an abortive experiment. This example looks particularly cool in creamy Olympic White with a lovely rosewood fingerboard. This Elite is in lovely all‑original excellent condition and comes with its ABS OHSC. Like many 1970s and 1980s Fenders, these are now becoming more desirable on the vintage market. These original Elites are not to be confused with the similarly named but otherwise standard Elite series instruments issued by Fender between 2016 and 2019.

1983 Fender Telecaster Elite

More?! OK then. Onto the second in the pair of Fender Elites. This one is a 1983 Telecaster Elite in lovely translucent Sienna Burst with a gorgeous rosewood fingerboard. Like the Stratocaster Elite, it is a fascinating variant on the classic design. The electronics here comprise dual‑coil noise‑cancelling Alnico 2 pickups routed through an on‑board active 9V preamp with 2 volume controls allied to the same MDX (mid‑range) and TBX (high‑range) tone controls as found on the Stratocaster Elite. Like its sister model, it has the unique top‑loading hardtail Fender Freeflyte bridge. The body has cool single binding on the top edge, similar to the original Custom Telecaster from the 1960s. For some inexplicable reason, the designers at Fender felt that a Telecaster would look good with a Les Paul‑like scratchplate. They were wrong, it doesn’t. Fortunately, the scratchplate was provided in the case, rather than being attached and even then, it could be stuck on with double‑sided tape. Personally, I prefer it without the scratchplate, revealing the woodgrain through the finish. Like the Stratocaster, the Telecaster is a touch on the heavy side but I can forgive that because of its unique position within the Fender canon. This little beauty is in near mint condition and includes its OHSC. The Elite is far from your average Telecaster and, on my unending quest for something cool and rare, it has found a good home here at CRAVE Guitars. Both Elite models (and there was also a Precision bass in the range as well) are harder to come across than standard models, so the prices tend to reflect their relative scarcity. The Elites are unequivocally ‘curio’ guitars from the last dying days of Fender’s notorious CBS era, so they tend to be frowned upon by purists, which makes them all the more appealing to the maverick side of my enduring addiction to the quirky and idiosyncratic guitars from a generally unloved period of guitar history.

1947 Gibson ES-150

Thus, we move onto the ‘Big G’. The author sadly hit one of those dreaded ‘big birthdays’ in 2019 and without much else to celebrate, I figured that I would mark my passing years with something self‑indulgent. I had been keeping my eyes peeled for a vintage Gibson ES‑150 for several years and watching as the prices escalated to, frankly, silly levels. I couldn’t afford one of the carved top pre‑war models with the Charlie Christian pickup, so I was looking around for a newer model, which would be cheaper. For those that may not know, the Gibson ES‑150 was introduced in 1936 and is acknowledged as the first commercially successful electric Spanish guitar. I eventually found a lovely 1947 ES‑150 from the first year of post‑war production and sporting a single P90 pickup. This one was way, way more expensive than I could normally justify so, because of my impending mortality, I was tempted to go for it. In fact, it is the most I’ve ever spent on a single instrument to‑date. This ES‑150 was residing in Italy, so I imported it before Brexit shuts down all opportunities to access vintage fare from our European colleagues. Owning a really old hollow body non‑cutaway jazz guitar is new territory for me, so it was with some trepidation and excitement that I was delving into this particular art form. The guitar itself is in fine all‑original condition with just surface crazing to the lovely sunburst nitrocellulose finish. There is no serial number or Factory Order Number (FON) which, along with the features, dates it to 1947. Playing it is a different experience altogether, as it needs heavy semi‑flat wound strings to get the laminated top vibrating. Then there is the limited upper fret access to contend with, so it takes some time to acclimatise to the technique. Being deep‑bodied and fully hollow, this one actually works quite well as an acoustic jazz guitar too. As you may know, I really like single pickup guitars, so there is less to get in the way of pure P90 tone. The ES‑150 is currently a bit of an outlier within the CRAVE Guitars family. One thing is for sure, it isn’t going anywhere anytime soon. Definitely not the ideal guitar of choice for metal heads though.

1965 Gibson Melody Maker

This 1965 Melody Maker was a bit of a gap filling exercise. Between 1959 and 1971, Gibson released four versions of their ‘student’ guitar, the Melody Maker. The first was a single cutaway Les Paul shape (1959‑1961), the second was a unique and really cute double cutaway model (1961‑1965), the third iteration was a somewhat crude and short‑lived double cutaway model (1965‑1966) and the final generation was SG‑shaped (1967‑1971). This is one of the rather ‘ugly duckling’ models from 1965 (weirdly often called the ‘type 2’, even though it’s the third body shape), which completes the set. The Melody Maker comprises a slab mahogany body with double cutaways, a set mahogany neck with the typical narrow headstock, one single coil pickup, and comes in a reserved cherry nitrocellulose finish. Unsurprisingly, this model has never been reissued by Gibson, although there has been a Joan Jett signature guitar. The Melody Maker name has re‑appeared a number of times since the 1960s. This example is not in pristine shape but is all‑original and it comes with its OHSC. At least this one hasn’t been butchered over the years unlike many. I was shocked that a recent guitar magazine article (which I won’t name but they really should know better) was recommending that the vintage Melody Maker body should be routed and the pickup replaced with a P90 or humbucker! Unbelievable and indefensible! I think that the narrow single coil pickups give the Melody Maker a distinct tone, which is very underrated by purists. Melody Makers are unique in the Gibson history books and unmolested examples deserve much more credit in my view. They are made from the same materials in the same Kalamazoo factory by the same people as other highly prized models and should be regarded (and treated) as worthy vintage instruments in their own right. They are very light and resonant, making them really easy to pick up and play. Compared to many Gibsons from the 1960s, Melody Makers are still relatively affordable on the vintage market and represent a good starting point for people interested in collecting vintage guitars from a major American brand. Personally, I have to admit that I am not a huge fan of this pointy body shape but now that I own one, it is growing on me.

1989 PRS Classic Electric

Having dipped my toes into the world of Paul Reed Smith (PRS) guitars with an elegant 1988 PRS Standard, I was looking around for other early hand‑finished guitars that were made in PRS’s original facility in Annapolis, Maryland. These early, so‑called ‘pre‑factory’ models are becoming increasingly collectable, especially as they are now beginning to get to vintage age (and price!). The early PRS Customs are becoming incredibly expensive, so my eyes settled on an early PRS model that was initially called the Classic Electric when introduced in 1989. The model was swiftly renamed as the CE after a legal dispute with Peavey over the original name. NB. The CE is not to be confused with the far Eastern PRS SE (‘Student Edition’) guitars. I also had my sights set on the early solid Electric Blue metallic finish, which I think is stunningly beautiful. This example is a very early Classic Electric, being only the 473rd guitar off the production line, distinguished by its 24‑fret, bolt‑on maple neck and the plain headstock carrying the block ‘PRS Electric’ logo (soon to change to the familiar modern ‘Paul Reed Smith’ signature script logo). There are quite a few marks including one significant ding to the body and the finish on the back of the neck has worn down. The wear indicates that it has been well played, which is often a sign of a soundly put together instrument. OK, it doesn’t have the flashy flame or quilted maple cap, faux binding, bird inlays or set neck but it is still a very creditable guitar that plays very well and sounds great. The CE is one of those under‑the‑radar PRSs that the collectors tend to overlook, although genuine owners praise them very highly. PRS finally got around to re‑releasing the bolt‑on CE model in 2016 but the new ones really aren’t the same as these early ‘handmade’ examples. Despite the wear and tear, it is all‑original and comes with its OHSC but no case candy. You can’t have everything. A vintage PRS Custom to add to the Standard and Classic Electric sadly has to remain on the wish list for the time being.

1959 Silvertone 1304

I had a bit of a mad spell towards the end of the year when I was buying several guitars for the sake of it. I was looking for a vintage Danelectro and came across this funky little 1959 Silvertone 1304 with its single cutaway and dowdy brown finish. It is very similar to the Danelectro U1 (differentiated by pickup position and headstock logo), which is no surprise seeing that Danelectro manufactured Silvertone guitars for the Sears & Roebuck retail and mail order company at the time. The 1304 is actually a pretty rare model being only available in Sears & Roebuck’s ‘Wish Book’ Christmas catalogue and related advertising of 1958, 1959 and 1960. The neck and familiar ‘coke bottle’ headstock is also rare, being finished in natural, rather than colour matched to the body, apparently due to supply shortages at the time. It also has the circular electrics cover on the back and the squared off neck joint that confirms its age and lineage. The ever present Lipstick pickup and body‑edge tape will be familiar to Danelectro fans. It also feels, plays and sounds just like you’d expect a vintage Danelectro from the 1950s, i.e. great. This was the last of the Danelectro single cutaway body shapes before they moved to double cutaways in the 1960s. The single pickup and simple controls let you focus on playing and getting the most out of a very cool and groovy (and lightweight due to semi acoustic construction) instrument. It is a lot of fun to pick up and play and hard to put down. The action is a little high but that resistance actually forces one to play differently compared to a more ‘refined’ guitar. Like others in this résumé, it is in fine all‑original condition, although it sadly doesn’t come with an original 1950s case. These cool Silvertone and comparable Danelectro guitars are still amazingly affordable for vintage guitars from the so‑called ‘golden era’, perhaps because they were (generally) made in large numbers and sold to a largely undiscriminating ‘student’ audience at the time.

2019 CRAVE Amps? What Amps?

Right, that’s the 2019 guitars covered, so what else was new? Well CRAVE Amplifiers didn’t achieve anything at all in 2019 – no new additions and no losses. Nada. As it turned out, I was quite happy running two relatively similar modest little units as daily go‑to amplification during the year, a 1978 Fender Champ and a 1978 Fender Vibro Champ both in ‘silverface’ livery. Don’t underestimate these diminutive 5W Class A valve amps, they are really great for what they are. I acknowledge that I’m not a vintage amp specialist, so they are not hugely abundant here at CRAVE Guitars. Owning vintage valve amps demands space, time and effort as well as oodles of filthy lucre, so I’m not in a huge rush to buy up large numbers of vintage amps.

An Introduction to the 2019 CRAVE Effects

CRAVE Effects did a little better during 2019, although there were only five new pedals to join the clan. Having said that, two of those were outstanding examples of the type. As with amps, because I am not a vintage effect expert, I’m sticking to a few well‑known global brands from the 1960s to 1980s, rather than go too far into the realms of the unique, idiosyncratic and unusual.

1987 BOSS RV-2 Digital Reverb

It may seem heretical to many but this is the first vintage digital effect to join the CRAVE club. This Japanese BOSS RV‑2 was sought out principally because there are few vintage compact analogue reverb pedals out there. Yes there are the bulky (and expensive) vintage valve reverb tanks from the likes of Fender but I wanted something small and convenient to add an extra special dimension to the aforementioned Fender Champs, neither of which have on‑board reverb. So, a digital reverb was the way to go with this rather plain looking but flexible 1987 BOSS RV‑2. It provides a range of reverbs and it sounds quite natural without too many sibilant digital artefacts, although not quite the soft and cuddly warm tones of traditional analogue reverbs. Still, it does its job very well and it is from the right era (pre‑1990s), which is why it’s here. Interestingly, the high current draw of the digital circuitry in the RV‑2 means that it cannot be powered by batteries and requires a BOSS PSA power supply in order to do its ‘0’ and ‘1’ digi‑thing.

1969 Dallas Arbiter Fuzz Face

This is the first of two iconic classic pedals acquired in 2019. The humble but fabled English Dallas Arbiter Fuzz Face rose to stardom mainly because of none other than Jimi Hendrix. This isn’t one of the earliest Fuzz Faces that used germanium transistors but one of the first to use silicon transistors, this one dating from c.1969. It is amazing what a few cheap electronic components can end up being turned into. Truth be told, I didn’t actually intend to get this pedal. It came along via an eBay auction and I decided to take a punt and put on a (relatively) low bid and… what happened? No‑one came along at the last minute to beat me and I ended up getting it. Yikes! Yes, it was hideously expensive but not as bad as it could have been. Therefore, while it was not exactly a bargain, I suppose it was still a reasonable price for what it is. Fortunately, it delivers its fuzzy glory in all the right ways, so that’s OK then. It is in excellent all‑original condition and in perfect working order, so my initial reticence was soon overcome. It actually looks pretty cool in red too. By today’s standards, its circular form factor does take up a disproportionate amount of pedalboard real estate but, c’mon, it is a vintage fuzz pedal – what’s not to like? The original Fuzz Face was definitely a batteries only zone back in the 1960s and neither is there an LED status light to indicate when it’s on. Great though it undoubtedly is, this is clearly not one of those pedals you’d want to gig with down the local pub, that’s for sure.

1982 Ibanez PT9 Phaser

At totally the other end of the value scale from the Fuzz Face, we have a fairly widely available and averagely collectable 1982 Ibanez PT9 Phaser. CRAVE Effects has somehow accumulated more phasers than any other kind over the years and that’s probably because the late 1970s and early 1980s experienced a surfeit of these simple analogue modulation effects. Let’s be honest, your average phaser really isn’t the most exciting of guitar effects compared to what else is out there, especially in these days of ubiquitous boutique eccentricities. The PT9 is pretty utilitarian and sounds OK, but not necessarily exceptional, which is probably to damn it with faint praise. I’m guessing that Ibanez chose to change their colour scheme from the previous blue/white PT‑909 Phase Tone to the orange/black PT9 in order to compete on looks with the all‑dominating and very orange MXR Phase 90 of the time. I had been on the track of a PT9 to fill a gap in the collection for a while, so the gap was duly filled. Original PT9s are still relatively affordable phasers and they are, perhaps, a good entry point for neophytes to get into vintage effects before getting into more exclusive and expensive fare. Time to move on… Next!

1981 Ibanez TS-808 Tube Screamer Overdrive Pro

… and here is the second iconic classic pedal procured in 2019. The otherwise ordinary green Ibanez TS-808 Tube Screamer Overdrive Pro rose to hallowed status via another guitarist association, this time with the inimitable Stevie Ray Vaughan. Like the Fuzz Face, the original vintage TS‑808s are now inordinately expensive on the vintage effect market, with prices increasing all the time. This was one of those times when I felt a ‘now or never’ moment and bagged a reasonably good one dating from 1981 at just below average price. At this point, I’m going to proclaim ‘emperor’s new clothes’ and say that, while it is undoubtedly a very competent pedal, does it really deserve the unchallenged accolades above all the other competent overdrive pedals out there? Just why we guitarists spend thousands of pounds/dollars on vintage instruments and vintage valve amps and then rely on some dirt cheap solid state components to make them sound ‘better’ is beyond me. To some extent, the same goes for the Fuzz Face but at least that is a down ‘n’ dirty fuzz pedal! I understand all the well‑rehearsed arguments about compensating mid‑boost and clean low gain drive into the front end of an already cooking valve amp. Perhaps I’m missing something else obvious but I really don’t think so. I also know that it goes against the grain to defer from perceived wisdom and to test the TS‑808’s seemingly unassailable reputation. Don’t get me wrong, I’m not knocking the Tube Screamer and what it does. I just believe it is somewhat overrated for the crazy market prices being asked. Anyhow, one of the green meanies is here now and is part of the growing ranks alongside other Ibanez ‘0’ and ‘9’ series pedals. At least I no longer have to keep scanning the market endlessly for a good one at a reasonable price.

1980 MXR Micro Amp

… and right back to the other end of the value scale again with a humble 1980 MXR Micro Amp. Essentially, all a boost pedal does is to increase the signal level hitting the front end of a (valve) pre‑amp, therefore not only adding a bit of volume, but also hopefully some natural compression and a bit of smooth distortion without affecting the underlying tone. Once again, there is something of a question mark about relying on a few cheap bits of electronics to make vintage gear ‘sing’. Having said that, the Micro Amp does its job perfectly well and it can be a really useful tool in the right circumstances. However, let us be clear that it is not exactly the most exhilarating or far out stomp box out there. As an idle observation, it is funny how things come round again given long enough. Outboard pre‑amp pedals are now a ‘big thing’ in the 2020s, albeit a bit more complex than this little MXR. There are many modern‑day compact pedal pre‑amps out there, including the Hudson Electronics Broadcast, Catalinbread Epoch Pre and Fredric Effects 150 Preamp. At least the unassuming little white MXR Micro Amp doesn’t take up much pedalboard space and is oh‑so simple in operation with only a single ‘Gain’ control. Like most un‑modified MXR pedals back in 1980, the Micro Amp only eats batteries for breakfast and doesn’t come with either an LED status light or DC input.

Help Needed

Vintage guitars, effects and amps need attention from time to time to keep them working at their best. While I can undertake basic maintenance, set ups and general TLC, I know that my skills are finite. I am looking for a guitar tech or luthier who can, from time to time, take on a vintage guitar and do some sympathetic remedial work, whether it involves fretwork, electrics, repairs or whatever. I’m also looking for someone who can do occasional work on effects and amps, which is basically electronics, switches, leads, soldering, etc. With over 60 vintage guitars, more than 50 vintage effects and 6 vintage amps, I need some expert help every so often. If there is someone out there with the requisite skillset for any or all of the above, and who is local to SE Cornwall in the UK, I would be interested in making a connection. Anyone interested? Please contact me at the e-mail address at the bottom of every page on the website.

Tailpiece

Actually, I think this is a good place to pause, so I’ll stop there for now. Nine guitars and five effect pedals is enough for one month.

At this point, I must stress that I did not buy any of these items as a pecuniary investment – anyone familiar with CRAVE Guitars will know that is not my motivation. However, given that savings accounts in the UK are currently offering just 0.01% interest rate, I would prefer to be broke and have great vintage guitars, amps and effects to play with and look at. The last recession that began in 2008 apparently saw 30% wiped off the value of vintage guitars, albeit temporarily. To me, it’s still a no brainer, when funds become available, eBay here I come for some vintage gear hunting. The other thing I would add is that all of the new additions are consistent with CRAVE Guitars larger strategic grand plan to conserve ‘Cool & Rare American Vintage Electric’ guitars, amps and effects as important musical and cultural heritage. Oh, and it’s also an unhealthy obsessive addiction as well but I guess you’ve sussed that out already.

At the top of this article I mentioned that there are three themes to work through and I’ve only covered one of them. I am conscious that the ‘History of Modern Music…’ series resulted in lengthy articles and this is, compared to them, quite short. I’m also a bit fatigued by the demands of lengthy researching and writing exercises. Thus, I’ll leave the rest for future article(s). I reckon that it is best to keep these reflective articles relatively consumable. Besides, there really is no rush, is there? Are we going anywhere, anytime soon? No, I thought not.

Believe me, there is still plenty of stuff to be getting on with here at CRAVE Guitars, so I guess I’ll be getting on with stuff then. Who knows what the world will be like in the coming months. Despite the continuing stresses and challenges of COVID‑19 et al, I hope that you’ll return here in due course for your prescribed diet of diversionary diatribes. Stay home, stay safe and stay (in)sane. Remember this simple but important mantra while civilisation unravels around us, Peace, Love & Guitar Music. Until next time…

CRAVE Guitars’ ‘Quote of the Month’: “I can see where this is going because I’ve been where it went.”

© 2020 CRAVE Guitars – Love Vintage Guitars.

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February 2019 – A General Update

posted in: News, Observations, Opinion | 0

Hello again guitar fans and welcome to anyone else who may be curious about the big wide world of guitar addiction and obsession. As the great Jimi Hendrix once proclaimed, “Music is a safe kind of high”, so I’m happy to admit my perennial affliction. I trust that 2019 is treating you all well as we begin the move from dreary winter into nascent springtime.

I don’t have any particular theme for this month, so apologies in advance are probably due for what seems to be a generally incoherent rambling round up of various bits and pieces thrown together. One beneficial consequence is that this is a shorter tome than some.

State of Guitarville 2019

In the grand scheme of things, the guitar‑centric sector of the wider music industry is a relatively small but vibrant arena. While the general shrinking and decline of the ‘business’ continues well into the post‑recession era, the core elements seem in fairly good health overall. There is cautious optimism out there within the context of an unpredictable and challenging operating environment. There has been some progress since this time last year but not as much as many commentators might have wished.

Even though I wasn’t at the event, Winter NAMM 2019 held at the end of January in Anaheim, California saw a lot of activity and relatively good business was done. There were few ground‑shaking announcements at the convention but there was the usual excitement about shiny new gear from established brands. It was reassuring to see Gibson back at NAMM after their absence in 2018 and their new CEO is making all the right noises about what to expect from the company. Let’s hope that good intentions translate into achieving the right balance between quality and price, along with appropriate innovations alongside traditional instrument manufacturing. It is interesting that some of the more contentious technologies that were being used to reposition Gibson as a lifestyle company are now likely to be jettisoned in order to re‑establish confidence about, and a focus on, what really matters to their customers.

It is hardly a surprise that digital continues to make significant inroads into the analogue domain that has been the bedrock for so many generations of musicians across the globe. With the influx of ever more convincing digital inventions, one really does have to wonder how long analogue will remain the force it has been up to now. At some point, even the most hardened of luddites will be lured to make the jump either by the metaphorical lure of the carrot or the fear of the stick. There is still some way to go before all the components in a guitarist’s signal chain provide everything that the working professional musician needs for writing, rehearsal, live and recording settings.

The advantage for CRAVE Guitars and many other vintage enthusiasts is that we generally don’t need to worry about learning the operational demands and subtleties of this new‑fangled complex digital stuff and we can stick with what worked for us when we started out, complete with all its charming analogue idiosyncrasies (?!?!). One day, soon, digital will be the default and vintage gear will become a bit like vinyl records in there will be a market for it, even if it ultimately becomes a niche for nerdy specialists. For up‑and‑coming musicians who may not know any different, though, the current‑day smorgasbord of choice is phenomenal and, although the value‑for‑money equation on some equipment can be debated, the benefits are there to be discovered and exploited.

My sense, at the beginning of 2019 is that there is a degree of consolidation in design, manufacturing, marketing and distribution. The on‑going battleground between ‘brick & mortar’ retail and Internet business is still bitterly being fought out. At some point, an equilibrium will be reached where both channels will co‑exist, even if it means that the retail experience will be different from how it is now. Many consumers still greatly value going into a physical store, looking at, trying out and talking about equipment, so they will endure, even if those establishments have to offer other value‑added services on top of the traditional mainstay of shop floor sales. Companies that rely heavily on Internet operations will find overheads increasing, margins tightening and profitability harder to come by, thereby impacting sustainability and beginning to level the playing field a bit.

As far as guitars are concerned, as mentioned above, Gibson is poised for resurgence and Fender seem to be on their game and producing some very competent and attractive models at all price points. PRS are on a creative stretch of their own and doing OK judging by headlines. Gretsch, Rickenbacker and Danelectro also seem to be faring well, perhaps needing a bit of additional cool vibe to secure their future. Rejuvenated brands like Supro and Harmony are aiming to join the ranks as ‘go to’ guitars, while many other familiar names are managing to stay afloat. Acoustically, Martin and Taylor are both actively vying for top dog status with new innovations, which ultimately means some great guitars for the consumer. The last 12 months has seen some small‑scale luthiers go under or simply disappear, which is regrettable but, sadly, not surprising given the volatile international economics of the industry.

In the amp arena, there are three major directions of travel; a) the relentless digital onslaught from the likes of Fractal, Kemper and Line6 among others, b) ranges of very good valve and solid amps from the mainstream names such as Fender, Marshall, Vox, Orange and others, including some faithful reissues of classic models, and c) the continued rise of boutique builders catering for individual tastes in small numbers. We guitarists are, though, a conservative breed. It seems that the valve is dead, long live the valve!

One area where digital is revolutionising sound is on the pedalboard, which is a current ‘big thing’. There are some astoundingly inventive ways of mangling your guitar tone, both in variations of established FX types and some intriguing all‑new creations that take advantage of digital technology. Some exciting products are appearing from the likes of Catalinbread, Strymon, Eventide, Fulltone, Thorpy, Keeley, Electro‑Harmonix and Wampler, to name just a few. If you prefer multi‑effect pedals, then you are likely to have stalwarts like Line6, Boss and Zoom in your sights. Then there are pedalboard switching systems to help you organise your complex myriad of stompers, e.g. the Gig Rig 2 and Headrush. Likewise, the ever‑improving pedalboard power supplies derive from companies such as Truetone, Voodoo Labs and MXR. Looking from the outside, there are some tremendous bits of alluring kit becoming available, way beyond the vision of manufacturers and musicians back in the 20th Century when digital was just starting out. Whatever your budget, the choice, it seems, is yours.

Music publications across the board, including the trade press, are still suffering a seemingly unstoppable shrinkage of their market. Sales of paper magazines continue to dwindle and digital subscriptions are not filling the gap. As a result, high street transactions along with the advertising revenue streams they need to survive are decreasing. As the absolute size of the readership reduces, the risk of becoming uneconomic goes up disproportionately. Strategically, there are few options available and quite what will remain once an inevitable shake‑out occurs remains to be seen. The consequence of this is that the quality of content is likely to suffer in the long term. Music industry journalism needs to adapt, although there are major challenges ahead as people find alternative ways of acquiring the information they need (or, perhaps more worryingly, not bothering at all). Although referring to something slightly different, one is reminded of a whimsical quote from Frank Zappa who suggested that, “Most rock journalism is people who can’t write interviewing people who can’t talk for people who can’t read.” Discuss…

Another area of stagnancy appears to be in the quality of music pervading distribution channels. Video/TV, radio and physical media sales are stagnant at best, while digital streaming is becoming the dominant force. This re‑jigging of supply channels, though, isn’t the issue. Although a sweeping generalisation, it seems that since the turn of the millennium music output has increased in volume and decreased in quality. While this is a highly subjective observation, it is borne out by (vaguely) reliable anecdote across generational divides. There is no doubt that there is some extremely good music being made. However, finding the glittering gems amongst the deluge of dross is difficult and, as a result, the good stuff is constantly battling to reach a mass market, thereby making success a tough task for genuine aspiring talent (rather than vacuous celebrity wannabees!). Financial rewards for artists from streaming services is a travesty and needs addressing before it’s too late. Quite how the tide can be turned to reveal new genre twists and identify the next swathe of outstanding musicians will be a challenge for the 2020s. One can hope that something will happen, as it has always has, it just remains to be seen who, what, when and where it will pop up. Another consequence of generic music produced by generic people is that the desire for genuine instruments will decrease, thereby ultimately affecting sales of guitars.

Getting back to the point, core consumer demand for music gear continues to be resilient, although customers are understandably more discerning and, as a result, potentially more fickle. Reliance on past sales and brand loyalty are continually being chipped away at by targeted marketing and tough rivalry. However, strong competition and the downward pressure on street prices can prove to be a double‑edged sword for price sensitive customers. On the whole, one thing I can easily predict is that the popularity of the guitar will persist no matter what, despite regular prognoses that ‘guitar music is dead’. Quite what the musical landscape will be like in years to come is best left for others to forecast. Whatever happens, it’s going to be an exciting time in Guitarville.

As CRAVE Guitars is based in the UK, it is incumbent on me to mention ‘Brexit’ at this point. There are NO scenarios where leaving the European Union can benefit the country or its citizens. Prices are already increasing, not only because of increased costs and perceptions of risk but also as a result of exploitative selling practices by the unscrupulous trying to secure and bank revenue before the catastrophe strikes. Things are bad enough as they are (remember ‘Rip off Britain’?) and we don’t need any further unnecessary pecuniary pressures. After the severance has occurred and whatever the outcome is of the disastrous ‘deal or no deal’ shenanigans, import barriers, tariffs and currency speculation will affect Britain’s international trade relationships without question. The risk of further recession and national isolation rank high on the concerns of many British businesses. Given the fragile nature of the UK music industry, any weaknesses and threats will be heightened and only those that are able to adapt will survive. Hypocritical UK politicians, pedalling their own prejudices while protecting their personal interests should be ashamed of the damage that will result in the short‑term and aftershocks will continue to impact on the prosperity of the country for generations to come. What is regrettable is that there will be recourse to hold the inept self‑seeking minority accountable for engineering this chaos in the first place and having no idea about how to deliver it successfully. On this basis, I am not optimistic in the slightest. I hope, however, that I am proved wrong. Personally, my view is that there can be no backtracking and we need to get on with making the most of a bad situation. End of whinge!

Repatriation Update

I covered the long‑overdue reunion of a significant proportion of CRAVE Guitars’ vintage instruments in the last article. What I didn’t do is say much about what actually came back. So… if only for completeness, here is the full list of the (42) returnees:

  • 1966 Epiphone Olympic
  • 1966 Fender Coronado II
  • 1965 Fender Duo-Sonic II
  • 1965 Fender Jaguar
  • 1965 Fender Jazzmaster
  • 1965 Fender Musicmaster II
  • 1966 Fender Mustang
  • 1972 Fender Mustang Competition
  • 1977 Fender Precision Fretless Bass
  • 1977 Fender Stratocaster
  • 1983 Fender Stratocaster Dan Smith Era
  • 1972 Fender Telecaster Thinline
  • 1973 Fender Telecaster Deluxe
  • 1974 Fender Telecaster Custom
  • 1988 Fender Telecaster
  • 1983 Gibson Corvus II
  • 1963 Gibson ES-330 TDC
  • 1985 Gibson ES-335 Dot
  • 1982 Gibson Explorer E2
  • 1983 Gibson Explorer
  • 1984 Gibson Explorer
  • 1984 Gibson Explorer Custom Shop Edition
  • 1984 Gibson Explorer ‘Union Jack’ Graphic
  • 1966 Gibson Firebird III
  • 1976 Gibson Firebird Bicentennial
  • 1980 Gibson Flying V2
  • 1975 Gibson Les Paul Standard
  • 1977 Gibson Les Paul Deluxe Gold Top
  • 1989 Gibson Les Paul Custom
  • 1998 Gibson Les Paul Standard DC
  • 2002 Gibson Les Paul Standard
  • 1961 Gibson Melody Maker D
  • 1964 Gibson Melody Maker
  • 1982 Gibson Moderne Korina Heritage
  • 1981 Gibson RD Artist
  • 1965 Gibson SG Junior
  • 1968 Gibson SG Standard
  • 1962 Gretsch 6120 Chet Atkins Double Cutaway Hollowbody
  • 1965 Gretsch 6135 Corvette
  • 1978 Music Man Stingray Bass
  • 1974 Rickenbacker 480
  • 1964 Silvertone 1449 ‘Amp in Case’

Some of the guitars have only been ‘stored’ for a short period of time but many have been incarcerated for nearly 8 years!!! It is these ‘long‑termers’ to which I will probably need to pay most attention in the coming weeks and months. While they were safe and secure, a domestic loft space is definitely not an ideal environment in which to keep vintage guitars for any length of time. The fluctuations in temperature and relative humidity over an extended period are far too great to do them any good at all. Given the circumstances at the time (back in 2011), it was a necessary urgent solution borne out of a severe predicament and I had no practical alternative. I never anticipated that it would take over 7 years to get them all back – I was clearly naïvely deluded in thinking that it would take ‘about’ 6 months at the most to sort things out! Essentially, completely rebuilding one’s entire life from scratch took considerably longer and it has been an extremely arduous journey. Still, we are where we are, none of us can turn the clock back, so one has to be positive, forward looking and take it from here. At least the precious cargo has been rescued and they are now finally back where they belong and, primarily, that is what really matters.

At the moment, the only tangible evidence of the little treasure trove listed above is several stacks of dusty guitar cases. Excitement about the potential is also tinged with an element of guarded apprehension about what will be found when the contents are properly ‘exhumed’ and examined for need of repair and sensitive renovation. If at all possible, any replacement parts needed during restoration will be of the appropriate vintage. That presents a major quandary in 2019-2020. For instance, finding and procuring period‑correct components will be both time consuming and costly. While one could be practical and use modern replacement parts, I prefer to conserve these precious historically significant instruments with genuine components that are as close as possible to the originals as I can find (and afford). Only if that approach fails will I resort to pragmatic use of new stock items. Back in the pre‑recession boom, there was little difficulty in sourcing these useful bits and pieces. Now, however, it has become considerably more difficult.

Not only are vintage spare parts and accessories hard enough to find on the usual hinterwebby platforms, decent vintage guitars and amps also seem to be increasingly scarce, at least in the UK. I’m not sure why this should be. Perhaps people are hanging onto their instruments, perhaps there’s a mistrust/dislike of the usual web sites and the way they are run, or perhaps the post‑recession/pre‑Brexit uncertainty is still suppressing supply. The laws of economics dictate that continued demand combined with a shortage of (finite) supply means only one thing… increased prices. Wading through eBay is bad enough at the best of times but UK sourcing is particularly hard work at the moment. Disadvantageous exchange rates with the USA now seem to be a permanent fixture and, on top of that, CITES is a real bane. In addition, eBay searches are flooded with Japanese items that you just know are bogus. All round it’s not much as much fun as it should be when hunting down scarce ‘most wanted’ artefacts.

I am not treating the repatriation project with any sort of hysterical urgency. The guitars have been exiled for so long that a few more weeks in their new home before I get round to them won’t do any harm. In the first month, I have only attended to 2 out of 42 guitars (1964 Gibson Melody Maker and 1966 Fender Coronado) and I have to be cautiously optimistic that there is no lasting compromise to their integrity. Phew! I hope I don’t get any nasty surprises lurking in the remaining 40 to be uncovered.

Vintage guitars really need to be played. That may be ‘stating the bleeding obvious’ but the difference after a bit of TLC and playing for a few days is phenomenal. There is a transformational change in their playability, sound, feel and looks. I wonder if this may be one reason why some people pick up a (possibly neglected) vintage guitar and find it dull, lifeless and uninspiring. When they magically come back to life again, it is both a relief and a delight. The journey of rediscovering these instruments may well explain why I’m taking my time and not getting very far very quickly. Well, that and the fact that there isn’t a local guitar tech on whom I can rely when more extensive remedial works are required. I know my limitations and any attempt on my part to mess around with repairs and adjustments that are best left to experts would almost certainly be a regrettable mistake.

Another interesting observation is that, while I wasn’t overly attached to some of the guitars all that time ago – a proportion were originally intended to become the staple of a start‑up business – I have now developed an emotional connection to them because of everything I and they have been through over the intervening years. That may be a good thing because I now value them more for what they are than what they may be worth. Also, I simply wouldn’t be able to afford many of them on today’s market, so I’m just glad to have them now. However, it means that I may well have a struggle with my conscience if CRAVE Guitars does become an economic entity and I have to break those newfound relationships. Until that time, the guitar ‘collection’ is an integral part of the family and they are definitely not for sale in the short to medium‑term. My philosophy and attitude mean that the guitars still represent a not‑for‑profit conservation of the musical heritage, rather than any sort of potential gold mine.

As previously mentioned, a pressing priority over the next few months is to provide them with proper accommodation. This means that I need a competent builder to ‘tank’ the cellar and make a suitable home for the guitars. After that, I can possibly start thinking positively about what the future of CRAVE Guitars might one day become. One step at a time.

New in at CRAVE Guitars

So that I don’t fall into the same trap as last year, here’s a quick ‘new arrival’ section. As I predicted back in December 2018, things got off to a slow start this year. In fact, there has been only one purchase in the first 2 months of 2019. Surprisingly, it was an item that was actually on the ‘wanted in 2019’ shortlist.

CRAVE Effects is a relatively modest side venture that runs alongside the guitars and amps. The Cool & Rare American Vintage Electric’ acronym doesn’t actually work 100% in this context because CRAVE Effects comprises a diverse selection of stomp boxes from around the world. Whatevs! I can break my own rules.

One of the ‘classic’ effect pedals that was notably absent was the venerable Ibanez TS‑808 Tube Screamer Overdrive Pro from Japan. This was partly because availability of both the right pedal and the resources needed to acquire it were in short supply. Good ones are few and far between and, when they do come up, they go for silly money. So when an original 1981 TS‑808 turned up on eBay UK for an aforementioned silly price, but arguably not exorbitantly so, it had to be pounced upon. Thus, the notable gap has at long last been duly filled. To think that I could have added another ‘budget’ vintage guitar for the same price as the Tube Screamer puts things into perspective.

As is often the case with vintage Tube Screamers, this example shows typical signs of use (good) but not abuse (bad), so it has just the right amount of mojo, otherwise known as ‘wear and tear’, needed to be confident that it was a safe purchase. Thankfully, apart from a replacement battery snap, it is in all‑original condition and it works very well indeed for a 38‑year old pedal, which is testament to their durability.

As anyone acquainted with my opinionated drivel (or should that be overdrivel in this case?) will know, my heretical views don’t always accord with those of the self‑appointed ‘establishment’. The original TS‑808 is good but I don’t believe it really deserves its insanely elevated and almost mythological status in the minds of many guitarists. Like numerous effects from the late 1970s and early 1980s, it can sound great or grim depending on how it’s used. It is player, guitar, effect and amp dependent, so it needs to be carefully matched in order to make it sound its best. Although new TS‑808 and TS9 reissues are not the same as the old ones, they are still very good overdrive effects. Therein lies a fundamental truth that applies equally for any stomp box made at any time – you pays your money and make your choice. Regardless of my biased view, the much‑imitated and often re‑issued Tube Screamer has become the de facto benchmark for overdrive pedals and there is no getting away from it.

The web site feature on the TS‑808 has already been prepared but, like most gear purchases over the last year, it hasn’t yet been published on the web site. Sigh! Yet another job waiting in the pipeline. Watch this space…

Sign‑off

That’s about it for February 2019. This has been a necessarily short soliloquy compared to many of my verbose outpourings. Inspiration, motivation and time have been in limited supply so far this year and articulating much of any interest at all has been a bit like hard work. Therefore, there is no point in proverbially flagellating a deceased dobbin and it is probably best to stop here for now.

That means that I can get back to the immediate task in hand, which is looking after a few vintage guitars and, hopefully, playing some of them along the way. I’m sure there will be more on this particular topic in coming months. Until next time…

CRAVE Guitars ‘Quote of the Month’: “Conscience dictates that we understand right from wrong. Imagine what mankind might achieve if we could work together rather than conflict, and what good could be done if we stopped the immense and irreparable harm we cause.”

© 2019 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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July 2018 – A Potted History of the Guitar Part V

Hello again and welcome back to the latest, fifth, part in the long history of the guitar, abridged and serialised for your entertainment. After the lengthy but hopefully coherent, tome of last month, I promise this one is a bit shorter and focused back on whole guitars, for easier consumption.

If you wish to recap on previous articles before starting with this part, the previous articles making up the ‘Potted History of the Guitar’ series can be accessed here (each part opens in a new browser tab):

The previous article (Part IV) in the series covering the guitar’s evolution looked at some essential 20th Century technological innovations without which, the electric guitar and modern music would not have evolved within the context of our current civilisation.

The artificial increase in volume provided by the pickup, amplifier and loudspeaker was important to enable the guitar to be elevated from just an accompanying instrument to a lead/solo instrument. This significant expansion in functionality proved massively popular across most non-classical musical genres and would change popular music forever. Crucially, the electric guitar provided a springboard for the musical revolution that occurred from the 1950s, fuelled first by jazz and blues and then by country and the rock ‘n’ roll ‘explosion’. At the same time, post‑war economic growth and social liberalisation in most western societies provided a fertile environment within which the electric guitar and the music it influenced could flourish. Part V explores how those key innovations were first introduced to the guitar world and then became an integral part of what would eventually become today’s musical landscape.

There were considerable challenges in turning prototypes into successful working commercial products. One of the barriers was the capability to manufacture the various elements to consistent quality in large numbers at low enough cost to match supply with demand. Another potential inhibitor was to persuade exiting dealerships and traditional musicians to adopt the new technology. One strategy was to attract big name artists to not only endorse but also to be seen using them in live performance. All of these factors were important in helping to build and then sustain long‑tem interest.

Scientific and technological progress in the first half of the 20th Century, it seems, was inevitable and unstoppable. Guitar builders were taking massive leaps of faith and the risks were great. If the new‑fangled popular music turned out to be a temporary fad or the features offered didn’t catch the consumer’s imagination then all the investment in time, effort and money would be wasted. Manufacturers had to get their products ‘just so’ in a timely fashion, so there was pressure to adapt, get the balance right and to do so within a relatively short space of time.

In hindsight, the answers to these challenges seem relatively straightforward, although it may not have seemed so at the time. As mentioned briefly in the previous part of the story there were essentially two ways to migrate from an acoustic instrument to an amplified electric one…

The first method was, perhaps, an obvious incremental approach achieved by simply adding one of the new‑fangled pickups to an existing hollow‑body acoustic instrument. The modified acoustic guitar could then simply be connected to a portable valve amplifier and speaker. This would be an attractive approach for many well‑established jazz/dance band musicians. However, the potential of this solution – at least initially – was limited by fact that that all that was happening was simply electrifying acoustic guitars. Not surprisingly, it worked for companies already producing credible archtop acoustic guitars, including, for example, Gibson.

The second method was to take a more radical approach and invent an entirely new type of instrument designed from scratch. This was technically far more difficult at the time and carried no guarantee of success. However, a bespoke approach was seen as less of a compromise and more a means of going straight to a visionary objective in one step, as well as doing so quickly without being constrained by anything that had gone before. The forward‑looking pioneers in this field believed that a purpose‑built electric guitar would appeal to a completely different audience and were prepared to take the massive risk of alienating the current generation of risk‑averse musicians in order to grow a fresh following for the new generation of guitars from a low base.

Arguably, both ways were important and both were needed in order to refine the inventions and for the best of both worlds to converge. Without these pioneering efforts, we would not have the diverse range of electric guitars (and other instruments) we have today. The following sections take a brief look at what happened to each of these seemingly opposing strategies and how successful they really were.

Generally speaking, the development of acoustic guitars had taken different courses on the eastern and western sides of the United States, so perhaps it was not surprising that the developments leading to the electric guitar also followed a rough east/west geographical split. In addition, the routes taken to get to the nirvana of the electric guitar were fundamentally different. While there were many inventors, engineers and entrepreneurs working on similar projects, this part of the story focuses on two key enterprises based in Michigan and California during the 1930s. The pace of innovation that occurred in the wake of WWII, through the late 1940s and into the 1950s will be the focus of the next part of the series.

Amplified Archtop Guitars

On the eastern(‑ish, actually the mid-west) side of America, Gibson being Gibson, felt that they were in control of their own destiny. They were intent on doing things their way and in their own time. Although Gibson was no stranger to innovation, perhaps predictably, they chose the ‘safe’ option, which was to add an electromagnetic pickup to their successful range of existing archtop guitars and then take it from there. This was seen as a simple, effective and relatively painless way of making the transition for an existing largely conservative and loyal user base to the new platform. Professional musicians, perhaps conscious of retaining their reputation and credibility could keep the look, feel and timbre of their existing instruments and just plug them into an amplifier to make them louder. While the approach was successful, as we now appreciate, the seemingly straightforward act of electrifying an acoustic instrument isn’t always ideal. Many initially sceptical professional musicians were, however, persuaded to embrace incremental change. They could retain their trusty, mostly expensive, high quality acoustic archtop guitars and also keep their expectant audiences happy.

While their upstart competitors on the west coast may have beaten Gibson to the starting gate technologically (see below), the Hawaiian lap steel market was finite and Gibson was intent on occupying what they saw as their rightful territory in the centre ground. Gibson founder, Orville Gibson had passed away in 1918, long before Gibson electric guitars became a reality. One wonders what Orville would have thought and, perhaps more intriguingly, done if faced with the same set of circumstances.

While acoustic engineer Lloyd Loar was employed at Gibson, he had experimented with electrostatic pickups in the early 1920s, although not very successfully. It would, however, take Gibson another 10 years to make their breakthrough. It fell to Gibson employee, Walter L. Fuller, who had joined the company in 1933 who was responsible for finalising the design of Gibson’s first pickups used on their electric metal‑bodied E150 lap steel guitars, introduced in 1935. The electric E150 was, like the early Rickenbacher Electro lap steel guitars, constructed from sold aluminium. To help entice early adopters, the E150 was offered with a matching E150 amp.

A year later, in May 1936, Gibson introduced their first ‘Electric Spanish’ (ES) model, the hollow body archtop ES‑150. While some may dispute the circumstances, the Gibson ES‑150 is historically significant in that it is generally regarded as the first commercially successful production electric guitar. The Gibson ES‑150 employed the same pickup as used in the previous year’s E150 lap steel. Two large 5” bar magnets were hidden under the top of the guitar, as can be seen by the triangle of mounting bolts, while the hexagonal pickup with its distinctive ‘blade’ polepiece was visible, mounted near the neck. The output jack socket was positioned unobtrusively on the side of the guitar’s lower bass bout. Otherwise, the ES‑150 was a relatively unremarkable example of familiar archtop jazz guitar design of the 1930s. Interestingly, the ES‑150 wasn’t a replacement for another Gibson model; it was a new introduction, supplementing existing instruments.

Like the E150, the ES-150 was sold with an accompanying EH‑150 amplifier and cable. The ‘150’ of its name derived from the guitar’s introductory price of $150.

Importantly for Gibson, the ES‑150 was endorsed by acclaimed jazz guitarist Charlie Christian (1916-1942), which helped to popularise amplified archtop guitars not only for rhythm work but also for lead/solo playing. The distinctive black and white hexagonal pickup used in the ES-150 is still known today as the ‘Charlie Christian’ pickup and is held in high regard by aficionados, despite being very low‑powered in its original form. After 1938, Gibson redesigned the pickup so that it was more powerful – it had a notch in the polepiece below where the wound ‘B’ string would go, in order to balance the output across all 6 strings. A third variation of the pickup appeared on Gibson ES-250s from 1939, perhaps indicating that development of the pickup was ‘work‑in‑progress’.

By the end of the 1930s, Gibson’s Walter Fuller was experimenting with Alnico (aluminium, nickel and cobalt) alloy magnets in pickups. Various guitars of the early 1940s featured early versions of what would become one of Gibson’s most famous pickups, the P90. These developmental designs, used on Gibson ES-250 and ES-300 guitars, were a far cry from the familiar P90 pickups that would follow. Another early version of the P90, called the P-13, appeared on Mastertone Electric Spanish Guitars from 1940, a budget brand owned by Gibson.

Between 1943 and 1945, a substantial proportion of Gibson’s manufacturing capacity was re‑focused on supporting the American war effort. Supply of materials and tooling caused a temporary hiatus in America’s pickup, guitar and amplifier development, not only for Gibson but also for all manufacturers in the industry.

It wasn’t until 1946 that Gibson introduced the fully‑fledged single coil P.U.90, now known simply as the P90, on their ES-150 and ES-300 archtops. The P90 has become one of the company’s most famous and highly respected pickups, and a design that has endured almost unchanged over many decades. The P90 pickup was important to Gibson as it really established Gibson’s dominance in pickup design prior to the introduction of humbucking pickups. The successful P90 became a standard and effectively replaced Gibson’s earlier pickup designs. Although Gibson’s humbucking pickups were intended to replace the P90 in the 1950s, the P90 remains in production today as Gibson’s predominant single coil pickup, testament to the quality of its original design.

Once the concept of electric archtop guitars had been broadly embraced by enough mainstream guitarists, Gibson extended the use of pickups to other guitars. In 1949, Gibson released the ES-175. Like the ES‑150 before it, the model was named after its introductory price of $175. This model was important in the historical timeline because it was designed from the start to be an electric guitar, rather than an acoustic guitar with a pickup. It was also considered a cheaper guitar than Gibson’s upmarket archtops like the acoustic L5 and Super 400. Unlike its predecessors, the ES-175’s all‑hollow body was constructed from laminated boards rather than solid wood and it was the first Gibson to feature a pointed Florentine cutaway. Initially, the ES-175 came with one and then two P90 single coil pickups. By 1957, Gibson switched to their new humbucking pickups to the E‑175.

Following on from the ground breaking ES-150 and the ES-175, Gibson revisited an earlier classic creation by introducing the luxuriously appointed L5CES in 1951. The new model was based on the preceding L5 originally designed by Lloyd Loar in the 1920s. The L5CES was aimed squarely at the high end and was designed to provide the best of both worlds for discerning professional musicians. The ‘C’ stood for the single ‘cutaway’ body comprising spruce top and maple back and sides. The model was produced initially with a smoothly rounded Venetian cutaway and a pair of P90 single coil pickups, followed later by a sharply pointed Florentine cutaway and humbucking pickups. The ‘ES’ continued the ‘Electric Spanish’ nomenclature of other models. By using 2 pickups, the L5CES was intended to be used both acoustically and electrically. A notable user of the electric L5 was Scotty Moore who worked with emerging rock ‘n’ roll singer, Elvis Presley in the 1950s. There were a number of variations on the theme, including the thinline, short scale Byrdland and in the 1970s, Gibson even introduced a solid body version of the L5, called the L5S.

In 1955, Gibson introduced their first production humbucking pickup, designed by Seth Lover. Early versions of the Gibson P.U.490 humbucker have become known as PAF (Patent Applied For) pickups, while ones produced after their patent was awarded in 1959 are known as ‘Patent No.’ pickups. Succeeding versions of the Gibson humbucker right up to the current day have built on the foundations of these early, now legendary, pickups. As they had done in the 1930s, Gibson launched their new pickup first on lap steel guitars in 1956 before phasing them in to replace P90s on the aforementioned ES‑175.

It wasn’t long before PAF humbuckers were used on many Gibson guitars. Unsurprisingly, they also began to appear in the company’s (relatively) new solid body gold top Les Paul Model and black Les Paul Custom guitars from 1957 as well as on the all‑new semi‑acoustic ES‑335 from 1958. However, that’s getting ahead of this particular part of the story. Fortunately for Gibson, their humbucking pickups proved highly successful across all types of electric guitar and have long since become an industry standard, with many 3rd party pickup suppliers creating their own versions. Even the original Charlie Christian pickups are now being replicated for enthusiasts of the unique sound they produced.

There have, perhaps obviously, been plenty of other electric archtop guitars over the intervening years from a wide range of manufacturers across the globe. While this part of the story recognises this diversity, it cannot do justice to the proliferation of instruments on the market today. Needless to say, many of today’s designs have been inspired by the few milestone instruments mentioned here. Arguably, progress would have taken place anyway, even without these key instruments. However, the guitars covered above are particularly notable in historical terms not necessarily because they were the first or the best but because of the part they have played in the overall heritage.

Again in hindsight, the addition of one or more pickups to an existing acoustic guitar may seem to be an obvious option. However, at the time, it was a significant development by a company that was known for combining innovation with traditionalism. It was a strategic decision by Gibson that achieved that clever balancing act, innovating while preserving their reputation and sustaining their user base during a time of major industry and social change.

When the time came to introduce their own range of solid body guitars in the early 1950s, Gibson already had plenty of experience under their belt to make informed decisions about what would and what wouldn’t work. It is not surprising that other manufacturers followed suit and the electric archtop guitars became mainstream until the 1950s.

The electric archtop guitar proved extremely popular with traditional guitarists looking to continue using archtop jazz guitars while also enjoying the benefits of greater volume provided by amplification. After a commercial nadir in the late 20th Century, archtop electric designs have also proved exceedingly dependable and many models remain popular to the current day, and will probably now endure well into the instrument’s future.

 

The Early Solid Body Electric Guitar

Possibly the main individual associated with the rather awkward birth of the electric solid body guitar was Adolph Rickenbacher (1886‑1976). Shortly after he was born in Basel, Switzerland, Richenbacher emigrated to America in 1891 with relatives following the death of his parents. After settling initially in Wisconsin, Adolph moved to California in 1918. In 1925, he set up the Rickenbacher Manufacturing Company, a tool and die business manufacturing metal and plastic products in Los Angeles.

To begin with, Rickenbacher spelled his family surname with an ‘h’, rather than the ‘k’ we are familiar with today. Rickenbacher later changed his surname, partly to ‘Anglicise’ it and partly to capitalise on the fame of his cousin and WWI flying ace, Eddie Rickenbacker.

Alongside Rickenbacher, the other key person was none other than George Beauchamp, the Texan Vaudeville entertainer and inventor who had already played such a major part in the development of resonator acoustic guitars with the National String Instrument Corporation in the 1920s. In addition to pioneering resonator guitars (see Part III), Beauchamp had been experimenting with pickups and amplified instruments since the mid‑1920s but with little success (see Part IV).

Perhaps ironically, during the late 1920s, Rickenbacher’s company was manufacturing metal resonator guitar bodies for National, so perhaps it is not surprising that Beauchamp and Rickenbacher’s paths should cross. Rickenbacher was even a shareholder in National. According to some commentators, it was Beauchamp’s involvement with Rickenbacher that possibly precipitated the former’s ultimate departure from the newly merged National Dobro Corporation in around 1934.

Beauchamp’s quest for greater guitar volume had led him to explore the idea of using an electromagnetic pickup to create a signal and an amplifier to produce volume. Like many before him, Beauchamp was driven to prove the concept in a practical way and he was largely successful. Beauchamp had started designing pickups and ideas for an electric guitar while still at National and in collaboration with another National employee, Paul Barth. Beauchamp and Barth’s first successful pickup design comprised a pair of U‑shaped magnets arranged in a ‘horseshoe’ shape that housed the pickup’s wire coil and surrounded the guitar’s strings.

In October 1931, Rickenbacher, Beauchamp, Barth and a number of others became business partners and founded the Ro‑Pat‑In Corporation (short for Electro‑Patent‑Instruments), based in Los Angeles. Ro‑Pat‑In’s stated goal was to produce fully electric musical instruments. Their prototype Hawaiian electric guitar from c.1931 exhibited many of the features of the eventual production model, although it was mainly constructed from wood. This was not an acoustic guitar in any shape or form, so it had to function as an electric instrument from the outset.

Ro‑Pat‑In became the first company to design and manufacture a production solid bodied electric guitar in 1932, way before Gibson. Finally, albeit in embryonic form, the fully electric guitar had finally arrived. These early guitars were, perhaps unkindly, nicknamed ‘frying pans’ because of their distinctive shape, comprising small circular bodies, long necks and all-metal construction. The guitar comprised a circular cast aluminium body and neck and incorporated the all‑important ‘horseshoe’ pickup and a volume control.

Wisely, Ro-Pat-In changed its unwieldy name to Electro String Instrument Corporation in 1933. Confusingly, early instruments appeared with the ‘Electro’ (and even ‘Elektro’) name. Even more confusingly, the company used the Rickenbacher spelling inconsistently until it finally became Rickenbacker from around 1950.

Following the name change, the ‘frying pan’ became the Rickenbacher Electro A-22. The profile of the instrument was heightened by steel guitarist Jack Miller who played a ‘Frying Pan’ with Orville Knapp (1904-1936) and his orchestra from 1934. Although he was little‑known at the time, Miller may possibly be able to lay claim to being one of the first artists to popularise the electric guitar.

As previously covered in Part IV of the story, Beauchamp’s 1934 patent application for an ‘electrical stringed musical instrument’ incorporating an electromagnetic pickup was finally awarded in April 1937. The intervening 3‑year period allowed enterprising competitors to take advantage of the new technology and create their own versions. Rickenbacher made a conscious decision not to defend their patent in the courts, thereby effectively opening up the market to competition.

Aluminium often caused tuning problems under demanding stage conditions, so Rickenbacher also experimented with other materials, including plastic and wood. From 1935, Electro released the influential Model B Hawaiian lap steel guitar. The Model B was notable for being made from cast Bakelite, a form of synthetic plastic invented in 1907 by Belgian-American chemist Leo Baekeland (1863-1944) in New York. Model B guitars were originally produced with a single volume control and five decorative chrome panels before models from the late 1930s featured volume and tone controls with white enamelled panels.

Richenbacher and Beauchamp recognised that the market for lap steel guitars was relatively small and there were other opportunities to be exploited. From 1932, Rickenbacker also went on to design more traditional ‘Electro Spanish’ guitars with conventionally‑shaped acoustic wood bodies, f‑holes, a slotted headstock and neck to body join at the 14th fret. By 1935, guitarist and early endorsee Ken Roberts was honoured with a ‘signature’ model that had a neck to body join at the 17th fret, featured a vibrato tailpeice and was the first electric Spanish‑style guitar to have a 25½” scale neck.

Like the ‘frying pans’ before them, both the Model B and the Electro Spanish guitars used the distinctive ‘horseshoe’ pickup. In addition to guitars, Rickenbacher Electro used their expertise to develop other electric instruments including mandolins, violins, cellos and even a harp. To accompany their electric guitars and to make them usable, Rickenbacher Electro also produced guitar amplifiers.

Timing of these guitar developments wasn’t ideal and market conditions were challenging for Rickenbacher. Electro String’s instruments appeared shortly after the Wall Street Crash in October 1929, an event that initiated the Great Depression, a major worldwide downturn that persisted until the late 1930s. Coincidentally, during the 1930s, global political tensions started to increase culminating in the outbreak of WWII. Most of America’s industrial concerns were focused on supporting the war effort for several years and the ensuing recovery was slow. The impact on the uptake of electric guitars during depression‑era America was significant, particularly in rural areas. Despite the difficulties, Electro String Instrument Corporation persevered and had produced over 2,500 ‘frying pans’ by the time the company stopped making them in 1939.

After all his vision, ambition, creativity and drive, George Beauchamp became disillusioned with the direction in which things were moving and he left Rickenbacker in 1940 to follow other pursuits, including his passion for deep sea fishing. Beauchamp died of a heart attack while on a fishing trip near Los Angeles in 1941 at the age of just 42. Beauchamp was largely unrecognised at the time for his many significant contributions to guitar evolution.

Following Beauchamp’s departure, Rickenbacker continued making musical instruments until 1953 when he sold the company to Californian businessman Francis Cary Hall. After the sale, the Rickenbacker company embarked on a whole new era of guitar building and commercial success under Hall’s leadership. Adolph Rickenbacker died in 1976 as a result of cancer in California at the age of 89. The company he founded in 1931 continues to thrive and still bears his name (complete with its ‘k’) today as the Rickenbacker International Corporation (RIC).

End of Part V

This moment seems like another ideal stopping point, albeit covering a fairly short period of intense guitar evolution in the 1930s. Together, Gibson’s and Rickenbacker’s milestone innovations had bridged that all‑important gap between the guitar’s acoustic history and the introduction of commercially produced modern solid body electric guitars in the 1950s. From this watershed point on, nothing in the music world would ever be quite the same again.

It is the emergence of the modern electric guitar, and particularly the now‑familiar solid‑body guitar, as we know it that will be picked up in Part VI. The fascinating battle between industry stalwart Gibson and new‑kid‑on‑the‑block Fender was about to take place. Fender and Gibson started fighting for market supremacy in the 1950s and are still doing so today.

I hope you enjoyed this part of the guitar’s story and trust that you’ll come back for the next exciting instalment – same time, same channel, next month (hopefully!). Until next time…

CRAVE Guitars ‘Quote of the Month’: “Failure may not be an option but the risk of failure is something that most of us have to work damn hard to avoid at all costs.”

© 2018 CRAVE Guitars – Love Vintage Guitars.

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September 2017 – A Map Leads To Some Hidden Gems

posted in: Event, Observations, Opinion | 0

Phew! I am still recovering from last month’s article (‘A Peak into the Pandora’s Box of Guitars’). As with many of CRAVE Guitars’ musings, it should have been a straightforward subject but the research and production took a disproportionate amount of time compared to likely audience interest – I know 3 people who read it and one of them is me! This month’s article is a little more prosaic and shorter; a fizzy cocktail of insight with a little pinch of observation and a cheeky twist of opinion.

Now CRAVE Guitars is into its 2nd decade and also now post-relocation, there is much to consider. The good news is that there is a new member of the CRAVE Guitars’ family, possibly the last acquisition of 2017, as funds have once more expired and there are too many other high priority calls on finite lucre. I hinted last month that the new purchase epitomises CRAVE Guitars’ philosophy while also being very divisive – a real ‘marmite’ guitar. This procurement, and the dilemma that led up to it, started me thinking about why we choose the guitars we do and particularly how this relates to an interest in vintage guitars while avoiding the traps of ‘accepted wisdom’ and cliché.

Also, picking up on some of the nuances of last month’s article, questions are also raised about getting the balance right between being different enough to stay ‘fresh’ while not being so ‘out there’ as to be insignificantly weird. To niche or not to niche, that’s the question (apologies for making an English noun into a verb – however for etymology nerds, the English word niche derives from the French verb ‘nicher’, to rest). For the sake of clarity, the meaning of niche here refers to ‘specialised market’.

Despite committing the vast proportion of my adult life to the responsibilities imposed by the Protestant Work Ethic, capitalist economics and the expectations of family life, I am at heart part-hippie, part-maverick, part-anti-establishmentarian and part-social deviant. However, in order to function effectively in society at large, one has to be pragmatic. I am also intensely curious, profoundly questioning and not one to accept the norm just because someone asserts that I must. This attitude may be fuelled by the fact that I am also burdened by a particularly English trait; I tend to side with an underdog facing up to overwhelming odds. Anyhoo… I digress and it’s time to get to the point(s).

This month, I am focusing predominantly, and rather unusually, on a single guitar and all the contextual thoughts that it provokes. The ‘new’ vintage guitar is… drum roll please… a 1983 Gibson USA Map.

1983 Gibson USA Map

→ Click here to read the feature on the 1983 Gibson USA Map

Not aware of it? I’m not surprised, as they were only made for a very short time and for a specific purpose. I won’t repeat the history here but if you are interested, take a look at the feature [feature link here]. Admittedly, on the face of it at least, it is an extraordinary looking musical instrument. It was reasonably innovative for a traditional company like Gibson. It is precisely because of its off-beat looks that I think it is very cool, as well as being very rare. So much so, I had to import this example into the UK from mainland Europe.

How many have you seen in the flesh, let alone played? I may be in the minority in thinking it’s rather fancy. I can see a large proportion of the population saying (or at least thinking), “what the f**k is that?” That reaction was precisely my son’s verbatim response when shown it. Even the seller, a reputable Dutch guitar dealer, described it as a “funny shaped guitar”. To me, those subjective, superficially dismissive comments just make the guitar all the more fascinating, both as a serious instrument and also as part of vintage guitar heritage. Perhaps, to me, the unusual is beguiling and makes me want to look deeper than the superficial.

Is the Map simply an imprudent case of style over substance? No, far from it. Some minor ergonomics aside, it is a Gibson after all. The more I looked into it, the more I became intrigued by the tension between the standard Gibson appointments and the departures from the norm. It would take a whole article to dissect the instrument and discuss the similarities and differences. Suffice to say, I was hooked, if only because it is SO unusual and quirky. Within the broader social and economic context at the time of its birth, it becomes even more beguiling for someone like me. You probably won’t be surprised that I believe it should be taken far more seriously than it is and this article will hopefully explain why.

The Gibson/Epiphone USA Map isn’t the only guitar to share the inspiration of the USA mainland as a body design. In the early 1960s, some 20 years or so before the Epiphone/Gibson, National/Valco produced the Newport and Glenwood Res-o-Glas ‘map’ guitars. The geographical aesthetics were more impressionistic but it was still clearly based on the shape of the continental USA. Eastwood now make a modern wood-bodied version of the National’s map guitar.

Unlike the earlier National, the outline of the Gibson USA Map is a much closer representation of the lower 48 states. As these guitars were made in tiny numbers, it wouldn’t have been produced on computer-controlled machines, the bodies would have been cut by hand on scroll saws, so to some extent, each one will be unique. The edges of the body clearly show the intentionally ‘unfinished’ saw marks, which is, I think, a great touch. The craftwork around the Great Lakes is also impressive.

The body is sandwich construction comprising 2 layers of slab-cut mahogany with a thin layer of maple between, presumably for added strength, given the vulnerability of the design. Most, but not all, were finished in natural satin nitrocellulose. While Gibson/Epiphone did make a very small number of guitars in ‘stars-and-stripes’ finishes, I do wonder why Gibson never produced one or two with the 48 state boundaries outlined. Now, that would be a cool option. It isn’t worth refinishing one of these rare axes just to try it out though. Epiphone even did a sunburst version, which seems a strange choice.

So… after a great deal of agonising and deliberating about whether it was the right thing for CRAVE Guitars, I went ahead and bought it anyway. Why on Earth would I spend a lot of money for a 1983 Gibson USA Map when, for the same price, I could have got something with a better reputation and far more likely to increase in value, you may ask? I did struggle with this particular dichotomy for several days before I took the plunge. Am I insane? Under the circumstances, I sincerely hope so. There is, however some sort of rationale.

Before we get there, it is worth touching on why the Gibson USA Map is noteworthy and why it is important to conserve it. The model clearly meant something to Gibson at the time. While the Epiphone and Gibson Maps were only made as a limited edition promotional item to showcase what Gibson could do. The model also appears to have been significant to Gibson’s overall marketing strategy in the early 1980s. The importance, albeit indirectly (it wouldn’t, or rather couldn’t, earn large sales revenues in itself), of the Map to Gibson’s commercial fortunes therefore marks it out as being of special interest. It was not just a company product; it was a symbol of national pride and patriotism in the face of industrial complacency, stiff overseas competition and impending economic recession. The Map was positioned front and centre of Gibson’s advertising campaign of the time, “American-Made, World-Played”. It also appeared on the front of the company’s full line catalogue and was featured on the cover of the Gibson guitar owner’s manual.

Interestingly, the guitar used in the advertising photoshoot was slightly different from the ones that reached the public. The differences include the pickup selector switch, bridge/tailpiece, speed knobs, jack plate, strap button and a bound neck. Interestingly, the face of the headstock is not visible in the photo, so it isn’t possible to determine whether it carries the Epiphone or Gibson logo.

Essentially, at the time, if you were into Gibson or Epiphone, you couldn’t avoid the Map’s imagery, even though most customers were unlikely to see, let alone be able to play, one. Perhaps the Map’s physical rarity was intended to motivate aspiration for the almost-but-not-quite attainable. Anecdotally, the Epiphone versions were made first to help bolster sales and when they proved popular, the branding was changed to boost Gibson sales. Presumably, if the tactic had failed, there would have been no Gibson versions and no impact on reputation. However, the strategy proved to be a success, even though ‘production’, if you can call it that, ceased in 1984 due to Gibson’s manufacturing facilities being moved from Kalamazoo to Nashville and skilled company craftsmen being laid off. All Epiphone manufacture was moved to Korea, also from 1984.

Gibson has dabbled with reissues of the Map from both Gibson’s Custom Shop and the Epiphone brand; the latter possibly intended to deter the many imitations and fakes that have appeared over the years. The longevity of the model now seems assured, albeit in low numbers to meet variable demand, compared to the more popular classics. Beauty (and therefore desirability) is in the eye of the beholder.

Original early Gibson USA Maps will undoubtedly remain Cool & Rare American Vintage Electric Guitars. I get the feeling that the original Maps will at some point become much sought after in the same way as the first Gibson Modernes that appeared around the same time. The Moderne had a similar ephemeral presence and, like the Map, has also now been reissued. Those rare 1980s Modernes seem to trickle onto the market at some pretty exclusive prices. I’m glad that I got my Moderne while it was still overlooked; I certainly couldn’t afford one now! Will the same apply to the Map at some point? I watch with interest.

This eventually begins to get to the nub of why the Map is now a CRAVE Guitar. You may have noticed that I make a concerted effort to be ‘different’ from the mainstream collector or dealer. Whereas they tend to focus on the usual Strats, Teles, Les Pauls, SGs and ES-335s (after all, that’s where the money is… or will be), I try to occupy a different space. The classics are great guitars and I love them all; I even own a few. However, after a while they can get a bit samey and can become a little bit ‘meh’ after a while. “Heresy! Burn him at the stake!” I hear you scream. In my defence, you may have experienced a similar phenomenon at one time or another, especially if the amount of choice can be overwhelming. In abundance, they can elicit that dreaded ‘so what?’, glazed-eye effect. It’s a bit like going into modern music retail warehouses where there is a whole wall of the same model and they all begin to merge into one homogenous whole and the impact of each individual instrument, however good it is, can be lost. Cool and rare vintage Guitars aren’t like that and ones like the Map tend to stand out from the crowd.

In an attempt to keep things interesting, I actually made a conscious decision to seek out something that marks out a CRAVE Guitar as being a bit different from the run‑of‑the‑mill. By doing this, I might just become recognised (or ignored) for doing something a bit different from what everyone else does. In a world where guitars can sometimes look the same, feel the same, play the same, and sound the same, there needs to be something unexpected to make one stand out from the plain and ordinary. I simply can’t afford the really exotic examples, so my only option is play in the ballpark of ‘affordable vintage’ and throw in the odd curveball. Therefore, my ploy is to differentiate CRAVE Guitars from A.N.Other Guitar Shop, and the best way to do that is through the instruments themselves.

In addition, my simple brain processes told me that someone has to conserve and act as steward for a few selected examples of the more obscure, lower demand models for future generations. This may constitute foolhardiness or bravado but I don’t see anyone else doing exactly what CRAVE Guitars does.

The almost inexplicable allure of these oddities started me thinking, at which point you probably roll your eyes and think, “Oh god, here he goes again!!!” I have been, and still am, attracted to some very unusual vintage instruments that many pundits will automatically condemn. At least I have thought about it and made an irrational choice to be concertedly un-lemming-like and, perhaps worryingly, un-business-like.

I have plenty of evidence within the CRAVE Guitars’ family to support my conjectures. For instance, my compassionate adoption of some widely regarded ‘ugly duckling’ guitars, including:

  • 1974 Ovation Breadwinner
  • 1980 Gibson Flying V2
  • 1981 Gibson RD Artist
  • 1982 Gibson Moderne
  • 1983 Gibson Corvus II
  • … and now the 1983 Gibson USA Map
CRAVE Guitars’ Unconventional Guitar Designs

Then, there are the traditional mainstream brands that produced some marginal designs. In my view, these are also quite endearing and worth mentioning but, again, they are not favoured by the conservatives (yet). Perhaps these guitars, also part of the CRAVE Guitars’ family, may be best described as ‘plain ducklings’:

  • 1965 Gretsch Corvette
  • 1974 Rickenbacker 480
  • 1976 Music Man Stingray
  • 1977 Gibson L6-S
CRAVE Guitars’ Unconventional Guitar Designs

… then, there are the so-called ‘student’ models such as the short-scale offset Fenders (Musicmaster, Duo-Sonic, Mustang and Bronco), the dinky Gibson Melody Makers (and Epiphone Olympic) and the Silvertone 1449 (and 1457, as well as the full Danelectros). You may begin to get the picture. For some peculiar reason, I have an affinity for these less desirable (and therefore less valuable) instruments. They aren’t eminently collectable for the greedy investment brigade but I think they have many often‑overlooked positive attributes. Bring them together under CRAVE Guitars’ banner and I think they represent a pretty cool angle on a captivating period of modern guitar history.

CRAVE Guitars’ ‘Student’ Guitar Models

Even where the classic guitar designs are concerned, where possible, I try to seek out the unusual. For instance, I intentionally went for a Fender Stratocaster Dan Smith-era ‘2‑knobber’ and I’d like to get hold of a similar-period active Elite. Telecasters? I lean towards the Thinline, Deluxe and Custom (and Elite) rather than the standard. Offset Fender Jazzmasters and Jaguars? Bring them on. Unlike most, I think the Fender Coronado is cool, as is the Starcaster (the latter is still on my ‘wanted list’) Les Pauls? I prefer the Deluxe or the Recording (I’m still looking for a good one of the latter or its predecessors the Personal and Professional). Given the choice, I’d prefer a Junior or Special over a Standard or Custom most days (as long as I have the latter to hand as well!). Gibson Explorers or Firebirds? Yes please. Semis? I prefer the ES-330 to the ES-335. Go figure.

1983 Fender Stratocaster ‘Dan Smith’
CRAVE Guitars’ Variations On A Theme
CRAVE Guitar’s Fender Offsets

Here are some unusual models that are on CRAVE Guitars’ ‘wanted’ list…

There is, of course, a huge risk to venturing too far off the beaten track and into wild guitar country. Firstly, sinking inadequate, valuable funds into potential white elephants is not advisable in anyone’s book. You may be surprised to know that I actually do care about this for 2 reasons: a) I don’t have infinite funds to burn on a laughing stock of geeky guitars, and b) I might want to trade up at some point, so having unsellable guitars that no-one wants is not a good strategy. However, I like to think that one day, when people eventually see the light of day, my whacky and weird bits of obsolete firewood might actually become the desirable antiquities I think they deserve to become. In the meantime, they will remain curios of a bygone age.

Given that the real rarities will forever be out of my humble reach (a 1958 Gibson Explorer anyone? According to records, only 6 shipped that year), it means that my attention tends to be refocused on guitar delights from the 1970s and 1980s. Yes, before some of you get on your high horses, this is the exact same period that all ‘learned commentators’ vehemently and vociferously despise for poor quality, lost craftsmanship and corporate interference. The epoch that I’m talking about are the so-called ‘dark ages’ when CBS owned Fender, Norlin owned Gibson, Baldwin owned Gretsch and MCA owned Danelectro. However, my argument goes that, if you are rich or narrow-minded enough to close your eyes to anything post-1965, you will never see or experience some very creative experimentation. For example, the first tangible example of the Gibson Moderne didn’t appear until 1982-83 while the Gibson USA Map appeared only in 1983-84. Love these instruments (as I do) or loathe them (as many do), they shouldn’t be ignored without some contemplation. I maintain that there are many hidden treasures from this period and… one day… the nay-sayers will catch on and catch up.

There are plenty of odd creations from this period, some of which are great, some mundane, some remarkable and some downright awful. Into which category they fall into is not just what the purists say. For instance, there are some unpopular guitars out there with some very interesting attributes. Generally un‑loved Gibson examples include the S-1, Marauder, Sonex-180, Firebrand, ‘The Paul’, Invader, Challenger and Victory. Many of these unusual Gibsons are also on CRAVE Guitars’ ‘wanted’ list…

Fender also produced some unusual creations in the USA in the 1960s and 1970s, such as the Swinger, Marauder, the (mythical) Maverick, the XII, Bass VI and Montego II before going with the more mainstream but commercially unsuccessful Lead and Bullet. In Japan, Fender created guitars not based on previous  fender designs including the Performer, Katana and Flame. Fender’s strategy from the mid‑1980s seems to have been to experiment with Squier models – if unsuccessful, they wouldn’t damage Fender’s credibility but if successful, they could be re‑branded by Fender.

Some of the ‘budget’ USA Fenders on CRAVE Guitars’ ‘wanted’ list…

Trivia fact folks: In 1982, Fender strategically consolidated its budget off-shore production under the Squier brand in Japan. However, did you know that Squier as a musical instrument company actually dates back to 1890, founded as V.C. Squier by Victor Carroll Squier in Michigan, USA? Squier was predominantly a string maker and supplier for Fender from 1963 before being acquired by Fender in early 1965 shortly before Fender itself was taken over by CBS in the same year. Fender marketed Squier strings until 1972 and, by 1975, Fender had dropped the Squier name. Squier remained dormant until it was revived in 1982 as the main brand for guitars built by the newly established Fender Japan Ltd.

Some of these short-lived eccentric guitars from Fender and Gibson are truly rare beasts with just a few hundred or low thousands ever going into circulation. Some of them will eventually attract speculators, simply because of their brand, age and relative scarcity, or through trendy artist association. For instance, vintage market values for the previously unloved Fender Bronco soared after Alex Turner of Arctic Monkeys used one and collector interest in the model grew rapidly. When that investment trigger is pulled, just watch the vintage values spiral quickly to silly levels, as keen demand outstrips limited supply. The Bronco is another model on CRAVE Guitars’ ‘wanted’ list.

Capitalist economics are founded on the principle of growth and, in order to keep growing, companies have to innovate. Logic suggests that some ventures will be more successful than others. As the late, great Frank Zappa (1940-1993) once said, “Without deviation from the norm, progress is not possible”. He was right and that principle applies aptly to guitar heritage. When compared to the acknowledged classics, many of these lesser models didn’t last very long and quickly disappeared into relative obscurity without a second thought from musicians at the time. Many of these ephemeral idiosyncrasies and dead ends in the guitar family tree are the ones that fascinate me as much as the perennial classic designs do.

In the fickle consumer marketplace, success of new guitar models, even from major brands, isn’t pre-determined or assured. Just remember that some now-legendary Gibson guitars didn’t last long on their original release, e.g. the Explorer, Flying V (both 1958-59), Les Paul Standard (1958-1960), and ‘reverse’ Firebirds (1963-65), all of which were dropped due to poor sales, only to be reintroduced later to massive success. The Gibson Moderne was part of the ‘modernistic’ series designed in the late 1950s although it never reached market. Even Fender flopped with the original Jazzmaster and Jaguar. Now look at their popularity. I blame the punters myself (joke)!

As Stephen King wrote, “sometimes they come back”. The USA Map is not the only phoenix to rise from the ashes of past ‘failures’, following a quiescent period. Gibson examples include the L6-S, RD, Moderne and Melody Maker. Fender examples include the Coronado, Mustang, Duo‑Sonic and Bass VI. Glad to see them back, albeit in different form from their progenitors. We can expect these companies to keep trying to introduce shiny new models alongside the classics and these reintroductions for a new generation.

So is CRAVE Guitars’ skewed sense of objectivity in showcasing the oddball guitars from the past a risk worth taking in a fiercely competitive and currently unstable vintage guitar market? I think it is but you may well adopt a contrary view. Discuss…

I guess it’s all about balance – having enough of the widely-regarded classics to get a foot in the mental door of the attention deprived gearhead while also getting enough attention such that people become more aware of the delights of the many unique guitars that proliferate around the margins of major brand guitars. Is it just me or are those peculiar ‘ugly and plain duckling’ guitars mentioned above, fantastic examples of the guitar makers’ creative dalliances reflective of the world in which they were originally created? Will they ever be re‑evaluated as ‘beautiful swan’ guitars? Probably not, but they should not to be ridiculed as abhorrent out of prejudice without some sort of contextual re‑assessment.

Just take another look at the montages of some of the leftfield instruments from Fender and Gibson above and I challenge you to maintain that they are not worthy of your attention. I came across a plainly ignorant headline when doing this research for this article, “stupid CBS and Norlin era guitars”. I contest that such hyperbole represents uninformed rhetoric by someone who is possibly not very bright and mouthing off to get attention. I take the alternative view and suggest that they actually look pretty cool in context and they aren’t bad musical instruments to boot. Not only that, they make ideal entry points into the world of vintage guitar collecting, being relatively low cost and risk free. Yes, they have idiosyncrasies but so what? That just makes them all the more interesting.

What I must do, though, is to resist the temptation of obsessing solely on the weird and whacky to the exclusion of the familiar or it will just end up as a bizarre dead‑end, the point will be well and truly lost, and CRAVE Guitars will sink into the same obscurity as many of the oddities it intended to showcase. My aim is to present the unconventional alongside the conventional as necessary counterpoints of contemporary guitar design culture. Going Zen, they represent the yin and yang of guitars if you will.

Now that it seems I am ploughing this particular furrow, it reiterates the fundamental question I posed a couple of articles ago, that is, what the heck do I do next with CRAVE Guitars and how do I convert it into some sort of going concern? I’ve established that CRAVE Guitars has to be a modest entity, that it wants to be something different from the norm, but not so different that it becomes overlooked and invisible to would‑be enthusiasts and aficionados. I like to think that I’m doing something right.

You know what might just happen, based on my luck and actual experience? I will beat my head against the brick wall of impenetrable puritanical dogma until I eventually give up. The cynic inside me says that I’ll sell off the CRAVE Guitars’ family at ridiculously cheap prices just to move them on and, the day after I do that, the market will boom  and others would benefit from exactly what I’d been striving for in splendid isolation for the last 10 years. The scathing axioms of ‘I told you so’ and ‘he was before his time’ will ring hollow in my desolate dispossession. I’ve been in that position before and it’s not a very nice place to be. So I will persevere.

That’s enough of the doom and gloom. More Positive Mental Attitude required – CRAVE Guitars is still here and hopefully here to stay in one form or another for the foreseeable future. Let’s get back to the crux and rejoice the glorious miscellany of vintage guitars, including all the many heterogeneous ‘mutations’ that have occurred along the way. We wouldn’t be able to judge the sublime without the ridiculous to measure them up against. They are all part and parcel of our diverse, crazy, guitar‑distracted life.

The celebration extends to the 1983 Gibson USA Map that started this little debate in the first place. I think the Map is wonderful in a zany sort of way and we shouldn’t lose sight of it as part of the bigger picture. Isn’t it funny how a seemingly straightforward event can lead to something deeper and, from my perspective, quite interesting? One thing I’m certain of is that purchasing an ‘ordinary’ Strat or Les Paul would not have warranted this sort of conversation.

I mentioned at the top of this article that I deliberated as to whether to buy the Map or something else more sensible. You may ask, what else I might have gone for, had I chosen to forgo the opportunity of acquiring the Map? There are many vintage guitars that I would be tempted to go after; way, way too many to mention. However, on this occasion it wasn’t a straightforward either/or decision. It was go for this or wait until something else cropped up to spark my craving (sic!). The Map just got there first. However, it wasn’t an easy decision for all the reasons outlined above. What next for the Map? Not a lot; it is so unique, it’s likely to hang around for a while. I did think it might become CRAVE Guitars’ signature instrument but the Les Paul logo still fits better with the image, I think. Thoughts?

1983 Gibson USA Map

Unless something changes, there is nothing new in the procurement pipeline for CRAVE Guitars at the moment, so next month’s soliloquy is likely to be back to rambling randomness (or “pretentious waffle” as my other half calls it!). In the meantime, spread peace, love and music to change lives for good and let’s make the world a better place, one guitar at a time. I’ll be plinking CRAVE Guitars’ most recent vintage acquisitions, the 1978 Fender Mustang covered two months ago and the 1983 Gibson USA Map.

1978 Fender Mustang

I will keep looking for unusual guitars. On the basis of the research for this article, I may just take another look at what’s out there and report back in due course. The Map may just lead to something interesting!

Musically, I’m off too Looe Music Festival 2017 (29 September to 1 October) with The Jesus & Mary Chain, Lulu and Happy Mondays headlining and some other credible artists on the line up (The Undertones, Cast, Reverend & The Makers, etc.). This event signals that the UK’s music festival season is pretty much concluded for this year.

That’s it for now. Until next time…

CRAVE Guitars ‘Quote of the Month’: “Deviance is a lack of conformity which, to a degree is essential, as it separates the remarkable from the homogenous.”

© 2017 CRAVE Guitars – Love Vintage Guitars.

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

posted in: Observations, Opinion | 0

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

© 2017 CRAVE Guitars – Love Vintage Guitars.

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July 2017 – Happy Birthday: 10 Years of CRAVE Guitars

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CRAVE (Cool & Rare American Vintage Electric) Guitars hits its double-digit birthday this year. Yep, ‘it’ has been in existence for 10 years now. This isn’t cause for a stupendous jubilee or anything like that (although I’m open to offers!). However, perhaps, for selfish reasons it deserves a moment of reflection, recognition and celebration of a modest milestone.

I don’t recall a specific date when, on one day CRAVE Guitars didn’t exist and the next day it burst into fully-formed existence, big-bang-like. I don’t think I’ve really thought about how CRAVE Guitars emerged from the primordial swamp and learn to breathe on dry land for the first time. Like a primitive heterotroph, it has become aware of its surroundings, still crawling about on all fours but unable to fend for itself or take advantage of the resources around it.

In terms of determining its own destiny, there is no driving ambition for the future. So… perhaps it is an opportunity to review CRAVE’s journey from infancy, through adolescence to what adulthood might hold for it. Before we delve headlong in, please bear in mind that this is a modest amateur enterprise built on a shoestring over many years of frustrating obsession.

Are you sitting comfortably? Then we’ll begin… Here’s how CRAVE Guitars came about. The journey began in the 1970s, experienced a frustrating hiatus during the 1980s, received a faltering nudge in the late 1990s, spurred into growth in the noughties, dealt disaster in the early teenies and is now beginning to repair the damage and put things back together around 10th anniversary-time.

1970s:

I started playing guitar as a young teenager in the early 1970s when my father gave me a used acoustic, not realising that it would have long‑lasting and far‑reaching effects. After attaining a level of competence that enabled me to play in bands and then realising that I wasn’t competent enough to earn a living at it, guitars became a benign hobby, rather than an occupation. I had a few favourite guitars left over from playing days, including a 1977 Fender Stratocaster hardtail, a refinished 1975 Gibson Les Paul Standard, a 1978 Music Man Stingray bass and a cheap old nylon-strung classical guitar, all of which, unbelievably, I still have!

1977 Fender Stratocaster
1975 Gibson Les Paul Standard
1978 Music Man Stingray Bass

1980s:

Ah, the odious decade of all-consuming ‘adult responsibility’, when guitars and guitar playing were relegated to a tertiary interest, left drifting aimlessly in the doldrums of work and family life. I have always put my own needs secondary and that, as they say, was that – my life was subsumed by the mediocre routine of daily existence. I did manage to keep hold of the core three electric guitars, hanging on a spare bedroom wall, relatively unloved. The least said about these ‘lost’ years the better in this context. The passion for guitars was, however, dormant rather than extinct. Perhaps my subconscious knew that, someday, that sleeping volcano would lumber back to life.

1990s:

In a rollover from the 1980s, guitars and everything that goes with them remained quiescent (oppressed?) during the majority of the 1990s. Until… my interest was rekindled in c.1997 on a day visit to Cardiff, Wales. Little did I know at the time that this would provide the catalyst for later events. While wandering the city streets, perusing the typical high street shopping facilities, I chanced upon Cranes Music Store, which has been in business since 1851 and is still going in Swansea (see: http://www.cranes.co.uk/). Looking around the shop, my attention was drawn to a fairly ordinary black 1988 Fender Telecaster for £400. To that point, bizarrely, I had never owned a Tele, so I was vulnerable to that worst of all situations… strong craving and overwhelming temptation. This was compounded because we were only there for the day, which meant that a snap decision had to be made. The combination of circumstances led to the inevitable acquisition of said craved Tele. At the time of writing, it is still a CRAVE Guitar.

1988 Fender Telecaster American Standard

I had been missing guitars and playing, and this single event rekindled my appetite for the instrument. Bear in mind that this was about 10 years before my thoughts and ideas would aggregate into something more tangible. However, the seed had been planted. No further guitar purchases took place at the time. I bought a Fender Princeton Chorus 2×10” solid-state amp, so that I could at least make quasi-musical noises again.

2000s:

The focus at the turn of the millennium, however, was not on vintage gear. During the early noughties, I bought a few diverse new guitars, amps and effects here and there, whatever took my fancy at the time. My mother left me some money, so I was able to purchase some brand new quality guitars including a 1999 Fender Stratocaster a 1998 Gibson Les Paul Standard DC, a 1999 Gibson SG Standard, a 2002 Gibson ES-335, and a 2002 Gibson Les Paul Standard. These are all great modern guitars. Three of those have now gone, which says something about the new versus old debate going on in my head. The trouble, if that’s the right word, was a lack of direction and no real motivation to change it for something else.

1999 Fender Stratocaster American Standard
2002 Gibson ES-335 Reissue TDC
1998 Gibson Les Paul Standard DC
2002 Gibson Les Paul Standard
1999 Gibson SG Standard

That is until… the defining moment came during a day out to Brighton in the summer of 2007. Wandering in North Laines, I saw a rather nice but not pristine black 1989 Gibson Les Paul Custom – perhaps the most iconic of all rock guitars and another model that I hadn’t previously owned. While it wasn’t (yet) vintage, I was attracted by the patina and it had just enough signs of use to give it ‘that’ look. I wasn’t actively searching for a guitar, so I didn’t know how much it should cost but it seemed quite reasonable compared to new prices at the time. It also looked way cooler than the shiny new ones on sale nearby. Like the Telecaster before it, a snap decision was required. The craving got the better of me again and consequently, like the Tele 10 years earlier, it came home with me. Also like the Tele, that Les Paul Custom is still a CRAVE Guitar.

1989 Gibson Les Paul Custom

Although it wasn’t a conscious decision to get into vintage guitars at the time, it triggered a curiosity in older instruments as well as the history behind older guitars, the wider music industry, and the socio-political context which it helped to influence. CRAVE (Cool & Rare American Vintage Electric) Guitars, which had been SO long in gestation, was thus delivered unto this world as a ‘thing’. While the concept didn’t have a discrete identity at the time, I was hooked and I haven’t looked back since. From that moment, most brand new instruments, while nice to look at, now hold little or no allure.

I started researching and buying some rather nice vintage guitars, some imported from America, when the exchange rate was much more favourable than it is now. As a direct result of the epiphany, the ambition for a vintage guitar business idea began growing. The name came first, being a play on words as well as the strong emotion that overcomes any attempt at futile resistance to guitar ownership. The first ‘logo’ was simple typography (see below), rather than properly designed. The first ‘catalogue’ from early 2008 comprised 27 guitars, all from the Fender and Gibson stables.

CRAVE Guitars Original Logo 2008

All guitar purchases since 2007 complied with the CRAVE Guitars simple criteria, i.e. Cool, Rare, American, Vintage and Electric. As far as possible, they are all original and undamaged/unmodified. The majority of those instruments now form the core of what is now CRAVE Guitars’ ‘collection’, ‘stock’ or whatever you want to call it. It was during this period that many of the guitars originating from the early 1960s guitars were secured. Thank heaven for that – I certainly couldn’t afford to buy them now. Likewise, none of the CRAVE Guitars’ fold can be classified as collector-grade instruments; I couldn’t (and still can’t) fund that level of quality.

It was about to turn into a realistic alternative to ‘working for the man’ when… two really, really bad things happened. The first was the global recession – the worst economic downturn in living memory. Completely oblivious to the impending financial crisis, I had been buying vintage guitars just as prices were reaching their peak. Bad idea! At the end of 2008, the bubble well and truly burst. The crash practically wiped out all hope of any sort of business start-up, asset management or return on investment. Market values for vintage guitars, arguably a discretionary ‘luxury’ good, plummeted pretty much overnight and are only now, albeit inconsistently, beginning to increase to or above 2008 levels. The second was a personal catastrophe of monumental proportions, from which I still haven’t recovered. I won’t go into detail but it was so profound and fundamental that it almost ended everything. Any idea of CRAVE Guitars becoming a viable business entity was firmly put on ice for another decade. Best laid plans, eh?

2010s:

The consequence of these coincidental calamities meant that the majority of guitars had to go into safe storage. Some didn’t make it to sanctuary and the rest had to be sold off. That early part of the decade was the worst time of my life. I never, ever want to relive or repeat that bleak period. My dreams were well and truly cast into the wilderness. Graffiti art credit: Banksy.

However, either by delusion or resilience, I wasn’t about to give up that easily. By 2014, I began to regain a modicum of, albeit wavering, hope and control. Guitar buying resumed modestly in 2014 after a 5-6-year break. In addition, the scope expanded into vintage amps and analogue effect pedals to complement the guitars. At first, the emphasis was, and to some extent still is, on affordability. CRAVE also started looking at some other important American brands beyond just Fender and Gibson, for instance, Danelectro, Epiphone, Gretsch, Guild, Ovation, Rickenbacker, Silvertone, etc.

Late 2014 and early 2015 saw the building of the CRAVE Guitars’ web site and its social media content. The name remained the same but a more visual approach was required, including some form of coherent brand identity to go with the moniker. The first ‘proper’ CRAVE logo came from experimentation with the name, several pieces of paper and a fat marker pen. It was coincidental that the letters could conveniently form a stylised outline of a Les Paul. Sorted! This crude attempt was then worked up to something a bit more presentable. A professional graphic designer friend doesn’t like my amateur attempts but I think it works well for the ‘brand’. One day, I would like it properly designed but keeping the spirit of the original. NB. Fun insight folks – the intentional ‘bumpiness’ of the lines making up the logo is intended to convey an impression of musical resonance and vibration.

Crave Guitars Logo 2014
CRAVE Guitars Logo 2015 to-date

Where we are today:

That pretty much brings the story up-to-date. The recent sell‑off of non-vintage and non-American gear, as a result of the relocation was an opportunity to refine the model further. The move is intended to provide a more stable basis on which to explore and build opportunity, everything being relative of course. While I consider it no mean achievement that CRAVE Guitars is still here at all, the last 10 years doesn’t demonstrate a great deal of success. I am not happy with the status quo (no not the band), so something has to change.

The baseline position at the time of writing is that CRAVE Guitars comprises a personal ‘assemblage’ of almost 50 guitars (95% of which are vintage), a small handful of vintage amps and over 30 vintage analogue effect pedals. The period covered (other than the 2 modern Gibsons), ranges from the late 1950s to the late 1980s.

→ See full list of featured instruments

→ See full list of featured effect pedals

→ See full list of featured amps

CRAVE Guitars’ 10th Anniversary:

To mark the 10th anniversary of CRAVE Guitars, I did something impulsive and appropriately retrospective. My first ‘serious’ guitar in the 1970s was a 1978 Fender Mustang in natural finish with a rosewood fingerboard. Within a year, I traded up to a ‘real’ 1977 Fender Stratocaster hardtail, a decision that I have long-regretted – not because the Strat is bad or the Mustang good – they were just different. In hindsight, I should have found a way to keep the Mustang.

To signify the events past and present, I paid way, way over market value on a very nice example of that same model Mustang. I did this purely for sentimental reasons and, like the Ovation Breadwinner mentioned in last month’s article, it will probably never turn a profit but, frankly, that wasn’t the point. In some way, it provides a fitting commemoration for the almost 40-year journey from the 1970s to now.

1978 Fender Mustang

→ See feature article on the 1978 Fender Mustang

What next for CRAVE Guitars?:

Well… now this is the BIG question and one that I am struggling with. I am not sure that I’ve learnt a great deal over the past 10 years to inform the future (other than desperate attempts at survival). What direction does CRAVE Guitars take and what happens to it from here? Now the relocation has taken place, it seems opportune to do some thinking and planning. The options appear fairly limited, including:

Do nothing – This is not a particularly satisfactory option. I like playing guitar but so what – is that really enough to warrant so many classic instruments? It certainly doesn’t do the guitars, effects and amps justice.

Establish a Private Collection – I don’t see my role as a collector, so it isn’t really a private guitar ‘collection’ per se. In any case, while collectable, these aren’t really investment-grade guitars. The guitars have precious little historical provenance to add value. As a matter of principle, I hate the idea of hording them away.

Form a business – CRAVE Guitars is not a business (at the moment). These are my babies and selling them as a dealer just isn’t me. Apart from that, I don’t have the ‘killer instinct’ to make it a viable, profitable business concern. Put simply, I’m rubbish at selling. There are also plenty of people in the country with better skills, experience and knowledge than I possess. I also don’t have the resources and I don’t have the appetite for fierce competition in a ruthless commercial (and volatile) vintage guitar market. I also don’t have the space to grow ‘it’ any further, so there is a finite limit to its size.

Exhibit the heritage – CRAVE Guitars doesn’t have sufficient historical merit, scope or scale to warrant establishing any sort of guitar museum and, let’s be honest, there has to be something really special to attract sufficient numbers. America has the ‘National Guitar Museum’, which is a travelling exhibition based in Florida and ‘Songbirds Guitar Museum’ in Tennessee. Sweden has ‘Guitar – The Museum’ serving Europe. Online, there is ‘Guitar Museum’, which is a sparsely populated webspace, so it exists only in a virtual way. The major manufacturers and major artists have museums but these aren’t the same thing. There are plenty of online resources (including CRAVE Guitars’) but it is very diverse and dispersed in nature.

As an observation, it seems incredible (scandalous?) to me that the UK does not have a local, regional or national institution protecting the country’s heritage and its enduring association with the guitar. WTF? There is clearly an opening here but it is probably way beyond my means and capacity. On the downside, there is something about passively cocooning guitars in glass cases that is an anathema to me. Guitars are meant to be played and heard but that ultimately that conflicts with the need for conservation. Alternatively, I believe that CRAVE Guitars’ instruments reflect sufficient heritage that their delights should be shared in some way (but not physically before I get inundated with offers to take them off my hands. Donations are, though, gratefully received).

Put them in storage – Heck, dire circumstances and the relocation dictate that some are still and will have to be in storage for the time being (which I also hate). It is my aim to provide safe, secure, environmentally appropriate space in which to keep them and have ready access to them so they can be used as the makers intended.

Sell the assets off and do something else instead – NOT happening! Period!

Any other ideas – ‘Answers on a postcard’ please to: info@craveguitars.co.uk. Any sensible advice greatly received.

What is my reaction to these options? I would prefer to explore what heritage conservation might mean, although I would need to find a way in which the ‘exhibits’ would be used, rather than locked away in cabinets in the traditional museum-like way. I would like to ‘rescue’ vintage instruments and ensure that they have a safe long-term future. To be honest and realistic, I really don’t think that this option is likely or possible, so it may have to become a commercial operation and I’ll have to learn how to detach myself from the labour of love that it’s been to-date. I’d also have to harden myself to the practical realities of creating and running a trading business. The lack of capital funding means that a physical location (i.e. a shop) is out of the question, so it would have to be a gradual conversion to some sort of virtual operation, probably building on what’s already in place. A great deal will depend on personal circumstances and, perhaps the blindingly obvious… money. Partnership may be an option and one that I haven’t really explored up to now.

Well that’s it for now. It took a considerable while to get here. It will be interesting to see what transpires from here on in. I wonder if CRAVE Guitars will exist long enough to reach its next decennary (and, yes, it is a genuine word, albeit an archaic one not in common use) in 2027. I hope you’ll accompany CRAVE Guitars through its next evolutionary step, whatever it may be.

In the meantime, I feel that it’s time to give that little old 1978 Fender Mustang a little TLC while singing “happy birthday”. I have a feeling that once it’s shipshape, it might well become a go-to guitar. I also hope to get back to doing some serious practising and playing. Until next time…

CRAVE Guitars ‘Quote of the Month’: “How on Earth do you get recognised for being an unrecognised genius?”

© 2017 CRAVE Guitars – Love Vintage Guitars.

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March 2017 – A Time of Change

posted in: News, Observations | 0

Welcome to Spring 2017, guitar aficionados. If there is anyone out there keeping tabs on what’s going on at CRAVE Guitars and wondering about the lack of recent vintage purchases, here’s a quick (and short-ish) update.

I have mentioned previously about a necessary life-changing relocation and the fact that this has (hopefully only temporarily) curtailed my mission to bring you more Cool & Rare American Vintage Electric Guitars. You may have noticed that there has been a dearth of ‘new in’ articles and a consequent increase in ‘pretentious monologues’ (or as I prefer to call them, well-researched, in-depth, objective investigations) about guitar-related matters. This shift in emphasis was a conscious decision and directly related to the necessary change in circumstances.

Change is inevitable, positive change needs to be driven. As John F. Kennedy (1917-1963) wisely stated, “Change is the law of life. And those who look only to the past or present are certain to miss the future”. The time is fast approaching when it all happens, at long last. The whole process seems to have taken forever – over 12 months already. By mid-summer, the main move will have occurred (fingers crossed).

In the meantime, I am taking some heart breaking decisions and, to me at least, making some painful sacrifices. To be precise, that means selling guitar stuff. If you suffer the guitarist’s common malady of Gear Acquisition Syndrome (a.k.a. G.A.S.), you’ll understand exactly what I mean. I have accumulated quite a lot of musical equipment over the years and it’s time to be ruthless and rational about what a remodelled CRAVE Guitars actually needs, as well as to concentrate on what it will focus.

So… Why do it? Good question for a self-confessed gearhead. There are basically three factors involved here. The first is that permanent, full-time gainful employment has ceased for now, to become a full-time carer and to concentrate on the relocation. Whether this can be categorised as ‘early retirement’ or not is irrelevant – the fact is that there currently aren’t any sources of income to fund vintage guitar, amp or effect purchases. The second is that the cost of adapting a clunky, structurally unsound, damp (and very modest) old property in a poorly accessible location costs WAY more and takes WAY longer than envisaged. It has taken every last penny of available cash and it hasn’t even happened yet. The third is that the lifestyle change demands a much simpler way of living, away from the self‑seeking, avaricious intensity of the South East of England. I am not underestimating the cultural adaptation that will be required to all the above; it will be difficult and it has to be done. A positive mental attitude is most definitely needed.

So… what exactly does the sacrifice entail, you may ask? Well, at the moment, the vintage guitars, amps and effects are as safe as they can be. However, most of everything else sadly has to go. This means releasing CRAVE’s more modern guitars, non-American guitars, amps, studio gear, effects, accessories, etc. The home studio gear has largely gone and the modern effect pedals are all on their way. At the time of writing, quite a few items have departed for pastures new and there are still a few more bits and pieces to go, so the hurt continues for a while. If you are interested, keep an eye on the ‘For Sale’ section of the web site – all pre-owned items are auctioned on eBay UK and, because they have to go, there are some bargains to be had. http://www.craveguitars.co.uk/home/for-sale/

Sadly, four guitars have already gone (ouch!) and a fifth is likely to go imminently. Amongst those already re‑homed are the sunburst 1999 Fender Stratocaster American Standard and the cherry 1999 Gibson SG Standard. These are superb pro instruments and I’m very sad to see them go after many years of companionship but, as ‘they’ say, needs must. If you’ve looked at CRAVE Guitars’ website home page, these two have been front and centre for a long time, even though the guitars themselves are still a few years off vintage status – time for a new photo! Just for a change, I’m looking to use  CRAVE’s vintage 1962 Gretsch and 1964 Silvertone by Danelectro (see below).

I may try to hang onto a couple of modern guitars as reference instruments but the rest are either on their way or will be shortly. Most of the electronics don’t have such an emotional connection as the guitars but it is still very sad to see such a lot of good quality gear disappearing out of the door at relatively low values. I genuinely hope that the new owners are happy with their purchases.

If I have to excise any of the vintage gear due to circumstances, it will be immensely regrettable. That isn’t to say that I won’t sell some vintage items but the proceeds therefrom can, I hope, be reinvested in ‘new’ vintage equipment. CRAVE Guitars has to continue developing, otherwise it just becomes another stagnant private ‘collection’, the idea of which doesn’t excite or motivate me (in fact it’s one of my bugbears). I need to keep the faith and plough on, otherwise I won’t have anything to write about here!

One thing that struck me is the harsh economic reality of life. Costs of things one has to pay out for end up being far higher than one expects and the residual worth of things previously paid out for is far less than one thinks it should be. It may be stating the bleedin’ obvious that, as avid consumers, the level of depreciation between acquisition and disposal is severe but the recent experience has brought it into stark focus. Let’s just say that the cash flow sits firmly in the ‘outgoing’ column, not the ‘incoming’ one.

Exacerbating the value gap are the fees that eBay and PayPal rake in just for letting people sell stuff online. While I recognise that businesses have to make money, it is clear that everyone except me is making shedloads of lucre at every step along the way!

The economic laws of supply and demand mean that, at least in business terms, straightforward ownership isn’t financially sensible or maintainable without adequate income. Such is the price of an inadequately controlled hobby over a long period of time. It isn’t all bad though. There are positives, of course; one good thing is that we guitarists can get a great deal of enjoyment from using our equipment during the course of ownership. Thankfully, guitars (and everything that goes with them) can be usefully employed and are far more than static assets representing an ‘investment’ to be protected.

While on the subject of economic value, one thing that I’ve learned with vintage guitars is how long it takes before prices bottom out and values start appreciating again (if ever). Many vintage pieces remain in the economic doldrums for a period before regaining a higher proportion of their original retail price. The vintage market is by no means perfect; it only takes a relatively small number of wealthy collectors to intervene in the finite market and to drive prices to stupid levels (don’t get me started!). There is truth in the old adage that ‘if you’ve got money you can make money’. The converse is equally true, and sadly depressing, as I’m finding out. Although it isn’t yet consistent, some post‑recession vintage prices are beginning to escalate rapidly again which, if the trend becomes more predictable, signals the start of another unsatisfactory ‘boom and bust’ inflationary cycle.

Being didactic, if CRAVE Guitars is ever going to become a going concern, the business model needs objective re‑appraisal to ensure it can be adequately sustained as a viable entity. As a closet socialist, it goes against the grain to think about buying and selling to make a ‘profit’. As I’ve mentioned before, I have been a enthusiastic consumer but not necessarily a canny buyer and certainly a reluctantly ineffective seller. My recent experience provides tangible evidence of what I suspected all along. The culture of trading in sufficient volume to make a living is a complete mystery to me and it will be a difficult lesson to learn for someone who is not naturally inclined to commerce. I can safely say that CRAVE Guitars will never earn enough to live on but that has never been the point of the venture. However, whatever happens, I will have to stop losing money hand over fist.

You may well know that, to me, vintage guitars are not just soulless products to be pedalled without any sort of emotional connection with what they represent. I think that, if I harden my attitude to what are, after all, fundamentally just bits of wood, metal and plastic, it would take away a great deal of the beguiling nature of the instruments and the almost mystical vibes they generate.As Richard Branson (1950-), founder of the Virgin empire observes, “A business has to be involving, it has to be fun, and it has to exercise your creative instincts”.

Guitars, generally, have become an obsession which goes way beyond the core vintage ‘collection’. if you have ever taken a sneaky peak at CRAVE’s Twitter feed, for instance, you’ll see what I mean. I don’t anticipate that the underlying preoccupation that drives CRAVE Guitars ending any time soon.

The proceeds from the sale of the non-vintage music gear will, I hope, contribute towards the monumental costs of change. While it is sad to think that my non-vintage gear is going to fund the change in circumstance, at least the ‘career’ change is for an ethically and morally good cause. The other advantage of thinning things out is that there is less that has to be moved and less that space will be needed to home it all in the future.

It will take some time before the vintage items can be safely and securely relocated and I am looking forward to the time when the ‘family’ is readily to hand again. I am also looking forward to redesigning and updating the web content accordingly. Then, maybe, the mission to seek out more ‘Cool & Rare American Vintage Electric’ Guitars and bring them to your attention can be resumed. Bring it on – it can’t happen soon enough as far as I’m concerned.

As the likelihood of ‘new in’ articles remains a way off yet, next month may revert back to observational soliloquy, for which I apologise in advance. Until then… back to thinning out CRAVE’s non-vintage gear. Boohoo!

CRAVE Guitars ‘Quote of the Month’: “Wealth is not an absolute. It is what you do with what you’ve got, while you’ve got it that matters. Use it wisely”

© 2017 CRAVE Guitars – Love Vintage Guitars.

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December 2016 – A Year of Gains, Change, Losses and Optimism

posted in: Observations, Opinion | 0

It’s that time of year again when it seems to be the ‘in’ thing to reflect on the departing year and look ahead to the future whatever it may hold (along with a few obligatory lists along the way). So, in the spirit of seasonal laziness, here is my take on the year just about to leave platform 2016 and to wait for the 20:17 train to who knows where.

A Retrospective

In the music world, the grief that ended 2015 (e.g. Lemmy) continued into 2016. Let’s begin by remembering some of those great artists and guitarists who sadly departed and left us mere mortals behind during the year. I hope they play eternally at the ‘great gig in the sky’…

  • David Bowie on 10th January, aged 69
  • Glenn Frey on 18th January, aged 67
  • Merle Haggard on 6th April, aged 79
  • Prince on 21st April, aged 57
  • Lonnie Mack on 21st April, aged 74
  • Scotty Moore on 28th June, aged 84
  • Leonard Cohen on 7th November, aged 82
  • Greg Lake on 7th December, aged 69
  • Rick Parfitt on 24th December, aged 68
  • George Michael on 25th December, aged 53

Farewell and Rest In Peace cool dudes, you will be forever remembered for your tremendous legacy… and will be greatly missed for potential works not completed. Kudos. I am not looking forward to 2017 and the inevitable demise of more stalwarts of the music industry. Who will be next? We can only conjecture at this stage.

It has certainly been a year of change. I won’t delve into the controversial world of global politics, even though it affects our lives fundamentally every day. As English guitarist Eric Clapton said, “One of the most beneficial things I’ve ever learned is how to keep my mouth shut”. At a personal level, it has been a complete change of employment, if not lifestyle (yet). I am still working for ‘the man’ but in a different way. After 30 years as a paid employee, I was made redundant and am now self-employed. The massive drop in disposable income has affected CRAVE Guitars by forcing a, hopefully temporary, hiatus in its mission to accumulate more vintage guitars. In fact, only 3 guitars were purchased all year, but what terrific guitars they were in their different ways…

  • 1962 Gretsch 6120 Double Cutaway Chet Atkins Hollowbody (March)
  • 1964 Silvertone 1449 ‘Amp-in-Case’ (October)
  • 1981 Gibson RD Artist (January)

Bizarrely, there was not a Fender amongst them. Note to self… must try harder!

Out of curiosity, I had a look back at my ‘most wanted list’ of guitars from this time last year and I’ve only been able to knock one off the ‘plan’ during the last 12 months (and probably not the one you’d think!). Oh well.

The change, however, was an opening to refocus a bit, without straying too far from the chosen path. Rather than just stop altogether, it enabled me to look at things in a fresh way. As it turned out, a more affordable and modest vintage guitar-related ‘hobby’ filled the sizeable gap. The result was that I was able to build up a modest collection of classic vintage guitar effect pedals, starting with a ‘small box’ Pro Co Rat and ending 5 months and 16 pedals later with a Made in Japan’ Boss PH-1 Phaser. I also resurrected a number of my classic owned-from-new pedals from the ‘70s. These classic pedals can still hold their own in terms of tone and, while not necessarily ergonomic, are well worth the effort.

This cool diversion had its pitfalls, including transit damage, missing bits and difficulty finding vintage parts to refurbish a couple of cool but ‘adapted’ player-grade effects. What I learned is that, while I’m OK at buying guitars, my knowledge of vintage stomp boxes just wasn’t as strong. At least my focus was on the lower end of the vintage market, rather than the overpriced collector end (original Ibanez TS-808s anyone? Gasp!). It will take a while to build up reliable experience and make better‑informed purchases. In total, there were 17 vintage effect pedals purchased during 2016, including (by brand)…

  • Boss (x5) – CS-1, DS-1, OC-2, OD-1, PH-1
  • Electro Harmonix (x2) – Little Big Muff pi, Doctor Q
  • Ibanez (x5) – AD9, CS9, FL301-DX, FL9, TS9
  • Jen (x1) – Cry Baby Super
  • MXR (x3) – Blue Box, Distortion +, Phase 90
  • Pro Co (x1) – RAT

While looking into effect pedals, I also started looking at vintage valve guitar amps again, although I only bought one very cool little loud box during 2016 (not including the Silvertone’s ’amp in case’ above)…

  • 1978 Fender Vibro Champ

What has CRAVE sold during 2016? B*gger all of any significance! I just don’t have the ‘killer instinct to sell effectively, which is why I’m not a dealer. So, the ‘collection’ continues to grow, which isn’t good news, either financially or space-wise.

Turning to recorded music, picking something special out from the ubiquitous, formulaic dross was a bit of a challenge. Here are some of the varied albums (whatever happened to singles?!) released and added to CRAVE Guitars’ playlists in 2016:

  • Jeff Beck – Loud Hailer
  • Blossoms – Blossoms
  • David Bowie – Blackstar
  • The Coral – Distance Inbetween
  • Nick Cave And The Bad Seeds – Skeleton Tree
  • Leonard Cohen – You Want It Darker
  • Daughter – Not To Disappear
  • Dinosaur Jr – Give A Glimpse Of What Yer Not
  • Garbage – Strange Little Birds
  • The Heavy – Hurt & The Merciless
  • Iggy Pop – Post Pop Depression
  • The Kills – Ash & Ice
  • Megadeth – Dystopia
  • Metallica – Hardwired… To Self-Destruct
  • Radiohead – A Moon Shaped Pool
  • Rolling Stones – Blue & Lonesome
  • Savages – Adore Life
  • Seasick Steve – Keepin’ The Horse Between Me And The Ground
  • Warpaint – Heads Up

One good point towards the end of 2016 was that I was able to see one of my all-time favourite bands and one that has kept me just about sane over many years. I saw The Cure at Wembley Arena, London on 1st December. It is 8 years since I last saw them live in London and New York. They were, as I’d hoped, awesome and still able to perform at the top of their game. They were supported by Scottish indie band, The Twilight Sad, who I’d also been looking forward to seeing for some time; impressive. As I was unable to make the pilgrimage to Glastonbury Festival this year, this one major gig made up for it. Long may Robert Smith and The Cure continue to inspire – thanks Bob. I can only hope that this tour may herald a new album in the near future (hint, hint!).

While on the topic of live bands, it occurred to me that it is a very ephemeral experience. On quiet reflection, if there is one band that I would have liked to have seen but didn’t and now it’s too late… The Clash. The one band that I haven’t seen yet that I would like to see before it’s too late… Rage Against the Machine. Of course there are many, many mainstream artists that could go on those particular lists. These were just ones that came to mind when I asked the rhetorical question.

A Prospective

Trivia fact: In English etymology, ‘prospective’ is a valid antonym for ‘retrospective’. So, I took the indulgence of looking forward through the looking glass and speculating a little on what may lie ahead.

Firstly, CRAVE Guitars will hopefully be relocating soon. I was hoping it was going to be before Christmas but it will now be in early 2017. Major problems and escalating costs with the new place, including somewhere to store the guitars dry, warm, safe and secure, means that even pedal purchasing has now been put on hold until further notice while some massively expensive but essential rebuilding takes place and (sadly) uses all my remaining (guitar) capital.

Furthermore, my self-employed work ends at Christmas, so unemployment (tactically, I prefer to call it early retirement) looms on the immediate horizon. Ironically, after years of having no time and a little cash has been turned around such that I may soon have a little time and no cash. Hey-ho, story of my life; one can’t have it all, eh?

If there is a way that CRAVE Guitars could be put on a different basis and become a full‑time occupation, I’d like to do it. I need to learn how to sell though (see above). It would be terrific if I could realise my long-held ambition and put all my hard work over the last few years to good use. Harsh life experiences over many years suggest that this won’t happen so, perhaps, it is about time for a meagre sprinkling of ‘good luck’ to come my way for once.

Unfortunately, the prevailing economic climate is not conducive to starting up a professional niche business with next to zero capital, no access to finance, sparse experience, and little reliable entrepreneurial advice, all within the context of political, economic and social turmoil. In the UK, we’ve had a General Election, political meltdown, crippling national debt and the insanity of ‘Brexit’ (what a stupid ‘word’ that is!). In the US we’ve had Clinton being well and truly Trumped (amid much conspiracy theory), which is a scary proposition for the whole world. Mad! Since the EU Referendum, the $USD to £GBP exchange rate has fallen through the floor, so one of CRAVE’s strengths – importing vintage guitars from homeland U.S.A. – is now next to impossible as the costs have simply become prohibitive (at least on the modest funds at my disposal). As 2017 looks to provide more surprises and yet more change, there is little point in further speculation about exactly what might transpire. I wonder what CRAVE’s December 2017 article will have to say (all other things being equal).

Ever the eternal optimist, or more probably just tragically deluded, 2017 HAS to be better than 2016. I suspect I may be bitterly disappointed… again. As you might imagine, I have no evidence to support this hypothesis, just a desperate but probably forlorn hope that things, both macro and micro, improve in the months to come. I also have to trust that the irrevocable life-changing events of 2016 lead to constructive and positive outcomes in 2017. Carl Gustav Jung (1875-1961), the Swiss psychiatrist and psychotherapist that founded analytical psychology summed it up, “Until you make the unconscious conscious, it will direct your life and you will call it fate.” Perhaps the old dude knew a thing or two about people’s ability to influence their own destiny.

I know that one shouldn’t gauge any sort of success by social media activity but CRAVE Guitars is gradually building a solid presence on the hinterweb. A huge “THANK YOU” to everyone who showed some interest in goings on at CRAVE Guitars over the last 12 months. At the time of writing, CRAVE’s Twitter followers (my favoured platform – @CRAVE_Guitars) were standing at over 1,330, which is amazing to me – a massive increase in a year. The majority of CRAVE’s Twitter followers are in the U.S.A., so much appreciation goes out to my transatlantic brethren. Equally, my gratitude extends to everyone inside and outside the UK, across the continents of our increasingly shrinking ‘global village’ for your time and consideration.

CRAVE Website

If CRAVE could buy any vintage guitar in 2017, what would it be? Actually, although unlikely to achieve either, I’m picking one from each of Fender and Gibson to keep things neutral. A 1970s Fender Starcaster has appealed for a long time but they are few and far between and prices are scarily high. As for the ‘big G’, a 1950s non‑cutaway Gibson ES‑150 has also been a longstanding aim, also rapidly increasing in price. So if Santa is listening, I have tried SO hard to be a good boy.

As frequently mentioned in my articles, guitars have only one purpose, as a tool to make music. Music can bring us together and help to heal the often seemingly irreconcilable schisms that inhibit mutual co‑operation and benefit. This brings me neatly onto…

A Hope

For what it is worth, a short Christmas message of redemption for 2017…

I feel that there are even greater seismic shifts ahead in every facet of our small planet. All I can hope is that for every backward step, there are many more steps in the right direction towards the panacea of world peace, ecological sustainability and, let’s face it, survival. We need to magnify the things that we all share and value, and we must strive to diminish the things that cause irreconcilable division and conflict. Ultimately, there is no choice but to work together for the sake of our enduring common humanity. We all have an obligation and a moral duty, individually and collectively, to build a better, fairer world for everyone now and for succeeding generations. As equal citizens, we must demand more from our governments if we are to achieve a viable future for life on Earth. We must respect our diversity, reject greed, protect our environment, have compassion for all living things, and rise above prejudice and hatred, if we are to stand any chance of achieving great things as a species. Strive for utopia and we may just get far enough down the road to justify the effort. It is just common sense after all and the struggle must prevail if it’s worth struggling for. We shall see. Buddha put it far more succinctly, “Better than a thousand hollow words, is one word that brings peace”. Quite right!

I fear that the rise of ignorant extremism under the guise of ‘populist anti‑institutionalism’ will trigger further anarchic, nihilistic and blindly destructive tendencies when, what the world really needs right now is more ‘peace and love’. Beneath the superficiality of the naïve desperation of the ‘60s hippy movement, the counter‑culture ‘uprising’ of the time had it right all along and we should seek to realise the latent potential of their philosophical idealism and belief for good and fairness. As John Lennon sang, “Imagine all the people living life in peace.” One can hope beyond hope, however unrealistic it may seem. Concerted action, though, is needed.

May you play guitars, or at least listen to the magical music that all guitarists – great and meek alike – create on our beloved instruments. People need the therapeutic qualities of music now, more than ever before. It is a cathartic way to deal with the harsh vagaries of our capricious, chaotic, dysfunctional world. As the German philosopher and scholar, Friedrich Nietzsche (1844-1900) wisely said, “And those who were seen dancing, were thought to be insane, by those who could not hear the music.” On that final contemplative note, it is goodbye to a weird 2016 and I hope to be back in 2017. In the meantime, I’m off to ‘plink my plank(s)’. Until next time…

CRAVE Guitars ‘Music Quote of the Month’: “If I had a pound for every perfect guitar solo I’ve ever played, I’d still be stone broke.”

© 2016 CRAVE Guitars – Love Vintage Guitars.

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October 2016 – The South of England Guitar Show 2016

posted in: Event, News, Observations, Opinion | 0

Here’s a change of tack for CRAVE Guitars this month and not something I would normally pontificate about. Yes, there is still some pretentious waffling, so October 2016’s article is not a complete volte face on my part. Before I get going, though, a wee bit of background in 3 points…

  1. My adult working life started in the music industry many, many years ago with very well-known UK south coast musical importer and distributor, which is still in business (and present at the titular event). The only point in mentioning this is that I’ve seen the world of guitar business from both sides of the tracks for a long time.
  2. I have also been to many trade shows over the years and, like many, they become pretty ‘so what’ after a while, especially those where the big manufacturers predictably roll out their shiny new stock and their professional sellers push to move product to eager consumers (or dealers). This is a necessity in any sector and is just par-for-the-course in the world of music trade. The only point in mentioning this is that, over several decades, I’ve become jaded and the anticipatory excitement of pretty new toys at these gatherings has long-since faded. As a result, I haven’t been to a sales/exhibition event for a very long time.
  3. I have also shifted away from new guitars, amps, pedals, etc. and refocused on older and vintage stuff. This passion for vintage guitars ‘n’ things germinated because I hung on to some nearly-new gear back in the day and it has now, inevitably and rather obviously, became old. New equipment rapidly lost its superficial gleam and, like me, the relic patina gained through years of continual use began to shine through in a very different way. The only point in mentioning this is that what I’m looking for now is very different to what appealed to me as a naïve teenager, when new=good, old=bad.

Beyond the cyclical round of big trade shows, I became aware of some regional shows also taking place in the calendar, clearly run by enthusiasts passionate about the subject matter, rather than sterile accountants obsessed with maximising the contribution to the bottom line. These ‘boutique’ events looked much more alluring to me because they encapsulated the desire for guitar music, rather than the drive for mere cash profit. To my chagrin, though, most of these provincial events took place around the north of England. Now, I have nothing against the north other than my own innate laziness to travel and the demands of a full working/family life, so these events came and went without me.

I have, though, campaigned for a while on social media to bring guitar shows down south. Let’s face it, the urbanised south east is where a lot of the country’s filthy lucre is stashed away, so the vacuum down here was a bit perplexing. This may be because of the prohibitive costs of putting something on anywhere near London, especially during recessionary times.

My ‘prayers’ were to be answered. Roll forward to October 2016. Peter and Gail from Northern Guitar Shows (notice the name) thankfully saw an opportunity to address the issue and hosted the South Of England Guitar Show at Kempton Park Racecourse in Surrey this year. Even better, they put me on the guest list – so a big “thank you” to them. Now there was an additional incentive to get out of bed and haul my lazy fat arse over the county boundary and go see what was on offer.

My jaundiced and sceptical view of the music instrument industry (colloquially known as M.I.) has been reinforced by my recent experiences of arrogant vintage and new guitar retailers in both London and the south east. Restoring a little faith, the South Of England Guitar Show was very busy with ordinary folks keen to partake and it looked to be a major success. It also turned out to be an enjoyable experience for a weary, road-worn music veteran. All credit to Northern Guitar Shows for taking the risk with us fickle softy southerners.

Yes, there were the usual trade exhibitors, which one accepts, but none of the corporate big boys – no Gibson, Fender, Marshall, etc. For some, that may have been a disappointment, to me it was a blessing. To many stallholders, exhibitors and performers, it was probably run-of-the-mill and part of the annual trade circuit. Again, to me, it was refreshingly ‘intimate’ and, mostly, friendly. There were, of course, the usual dickheads who come out of the woodwork to frequent these things and make their presence known but, like bad weather, one just has to put up with them.

I was pleasantly surprised at the diverse range of smaller companies making the effort to extract my (sadly hard-earned, rather than ill-gotten) currency. Of note were some up-and-coming guitar makers presenting their wares, including among many others, Palm Bay Guitars, Stone Wolf Guitars and Flaxwood Guitars, all of whom make very pretty and practical musical instruments.

I was also pleasantly surprised by the number and variety of vintage instruments for sale including some VERY nice, but expensive, pieces – too many to mention here. The mix of new and vintage was something that has clearly come about since the last time I trudged around exhibition halls – thinking about it, there probably wasn’t a mainstream ‘vintage’ market way back then, at least not in the way there is now.

There was also decent live music on offer and a host of fringe stuff to maintain broader interest. Of note was The John Verity Band – to those that remember, he was in the band Argent and is a very good blues/rock guitarist. Also worth a listen was industry veteran Phil Harris commentating provocatively about the obsession with vintage authenticity by suggesting that reproductions can not only be as good as the originals but in many cases better. It was refreshing to hear someone who has profited considerably from the vagaries of the vintage market arguing to the contrary in very pragmatic terms. He is quite a nifty guitarist too. The objectionable high-net worth collector market aberration is something that I have also tried to articulate in my blogs but, heh, who listens to me?

Not only did I wander the aisles academically looking for a variety of desirable bits and pieces, I actually shelled out some dosh on a selected vintage item. I had made the effort to be there and so had the sellers, so I wasn’t about to leave empty‑handed. Was I tempted by the usual array of vintage Strats, Teles, Les Pauls, ES‑335s, et al, all going for what I still think is silly money? Hell yes, of course I was – don’t be ridiculous! Even though the art of haggling is still accepted at these events, the prime guitars were all (sadly) way out of my price range, especially during my current period of enforced purchasing abstinence.

So, you may ask, what did I come back with? My eye had been caught by a very modest and reasonably priced cute little guitar… a 1964-ish black sparkle Silvertone 1449 complete from Terry’s Guitars. Terry is selling much of his guitar collection and this baby was up for sale. For those who may not know, Silvertone guitars were made by Danelectro in the ‘60s for the American Sears & Roebuck department stores and were sold as a set with their ‘amp-in-case’ as an ‘all-in-one’ solution for beginners. The Silvertone is pure Danelectro, complete with twin ‘lipstick’ pickups and vinyl tape body edging. The 1449’s sweet 5-watt valve amp features a tremolo circuit and 8” speaker, all of which is cleverly integrated into the slim (and heavy) guitar case. While not the first or last, as an offering to the mass market, it was a genius idea from half a century ago and a move that proved very successful for Sears and Danelectro.

The guitar was very competitively priced because the headstock has a crack in it which, while relatively common, had been poorly ‘repaired’ (with screws – yikes!). This will need professionally seeing to and I feel a trip to see Dave at Eternal Guitars coming on. However, the guitar was otherwise very clean and all-original, and the ‘amp-in-case’ was working (albeit with a new Weber speaker to replace the original). In fact, the valve amp sounds VERY good for what was originally a budget practice amp. So, 52 years after it was made, this particular Silvertone has found a new home at CRAVE Guitars. One wonders where it might be in another 52 years’ time. Who knows?

I was interested in this particular guitar because I have been looking for a vintage Danelectro for ages; CRAVE has a 2008 Chinese-built Dano ’63 which is a modern interpretation of the 1449 (but no case), so this seemed an ideal match. The Silvertone also fits with CRAVE Guitars’ core ethos – Cool & Rare American Vintage Electric guitars (that’s what the acronym CRAVE stands for after all) – and the meek little hybrid ticked all 5 essential criteria. After a short haggle, Terry let me have it for  a reasonable price, including the step-down transformer for the amp’s 110V power supply, which all works perfectly. Thanks Terry. What a cool guy! Striking a great vintage deal was the icing on the cake for a Sunday out with a difference.

So, kudos to all concerned. The good news is that the South of England Guitar Show will return to Surrey on 29th October 2017. My advice? Why not give it a go if you like the idea. Until next time…

CRAVE Guitars ‘Music Quote of the Month’: “Age does not stop a guitarist, death does.”

© 2016 CRAVE Guitars – Love Vintage Guitars.

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August 2015 – Vintage Guitar Supply and Demand

posted in: Opinion | 0

If you’ve followed my recent posts, you’ll know that I have been looking around for cool and rare American vintage electric guitars (and basses) again recently. Nothing new in the way of CRAVE Guitars stock to report this month, so it is an opportunity to reflect and pontificate, as well as to share my biased opinion on our shared hobby again.

As part of my on-going research, I regularly check a well-known auction site beginning with ‘e’. One thing that I have noticed is that many prices are now escalating at least back to where they were pre-recession and often higher. The rate of increase also seems to be accelerating but inconsistently so, which makes the market uncertain. While the general upward trend might be good news for investors at the genuinely rare instrument end of the market, it is also putting some great, and even some ordinary, vintage guitars beyond the means of your average amateur collector or re‑seller. It seems predictable that fickle speculators will soon jump on the bandwagon (again) and what would otherwise have been considered run-of-the-mill instruments will hit stratospheric levels (again). The dreaded ‘boom and bust’ cycle looms ugly (again), which isn’t good for anyone. The upper extremes are more to do with damnable greed and detestable avarice – commonly called rampant capitalism – the economic law of supply and demand in a free market. At more modest levels the pressures are seemingly more complex.

Another thing that I’ve noticed is that, while the ‘common’ models are still relatively numerous, some of the more esoteric, niche guitars are often nowhere to be seen these days. This may suggest that people are hanging onto their valued old guitars, rather than putting them out to the unpredictable market, especially risky in an online auction environment. The result of this anomaly is that prices are increasing due to an artificial rarity factor – the supply dries up while the demand increases, making some less popular instruments disproportionately and unsustainably pricey. To test out this hypothesis, I have been looking for some slightly more unusual instruments and they can be really hard to find, resulting in some diverse and frankly crazy price differentials, especially compared to new guitar prices. However, you can still get a nice late vintage guitar (which will go up in price in the medium to long-term) for less than a new one (which is likely to depreciate for the next 20 or so years). That, at least is still good news for many of us preferring used instruments.

So… my next step was to look further afield. When comparing the UK with the US and Canada, there is, understandably, more choice in that much larger continent (and birthplace of our beloved classics). At first glance they can seem to be offered at an attractive price. However, when taking exchange rates (currently not good for importing from the US into the UK), international delivery, import duties, national taxes, handling fees and insurance (if you can afford it!), importing isn’t the bargain it first seems, especially as HMRC has tightened up the process significantly compared to a few years ago. Other markets, like mainland Europe, Australia, Japan, etc. are relatively inconsequential to the US/UK trade. Asian and Russian trade is certain to increase. In summary, importing is still worth a look though, as long as you do your research first. The Epiphone Olympic below was my last costly import from Canada.

1966 Epiphone Olympic
1966 Epiphone Olympic

Coming back to that well known auction site for a moment, the word ‘auction’ seems to be largely a misnomer these days. Actual auctions where you can bag yourself a bargain vintage guitar are now a frustrating rarity. ‘Buy It Now’ (BiN) seems to be the default option for most high value sellers. This means that many a cheap purchase can turn out to be risky and ‘Best Offers’ are rarely a source of great joy. Also, that heart thumping, sweat inducing, adrenalin pumping rush of the last few minutes…and seconds of a bidding frenzy for a desirable vintage guitar that you really, really, really want seems to be becoming a thing of the past. That’s a shame if you ask me, as a lot of the fun has gone by the wayside. BiN prices often seem to be set high initially and guitars sit there until the ‘real’ market value catches up, so there are quite a few that hang around until people see them as affordable. My inference is that, while it may be fine and convenient for one-off purchases, it is no longer a great source for a fledgling business enterprise on a tight budget, as precious net profits can rapidly be eroded. This applies to both buying and selling. This is probably similar to other ‘collector sectors’ such as classic cars, so I guess we adapt and move on.

Fender and Gibson still dominate with Gretsch and Rickenbacker hot on their tails, as well as early PRSs. Don’t forget other classic brands like Danelectro, National, Vox, Guild or Burns. Japanese originals from Yamaha and Ibanez are increasingly collectable too. There are plenty of whacky vintage guitars from minor brands, often long since demised, Supro, Silvertone, Teisco, Harmony, Kay, etc. that can prove real bargains if you’re careful. If you are into acoustics, Martin is still probably the most reliable bet.

So, where does this leave us in the post-recession world? Not as much choice when buying and what there is, is of variable value. The desirable instruments that we might aspire to are becoming increasingly exclusive again, except for the affluent in the vintage guitar community. Looking to the future, prices look set to rise inevitably and keep rising inexorably thereafter, until the next bubble bursts. The high end (i.e. occupied by the super-rich) will carry on regardless of global economics but that’s hardly the rarefied atmosphere us ordinary mortals will ever find ourselves in. There are bargains out there but, as ever, you have to seek them out and auction sites are as good as any other source. If you’re after a return on investment on a newer guitar, you may have to wait a while, so why not enjoy playing them in the meantime? In conclusion, if you want to get your hands on a lovely vintage guitar at a reasonable price and if you can find a good one, go for it while you can. Good luck. Thanks for reading this article.

© 2015 CRAVE Guitars – Love Vintage Guitars

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