30 Jun 2026

June 2026 – A Year of Notable Anniversaries

by CRAVEGuitars | posted in: Event, History, Introduction, News, Observations, Opinion | 0

Prelude

TO QUOTE THE VENERABLE BARD, “Once more unto the breach, dear friends, once more”. Yup. The breach, dear friends, at least in aphorism, is your June 2026 article from CRAVE Guitars. Let’s hope the figurative wall is not “closed up with English dead”, as in the famous discourse written by English playwright William Shakespeare (1564‑1616) in Henry V, Act III, Scene I (NB. Based on the exploits of English King Henry V (1386‑1422)). Less blood and guts and more vintage guitars lies herein. I think that you might well be relieved about that. This isn’t 1599 after all; we are now in the second half of 2026 and it is officially summertime in the UK. Yay! For everyone suffering excessive heat waves this year, take care.

In the 21^st Century, we should be more civilised than in the 15^th and 16^th Centuries. Sadly, that doesn’t appear to be the case. Have we learned nothing since the combative reign of Henry V over 600 years ago? For all those who are complacently complicit by saying nothing and doing nothing to eradicate the indefensible concepts of warfare and injustice in 2026, don’t take my word for it, take a moment to ponder on the words of someone with far more moral integrity than I can muster…

“We’re all going to have to learn to live together and develop a greater tolerance and get rid of whatever our fathers gave us in the way of hatred between nations” – Joe Strummer (1952-2002)

This Month at CRAVE Guitars…

On a more everyday front… Back in July 2024, CRAVE Guitars published an article celebrating ‘The Fender Stratocaster at 70 and Counting: An Alternative Perspective’. This month’s shorter article serves as a timely companion piece to that one. If you wish to (re‑)view the Strat article, follow the link below (opens in a new browser tab)…

July 2024 – The Fender Stratocaster at 70 and Counting: An Alternative Perspective

Yes, folks, here we are now in mid‑2026 and we’re celebrating a host of anniversaries this month, well five notable ones, actually, in descending order of longevity:

The United States of America – 250 Years (declared independent in 1776)
Fender – 80 Years (founded in 1946)
Fender Telecaster – 75 Years (introduced in 1951)
Fender Precision – 75 Years (introduced in 1951)
Music Man Stingray – 50 Years (introduced in 1976)

As usual, no AI was used in the research, writing or illustrating of this article (bar the seemingly now regular appearance of the Stone Age Rock God that is The CRAVEman, who has to be 100% AI generated). Quotes of wisdom this month are all about history. Quite a few images for you this month as well as few lists. Just trying to keep everyone happy.

“The very ink with which history is written is merely fluid prejudice” – Mark Twain (1835‑1910)

The Rationale for the Article

Nothing complicated this month. There are some notable anniversaries and this is an opportunity to explore each one, albeit briefly. This exercise is much shorter than the Stratocaster anniversary, due to other, competing priorities. The Stratocaster article also had a lot of contextual material that I really didn’t feel like reiterating here. I am sure that there are many other anniversaries occurring in 2026, many of which can be covered in passing. For now, these five will provide plenty to talk about.

Without further frivolous fanfare, let’s get into a fleeting celebration of these distinguished anniversaries, starting with the establishment of the UK’s former colony, and then some of the milestones in the guitar industry that wouldn’t have taken place if it wasn’t for the founding of the USA…

“That men do not learn very much from the lessons of history is the most important of all the lessons of history” – Aldous Huxley (1894‑1963)

The United States of America at 250 and Counting

The history of the United States isn’t really the focus of this article and has nothing to do with vintage guitars. However, without the birth and evolution of the USA and its territories, modern music and musical instrument history wouldn’t be what it is today. So… we’ll start big and then take a bit of a closer look at what came after. Apologies to the American audience for whom the first segment is arguably second nature.

“Following the light of the sun, we left the Old World” – Christopher Columbus (1451‑1506)

While there is increasing evidence that explorers had set foot on the North American continent over many centuries, European exploration of North America began seriously after Italian voyager Christopher Columbus (1451‑1506) discovered the Caribbean in 1492, followed by other expeditions from England, France and Spain. After the short‑lived Roanoke Colony in 1585, established by English explorer Sir Walter Raleigh (1553‑1618) in what is modern day North Carolina, English settlers established the first permanent settlement in Jamestown, Virginia in 1607 and Plymouth, Massachusetts in 1620, marking the beginning of permanent European settlements that would form the basis of the Thirteen Colonies in the east coast of what we now call America. The thirteen British colonies along the Atlantic coast of North America (Virginia, Massachusetts, New Hampshire, Maryland, Connecticut, Rhode Island, Delaware, North and South Carolinas, New York, New Jersey, Pennsylvania and Georgia), were established between 1607 and 1733 as part of the British Empire.

The name America may have several origins. Probably the most likely is that it derives from Italian explorer Amerigo Vespucci (1454‑1512) who believed the continent to be separate from Asia. America’s name first appeared on a German world map dating from 1507.

The formation of the United States resulted from growing political and economic tensions between the Thirteen Colonies and the British Monarchy. Key protests included taxation, trade and self-governance. These pressures escalated into armed conflict with the outbreak of the American Revolutionary War in 1775, when the union of Thirteen Colonies formed an army to fight the British and appointed George Washington (1732‑1799) as its commander.

“I like the dreams of the future better than the history of the past” – Thomas Jefferson (1743‑1826)

On 2 July1776, the Second Continental Congress voted unanimously to declare the Thirteen Colonies to be independent from Great Britain. The Declaration of Independence had been drafted by a committee including John Adams, Benjamin Franklin, Thomas Jefferson, Robert Livingston and Roger Sherman. The document set out the grievances of the Thirteen Colonies against King George III of England. On 4 July 1776, Congress formally adopted the Declaration of Independence and officially established the United States of America.

Following the Declaration of Independence, the Continental Army, led by General George Washington, with support from France, continued the American Revolutionary War (1775‑1783) against British forces. Following the Siege of Yorktown, Virginia in 1781, the Articles of Confederation were ratified. In the Treaty of Paris (1783), Britain officially recognised the United States of America as an independent country. The US Constitution was adopted formally in 1788, which established the framework of the federal government. In 1791, the US Bill of Rights was passed, which protected individual liberties and limited the power of the government.

“Observe good faith and justice toward all nations. Cultivate peace and harmony with all” – George Washington (1732‑1799)

Historically, 1776 has become widely regarded as the birth of the United States of America, founded on the principles of liberty, equality and rule of law. While independence was declared in 1776, the process to establish a stable federal government, with its fundamental structures and ideology took another 15 years. That foundation has evolved and continues to the current day, 250 years later. A 250^th anniversary is properly denoted as a ‘semiquincentennial’ (NB. half of a 500^th anniversary).

The familiar National Flag of the United States, the ‘Stars and Stripes’ or the ‘Star‑Spangled Banner’ was officially adopted in 1777. Over the years, the flag’s design has evolved with the modern version of the flag being formally adopted in 1960, following the inauguration of Hawaii as the 50^th US state. The 50 white stars on a blue field in the top left corner of the flag represent the current 50 states and the 13 horizontal red and white stripes represent the number of original founding colonies. There have been around 30 different versions of the flag over 250 years. Below are 4 incarnations of the flag (top-bottom: Continental Union 1775‑1777, Betsy Ross 1777, Star Spangled Banner 1777‑1795, Current 1960‑)

“The historian must not try to know what is truth, if he values his honesty; for if he cares for his truths, he is certain to falsify his facts” – Henry Adams (1838‑1918)

So, why make a thing about celebrating USA 250 in an article about (vintage) guitars? Well, without the federation of 50 states (as of 2026), there would not have been Gibson, Fender, Gretsch, Rickenbacker, Martin, Taylor or many of the other world famous guitar brands founded in the USA. The United States provides the wider political, social, cultural, economic and technological context within which these companies were born, grew and prospered (on and off) to become the legendary icons that they are today. As the future of American guitar making is once again under significant threat, the USA still provides the operating environment within which these companies have to compete, not only with domestic but also imported international products. It isn’t European competitors that are the greatest threat to ‘Made in USA’ guitar gear in 2026. The most significant threat comes from China as well as other Pacific Rim countries that are providing viable alternatives to home grown products with aggressive marketing, build quality and pricing strategies.

“In history, there are no accidents. If something happens, be sure it was planned that way” – Franklin D. Roosevelt (1882‑1945)

Returning to the subject of vintage guitars, Gibson celebrated the 200^th anniversary of 1776 with a reissue of the offset ‘reverse’ bodied Gibson Firebird, called the Bicentennial, which was actually produced over a period between 1976 and 1978. CRAVE Guitars is fortunate enough to be the steward of a gorgeous black and gold 1976 Gibson Firebird Bicentennial with its unique commemorative red and blue ’76 Phoenix logo on the white scratchplate. Very cool.

Feature – 1976 Gibson Firebird Bicentennial

Happy 250^th Birthday United States of America on 4 July 2026. For “We the people” (NB. “We the people…” is the brief introductory statement of the American Constitution, setting out its fundamental purposes and guiding principles), it is a reminder that the celebration of USA 250 is about every one of the 338+ million American citizens, not just the president and his acolytes, the half‑dozen or so powerful, hyper‑wealthy elite. The guiding principle of America’s Founding Fathers was of a federal republic that is based on ethical egalitarianism and not egocentric plutocracy.

“All the power’s in the hands of people rich enough to buy it” – Joe Strummer (1952‑2002)

As a casual observer looking in from outside, something seems to have gone badly awry with the fundamental belief in the ideological values underpinning the United States of America (natural rights, limited government, republicanism, separation of powers, and checks & balances) and which (should) define the relationship between the government and the people. There is arguably an imperative to re‑establish the fundamental democratic and governance tenets of America supported since 1776. Such a re‑alignment would enhance The American government’s moral and ethical role both domestically and on the global stage in 2026 and beyond. Such a re‑alignment is arguably essential if the United States of America is to survive for another 250 years. One might ask oneself, “What does America stand for in 2026?” How about, “Life, liberty and the pursuit of happiness” and “All men are created equal”? (NB. Both phrases taken directly from the US Declaration of Independence, 1776.) Hhmm. Sermon over.

“It takes no compromising to give people their rights. It takes no money to respect the individual. It takes no survey to remove repressions” – Harvey Milk (1930‑1978)

Fender at 80 and Counting

There is SO much detailed information on the hinterwebby thingummy about the rise and rise, then fall, then rise again of Fender, such that there is little point in dissecting the story again, so here is a potted history of the brand, as covered on the CRAVE Guitars web site and that preceding Stratocaster anniversary article. There is an element of overlap and repetition in the various sources, so I’ve tried to distil some main points.

Clarence Leonidas ‘Leo’ Fender (1909‑1991), a qualified electronics technician, opened the Fender Radio Service in, Fullerton, California, USA in 1938. The business was established to repair radios, phonograph players, home audio amplifiers, PA systems and musical instrument amplifiers.

In 1943, Leo Fender joined forces with former Rickenbacker engineer and inventor of the Vibrola tailpiece, Clayton Orr ‘Doc’ Kauffman (1901‑1990) to create K&F Manufacturing Corporation to build lap steel guitars and amplifiers in California. By 1946, Kauffman and Fender had parted ways and the latter founded a new business in Fullerton to build guitars and amplifiers, initially called Fender Manufacturing and then changing the name to Fender Electric Instrument Company. The rest, they say, is history.

Known to most people simply as Fender, the company has become one of the most widely recognised manufacturers of electric guitars, basses and amplifiers in the world. Fender is particularly important to the music industry because of its ground breaking role in bringing solid‑body electric guitars to mass markets in the 1950s. The west coast revolutionaries were getting themselves noticed, challenging the dominance of east coast manufacturers like Gibson, Gretsch and Martin.

Fender announced the first mass-produced solid-body electric guitar to the public in 1950, a model that would become the Telecaster as we know it today (see below). The enormously popular and revolutionary Stratocaster followed shortly after in 1954. Not sitting on its laurels, over the next decade and a bit, Fender introduced a quartet of upmarket offset guitars, the Fender Jazzmaster (1958), the Bass VI (1961), the Jaguar (1962) and the Electric XII (1966).

Fender also pioneered the large scale introduction and subsequent evolution of the electric solid‑body bass guitar. The innovative Precision bass first appeared in 1951 and the Jazz Bass followed in 1960. Fender also introduced the eccentric Bass V 5‑string bass in 1965.

“History books that contain no lies are extremely dull” – Anatole France (1844‑1924)

Once the classic Fender ‘pro’ range was established, Fender moved on to cater for beginners, by releasing four ‘student’ models, the Musicmaster (1955), Duo‑Sonic (1956), Mustang (1964) and Bronco (1967). These were later replaced by the budget Bullet series in 1981 and lasting only until 1983 before it was replaced by the low cost Squier models. The name ‘Bullet’ is still used by Fender for guitar strings.

For a while Fender toyed with the idea of semi‑acoustic electric guitars to compete with Gibson’s successful ‘ES’ (Electro‑Spanish) line of semis. Fender introduced the fully hollow Coronado (1966) and the semi‑hollow Starcaster (1975/1976). Neither model was particularly successful at the time and didn’t last long until they were discontinued (in 1972 and 1982 respectively), although both have since been reissued by Fender for the modern era.

Fender has also sustained a very successful line of guitar and bass amplifiers dating from the late 1940s to the current day, including landmark valve amps such as the Champ, Princeton, Deluxe, Bassman, Pro Reverb, Vibroverb and the mighty Twin Reverb among many others. The design aesthetics of Fender valve amps went through a number of generations including the ‘woodie’, ‘tweed’, ‘brownface’’, ‘blonde’, ‘blackface’ and ‘silverface’ iterations. Fender started building its first solid state transistor amplifiers in 1966. Fender continues to make a wide range of amplifiers and effects today.

“A small body of determined spirits fired by an unquenchable faith in their mission can alter the course of history” – Mahatma Gandhi (1869‑1948)

In early 1965, Leo Fender famously sold his company to the Columbia Broadcasting System (CBS) for $13m. Production quality under CBS varied during the 1970s and Fender sales suffered considerably, especially in the face of stiff Far Eastern competition. Finally, in 1985, 20 years after being sold to CBS, a management buyout initiated by CEO William Schultz (1926‑2006), created the Fender Electric Instrument Manufacturing Company. The business was acquired from CBS for $12.5m. The sale didn’t include the Fullerton factory, so production was curtailed until a factory in nearby Corona, California enabled production to resume. Schultz, along with Dan Smith are widely regarded as ‘the men who saved Fender’. The newly privatised company was renamed Fender Musical Instruments Corporation (FMIC) and remains in business as a private company today.

In 1982, Fender opened its Japanese operation to manufacture a range of Fender‑branded guitars. Early Squier models were a re‑brand of Fender Japan models sold in Europe. By 1985, Fender’s import budget brand, Squier, manufactured and sold a range of lower‑cost Fender models, which have proved massively popular over the decades. These Squier guitars were intended to compete with the influx of cheap Asian copies that were flooding the American and European markets from the late 1970s to mid‑1980s. Squier continue to market a successful range of guitars today (2026).

Fender opened a manufacturing facility in Ensenada, Mexico in 1991 to produce a range of Fender‑branded guitars, basses and amps positioned between the professional ‘Made in USA’ and the budget Far Eastern Squier ranges. In 1987, supervised by William Schultz with master luthiers John Page and Michael Stevens, Fender opened its Custom Shop operation in its Corona facility to make one‑off high‑end customised Fender models. Squier, Japan, Mexico, Corona and Custom Shop guitars form part of a comprehensive strategic approach to industry markets.

Fender was the first company to showcase a ‘relic’ guitar at the NAMM Show in 1995. Unsurprisingly, they were styled along the lines of a 1950s ‘Nocaster’ and Stratocaster. While it may not have been the first attempt to age a guitar artificially, it was the first real attempt to demonstrate and name the process in a high profile way from a major American guitar manufacturer for commercial sale. The introduction and subsequent market niche for ‘reliced’ new guitars has attracted a great deal of attention and has launched a 30+‑year debate on the matter. CRAVE Guitars will no doubt feel obliged to opine further on the subject of ‘relic’ finishes at some point.

“History is a continuous process of the creation of new ideas” – John F. Kennedy (1917‑1963)

After decades of leading the way, any further innovations have largely been few and far between since the turn of the millennium. Fender, like most American manufacturers’, has tended to rely significantly on past glories, which has proved to be both a strength and a weakness. Fender hasn’t produced any genuine all‑new designs that have provided long‑lasting commercial and critical success for (well) over a quarter of a century now. Pause and think about that a moment. All the key Fender models, revolutionary back in the 1950s and 1960s, are still in production in 2026, largely unchanged from their fundamental archetypes which, in itself, is unique and remarkable in contemporary industrial design. While FMIC does produce other models and toys continually with specifications, it relies heavily on its perennial six classic designs, the Telecaster, Stratocaster, Jaguar, Jazzmaster, Precision, and Jazz Bass. It is interesting and notable that the most recent introduction of those models dates back to 1960 (the Jazz Bass). That is 66 years ago as of 2026 and counting, also noteworthy. Fender has tinkered with other designs over the years but none have captured consumer demand and loyalty like the originals.

Fender’s headquarters are currently in Scottsdale, Arizona, with North American manufacturing facilities in Corona, California, and Ensenada in Mexico. Off‑shore production is based in Korea, Japan and China. Fender still remains a global brand with massive brand loyalty and instantly recognisable iconic models. Like all American manufacturers, Fender is facing significant challenges as we head into the second quarter of the 21^st Century. It will undoubtedly survive for decades to come in one form or another; the brand is too valuable for it not to endure. One might pause for another moment and wonder what Mr. Leo Fender would think about the preceding eight decades and, perhaps, what he would do next if he were still to be around in 2026. Strangely, Fender themselves don’t seem to be shouting from the rooftops about their 80^th anniversary, preferring to promote 75^th anniversary Telecasters and Precision basses. It seems like others are celebrating 80 years on their behalf. Happy 80^th Birthday FMIC.

CRAVE Guitars was founded in July 2007, originally intended to focus just on vintage Fender and Gibson gear. As you might Expect, CRAVE Guitars has a fair ‘collection’ of Fender guitars, basses and amps.

“Who controls the past controls the future. Who controls the present controls the past” – George Orwell (1903‑1950)

The Fender Telecaster at 75 and Counting

In 1949, Leo Fender and George Fullerton (1923‑2009) developed a prototype for a new solid body guitar design. One that would ultimately become an icon and industry standard. Leo Fender and co. could not possibly have imagined the legacy they were unknowingly creating back the late 1940s. Such an important part of guitar history needs a few words to acknowledge this specific point in time. One thing one can be sure of is that there will be many, many more anniversaries for the perennial Telecaster in years and decades to come.

The single pickup of the prototype was derived from the Fender Champion lap steel guitar in c.1949. The neck was unusual in that it was screwed (not bolted) on with an anchor plate, rather than the set neck of most guitars at the time. It also didn’t incorporate a truss rod to ensure that the single piece maple neck stayed straight. Initially, the headstock used 3‑a‑side tuners before being refined to a small, single‑sided design. Production bodies were made of solid ash tone wood. The bridge design used three individually adjustable saddles whose height and tuning could be set. Electrics comprised a three‑position selector switch and volume/tone controls. Distribution was organised through Don Randall’s (1917‑2008) Radio & Television Equipment Company (RTEC). By late 1950, the guitar with dual pickups and a truss rod was named the Broadcaster.

Images from the United States Patent and Trademark Office (USPTO) are generally considered to be in the public domain and typically not subject to copyright restrictions, so I believe that I have the rights to publish the following 1954 patent, courtesy of the USPTO. Fender filed a patent on 23 April 1951, which was granted on 14 August 1956 to C.L. Fender for the ‘guitar’, i.e. the Telecaster as we know it. The patent represents the familiar design that formed the basis of actual manufacturing and production.

US Patent Application – Fender Telecaster 1951

The first mass produced commercially successful solid body guitar, the forerunner of the Fender Telecaster was announced in mid‑1950 as the single and dual‑pickup Fender Esquire. Fender renamed it the Broadcaster before they were forced to remove the name (the so‑called highly collectable ‘Nocaster’) in 1951, as a result of a legal dispute with Gretsch who owned the Broadkaster brand name. The model was renamed the Telecaster in August 1951 and the Esquire became a lower‑cost single pickup version until it was discontinued in 1969. Early production Telecasters had transparent butterscotch finish, a single ply black scratchplate and a maple neck with a ‘skunk stripe’ (the so‑called highly sought after ‘blackguard’ Telecasters). The Telecaster’s original retail price was set at $139.95. The original Telecaster control layout and function was eccentric to say the least and it wasn’t until the late 1960s that Fender resorted to a traditional electrical format. I still can’t get my head around why such an arcane circuit was used and retained for so long.

The Telecaster’s reputation as an industry standard workhorse was largely down to its simple yet efficient and effective modular design and hugely versatile tones. The Telecaster model has been in continuous production from 1951 to today and it doesn’t look like it’s going anywhere any time soon. The Telecaster has proved to be a truly remarkable perpetual icon created from humble origins back in the late 1940s. The Telecaster may not have been the first solid body electric guitar but it was the first to be mass produced and commercially successful.

There has been a number of key variants of the classic Telecaster over the years including the Thinline (1968), Custom (1972), Deluxe (1973) and Elite (1983). The standard model has been adapted and improved over the decades and has spawned numerous other variants. However, Fender got the original design right from the outset and many musicians still see the archetype as the only Tele worth having. Having that ‘Fender’ name on the headstock is of historical significance as well as extremely valuable in dollar terms.

Fender’s budget brand, Squier, includes several Telecaster models, which have been manufactured and imported from the Far East to America and Europe since 1985. In addition to Squier Telecasters, other lines come from Mexico, made in USA and Custom Shop models complete a ‘rags‑to‑riches’ range.

On the Fender web site at the time of writing is an in‑depth history of the Telecaster:

Fender FMIC Telecaster History

Below is a list of just some of the famous names past and present (in surname alphabetic order) who have been associated with the legendary Fender Telecaster:

Syd Barrett (Pink Floyd)
Jeff Beck
Jon Buckland (Coldplay)
James Burton
Clarence ‘Gatemouth’ Brown
Roy Buchanan
Mike Campbell (Tom Petty & The Heartbreakers)
Eric Clapton
Albert Collins
Hugh Cornwell (The Stranglers)
Graham Coxon (Blur)
Steve Cropper
Danny Gatton
David Gilmour (Pink Floyd)
Jonny Greenwood (Radiohead)
Merle Haggard
George Harrison (The Beatles)
Steve Howe (Yes)
Chrissie Hynde (Pretenders)
Christone ‘Kingfish’ Ingram
Jason Isbell
Waylon Jennings
John 5 (Marilyn Manson/Rob Zombie)
Wilko Johnson (Dr Feelgood)
B.B. King
Ritchie Kotzen
Albert Lee
J Mascis (Dinosaur Jr)
Buck Owens
Jimmy Page (Led Zeppelin)
Brad Paisley
Rick Parfitt (Status Quo)
Luther Perkins
Keith Richards (Rolling Stones)
Jim Root (Slipknot)
Francis Rossi (Status Quo)
Bruce Springsteen
Joe Strummer (The Clash)
Marty Stuart
Andy Summers (the Police)
Susan Tedeschi
Pete Townshend (The Who)
Muddy Waters
Clarence White (the Byrds)

… Among many, many others

As you can imagine, CRAVE Guitars is a big fan of the Fender Telecaster, with five different models part of the CVG family. Below are some links and an image of CRAVE Guitars’ ‘collection’ of Fender Telecasters, giving a good indication of a range of variants on the original…

Feature – 1972 Fender Telecaster Thinline
Feature – 1973 Fender Telecaster Deluxe
Feature – 1974 Fender Telecaster Custom
Feature – 1983 Fender Telecaster Elite
Feature – 1988 Fender Telecaster American Standard

“We are not makers of history. We are made by history” – Martin Luther King Jr. (1929‑1968)

The Fender Precision at 75 and Counting

In the same year as Fender introduced the Telecaster, the company also introduced the revolutionary Fender Precision bass. The anniversary of the Precision Bass is often overshadowed by the prominence of the Telecaster. Arguably, though, the Precision may have been as ground-breaking, if not more so, in the history of modern music. Discuss…

Although the first solid body fretted electric bass guitar was the 1935 Audiovox ‘Model 736 Bass Fiddle’ built by Paul H. ‘Bud’ Tutmarc (1896‑1972), it was the Fender Precision that became the first commercially successful mass‑produced solid body fretted electric bass guitar. The introduction of the Precision changed the history of the bass instrument and, arguably, contemporary music forever. 1951 was a big year.

Before the Fender Precision, bass players had to contend with cumbersome acoustic, hollow body, fretless upright basses. The Precision was therefore an ergonomic godsend, especially for travelling musicians. Like a guitar, the Precision featured a fretted neck making the instrument much more accessible to beginners wanting to jump on the bandwagon of popular electric guitar music in the 1950s and 1960s.

Leo Fender was working on a working prototype back in 1950, bringing the Precision to market in 1951 and made widely available by 1952. Fender designed the Precision Bass (often shortened these days to ‘P‑Bass’) to overcome the many drawbacks of the acoustic double bass. The name, Precision, referred to the 34” scale fretted neck that enabled musicians to play in tune far more precisely than on the acoustic double bass’s fretless neck, hence the new bass’s name – Precision. Conservative double bass players may well have looked at the Precision Bass in the same way that conservative guitarists looked at the Fender Telecaster released the same year.

The Precision Bass as we now know it didn’t, however, appear fully formed. Initially, the Precision adopted many design cues from the slab body Telecaster guitar. Initial models carried one single coil pickup, a slab body, large scratchplate and a Tele‑like headstock. Significant updates in 1954 and 1957 gave the Precision the now‑familiar design features. At its most basic, the Fender Precision Bass is a solid body, 4‑string bass guitar equipped with a single pickup and a one‑piece 20‑fret maple neck with rosewood or maple fingerboard. It all sounds so very straightforward and unremarkable nowadays. Back in 1951, it was anything but.

Fender originally filed a patent for the bass guitar in November 1952, which was awarded in March 1953. The 1957 update led to another patent filed in January 1959, granted in 1961. Below are the Fender patents for both generations of the Precision’s design, courtesy of the USPTO. It is interesting to compare and contrast the fundamental approach to both.

US Patent Application – Fender Precision 1952

US Patent Application – Fender Precision 1959

After Fender introduced the Stratocaster guitar in 1954, some of its design features were migrated to the Precision including a contoured body and a Strat‑like headstock. The original pickup was replaced with a single split coil hum cancelling staggered design and a sleeker redesigned scratchplate. It is this version of the Precision from 1957 that has stayed in production largely unchanged to the current day. There have been many, many variants with numerous changes in specification over the years, including a fretless version (ironic, given the origin and intention of the Precision’s name), 5‑string versions, 22‑fret necks, active electronics, multiple pickups, and a very diverse variety of finishes.

The original pre‑1957 Precision design has been re-issued by Fender at times over the years, often called the Telecaster Bass to differentiate it from the post‑1957 Precision specification. Not resting on their laurels, Fender followed up the hugely successful Precision with the twin‑pickup offset Jazz bass in 1960. Other Fender basses followed, including the ‘student’ Mustang and Musicmaster basses, as well as the semi‑acoustic Coronado bass and budget Bullet models. The unusual and rare 5‑string, 15‑fret Bass V based around the Mustang‑style offset body was produced between 1965 and 1971 (NB. The Fender Bass V was notable as the world’s first 5‑string bass guitar).

Without doubt, the Fender Precision Bass is a major icon of contemporary music and has become an industry standard carrying with it an enviable reputation to which others can only aspire. 75 years later, the Fender Precision remains hugely popular today. Consumers can purchase genuine Precision bass models from the budget Fender‑owned offshore‑produced Squier brand, through Mexican and American‑made Fender models, to the high‑end Fender Custom Shop versions. Throughout the decades, the Precision has oft been imitated and/or blatantly copied by other manufacturers, eager to cash in on Fender’s industry‑dominant status.

Fender Precision 75th Anniversary Promotion

Below is a list of just some of the famous names past and present (in surname alphabetic order) who have been associated with the legendary Fender Precision Bass:

Bill Black (Elvis Presley)
JJ Burnel (The Stranglers)
Geezer Butler (Black Sabbath)
John Cale (Velvet Underground)
Billy Cox (Jimi Hendrix)
John Deacon (Queen)
Kim Deal (Pixies)
Mike Dirnt (Green Day)
Donald ‘Duck’ Dunn (Booker T. & The M.G.’s)
John Entwistle (The Who)
Derek Forbes (Simple Minds)
Eva Gardner (The Mars Volta)
Roger Glover (Deep Purple/Rainbow)
Colin Greenwood (Radiohead)
Jet Harris (Shadows)
Steve Harris (Iron Maiden)
Dusty Hill (ZZ Top)
Carol Kaye
James Jamerson
John Paul Jones (Led Zeppelin)
John Lodge (Moody Blues)
Phil Lynott (Thin Lizzy)
Duff McKagan (Guns N’ Roses)
Nate Mendel (Foo Fighters)
Mike Mills (R.E.M.)
Pino Palladino
Suzi Quatro
Dee Dee Ramone (Ramones)
Paul Simonon (The Clash)
Sting (The Police)
Robert Trujillo (Metallica)
Roger Waters (Pink Floyd)
Pete Wentz (Fall Out Boy)
Brian Wilson (Beach Boys)

Like the Telecaster, CRAVE Guitars is not immune to the influence of the Precision bass. While a guitarist, I do dabble in the low end from time to time. CRAVE’s family of basses is, however, very small compared to guitars. Below is a link and an image of CRAVE Guitars’ wonderful 1977 Fender Precision fretless bass (owned by me for nearly 50 years!)…

Feature – 1977 Fender Precision Fretless Bass

Leo Fender, however, hadn’t finished developing his ideas for electric bass guitars. Ten years after he sold Fender to CBS, he went on to create another milestone bass guitar icon…

“A people without the knowledge of their past history, origin and culture is like a tree without roots” – Marcus Garvey (1887‑1940)

The Music Man Stingray Bass at 50 and counting

While, for many, Music Man is a much younger company than its illustrious peers, it seems remarkable, at least to me, that the Music Man Stingray Bass has been around for five whole decades in 2026.

Music Man (a.k.a. MM) was formed in 1974 from another company, Tri‑Sonix Inc. (originally formed in 1971), by Forrest White and Tom Walker. Leo Fender was a silent partner in the venture. Leo Fender was formally named Music Man’s president after a 10‑year exclusion clause after the sale of the Fender brand to CBS in 1965 ended. Leo’s other company, CLF Research (after Clarence Leonidas Fender’s initials), was contracted by Tri‑Sonix to make Music Man guitars and basses which started appearing in 1976.

Music Man really made its name when the breakthrough Stingray bass was introduced in 1976, along with the Stingray guitar and a range of amplifiers. The instruments had many innovative features including being recognised as the first large scale production guitars and basses to include active electronics.

Like Fender, Music Man also manufactured amplifiers including innovative hybrid solid state/valve amplifiers. While being separate companies, the instruments and amps had noticeable Fender traits evidencing the direct lineage from Fender to Music Man. Music Man, unhindered by history and past glories, allowed Leo Fender to innovate and evolve his ideas.

In 1979, relationships between Music Man and CLF Research deteriorated to the point that Leo Fender left Music Man in 1979 and went on to found G&L with George Fullerton in 1980 (NB. named G&L after George and Leo). By 1984, the Music Man business was on the verge of bankruptcy and trademark designs were sold to the massive Ernie Ball Inc. Notably, Sterling Ball had been involved in the design of the original Music Man Stingray Bass so there was already a pre‑existing connection. Instruments under the new brand (EBMM – Ernie Ball Music Man) started appearing in 1985. The Music Man Stingray bass survived the transition and remains in production as a commercial success today. Sadly, the Stingray guitar and amps didn’t endure despite their many merits.

Music Man remains a strong integral part of the Ernie Ball empire in 2026. For enthusiasts, Music Man (and G&L) provide an interesting perspective on a key part of Leo Fender’s long and illustrious career. Oh, how quickly a ‘new kid on the block’ becomes part of the institution.

Ernie Ball Music Man has released two limited edition anniversary Music Man Stingray Bass guitars, Molten Gold and Liquid Gold. While flirting with copyright, I don’t think EBMM will mind publishing their promotional material here, courtesy EBMM.

Below is a list of just some of the famous names past and present (in surname alphabetic order) who have been associated with the legendary Music Man Stingray Bass:

Jeff Ament (Pearl Jam)
Rex Brown (Pantera)
Boz Burrell (Bad Company)
Justin Chancellor (Tool)
Tim Commerford (Rage Against The Machine , Audioslave, Prophets Of Rage)
Joe Dart (Vulfpeck)
John Deacon (Queen)
Paul Denman (Sade)
Gail Ann Dorsey (David Bowie)
Bernard Edwards (Chic)
Flea (Red Hot Chili Peppers)
Tom Hamilton (Aerosmith)
Mark Hoppus (Blink‑182)
Randy Jackson (Journey)
Louis Johnson (Brothers Johnson)
Tony Levin (Peter Gabriel, King Crimson)
Benjamin Orr (Cars)
Pino Palladino
Trent Reznor (Nine Inch Nails)
Steven Severin (Siouxsie and the Banshees)
Garry Tallent (Bruce Springsteen)
Cliff Williams (AC/DC)
Rick Wills (Foreigner)
Chuck Wright (Quiet Riot)

It is probably of little surprise that CRAVE Guitars is a big fan of vintage Music Man. Just a quick anecdote if I may; I was employed by Music Man’s importer into the UK in the late 1970s – Strings & Things – so I am a bit biased. CRAVE Guitars has not only the Music Man Stingray Bass but also the Stingray guitar and the hybrid 210 ‘sixty‑five’ amp as part of the CVG family. Cool.

Feature – 1978 Music Man Stingray Bass

“If you would understand anything, observe its beginning and its development” – Aristotle (384‑322BCE)

Final Thoughts on ‘A Year of Notable Anniversaries’

There are (obviously!?) many anniversaries that happen every year. However, the combination of five notable anniversaries provided an interesting take on how key elements of the musical equipment industry evolved to get us to where we are today.

Flirting with copyright (again), I don’t think Fender Musical Instrument Corporation will mind publishing their 75^th anniversary promotional material here, courtesy FMIC.

That is an awful lot of years accrued under the belts of Fender, the Fender Telecaster, Fender Precision and Music Man Stingray. Undoubtedly, these industry stalwarts will be around for many more decades to come and will probably (definitely!) outlive me. They ain’t goin’ nowhere anytime soon. This article is just a celebration of a milestone point in time, taking a retrospective of the past and a conservative view of the future.

Other Notable Anniversaries in 2026

One significant anniversary that has seemingly been totally unnoticed this year is that of the Gibson ES‑150. In November 1936 (90 years ago), Gibson introduced the historically significant ES‑150 hollow body jazz guitar. The model was the guitar industry’s first commercially successful, Electric Spanish (ES) guitar. Happy 90^th birthday, Gibson ES‑150.

Another major anniversary that has largely been overlooked this year is the introduction of the Gibson SG in 1961 (65 years ago), when it replaced the outgoing single cutaway Les Paul Standard. Now… as the model was introduced as the Les Paul SG in 1961, carrying the name of its famous endorsee until 1962, it wasn’t until 1963 that the SG (Solid Guitar) would officially be given the name it bears to the current day and which remains one of the world’s best‑selling electric guitars. Also, the SG moniker had been used for the entirely different double cutaway replacements for the Gibson Les Paul SG Special (1959‑1961). Perhaps, as a result of the nomenclature confusion between c.1958 and 1963, the anniversary hasn’t been headline news. I would dearly like to celebrate the SG as we know it, maybe on its 65^th alternative anniversary in 2028‑ish?

Perhaps, judging by the two examples above, 21^st Century Gibson is missing a trick in not jumping on the anniversary celebration bandwagon.

Another key anniversary in 2026 that has generally slipped beneath the radar is the 60^th anniversary of the Japanese giant, Yamaha Guitars. In 1966, Yamaha introduced the FG‑180 acoustic, followed by the SG‑2 and SG‑3 electric guitars (originally called the S201 and S302). It wasn’t until the mid‑1970s that Yamaha hit the mainstream western market with the now‑classic SG‑1000 and SG‑2000, the latter co‑designed with Mexican/American guitarist Carlos Santana. Yamaha Guitars is still going strong today.

There will be a LOT of other instrument anniversaries that will warrant coverage over the years. Some may well be covered in the annals of CRAVE Guitars’ articles while others are bound to miss out. For now, though, that’s it.

“History is a pack of lies about events that never happened told by people who weren’t there” – George Santayana (1863‑1952)

The CRAVEman Celebrating Anniversaries

As seems to be becoming the norm these days, el jefe, The CRAVEman is making his prehistoric presence known to the modern world through the mechanism of CRAVE Guitars’ articles. Taking the anniversaries as an excuse to put The CRAVEman onto a pedestal (literally in his case), here is the Stone Age Rock God exhibiting his great taste. Ignore the obvious specification anomalies, The CRAVEman’s versions of the classics predate the genuine articles by several thousand years!!!!

The CRAVEman American Independence Day Anniversary

The CRAVEman Fender Telecaster Anniversary

The CRAVEman Fender Precision Anniversary

The CRAVEman Music Man Stingray Bass Anniversary

“We have progressed from the Stone Age and moved on to the age of stone hearted people” – Amit Abraham (1965‑)

CRAVE Guitars’ ‘Album(s) of the Month’

Given the subject matter of this month’s article, it seems appropriate to pick a landmark piece of music history and something quintessentially American. Heck, why stop at one, why not two complementary pieces? Not only does the music evoke American culture in the 1960s but also demonstrates effectively the impact of both the Fender Telecaster and the Fender Precision Bass had on music at the time. This month’s worthy accolade(s) go to…

Johnny Cash – At Folsom Prison (1968): At Folsom Prison was recorded at Folsom State Prison, California, on 13^th January 1968 and released on Columbia Records, also in 1968. It was the first live album by American country singer/songwriter Johnny Cash. The original album comprised 16 tracks over 45 minutes with reissues comprising 19 tracks over 56 minutes. The concert was inspired by Cash’s song, ‘Folsom Prison Blues’ (1955), played as the opening track (with a running time, 2:42). The performance by Johnny Cash was backed by future wife June Carter, Carl Perkins and the Tennessee Three (Luther Perkins, Marshall Grant and W.S. Holland). The album was positively received and helped to revitalise Cash’s career. Album sales of At Folsom Prison exceeded 3.4 million back in 2003 and the recording appears in many ‘greatest albums’ rankings.

Johnny Cash – At San Quentin (1969): At Folsom Prison was supplemented by Johnny Cash’s second live penitentiary album, At San Quentin, which was recorded a year later at San Quentin State Prison, California on 24^th February 1969 and released by Columbia the same year. The album comprised 10 tracks at just over 34 minutes, including the song, ‘San Quentin’ (appearing twice due to audience demand). Cash’s band line up was essentially the same as At Folsom Prison but without Cash’s go‑to guitarist Luther Perkins who had died tragically following a fire at his home in August 1968, between the two prison concerts. Like its earlier companion album, At San Quentin exceeded 3 million sales in 2003. The concert was also filmed and several photographs have since become iconic, including Cash’s famous ‘middle finger’, which apparently was a result of Cash’s frustration with the film crew during the concert.

Johnny Cash – At Folsom Prison (1968) + At San Quentin (1969)

In many ways, the two live prison recordings are best experienced together, capturing the essence and atmosphere of the ‘Man in Black’s’ prison concerts just over a year apart. A great musical event in American cultural heritage and a brave move for Johnny Cash at the time. NB. Marshall Grant actually used an Epiphone Newport bass, rather than a Fender Precision, on the latter recording (the headstock of which can be seen in the cover photo).

BELIEVE IN MUSIC!

“Events in the past may be roughly divided into those which probably never happened and those which do not matter” – William Ralph Inge (1860‑1954)

Tailpiece

Well, that’s quite a bit on anniversaries for 2026, all crammed into one article. Some of the information is available elsewhere on the CRAVE Guitars web site and in other CRAVE articles. Some of it is entirely new, so it’s not all contrived and derivative. Thankfully, the vast majority of the information across sources is consistent and corroborative. Phew! Rather than dig around for relevant bits and pieces, I hope bringing them all together here has provided just a bit of learning and, more importantly, provided just a bit of idle entertainment.

Next month’s article will, if all goes to plan, I hope, be a bit more frivolous and less fact based. Why not come back and join me the other side of ‘USA 250’.

Truth, peace, love, and guitar music be with you always. The CRAVEman, signing off for now. Until next time…

CRAVE Guitars’ ‘Quote of the Month’: “All that really matters to you is you and the unique journey you are on. Savour it and don’t betray the opportunity”

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31 Oct 2024

October 2024 – CRAVE Guitars Writing: An Introspective Inquiry

by CRAVEGuitars | posted in: Introduction, News, Observations, Opinion | 0

Prelude

YO GOOD PEOPLES. Welcome once more to the virtual hamlet of non sequitur‑ville, population c.1. You may have noticed my annoying application of asinine alliteration, idiotic idioms and my tendency toward meandering narrative prose (duh!), so perhaps it’s some sort of disorder worth looking into. As hinted at previously, CRAVE Guitars is deliberately changing things around a bit this month. Nothing like a bit of variety, eh? You may well be grateful of a short(er) article after several recent rather lengthy and convoluted tomes, so I’m content to oblige on this particular occasion.

At the time of publication, autumn is wending its inexorable passage towards winter, so here’s a snippet of classical pertinent poetry to get you in the mood for some further flowery philology.

“There is a harmony in autumn,
and a lustre in its sky,
which through the summer is not heard or seen,
as if it could not be,
as if it had not been!”
Percy Bysshe Shelley (1792‑1822)

Is it just me or do most sensible people wish for a world free from bellicose brutality? If only sensible people ran the world. If only the message would get through to said belligerent barbarians seemingly devoid of any form of reasonable moral compass. War = Bad. Peace = Good. Simple. The relevance, use and impact of words and their ability to generate positive change will become clear… eventually… I promise.

“No matter what anybody tells you, words and ideas can change the world” – John Keating (1927‑)

This time around, I thought I would spend a few moments of superficial but personal self‑analysis, something that I normally feel very uncomfortable about. Perhaps that’s the stereotypical reserved Brit syndrome, I don’t know. I rarely discuss myself, especially in the first person, so this is a very unusual post. While I might refer to this topic somewhat flippantly and to some extent facetiously, it turns out that, perhaps, the author presents somewhat of an enigma and a conundrum.

This exploratory examination is also probably something that will be of little interest to many readers so, if you want to quit at this point, that’s absolutely fine. Thanks for looking in. However, as this change of approach will impact on CRAVE Guitars business‑as‑usual output for a (hopefully short) while, it probably warrants a bit of explanation. If the idiom that ‘those who can’t write, write about writing’ holds water, well, here is all the evidence required for condemnation. Sadly few images this month, only thousands of words.

“If you want to change the world, pick up your pen and write” – Martin Luther (1483‑1546)

What I write

This article is something like the 84^th since I started CRAVE Guitars’ online presence back in 2014 (more on that next month). Apart from the extended ‘hiatus’ (2020‑2023), articles have been published at the rate of one a month. I don’t actively engage with any other form of writing other than to keep a personal daily journal and the unavoidable daily communications.

As a professional bureaucrat for over three decades, I wrote a great deal of business documents, briefings, academic learning materials, strategic and business plans, project and performance management reports, speeches, presentations, etc. etc. All very ‘real’ and original in their own way; nothing particularly enjoyable or satisfying though. My frustration with organisational writing is that it was all ephemeral and didn’t make any noticeable difference to humanity, at least not directly. Looking back, there was no legacy of lasting change and nothing to show for all the hard work that went into it. Nothing ‘me’. The discipline, though, did teach me how to write but only in a structured, formal way. I would hate to think all those years of ‘training’ were for nought.

“The most valuable of all talents is that of never using two words when one will do” – Thomas Jefferson (1743‑1846)

For nearly the past decade, I’ve been writing about my near‑lifelong craving (sic!) for vintage guitars. Why? I love ‘em. Plain and simple. To me, they are an ‘amour-fou’ (an obsessive passion). Writing about vintage gear has (generally) been rewarding. It started with features on my own vintage guitars before branching out into features on brands, amps, effects and, latterly, bass guitars.

Over time, writing also extended to blog articles and that broadened out even further to include many other related topics – to a greater or lesser extent. Now, I’m writing about writing about vintage guitars et al. The next stage, as we’ll see later, I’ll be writing about writing about writing, all of which is getting just a bit circular, a bit like the mythical Ouroboros (NB. an ancient Egyptian and Greek symbol depicting a serpent consuming its own tail).

I will return to the topic of vintage guitars in due course; I’m just taking a pause from the risk of getting stuck in a barrel or dredging a rut (as well as mixing metaphors for fun, another annoying trait – apologies). I need to come up with another, different obtuse angle… or even a cute angle (lol) on vintage guitars, hopefully something not done by others.

“If you do not change direction, you may end up where you are heading” – Buddha (Siddhārtha Gautama – c.480 400BCE)

Article writing about vintage guitars is one thing and it supports the CRAVE Guitars ‘brand’. However, I would like to do something different. Something non‑factual, something light and frivolously engaging, something that bestows some lingering fascination and perhaps something to stimulate debate. The value of the arts lies in its ability to provoke an emotional reaction, rather than simply to represent reality in some way. Discuss…

“Words have no power to impress the mind without the exquisite horror of their reality” – Edgar Allan Poe (1809‑1849)

I could write about many subjects other than vintage guitars and music. I have several other keen interests, although none quite as all‑consuming. However, generally speaking, writing about other disconnected things on this platform would divert focus away from vintage guitars and music.

Language is an interesting area of study. In many ways, language is like music, to be played and crafted into something ostensibly magical. Like music, language can be composed either well into a thing of beauty, or badly into a reprehensible ugly mess. I am fascinated by words and the way in which we can construct the vernacular in novel (sic!) ways. This might explain why I use a broad vocabulary in a discursive, arguably prolix, way. Why use one common word when several obscure ones will do (sorry, Mr. Jefferson)? Languorous language is rejected and embellished English rules Britannia, at least this tiny corner of it. One is not attempting to be ‘too clever by half’ (NB. A ‘Britishism’ used in, ‘The Interpreter’ (1958) by George J. Whyte‑Melville). Honest guv’nor. At least my particular portion of precisely practised poetic prose is entirely first hand. No plagiarism and no AI here.

“All I need is a sheet of paper and something to write with, and then I can turn the world upside down” – Friedrich Nietzsche (1844‑1900)

Latterly, I have been hampered by issues of copyright over images. For instance, I would really like to take a look at guitars as they have appeared in the visual arts throughout history (fine art, popular culture, film, etc.). However, to do that really requires images of the artworks to support the narrative. Without images, such an article (or series of articles more likely) would be utterly pointless. As a non‑profit entity, I cannot publish images without permissions and royalties, thereby rendering the entire concept moot, null and void before it even gets off the ground. Sigh.

“Your intuition knows what to write, so get out of the way” – Ray Bradbury (1920‑2012)

Why I write

A more difficult question requires a moment of introspection. I sometimes wonder what motivates people, me included, to write. Thus far, a good enough answer eludes me. One thing might be that I just feel compelled to write (not convinced). Another might be a wish to leave some sort of tangible record (if not possible to do so in other ways). Yet another may be that I simply enjoy the writing process (again, not convinced), regardless of whether anyone actually takes much notice. I have tried to estimate the audience and it is likely to be no more than a handful in total. In the end, it seems I can’t not do it (excuse the double negative).

An issue with writing for a virtual platform is that it could be wiped out entirely in an instant, never to be recovered, even if anyone wanted to resurrect it. Recently a malicious incident at my Internet Service Provider caused a near‑catastrophe; fortunately, everything was recovered after a few difficult days. Alternatively, once I end my tenure on this planet, CRAVE Guitars’ documents will disappear overnight. Forever. So much for a lasting legacy, eh?

So… if the absolute readership level is so trifling, the only possible conclusion I can reach is that article writing seems to be an immense amount of hard work and effort for such a small audience. Does that actually matter? Which brings me back to thorny question of why I bother. Perhaps the change of direction for a while might help to aid such contemplation. Perhaps it may be time to review my ‘return on investment’ and divert some effort from feature and article writing into another personal pet project, just for a while. The slowdown in acquiring vintage guitar gear also points in that direction.

“There are three rules for writing a novel. Unfortunately, no one knows what they are” – W. Somerset Maugham (1874‑1965)

Is it just that I’m just a bad writer? I hope not and I trust someone would have the courage to tell me if the content was genuinely awful, either in subject matter or narrative style. It seems, though, that I need to have some sort of restless creative outlet, something to relieve the intense pressure cooker raging in my chaotic cranium.

All in all, not a very deep analysis so far. There must (must there? Really?) be some other reason why I feel the urge to put fingertip to keypad and compose unfocused prosaic narrative for other folks to consume. Just a thought? How does one go about measuring competence in a subjective field such as writing?

Which brings us onto my idiosyncratic writing process. Pretentious? Undoubtedly. Profound? Perhaps, occasionally. Original? Is anything original these days? Entertaining? I would like to think so. Pointless? I hope not. I attempt to carve and mould my own distinctive style, rather than copy the approach taken by those far better at it than I will ever be. My unusual technique has developed into something weirdly eccentric and eccentrically verbose. I know that. I can’t help it. An eclectic style can certainly be divisive. Readers will probably either love it or hate it – no middle ground. I cannot, however, be apologetic for the facts. Sorry folks.

“Either write something worth reading or do something worth writing” – Benjamin Franklin (1706‑1790)

Why I do not allow comments

Apologies for hobby‑horsing for a moment. Time for a little biased judgemental opinion. You may have noticed that CRAVE Guitars’ does not allow comments on blog articles. Like most dudes with a massive superego and crippling self‑doubt, I am inherently super‑sensitive and have an innate fear of criticism and rejection.

I invest a considerable amount of time and effort in researching and writing monthly articles, probably 7‑10 full working days per article. So much so, that I am not prepared to submit my efforts to ridicule by acerbic trolls who put absolutely zero time, effort and intellect into being confrontational for no other reason than they can. I am willing to forgo the occasional positive comment in order to evade many negative ones. I welcome constructive criticism but I will not lay myself open to ignorance, reactionary contempt and derision.

Anti-social media has sadly become a vitriolic battle ground for the disgruntled to promulgate their abhorrent brand of ‘free speech’ (Musk et al take note). In the ‘free’ world, it may be a right to express one’s opinion but true rights carry significant moral responsibility in order to balance out deviant extremes. Freedom is not about being able to do and say whatever one wants with impunity. ‘Free speech’ is not a poorly conceived unilateral entitlement, it carries with it weighty conscience and considerable consequence. Hard fought for freedoms are a privilege within tolerant societies and should be cherished and nurtured, not abused on a whim.

“Virtue is persecuted more by the wicked than it is loved by the good” – Buddha (Siddhārtha Gautama – c.480 400BCE)

Don’t get me wrong, I am a staunch anti‑censorship advocate but, let’s be honest here, that isn’t what these self‑appointed critical pseudo‑moralists are all about. These self‑styled evangelists want selective liberties that support their prejudiced dogmas and insist on selective suppression of anything that does not accord with such partisan doctrines.

A quick soapbox aside… I have a similar anathema to the PC minority brigade wanting to re‑write established literature to remove or alter what they feel is inappropriate. I would go as far as to suggest that it is a wrongdoing against history and a precipitous thin end of the wedge. If we condone the censorship of authentic literature once, where will it end? If we don’t take a stand, one can envisage the repeated re‑writing of literature over time until it bears little resemblance to the original. Literature, for good or bad, should be respected intact and we can learn from the cultural context it provides.

The eradication of swathes of authentic heritage on the whim of a few just because they ‘don’t like it’ (however intellectually argued) is unconscionable to anyone with any common sense. Exactly who decides how selective censorship is used? Who decides the revisionist version of history on behalf of humanity? Who decides what previous generations’ art is culturally acceptable or not? Who decides what future generations are permitted to read/see/hear? Discuss…

I do not shy away from genuine, healthy debate (whether ‘intellectual’ or not) but I abhor confrontation, especially pointless assaults based on indoctrination or proselytization. It is even worse for disagreements on petty principle to be played out visibly in the public domain. I’ll leave all that contemptuous cacophony of cruelty to self‑opinionated ‘influencers’ and ‘celebrities’ and their trite, trivial tantrums.

Neither do I wish to commit far too much of my life wasting time and effort on people who have no special interest in the subject matter. If someone really wants to get in touch, they can – the e‑mail address is at the bottom of every page on the web site. All I ask for in any communication is authenticity, integrity, dignity and respect. Everything else will be summarily blocked and deleted.

People, eh? Not a fan. ‘Nuff said. (NB. A colloquial idiom and contraction of ‘enough said’, implying the end of discussion, first documented in 1778 by playwright Henry Brooke)

“One day I will find the right words, and they will be simple” – Jack Kerouac (1922‑1969)

Deep Thinking

Apologies folks, we’re going on a quick diversion for a trifling titbit of cognitive psychology. That’s the discipline which helps us to understand how humans obtain, process, store and use information. It is about perception, memory, language, attention, creativity, intuition and reasoning. Don’t panic! It will make sense. The idea of deep thinking is not new, Greek philosopher Socrates (c.470‑399BCE) suggested that we reflect on and question the world around us.

Having tried many times over many years, it seems that I am totally incapable of diving deeply into my own internally‑focused thought processes to resolve who I really am, what I really need and why I am the way I am. I simply cannot ‘find’ myself, using common parlance. My inner psyche remains concealed from me. Yet, I seem to have little difficulty contemplating universal unknowns, suggesting an external focus. Perhaps, I thought, it was worth investigating what’s going on.

“Creativity is intelligence having fun” – Albert Einstein (1885-1955)

The author’s dipolar struggle may explain a lot while also raising many questions. It appears, for want of an emotive label, to make me a ‘conflicted soul’. This is not a medical or psychotherapeutic prognosis, simply an entirely amateur observation. However, it triggered some shallow yearning for insight. For the list‑o‑philes out there, this is one of only two this month. Enjoy.

Twelve traits of deep thinking people include:

Introverted – Reserved and quiet. A loner who doesn’t seek social interaction and actively avoids contact with people. Reclusive
Observant – Say less, observe more. Pausing before reaching a conclusion. Not easily swayed by popular opinion
Quirkily humorous – Silly, juvenile, witty, comical and often self‑deprecating, often misunderstood
Avid reader – Thirsty for knowledge with an innate need to learn more and expand understanding
Forgetful – Overlook trivial social obligations and daily chores, as these things don’t much matter. Easily distracted. Tendency to overthink. Hard to relax
Intensely curious – Highly inquisitive. Never bored. Question assumptions. Interested in BIG issues. Passionate for learning and knowledge. Embracing of ambiguity and complexity
Forward planner – take time to think about the future and where to fit in (or not). Strategic and not detail oriented
Problem solver – Analyse patterns, identify potential obstacles, build innovative approaches and develop potential practical solutions
Socially awkward – Dislike many culturally accepted norms, roles and expected behaviours on a daily basis. Meaningful conversations matter, not small talk
Fiercely independent – Highly self‑reliant, content with solitude as a conscious choice. Doesn’t seek contact with, or dependence on, others
Creative – Artistic, imaginative, inventive, original, resourceful. Interested in the new and different (NB. ‘new’ implies ‘different’ by default)
Empathic – Emotionally sensitive. Compassionate and understanding, able to see both sides of a situation. Open minded

I check at least 13 out of the 12! So, does that make me a deep thinker? I genuinely don’t think so. What I do know, though, and this the point, I don’t think like other people. I never have. What does this actually mean in the real world? How long have you got? It also might explain why I don’t know what to do when (if!) I ever grow up. I fear that I will (have to) grow up one day. It may account for my aberrant behaviour, delusional thought processes and deviant misanthropic attitude. I said this was going to be short, so the answers to these querulous questions are possibly best left for another time and place. If at all. Ever. Don’t hold your breath.

“The important thing is not to stop questioning. Curiosity has its reason for existing” Albert Einstein (1885-1955)

Ambitions and aspirations

I am long past being driven, self‑seeking and ambitious. That was my decades‑long professional life working for ‘the man’, thankfully now behind me. Now, it is (largely) up to me what I do. My post‑employment lifestyle doesn’t accord with ruthless go‑getting, not that I ever had a game‑playing ‘killer instinct’ anyway. The rat race (NB. The term rat race dates back at least to 1783, used to describe a literal race between rats, now used as a metaphor for a pointless and relentless, competitive struggle) is now for others to endure. I still have lofty aspirations. Probably deluded ones but aspirations nevertheless. Doing something that matters is a key stimulus.

The one thing that I would like to achieve is to be a better human bean. Failing that, I would like to play guitar better and learn the language of music. Failing that, I would like to write better. It seems important to me to have my work valued and appreciated – for some sort of external validation (not very Zen). In addition, for some reason I really cannot glean, I yearn to leave some form of lasting legacy behind; a simple mark on the universe rather than the total obscurity of being just one anonymous, invisible momentary placeholder in the 8+ billion transient souls on this infernal rock of ours. Basically, I do not want to be forgotten – as if I’d never existed.

“Fiction is an improvement of life” – Charles Bukowski (1920‑1994)

That’s it in a nutshell. That’s not too much to ask is it? Probably. So what? A knotty question that leads me neatly onto…

This is IT – The Distortion Diaries

If, by this point, you are wondering where all this is going, it is now time for the ‘BIG REVEAL’. I have hinted that I would be changing my approach for a (hopefully) short period of time and that there was a genuine reason for doing so. Now is time to divulge my poorly premeditated plan. The result is… ‘The Distortion Diaries’.

Last year (2023), I wrote a first draft of a fiction novel. As already mentioned, I wanted to do something different. Something imaginative and original, not factual and not opinionated. I intended to undertake a first edit earlier in 2024 and to expand the content considerably during the summer and be going through a second, harsh edit around now. Unfortunately, other unavoidable activities and my diligent approach towards research and writing CRAVE Guitars articles has prevented me from sticking to the plan. With everything else going on, something had to give. Capacity is finite and there simply wasn’t enough of it to dedicate to a novel as well. Such a venture requires better than that.

So… the aim is to make a bit of space and time to do some of the focused work on the novel. Writing fiction is quite different from articles and presents a new discipline. It isn’t something that can be picked up and put down on a whim. It takes lengthy periods of comprehensive concentration. If the novel is ever going to reach fruition, it implies a bubble of space and time in which to do it.

“Description begins in the writer’s imagination but should finish in the reader’s” – Stephen King (1947‑)

When I started writing ‘The Distortion Diaries’, I intended it to be a fictional part‑biography of a wannabe musician. However, very early on, I realised two key things. The first key factor was that the subject matter on its own could not avoid cliché – it would be utterly predictable and therefore probably exceedingly dull. The second key factor was that such a story would be very short unless there was a significant amount of irrelevant, boring filler (to be avoided!). So the shape and style morphed into something completely and utterly different. Once I’d had the epiphany, everything fell into place. Like the CRAVE Guitars name, the title, ‘The Distortion Diaries’ has multiple meanings.

‘The Distortion Diaries’ could now be described as a rom-sex-com-music-bio-mystery-drama-thriller-fantasy about man’s eternally favourite tripartite – sex, drugs and rock & roll (not necessarily in that order). Oh, and the meaning of life (42, according to author Douglas Adams), as well as a coming of middle‑age saga. That is a very broad ‘genre’ mash‑up. It could potentially prove to be a disastrous mess, even with careful handling.

‘The Distortion Diaries’ will carry a strong ‘Parental Advisory’ warning, for two reasons. One is that parents should probably not read it. Another is that it is extremely explicit. The latter is something that authors try to suggest rather than be overt. Why? I find political correct avoidance of fundamental human motivations and behaviours exasperating and represent a centuries‑long unwritten rule just begging to be broken, whether people like it or not. Nobody forces someone to read something, it is an entirely discretionary activity. If you don’t like it, go and read something you do like. Your choice.

“Words can be like X‑rays if you use them properly – they’ll go through anything. You read and you’re pierced” – Aldous Huxley (1894‑1963)

‘The Distortion Diaries’ is very different from your average high street and supermarket pop novel. Neither is it ‘pulp fiction’ (NB. Popular grimy and lurid genre novels printed on cheap paper, called ‘pulp’, dating from the early 20^th Century). This ‘epic’ work is written intended for universal consumption and represents an uncompromising condensation of mainstream mundanity, intense sexuality and serendipitous happenstance. The Distortion Diaries is a colourful tale about the monochrome lives of plain ordinary people with a controversially unorthodox denouement. Let’s not get carried away, ‘Fifty Shades of Grey’ or ‘Bridget Jones’s Diary’, this is not. Sorry ‘bout that.

“There is no real ending. It’s just the place where you stop the story” – Frank Herbert (1920‑1986)

The story eschews traditional three‑act structure and attempts to avoid bland ‘creative writing’ clichés. Neither does it fall into the beatnik‑style stream of consciousness one‑act structure. It does, however, attempt to tell a straightforward story while also trying (hopefully) to subvert expectations. The only formulaic concession is its adherence to a well‑trodden linear, episodic diary‑type structure (the hint is in the title folks!).

Who is my writing inspired by? No‑one in particular. Just good writing in whatever form. Who is my writing like? I would never be so vain as to venture comparison. Who is The Distortion Diaries written for? Everyone (adult) and no‑one. I guess I wrote it for myself. Why should anyone read it? Difficult one. Perhaps someone seeking a temporary, idle distraction from the hard realities of birth, life and death. What do I like to read? A very diverse range of fictional works with few particular commonalities. Moving on…

“Words have a magical power. They can either bring the greatest happiness or the deepest despair” – Sigmund Freud (1856‑1939)

The novel’s synopsis is a crucial summary that tests from the outset whether there is anything worthwhile to the concept. The following outline is intentionally vague and ambiguous. If too much is given away in a ‘teaser trailer’, it won’t hold any surprises later on.

“The Distortion Diaries.

Terry plays in a band. He doesn’t have a Girlfriend. He hasn’t had a Girlfriend for some time. Terry has a dreary job in IT. He lives alone with his feline overlord. One day, Terry decides to document his wretched existence in a journal. Rather than the journal reflecting and recording Terry’s dreary life, the journal begins to change it. A Lot. Is Terry’s life pre‑determined by fate or is his destiny in his own hands? Only his journal knows.

Based on a false story”

Intrigued? I hope so. Even I was pleasantly surprised how it turned out, even in rough first draft form. No profound insights into existential enquiries on this occasion. Let’s be clear, this is not serious literature; it is purely for entertainment purposes. Light and fluffy it certainly ain’t though.

“What is written without effort is in general read without pleasure” – Samuel Johnson (1709‑1784)

Mock‑up cover artwork has already been designed, although I feel it’s a bit premature to publish at this juncture, as it may change drastically. Sorry folks. Hopefully, I’ll drop that if/when there is a future update.

I guess it could have been called, ‘The Karma Chronicles’ but I prefer the chosen title. Just to set the record straight, it is NOT in any way autobiographical. The fact that I play guitar (badly) and I am owned by a cat is neither here nor there. As a ‘writer’, I do occasionally steal the ‘good stuff’ from my own repertoire, so there may well be the odd choice phrase from CRAVE Guitars’ articles appearing in the script.

At some point, I will have to produce a more detailed ‘pitch’ that summarises the content but that will come once the task of expanding the narrative, fleshing out the characters and editing the full novel for coherence has been completed. I think the ‘pitch’ is important, as it provides an important reality check during the process. If the ‘pitch’ doesn’t work, the whole thing won’t work. Simple as that. I hope to finish writing and editing the novel in 2025. No pressure then.

“The first draft is just you telling yourself the story” – Terry Pratchett (1948‑2015)

Ideally, I would like to go against the norm (nothing new there!) and self‑publish this little vanity project of mine. I have absolutely no idea how to go about self‑publishing or even if it possible, let alone feasible. Then there are the not‑inconsequential issues of distribution and sales. That, though comes much later. Currently, there is nothing to deliver and peddle. So, first things first.

The trick, if there is one, is to find a way to build an identity that cuts through and stands out from the thousands of other works churned out every day, week, month and year. CRAVE Guitars hasn’t succeeded yet (sadly), so it is clear that there is absolutely no chance of a breakthrough by simply existing these days. If anyone has any bright ideas or can help bring this assignment to fruition, please let me know.

Readers may have noticed over the last decade that I do not seek fame and fortune. I keep my private persona very much out of the limelight and I try to remain intentionally anonymous. For this reason, ‘The Distortion Diaries’ (if it ever enters the public domain) will appear under a nom de plume (the pseudonym has already been decided, to be revealed at a later date). I shall endeavour to remain an enigma hiding behind the keyboard’s shadow.

“There is nothing to writing. All you do is sit down at a typewriter and bleed” – Ernest Hemingway (1899‑1961)

I did contemplate publishing ‘The Distortion Diaries’ in serialised form on the website. I decided against it for three main reasons. The first is that a purely fictional tale doesn’t really ‘fit’ with the CRAVE Guitars ‘brand’ – basically it has nothing to do with vintage guitars. Even if the novel’s protagonist is a guitarist, the stretch is too far to make sense. The second is that it is, as mentioned above, extremely explicit, which isn’t what I want CRAVE Guitars to be known for. The third is that the duration of a serialisation would side‑line all other subject matter for a couple of years, which I am not really prepared to do. However, if it is ever published, I am sure that I won’t be able to resist promoting it here.

If, as forecast by my overly well‑telegraphed lack of confidence and low self‑esteem, I don’t get anywhere with writing and publishing it as a novel, I may decide to abridge it and publish sanitised excerpts on the web site. It would not be an ideal outcome but possibly better than it being lost in the infinite void of forgotten and cancelled dreams, like the noblest endeavours of so many other wannabe authors.

“Words do not express thoughts very well. They always become a little different immediately after they are expressed, a little distorted, a little foolish” – Hermann Hesse (1877‑1962)

20 Questions

What follows is a mock ‘interview’ with the author of ‘The Distortion Diaries’

Will ‘The Distortion Diaries’ ever be published? Probably not but I hope so.
Will it be an international best seller? Definitely not.
Awards worthy? Not a hope in hell – and I’ve been there.
Required academic reading? Hah‑ha! You’re kidding, right?
Will it be worth a punt? Our protagonist insists on that being the case.
Is it sordid and seedy? Yup, for sure, for sure. Full of sleaze and exploitation.
Unhinged? Not even close. Bad things do happen but so do good things.
Is it edgy? It depends on the reader’s perspective. I try to manipulate ideas, as well as to challenge assumptions and undermine preconceptions.
Is it controversial? Hopefully it will generate credible debate. And criticism. Lots of criticism.
Will it offend people? It is not intentional but, inevitably, someone will always find something to complain about.
It sounds divisive? Like Marmite. Lots and lots of Marmite.
What’s all this about ‘distortion’? It has multiple meanings. You’ll have to read it to find out.
Is it a feel good or feel bad story? It doesn’t matter, as long as you feel something.
Isn’t it just the same old tortured muso type, struggling in a tired pop music industry cliché, overcoming the odds? I haven’t read every genre saga but I don’t believe that it is overly derivative. Nothing is truly original these days.
Will readers learn anything about the human condition? If they are open‑minded, possibly. The male experience is woefully under‑represented in contemporary fictional literature. This may help to address the imbalance.
What message is it trying to convey? Whatever the reader wants to deduce.
Will there be other stories or sequels? Who knows? I don’t. I have some ideas for a cunning spin‑off though.
If you had to use just one word to sum up the story, what would it be? Compelling.
How will people be able to read it? To be determined. It’s too early to say.
Who would you like to direct a movie of the story? Irrelevant. It’s never going to happen.

I personally do not seek social recognition or even the prospect of it. However, I would like to think that the product of my creativity might one day be admired. That would be a bonus rather than a rationale. Simply a desire to stimulate thoughts through my work and the knowledge that such thinking exists, albeit ephemerally. My satisfaction and reward comes in the execution of the process to the best of my ability (good or bad). I may write the story that no-one will ever read. However writing it is my achievement and my only necessary reward. Any success would constitute welcome deferred gratification. Very Zen.

Final thoughts on the power of words

I started off by saying that words have the power to generate positive change. Well… CRAVE Guitars’ features and blog articles haven’t really achieved that, have they? So, will The Distortion Diaries change the world? Sadly, it won’t. However, in the meantime, it might generate some harmless satisfaction and gentle fulfilment as a diversion from our otherwise mundane existences.

Closing the loop started at the top of this article… Should I attempt to change the world? Yes, absolutely. We all should do our bit to promote a better civilisation, society, communities, families and ourselves. We should not accept anything other than peace. We are, after all, partly responsible, even accountable, for how things are today, tomorrow and all the days thereafter. Future generations will scrutinise what we did to our planet and species.

“So, I want you to get up now. I want all of you to get up out of your chairs. I want you to get up right now and go to the window. Open it, and stick your head out, and yell: ‘I’m as mad as hell and I’m not going to take this anymore!’” – Howard Beale (character in the film, ‘Network’ (1976), played by Peter Finch).

Together, if the collective will is there, a united movement for a better world can achieve greatness. Easily said, hard to accomplish. It is way too easy to abrogate our moral and ethical duties, and look to others for blame, redemption and salvation. The lame “it wasn’t me, I didn’t do it” argument is simply not good enough.

“I didn’t do it, nobody saw me do it, you can’t prove anything” – Bart Simpson

Great words, carefully chosen can help to bring about great things. There are not enough vocal advocates for good. There are fewer vocal advocates who have the means for good. There are even fewer vocal advocates with the will and the means for good.

“An idea that is developed and put into action is more important than an idea that exists only as an idea” – Buddha (Siddhārtha Gautama – c.480 400BCE)

Poorly chosen words can do a great deal of harm, as can carefully chosen words of bad people. Most of the rhetoric we hear from those in positions of power today is largely negative and critical. Propaganda obscures the truth such that we no longer know what truth is. War has never brought peace, only cataclysmic carnage. Only diplomacy through sincere words can stop war and deliver lasting reconciliation.

“Whatever words we utter should be chosen with care for people will hear them and be influenced by them for good or ill” – Buddha (Siddhārtha Gautama – c.480 400BCE)

You may say that such a simplistic stance is all a bit of ‘pie in the sky’ (NB. a phrase coined by itinerant immigrant labourer Joe Hill in 1911 to describe unrealistic goals), and an outmoded hippie pipe dream (NB. a 19^th Century phrase referring to the dreams experienced by opium pipe smokers). You may say that such hope is just delusional romanticism and impossible wishful thinking? Guilty as charged. One has to have hope in a better humanity, otherwise we are all doomed. Time to change, then.

“I do not believe in a fate that falls on men however they act; but I do believe in a fate that falls on them unless they act” – Buddha (Siddhārtha Gautama – c.480 400BCE)

CRAVE Guitars’ ‘Album of the Month‘

As I’m changing things around a bit, there is no relevant reason for this month’s selection. So… what was the first ever album you bought for yourself, with your own money? Well, the simple answer to that question for me was…

Pink Floyd – Meddle (1971). ‘Meddle’ was the 6^th studio album by the English progressive rock band Pink Floyd. It was released in November 1971 on the Harvest record label in the UK. The first side of the album comprises 5 tracks including the opener, ‘One of These Days’, while the second side is a single, epic 20 minute track, ‘Echoes’. The cover art is a strange photo of a submerged ear, designed by Storm Thorgerson at Hipgnosis, the trendy design studio of the time. Hipgnosis was famous for creating other Pink Floyd album covers, as well as artwork for other famous rock bands of the time, such as Led Zeppelin, Genesis and Yes. To me, ‘Meddle’ marks a watershed between early Floyd and later Floyd, as well as a personal transition from pop music to serious ‘real’ music. A coming‑of‑age LP in you like.

Why was this album my first? DJ John Peel played the album in its entirety on release on his late night show on Radio One in the UK. I hadn’t heard anything like it before and it ‘blew my mind’ (man!). I guess most people have that ‘one’ album that changed their life. ‘Meddle’ was that one for me. I just had to own a copy. It still stands the test of time today.

“Music is the universal language of mankind” – Henry Wadsworth Longfellow (1807‑1882)

Tailpiece

Well, there you have it. That turned out longer than I’d anticipated and took more time than I had allowed for. I haven’t made much time or space for writing fiction so far. Sigh. Note to self… be more succinct, pithy, brief, concise, epigrammatic, etc. Second note to self… use less tautology.

So, a new perspective and a new side venture for CRAVE Guitars. Not a core CRAVE Guitars activity but a definite spin‑off. ‘They’ say there is nothing like a bit of variety, so a change in style and content for a few articles can’t be a bad thing in my opinion. Right? Remember, you heard about, ‘The Distortion Diaries’ here first. Write on.

You may have noticed that I regularly splatter the odd quote throughout CRAVE Guitars articles. These aren’t just random asides for no reason; they are relevant to the exposition and, hopefully, add some essential colour to an otherwise monochrome pallet of words. This month, the selection of quotes is particularly pertinent and, I hope, a little thought‑provoking. If only my meagre, mediocre mind could articulate such inspiring ideas in so few words.

To quote actor Patrick McGoohan’s character, No. 6 in ‘The Prisoner’ (1967‑1968) TV series, “Be seeing you”.

Truth, peace, love, and guitar music be with you always. Until next time…

CRAVE Guitars’ ‘Quote of the Month’: “I would rather be an anonymous genius than a well‑known idiot”

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