30 May 2025

May 2025 – The Compulsion to Collect Vintage Guitars

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

Prelude

WELL, HERE WE ARE ONCE AGAIN VALUED VINTAGE GUITAR AFICIONADOS. If you are here, I am assuming that you have a passing interest in the subject matter. My hope is that I can help to stimulate that interest in a variety of ways. This month, I am investigating the topic of compulsion and collecting in relation to vintage guitars. This introspective investigation involves a soupçon of self‑examination and a chunk of challenge (Ed: enough with the alliteration, already!). Is this my means to justify my irrational need for the pursuit of the unattainable? Is it to feed my insatiable need to own ever more vintage gear? Is it to fuel my humongous but precipitously fragile superego and overcome my innermost feelings of inadequacy and insecurity? Yes, Yes and Yes. Sussed!

As for the recent Victory in Europe (VE) Day (8 May 2025), it struck me that, perhaps, rather than celebrate victory (for some), humanity should be commemorating Peace (for all). Such a change of emphasis does not diminish the evils of war or the sacrifice of so many to secure freedom but it would symbolise a more positive approach towards a more peaceful civilisation. The fact that we have learnt NOTHING over the last 80 years is desperately disappointing and despicably deplorable. A simple message that things HAVE to change to the imperialist kleptocratic oligarchs in Trumpland, Xiland, Kimland, Netanyahuland et al. Stop now!

I tried to think of a single country that forgoes military spending, for something wholly more altruistic and philanthropic, more beneficial to humankind as whole, rather than its own ends. I came up with a big fat zero. There is something wrong about there being no nation advocating for a more humane global society. I don’t mean this as some wishy‑washy liberalistic fancy. I am ‘super serial’ (NB. from the 145^th episode of the animated TV series South Park, ‘ManBearPig’ S10:E6 (2006)). Human does not equate to humane. It should. Enough paltry partisan political polemic (Ed: second warning!), that’s not what we are here for.

The American author Dean Koontz sums up my feelings far better than I can about the heinous failings of the human race over the last century or so:

“This world, which has the potential to be Eden, is instead the hell before Hell. In our arrogance, we have made it so” – Dean Koontz (1945‑)

Another snippet of news is that, after over a year in stasis, work has once again begun on book formatting and editing of, ‘The Distortion Diaries’, the author’s first vanity project of pure fiction. More news on that to come in due course. Making time and space for the novel is a priority for me. Something that I have been less than disciplined about. For that reason, this article has just a little bit less research depth and rigour than it probably deserved (and I would have preferred). However, the assumptions made at various points might make it just a bit of a lighter read.

As always, the caveat applies that this is not a comprehensive academic investigation, just a piece of entertaining conjecture. Also, as always, no AI has (knowingly) been used in the research and writing of this article. You may or may not be pleased that scattered relevant quotes are back this month.

Enough idle distractions, time to get to the point…

To Collect or Not to Collect

This article may well have been subtitled, “The mania of owning things”. That’s what concerted collecting is, a mania. Mania is defined as, ‘an excessive enthusiasm or desire; an obsession’ or, ‘a mental illness marked by periods of great excitement or euphoria, delusions, and over‑activity’. A compulsion is ‘an irresistible urge to behave in a certain way, especially against one’s conscious wishes’.

What constitutes a ‘collection’? Obviously (perhaps), a collection is something that results from the art of collecting (duh!). A collection in this regard is ‘a group of objects or an amount of material assembled or accumulated in one location, especially for some purpose or as a result of some process’.

OK. Clear? So, that’s settled then. Time to put one’s feet up and indulge in a refreshing cup of tea.

Well, hang on just a mo’. That can’t be it. I started this month’s article specifically to investigate why vintage guitar collecting is a thing, why it may or may not be healthy and why it is so commonplace. Definitions are one thing, obsessional addiction is another. That indisputable impulse, the overwhelming force to own every possible guitar that one can get one’s hands on, irrespective of anything else in the universe is irresistible. These things seem to exert an overpowering gravitational pull on the afflicted. Enough of the hyperbole, you get the idea. Time to explore a bit further.

What the trite definitions miss, in my view, is the element of a compelling impulse to ACT, to DO something. Enthusiasm and excitement are one thing (well, actually two things) but they aren’t tangible. Creating a collection of vintage guitar gear is tangible. Very tangible.

“Whether we live alone or with other people, few acknowledge the presence of another roommate. This roommate is named ‘Things’ and the space that ‘Things’ occupies is typically a lot larger than the space people have for themselves” – Fumio Sasaki (1978‑)

During writing this article, it seemed to me that it provided a worthy complement to my recent trilogy of articles. Should you wish to access or review those tomes, click on the relevant link below (pages open in a new tab):
January 2025 – 10 Things I Love and Hate About Vintage Guitars
February 2025 – Ikigai and Vintage Guitars
March 2025 – Eastern Concepts and Vintage Guitars

It looks like that trilogy might just have become a quadrilogy (but not a tetralogy).

Rhetorical question. Does anyone need all these guitars? Of course not. We want all these guitars. That’s the point. It is fundamental to economics and marketing. The demarcation between need and want is blurred by those wishing to exploit the latter at the cost of the former. Thing is, I can’t be bothered to justify the point. Probably because I can’t defend the fixation. Hopefully you get the idea.

“Nobody can give you advice after you’ve been collecting for a while. If you don’t enjoy making your own decisions, you’re never going to be much of a collector anyway” – Charles Saatchi (1943‑)

The Compulsion to Collect Things:

Why do collectors exhibit irrational, passionate cravings (sic!)? What is the psychology behind collecting? The criteria for compulsive collecting are not definitively set out, although there are many common themes, depending on the source.

Corroboratively, some or all of the following ‘compulsive collecting ground rules’, a.k.a. ‘reasons for collecting’, may apply, regardless of the material being collected.

For sentimental attachment
To connect to childhood
To connect with history
For the thrill of the hunt
For the status of owning rare or valuable items
For the pride of ownership over spectatorship
For achievement of intellectual knowledge and learning
For personal pleasure, relaxation appreciation and enjoyment
For social motivation within a community of fellow collectors
For competitive challenge
For social recognition by other collectors and observers
To invest for future profit
For a sense of control

Unlucky thirteen. On reflection, I probably relate most closely with 1, 3, 7, 8 and 13 and I probably mostly reject 2, 5, 9, 11 and 12 (the latter very strongly). Anyone who knows me understands that I don’t play well with others and social/community affiliations are unimportant to me. The same goes for profiteering. The rest are neither here nor there. I suspect that everyone probably has a different combination of motivations for collecting. Therefore, this simple model can be quite revealing while also being limited.

In my January 2025 article, ‘10 Things I Love and Hate about Vintage Guitars’, I covered my personal motivation for the enjoyment of vintage guitars. These are independent of, though largely consistent with, the ‘compulsive collecting ground rules’ mentioned above. These, however, are specific to CRAVE Guitars gear. As a reminder, the headlines were:

The Heritage and the History
The Ownership
The Uniqueness
The Authenticity
The Variety
The Look
The Feel
The Tone
The Mythology and the Truth
The Privilege of Stewardship

“People assume that happiness stems from collecting things outside of yourself, whereas true happiness stems from removing things from inside of yourself” – Dalai Lama (Tenzin Gyatso, 1935‑)

Collecting is a perfectly ordinary human activity. People have been collecting this or that for millennia in one form or another. There is nothing extraordinary or unhealthy about collecting as a diversion, occupation, pastime or passion. It is only when collecting morphs into something else, such as an obsessive addiction for hoarding that the activity can become psychologically problematic.

Personally, I see vintage guitar collection as a habitual hobby, not as a ‘be‑all and end‑all’ (NB. An idiom coined by William Shakespeare in ‘Macbeth’ (1606). It means that something is the final, most important or ultimate aspect of a situation or thing).

Collecting is not an OCD (Obsessive Compulsive Disorder) and it does not have symptoms attributable to another psychological disorder. However, the more extreme form of hoarding may be considered a subtype of OCD depending on the severity. Hoarding Disorder (the inability to manage and dispense with things) is also a distinct mental health condition with its own symptoms. Be aware of the difference, folks.

As collecting may be considered normal human behaviour, this suggests that there is something positive about it to make it defensible. It also suggests that there is a threshold that marks the boundary between normal and deviant behaviour. It also suggests that the boundary may be different for each individual, making objective evaluation somewhat challenging.

“Collecting is not just about acquiring objects, it’s about preserving history and passion” – John Doe (1953‑)

Many collectors never seem satisfied with what they already have and continually strive for ‘more’. This results in collections that continue to grow until something external intervenes to curtail progress. The ‘thrill of the hunt’ mentioned above is a very real aspect of collecting. It seems that, as soon as one owns something that has been fiercely hunted, the satisfaction wanes rapidly. At the same time, the obsession to find the next thing re‑establishes itself and the feedback loop results in a new hunt. There is therefore a cycle whereby newly acquired items soon become relegated to a sub‑class of ordinary ‘ownership’ and the quest thus continues unabated.

Neurologically, searching for ‘the next big thing’ has been demonstrated through the use of MRI brain scans to help to explain the collection compulsion called the ‘oddball effect’ (NB. yes, it is really a thing). The ‘oddball effect’ is a measurable psychological phenomenon, whereby brain activity and hormonal responses are stimulated by the introduction of a novel item into a range of normal items. As the activity of collecting becomes refined, we actively search out things missing from the collection in order to stimulate the pleasure/reward centres of the brain. At the same time, the items already collected recede into normality. Thus the process of collecting becomes exacerbated. The ‘oddball effect’ has been suggested as a reason why we feel the continual need to feed our obsessions and to expand our collections. It bears some similarities to substance addiction – finding that next fix.

“The journey of a collector is never-ending; there is always something new to discover” – Brian Selznick (1966‑)

For guitarists, this desirous activity is commonly referred to as GAS, a.k.a. Gear Acquisition Syndrome. GAS was originally thought up by American guitarist Walter Becker of Steely Dan in 1996. He used the term to expose the sometimes ridiculous ends musicians will go to, to obtain gear.

GAS is the overpowering yearning to acquire musical equipment. This symptom is common among musicians who often believe that getting hold of more gear will somehow improve their musicianship. The result of GAS is that the acquisition of physical artefacts may eventually take priority over the creative music making process. In such a a volte‑face, ultimately, the means become the end.

“Resistance is futile” – Originally from the British TV series, ‘Doctor Who, Tomb of the Cybermen’ (1967), though widely attributed to the Borg from ‘Star Trek: The Next Generation, The Best Of Both Worlds’ (1992).

It has been suggested that GAS derives from a feeling that one’s gear is inadequate leading to dissatisfaction and the development of an intense craving (sic!) for new/more gear, followed by impulsive buying beyond one’s identified need. Sellers try to exploit this cycle of unfulfilled satisfaction. Suggested remedies for GAS include an evaluation of what one already owns, establishing a budget cap and sticking to it, and to prioritise actual need as opposed to unjustifiable wants. Yeah, like that’s gonna work!

“It’s a trap!” – The character Admiral Ackbar, from the film, ‘Star Wars Episode VI: Return of the Jedi’ (1983)

Guitar Collecting and CRAVE Guitars

I, as you are probably well aware by now, ‘collect’ Cool & Rare American Vintage Electric Guitars, Basses, Effects and Amps. Yes, folks at a virtual GAS Anonymous™ meeting, “My name is CRAVE and I have a problem”. I’m beginning to accept that I have become one of those people for whom vintage guitar collecting is a reason for living (my ikigai – see my article of February 2025, ‘Ikigai and Vintage Guitars’). It seems that collecting vintage guitars has come to define me as a person, including my character, my personality and my lifestyle preferences.

Now, despite CRAVE Guitars being around as an entity since 2007 and online from 2014, it is not a large, special ‘collection’ by any stretch of the imagination. Neither is it a valuable, elite ‘collection’. It is a very modest assemblage of affordable old gear. Plenty of people have a great deal more gear than I do. The difference about CRAVE Guitars, I think, is that it is carefully curated for everyone to, hopefully, appreciate and enjoy. I wish I could also make audio files so others can experience the tone of these babies. Truth be told, I’m not a good enough musician and I genuinely don’t have the time/patience to go down that road. I would also like to provide videos and augmented reality but that is also beyond me at this stage.

“Objects are what matter. Only they carry the evidence that throughout the centuries something really happened among human beings” – Claude Levi‑Strauss (1908‑2009)

Guitar Collecting and Playing

Despite much searching and despite the fact that there are names for many obscure types of collectors, there doesn’t seem to be a name for someone who collects guitars, let alone vintage guitars. You know, like philatelists collect stamps. Heck, there isn’t even a collective noun for guitars themselves and neither is there one for guitarists. To be honest, I can’t think of a suitable noun that adequately describes the affliction. Perhaps it is time for someone to create a name for vintage guitar collectors. How about a CRAVE‑o‑holic, CRAVE‑o‑phile or CRAVEatalist? No, perhaps not. Alternative suggestions on a postcard, please.

One question that seems to come up repeatedly is whether someone is a guitar player or a guitar collector. Now, my response is along the lines of, ‘it doesn’t matter’, as the two are not mutually exclusive. As long as one is a guitar enthusiast, it matters not where one is along the continuum between the two, with most of us probably somewhere nearer the middle than one or other extreme (collectors who don’t play and players who don’t collect) – i.e. a normal distribution curve. The wonder of guitars is that players can collect and collectors can play. Many other forms of collectors don’t get that dual opportunity. For instance, going back to stamps, you can collect them but you can’t actually do much with them other than to look at, display or trade them.

Neither does it matter a jot whether guitar collections are vintage, modern or a mixture of both. In my experience, many guitarists have two or more guitars, which represents a collection of sorts. Many collections are just random accumulations of guitars without a coherent rationale or theme to bind them. It was important when CRAVE Guitars^© was formed that there was some common attribute that connects them all (cool, rare, American, vintage, electric). As I have described before, I rationalised a random accumulation of guitars into a time window from post‑WWII to 1989 (the latter being my arbitrary cut‑off). I started to focus purely on Fender and Gibson guitars, although that rapidly came both too expensive and too limiting. Thereafter a selection of other vintage guitar brands were included, as a complement to the big two while also remaining coherent overall. It was then further extended to include vintage bass guitars (CRAVE Basses^©), vintage effects (CRAVE Effects^©) and vintage amps (CRAVE Amps^©).

Personally, I think that I play guitars first and collect guitars second. At least that is the chronological order through which I reached this point in later life. The fact that I can’t play very well is immaterial. I enjoy playing but have long realised that mastery of the instrument is beyond me, in the same way that mastery of vintage guitar collecting is also beyond me. Two trades, master of neither. Sigh.

As mentioned many times, I do not necessarily regard (or admit to) myself as a vintage guitar collector. However, a close friend confronted me on the subject and I reluctantly had to conclude that, in fact, I have fallen victim to having a collection of vintage guitars, which makes me a vintage guitar collector. Sussed again! Sigh.

“Collecting is like a treasure hunt, you never know what you might discover” – John Doe (1953‑)

Guitar Collecting and Ownership

Owning something is different from the things we own. Since time immemorial, humans have sought respect, identity and value in possessing things. Possessing something for oneself excludes the possibility that others can own the same thing. Ownership has long been associated with self‑esteem and materialism. Things, however, are not that simple. The relationship established between an individual and an object they possess can be very strong, even to the extent that sometimes the two become inseparable.

Material possessions encompass more than just owning an object. Objects can convey messages about status, power, wealth and superiority, and they are actively used to set one apart from one’s peers. Therefore, ownership becomes an integral part of personal lifestyle, community, society and, ultimately, civilisation. Ownership positions us in a pecking order within a social hierarchy. Yet the objects themselves don’t have any of the attributes we associate with owning them. In a world of infinite abundance, an object’s value is worthless, while in a world of scarcity, the same object’s value may be disproportionately high. Ownership value is therefore relative to its availability. This is another of the basics of economics.

Ownership helps us integrate into humanity, although paradoxically, ownership also separates us from others. An obsession with ownership leads to approval, envy, jealousy, resistance, control, competition conflict and outward demonstrations of self‑indulgence that subvert the humanity we so much yearn to belong to.

The psychological traits of ownership begin in childhood, continue through adolescence and becomes entrenched in adulthood, ready to be passed down succeeding generations. We are born with nothing. We take nothing with us when we die. Yet we spend a great deal of our lives in the pursuit of possessing material things.

Psychological ownership can be different from legal ownership, for instance, “that is MY parking space”. Many of us still want to own physical record or film collections despite plentiful streaming services. The cost and availability of access to streamed services, never mind the space savings, far outweigh the perceived benefits of ownership, yet many of us still want to own our own things rather than lease or borrow them from institutions.

The notion of ownership as an extension of the individual results in financial as well as emotional investment requiring decisions to be made on the basis of personal priorities. If those priorities include, for instance, the accumulation of vintage guitars, a collection becomes the ultimate manifestation of the ownership process (and it is a process, separate from the objects possessed). One person’s priorities may be of little or great interest to others, therefore possession becomes part of a like‑minded community’s self‑selection process.

There is no room here to delve into the ever more complex and fascinating issues of ownership. Suffice to say that human beings place considerable importance on possession and ownership.

Proof, if it was needed… would I relinquish the guitar collection I own? Not bloody likely! Even during the crisis years when I lost my home, my career and my self‑belief, I found a way to save and protect my vintage guitars with the help of a good friend. ‘Nuff said.

“It’s not as though you feel satisfied after collecting a certain amount of stuff. Instead, you keep thinking about what you’re missing” – Fumio Sasaki (1978‑)

Guitar Collecting and Value

Guitar collecting happens irrespective of the value of the instruments being collected. Once again, the two are not mutually exclusive. At least to me. For some, though, accruing monetary wealth it is the primary motivator and vintage guitars simply represent the currency exchange. I don’t have the means to play in the high end sand pit, so I dig in the muddy puddles of modestly priced/available vintage guitars. That’s OK by me. Affordable is good and far more grounded.

In the media, the instruments and collections that we tend to hear about are the large collections of genuinely rare (and therefore valuable) guitars. Number and value being the inversely proportional main factors. Some collections are worth a fortune with values that beggar belief. The major collectors are content to push up values with the consequence that the enthusiast becomes increasingly marginalised and/or excluded.

Then there are also the celebrity owned guitars that go for, frankly, ridiculous sums of money that we hear about from time to time. Often the two are complementary and we take notice of the largest collections worth the most amount of money. These collections tend to fall into two categories – public collections such as museums and private collections held by wealthy individuals.

I have often raised this aspect of vintage guitar collecting here. I recognise the need for public collections to document and preserve (not necessarily conserve) the historical importance of the guitar. I have anathema towards private collectors who hide the artefacts away and dare not touch them, let alone play them, in case it erodes their valuable return on investment. The latter, regular readers will know, I term the ‘collectorati’™, a pejorative term.

Do not overrate what you have received, nor envy others. He who envies others does not obtain peace of mind” – Buddha (Siddhārtha Gautama – c.480‑400BCE)

Now, a Zen approach covered in my March 2025 article, ‘Eastern Concepts and Vintage Guitars’ mentioned ‘shikata ga nai’ (control what you can control) and Gaman (rising above adversity). These two philosophical tenets suggest that the way is to accept what exists (in this case, the ‘collectorati’) and focus on one’s own agenda with dignity and self‑respect. In addition, the quote from the Buddha above makes some sense and I submit to his greater wisdom. Therefore, to the Zen version of me, the ‘collectorati’ are abhorrent; however, it is not my place to abhor them. Instead, I will gain contentment from what I am able to collect and to do it with enthusiasm and humility. As a result of this rather profound and ‘spiritual’ insight, to me, value becomes irrelevant and inconsequential. I will gladly leave the detestable twin traits of greed and avarice to others. Enjoy wallowing in the filth of your dirty dollars, you can’t take then with you into the afterlife and you probably don’t genuinely enjoy them in this life.

While value is not a primary motivating factor for me, it does factor large at those points where value decisions need to be made about buying and selling part of a prized collection. So… if value is not important, would I give away my cherished vintage guitars? Not bloody likely, the sequel! Fundamentally, value has a part to play in the decision‑making process of managing and curating a collection.

“A collection is only as valuable as the knowledge and passion behind it” – John Doe (1953‑)

Guitar Collecting and Dealing

Dealers are kinda the odd one out here. They are a go‑between and a facilitator. They are a necessary evil as well, holding us all to ransom for an extra buck or two here and there. These are the bods largely responsible for feeding our collecting obsession. I kinda liken them to drug dealers hanging around school gates dangling ‘free’ baggies of tempting addictive substances just to get us hooked and then to keep us all hooked for their financial benefit. OK, perhaps that’s pushing the metaphor a bit far but you get the general idea.

“Collecting is an adventure that brings joy and excitement to everyday life” – Amelia Earhart (1897‑1937)

For many of us, guitar retailers were the starting off point for satiating GAS and encouraging us to spend beyond our means to acquire the latest shiny ‘must have’, at least until the next visit. For me, that first retailer was a long‑lost guitar shop in Worthing, West Sussex, England – infuriatingly, I cannot recall its name. While I unfairly maligned dealers in the previous paragraph, they perform an essential, if intimidating, role in the broader music industry. The world will be a worse place without them and, God forbid, that they should disappear from the high street, leaving the Internet as the only source for our particular ‘drug’.

Now, if one goes along with the widely held principle (assumption) that every guitar looks unique, every guitar plays uniquely and every guitar sounds unique, then online purchasing undermines the principle of choice and the products are confined to the status of a commodity. Extrapolating the point; if a commodity carries with it a lower emotional investment value, it becomes less satisfying in ownership and therefore more easily disposed of. A bit like buying an average car or an average house unseen and untried, if you will. This throwaway consumer society approach is the antithesis of passionate collecting,

“Collecting is a way of owning a piece of history and preserving it for future generations” – Albert Einstein (1879‑1955)

Plenty of the meccas for guitar gear such as 48^th Street (Music Row) and West Village in Manhattan, NYC are a pale shadow of their previous glory, as is Denmark Street (the UK’s Tin Pan Alley) in London (following in the footsteps of Charring Cross Road and Shaftesbury Avenue). While there remain plenty of independent stores dispersed ever more thinly, the declining trend is undeniable and of great concern to neophytes and veteran collectors alike.

This tragic decline in supply is worrying, as it may possibly result in a concomitant decline in demand. If both supply and demand are suppressed, there is a resulting steep deterioration in significance.

We have eBay and Reverb to fall back on as major sources of second hand gear online. However, in the author’s experience, these are not compensating for the scarcity of brick & mortar dealers. For many of us, they have become a limited avenue for addiction.

“I love collecting guitars, even though I can’t play well” – Kiefer Sutherland (1966‑)

Examples of Vintage Guitar Collections

What follows is just a small example of the many types of vintage guitar and music history gathered into a single space. It is not intended as comprehensive, rather a modest starting point for guitar enthusiasts from which to explore the multitude of physical collections held both privately and publically.

Some Private Collections:

Jim Irsay was the owner and CEO of NFL American football team the Indianapolis Colts. He passed away on 21 May 2025, aged just 65. He had spent over 25 years creating one of the world’s leading collections of rock & roll, American history and pop culture artefacts, including some of the most iconic instruments in rock history. David Gilmour’s Black Fender Strat? A cool $3.9m. Jerry Garcia’s Tiger? $957,500. Bob Dylan’s Newport Folk Festival Fender Stratocaster? $965,000. George Harrison’s Gibson SG used on Revolver? $567,000. He also owned Kurt Cobain’s Fender Mustang and Eric Clapton’s ‘The Fool’ Gibson SG. The total value of Irsay’s collection is estimated to be well over $1bn.

Scott Chinery was an avid guitar collector who passed away in 2000. His extensive collection of over 1,000 guitars covering 150 years of guitar history remained with his family until 2021. The collection was acquired by the Archtop Foundation, a not‑for‑profit organisation based in Burlington, Vermont. The foundation’s mission is to share the collection with everyone. Chinery is perhaps best known for his portfolio of blue archtop guitars, including a web site dedicated to ‘The Blue Guitars’.
The Blue Guitars

Ralph Jay Triumfo is a musician and guitar collector from the Philippines. He is regarded as owning the largest guitar collection in the world and, in fact, he holds the Guinness World Record for the largest collection of guitars, with a staggering 1,026 guitars in his possession, as of 2021.

Joe Bonamassa is a world famous blues/rock guitarist and self‑confessed vintage guitar nerd. He is also well known as one of the world’s foremost private collectors of electric guitars and amps. His collection totals well over 500 guitars, as well as around the same number of amps. What’s more, JB doesn’t hide these treasures away for himself. He takes his enviable classic guitars on the road and uses them on stage, so that everyone can appreciate the combination of his undoubted guitar playing skills and the iconic instruments that he owns. He also shares his passion online, particularly on social media.

Rick Nielsen is the guitarist of the American rock band Cheap Trick. He is believed to own upwards of 250 guitars, including many custom guitars built for him by Jol Dantzig at Hamer Guitars, such as the multi‑neck guitars that have become his trademark. Highlights include priceless 1950s Gibsons including Les Pauls, Explorers and Flying Vs.

David Gilmour was the guitarist with Pink Floyd and has a lengthy solo career. He has accumulated a massive collection of guitars over the years. Famously, in 2019, he auctioned 120 of his guitars, raising $21m for an environmental charity.

Slash – The Guns N’ Roses guitarist reportedly has a collection of over 400 guitars, including vintage Les Pauls and rare prototypes.

“Collecting is my passion” – Ursula Andress (1936‑)

Some Public Exhibitions:

What follows are just some of the public exhibitions that may be of interest to readers. The links worked at the time of publication but overtime they may become redundant. Just sayin’.

Songbirds Guitar and Pop Culture Museum, Chattanooga, Tennessee – the Songbirds museum opened in 2017 in downtown Chattanooga, TN and has more than 1,700 fretted instruments in its collection, touted as the world’s largest collection of rare and vintage guitars. The collection’s value is estimated to be in excess of $200m.
Songbirds Guitar and Pop Culture Museum

The Museum of Pop Culture (MoPOP), Seattle, Washington State – originally called The Experience Music Project (EMP) was established by the late Microsoft co‑founder, Paul Allen. MoPoP, as it is now known, also houses The Science Fiction Museum and Hall of Fame. One of the features of the MoPoP is the giant guitar sculpture, ‘IF VI WAS IX’, as well as other guitar sculptures and music artefacts. Perhaps unsurprisingly, the museum features exhibits celebrating the music and history of Seattle including ‘local’ artists like Jimi Hendrix and Nirvana.
The Museum of Pop Culture

The Rock & Roll Hall of Fame (RRHOF), Cleveland, Ohio – The RRHOF, located on the bank of Lake Erie attempts to document rock history through artists, producers, engineers and others, rather than instruments. The Rock Hall (for short) was founded in 1983 by the chair of Atlantic Records, Ahmet Ertegun and the Museum was dedicated in 1995. While the focus is not on guitars, there is a diverse range of artefacts covering the evolution of modern music.
The Rock & Roll Hall of Fame

C.F. Martin & Company Museum, Nazareth, Pennsylvania – More than 100 guitars are on display, including the first Martin guitar, the earliest Dreadnoughts and Kurt Cobain’s prized D-18 dreadnought acoustic. Unsurprisingly, it is a venue for fans of Martin guitars, as well as those seeking insights of historical importance. If you aren’t into Martins, you may want to seek an alternative.
C.F. Martin & Company Museum

Delta Blues Museum, Clarksdale, Mississippi – The Delta Blues Museum was originally established in 1979 and became a standalone museum in 1999, homed in the historic Clarksdale rail freight depot. The museum is dedicated to preserving interest in the story of the blues, following the blues masters and their historical journey from the deep south of the USA to become a worldwide phenomenon.
Delta Blues Museum

National GUITAR Museum, Bradenton, Florida – The NGM was the first American museum dedicated to the history, evolution, and cultural impact of the guitar. The museum has touring exhibitions that focus on a unique aspect of the guitar’s historical role in popular culture. Each touring exhibition is curated by the museum and includes artefacts from its permanent collection.
National GUITAR Museum

The Gallery of Iconic Guitars (GIG), Belmont, Nashville, Tennessee – The museum at Belmont University was founded following the death of collector Steven Kern Shaw in 2015 and is supported by vintage guitar expert, George Gruhn. GIG aims to celebrate some of the rarest and most iconic guitars as well as other stringed instruments. The collection comprises over 500 rare guitars and mandolins valued at over $10.5m.
The Gallery of Iconic Guitars

Museum of Musical Instruments (MIM), Phoenix, Arizona – Hank Risan is a collector and founder of the museum’s collection that focuses on the instruments played every day by people worldwide. The museum, which opened in 2010, comprises over 7,500 instruments from across the globe.
Museum of Musical Instruments

Metropolitan Museum of Art (The Met), Manhattan, New York City – Coming to The Met in the spring of 2027 will be a rotating exhibition of historically important guitars focusing on American guitar making from 1920‑1970, donated to the museum by Dirk Ziff, an American billionaire publishing heir and financier, working with vintage guitar connoisseur Perry Margouleff. Nearly 600 guitars have been donated and around 150‑170 will be on display at any one time. Be prepared to have your mind blown in 2 years’ time.
Metropolitan Museum of Art

The Smithsonian National Museum of American History – The Smithsonian is based in Washington, DC. It is home to the museum’s collection of over 500 guitars. Sadly, the dedicated hall of musical instruments exhibition closed in October 2012. However, the museum collection includes many stringed instruments of historical significance.
The Smithsonian National Museum of American History

Hard Rock Café – Hard Rock is an international chain of hotels, theme bar/restaurants, memorabilia shops, casinos, sports venues and museums founded in 1971 by Isaac Tigrett and Peter Morton in London, England. In addition to many artist‑owned instruments and rock ephemera displayed in numerous settings across the world, Hard Rock opened two dedicated Hard Rock Vaults in London and Orlando, Florida in 1979, featuring rare and valuable guitars and other rock memorabilia.
Hard Rock Café

Seven Decades, London, England – A British innovation co‑created by vintage guitar collectors and musicians, Phillip Hylander and Michael John Ross. The premium collection of vintage guitars is played by the Seven Decades Band in live stage shows mainly in London but also travelling around the country. The shows give audiences the opportunity to see and hear vintage instruments being used for their intended purpose. The concerts take place at events such as guitar shows as well as at national venues such as the Victoria & Albert (V&A) Museum in London. ‘The Story of Three Guitars That Changed The World’ focused on the Fender Telecaster, Fender Stratocaster and Gibson Les Paul. The shows cover music from 1950s’ rock & roll to the present day, including genres such as rockabilly, country, heavy metal, punk and disco.
Seven Decades

The Royal College of Music Museum, London, England – The RCM was originally founded in 1882 and the museum was re‑opened in 2021 as a world leading music conservatoire. The museum collection currently comprises over 14,000 musical artefacts covering instruments, art and music related objects, including the earliest known guitar.
The Royal College of Music Museum

Guitars the Museum, Umeå, Sweden – Guitars the Museum was opened in 2014 and hosts the world’s largest collection of rare 1950s and 1960s guitars. The collection comprises more than 500 vintage guitars on public display, with estimates putting the collection’s value at over $10million. The museum remains a not very well kept secret among vintage guitar aficionados.
Guitars the Museum

Tamworth National Guitar Museum, Tamworth, Australia – ‘The Big Golden Guitar’ is a 12m high fibreglass statue located at Tamworth Visitor Information Centre, which also houses the Australian National Guitar Museum.
Tamworth National Guitar Museum

“Communism doesn’t work because people like to own stuff” – Frank Zappa (1940‑1993)

A Few Clichéd & Corny Puns about Guitar Collecting

Sadly, my research only turned up a few bad relevant jokes. I am afraid that most guitar players will already know these.

Why did the guitarist bring home yet another guitar? Because his guitar collection has been missing “just one more” for the last ten years.

How do you know a guitar collector is lying? He says, “I have enough guitars for now”

I asked my dad if he could leave his guitar collection to my children when he dies. He said, “That’s music to my heirs”

A woman on trial accused of beating her husband to death with his guitar collection.

The judge asked, “First offender?” The woman replies, “No, first a Gibson, then a Fender”

You know you’re a guitarist when you’ve got more guitars than clean socks

If you know how many guitars you have, you don’t have enough

If anyone says you have too many guitars… block that person immediately. You don’t need that kind of negativity in your life

My greatest fear is that when I die my wife will sell my guitars for what I told her I paid for them

“I’ve got too many guitars” said no guitarist ever!

I don’t suffer from Guitar Acquisition Syndrome, I enjoy every minute of it

The formula you have to determine how many guitars you need; the number of guitars you currently have, plus 1

Guitar collectors don’t have problems – they have limited storage space and an expanding wish list!

How do you make a guitar collector cry? Tell them their dream guitar was listed for sale… yesterday.

How do you know a guitarist is also a collector? Their collection is worth more than their car!

What does a guitar collector bring to a desert island? Six guitars and no survival skills whatsoever

Guitar collectors don’t retire… they just spend more time ‘investing’ in their collection!

Why do guitar collectors always seem broke? Because ‘affordable’ is a relative term

My wife said I have too many guitars. I said, “No, I have a diverse collection of tonal possibilities”. She said, “Well, I have a diverse collection of divorce lawyers”

Oh dear, oh dear, oh dear. I apologise profusely.

Final Thoughts on the Compulsion to Collect Vintage Guitars

Basically, there are no hard and fast rules to compulsion, collecting and vintage guitars. Most of it is subjective and far from definitive (a recurring issue with these articles). Everyone will have their own motivations for collecting, methods of collecting and justification for the ownership of their personal collection. What does come through is the sheer diversity of vintage guitar collections across the world, of which this article is just the tiny tip of a very large iceberg.

Why did I opt to collect vintage guitars and turn them into an online entity? Well, I didn’t plan it that way, I kinda fell into it and over time it germinated organically (metaphorically speaking) and it grew into what it is now. I’ve covered the appeal of vintage guitars in the last three articles, so I won’t re‑iterate that here. The reason CRAVE Guitars exists and is an online resource is mainly to share these artefacts with the wider world. I could do the objectionable ‘collecterati’ thing and keep them to myself but what’s the point in that? Heritage needs sharing.

It is immaterial how small or large a collection might be – there is an infinite variety along that continuum. Contrary to popular female beliefs, size really doesn’t matter where vintage guitar collections are concerned. What matters is that there are people (like me) conserving the heritage and acting as stewards for future generations. The financial value of a collection is irrelevant to all but the heinous investors and, once again, there is an infinite variety along this continuum.

“Collecting is a never-ending journey of discovery and learning” – Sir David Attenborough (1926‑)

So, is it better to own a single high value vintage guitar or a shed load of low value ones? There is no right or wrong answer to that specific question. Would I trade in my entire so‑so ‘collection’ for one great guitar? Nope. If anyone approached me to sell the enterprise as a going concern, would I consider a reasonable offer? Nope. I wouldn’t know how much CRAVE Guitars is worth as an entity. If I had to start over again, would I choose guitars differently? Possibly not. If I could go back in time to being that naïve teenager again, would I ever have predicted that I would be in this position in 2025? Nope. Would I have done things differently? Indubitably.

Each to their own. Discuss…

CRAVE Guitars is limited by three things – space, funds and availability. I can’t see any of those three things changing any time soon. The current ‘most wanted’ list exceeds 50 vintage guitars but that hasn’t been updated in a long time because there is no point in pursuing any more acquisitions at the moment. That list just covers guitars, never mind basses, effects and amps. Compared to the professional collections, CRAVE Guitars is miniscule. However, it is my pride and joy and I am content of what I have been able to achieve given circumstances.

Can the desire to accumulate guitar gear ever be satiated? Possibly, but I am afraid that I will probably never know or find out. Like the junky being cured of addiction – life just doesn’t work that way. We may be able to live with it but we cannot overcome it. My view is that once one has been smitten, the course of ownership is irreversible.

One thing seems irrefutable, the compulsion to collect vintage guitars is a very real thing and it ain’t gonna stop anytime soon, at least for me. Good and long may it continue. Otherwise, I would have very little to write about each month. Enjoy your own personal journey.

“A collector’s passion can turn ordinary objects into extraordinary treasures” – Pablo Picasso (1881‑1973)

CRAVE Guitars’ ‘Album of the Month’

It seems appropriate for there to be a link between the article and the ‘album of the month’. Given the considerable relationship of one individual, his dedication to playing music and his not‑insignificant collection of vintage instruments, this month, we go for…

Joe Bonamassa – Dust Bowl (2011): ‘Dust Bowl’ is the 9^th studio album by blues rock guitarist Joe Bonamassa. The album, comprising 12 tracks over 63 minutes, was released in March 2011 on Mascot Records. I don’t really have a favourite JB album, so ‘Dust Bowl’ is the one that tends to draw me in. Great cover art too, based on an image by American Depression‑era photographer Arthur Rothstein (1915‑1985), entitled, ‘Dust Storm, Cimarron County Oklahoma’ (1936). Very fitting for the music, which is exemplary, as is the norm for a guitar star.

There are many albums by the prolific guitarist and vintage gear collector. Any are well worth tracking down and giving a listen, if only to be gobsmacked by the dude’s awesome guitar playing. Critics may put his music down to straightforward blues/rock but in the 2020s, lord knows we need guitar heroes who know their chops and Bonamassa is one of those, probably the best since the late Stevie Ray Vaughan.

BELIEVE IN MUSIC!

“Collecting is a way of expressing your personality and interests” – Audrey Hepburn (1929‑1993)

Tailpiece

Another month, another article. It is becoming increasingly challenging to come up with a variety of topics and to keep things fresh interesting. I do hope that this one doesn’t disappoint. Who knows how long I can keep this streak going. Next month, another article, different subject. Let’s see what happens, eh?

I am still failing dismally in curtailing monthly blog articles in order to concentrate on ‘The Distortion Diaries’. Give me strength to prioritise and try harder. I hope to have some news on that front in due course.

In the meantime, I hope we all survive this perilous Earthly existence. We should be able to live, not just survive. We need to be able to live and have the opportunity to live better. Even more importantly, we should be able to thrive and flourish as individuals, communities and civilisation, not just survive. Time to live, then. Life is genuinely too short not to. Have FUN when you can.

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

CRAVE Guitars’ ‘Quote of the Month’: “There is light at the end of the tunnel… unless it is at night or you have your eyes closed”

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28 Feb 2020

February 2020 – The Story of Modern Music in 1,500+ Facts – Part XI

by CRAVEGuitars | posted in: History, Introduction, Observations | 0

Introduction

Welcome back once again dear musical masochists. Well… here we are – finally – almost at the end of the very long linear tunnel. The ordeal is nearly over! Along the way, I hope our factual passage through time has been an enlightening and entertaining experience. Chronologically (bar the first 2 months of 2020), the long ‘Story of Modern Music’ has caught up‑to‑date. By the end of this article the facts and events covering more than three‑and‑a‑half centuries will have been laid bar for all to see. It isn’t, however, the culmination of this series of articles, as there will be a fair bit of dilly‑dallying to do to give justice to the material and to complete a coherent narrative.

If you would like to (re)visit the first 10 parts (and over 350 years) of the story to‑date, you can do so here (each link opens a new browser tab):

The Story of Modern Music Part XI 2010-2019

As the ‘teenies’ are fresh in our collective memories, one has to think hard about what might be regarded as standout ‘classic albums’ that will stand the test of time. Simply the act of interrogating recent history and coming up with nada is a concern. Yes there were some big selling albums from popular commercial artists but they don’t really stand up to scrutiny when compared with watershed releases of the past. Perhaps we haven’t yet had sufficient time to reflect but one would have thought that something important would stick out from the random melange.

It is hard to believe that it was the early 1990s when game changing albums like Nirvana’s ‘Never Mind’ and Pearl Jam’s ‘Ten’, both landed in 1991 and Rage Against The Machine’s eponymous debut struck home in 1992. Since that time? With hindsight, perhaps controversially, not a great deal. Readers will no doubt have their favourite albums from the noughties and teenies but there were no multi‑platinum multi‑million sellers outside the pop mainstream that came out of the blue. and certainly no ground‑breaking important epics such as ‘Tubular Bells’, ‘Dark Side Of The Moon’, ‘Rumours’ or ‘Thriller’, to mention just four more classic albums that went on to sell in colossal quantities and helped to define the zeitgeist. It isn’t just about numbers and money, it’s about the value of artistic creativity. Where were the musical milestones to have significant global social and cultural impact? To-date, this levelling (lowering?) of the playing field seems to have resulted from benign prosperity and social disengagement. It seems as though, whereas the youthful tortured angst of previous decades has been quelled, to be replaced with pseudo entitled vacuous celebrity‑induced cupidity and malaise. Discuss…

One sad observation of the 2010s is the number of legendary musical artists who passed on during the decade. Many had featured in previous articles for other reasons and had their last entries in this one. Their valuable legacy has helped to shape the musical landscape that we enjoy and their influential music will endure well into the future, even though they are no longer with us. At the time of writing, we can only speculate about who might have been born in the teenies that will become future legends. Watch this space.

Historical Context 2010-2019

After the economic meltdown that started in the latter part of the 2000s, the ‘teenies’ were characterised by enduring global economic recession, which adversely affected most countries. Depression exposed the ugly and inhumane economic inequality that was exacerbated by extreme avarice, arrogance and hubris further polarising the wealth gap between richest and poorest. A resurgence of east/west Cold War political tensions was intensified by the errant behaviour of maverick states such as communist North Korea and Islamic Iran, as well as a bitter trade war between America and China. Misplaced ideological posturing drove extremist terrorism, which disregarded national borders and reached unprecedented levels through devastating atrocities in many countries. Escalating regional conflict in the Middle East continued to affect international relations, trade and mobility. Unparalleled economic and humanitarian migration reached new levels and became a major refugee problem for developed‑world countries. Technologically, an insatiable appetite for Internet use led to an equally huge increase in the uptake of social media and online commerce. Driverless and electric vehicles became the focus of major tech corporations. Global concerns increased over action required to reduce CO₂ emissions and extreme weather events. The equalities of LGBTQ+ communities gained widespread international recognition and forced irreversible social and cultural change in many societies.

Year	Global Events
2010	Many anti‑government protests rose up across the Middle East, widely known as the Arab Spring. A massive magnitude 7.0 earthquake hit Haiti in the Caribbean Sea, killing somewhere between 100,000 and 316,000 people. The Deepwater Horizon oil drilling rig run by BP exploded, causing an environmental catastrophe in the Gulf of Mexico. It is, to date, the largest marine oil spill in the history of the oil industry with over 210 million gallons discharged into the Gulf. The world’s tallest building to‑date, the Burj Khalifa opened in Dubai, standing at 829.8m (2,722ft). Controversial non-profit political organisation Wikileaks, under the control of editor‑in‑chief Julian Assange, began releasing substantial amounts of American classified information from whistle‑blowers into the public domain, thereby compromising national and international security. The culturally popular American post-apocalyptic AMC television series, ‘The Walking Dead’, based on the zombie comic book series by Robert Kirkman, Tony Moore, and Charlie Adlard was first broadcast.
2011	The leader of the Islamic terrorist group al‑Qaeda, Osama Bin Laden was shot and killed by American Special Forces in Abbottabad, Pakistan. The Syrian Civil War started following Arab Spring protests against the Syrian government. Conflict escalated after protests calling for President Bashar al-Assad’s removal were brutally suppressed. The ensuing political and military vacuum led to territorial gains by the so‑called Islamic State in the Middle East and particularly in Syria. Japan was devastated by a massive 9.0 magnitude earthquake and tsunami that killed over 15,000 people. The Great East Japan Earthquake was the 4^th strongest on historical record. The tsunami caused a major nuclear accident at the Fukushima Daiichi Nuclear Power Plant. The estimated economic cost was in the region of $235bn USD. NASA’s aging Space Shuttle fleet was retired from service after 30 years, 5 operational vehicles, 135 missions and 2 fatal accidents costing 14 lives. The world’s human population exceeded 7 billion for the first time, highlighting serious concerns about the sustainability of uncontrolled population growth.
2012	The largest ever Atlantic storm, Category 3 Hurricane Sandy, devastated the north eastern United States, killing over 230 people and causing nearly $70bn of damage. The existence of the elusive so‑called ‘god particle’, the Higgs Boson sub‑atomic unit was finally confirmed by experiments conducted at the CERN Large Hadron Collider in Switzerland. Queen Elizabeth II celebrated the 60^th Anniversary of her accession to the British throne.
2013	Two Islamic terrorists from Chechnya detonated 2 bombs during the Boston Marathon in Massachusetts, USA, killing 3 and injuring 264. The largest outbreak of the Ebola virus in history reached epidemic proportions in Western Africa and lasted until 2016, resulting in a conservative estimate of more than 11,000 deaths.
2014	The so‑called Islamic State (ISIS) took military control of the city of Mosul in northern Iraq. The new World Trade Center, the Freedom Tower, was completed in New York, becoming the tallest building in the U.S. at 1,776 feet (541m), 13 years after the original World Trade Center twin towers were destroyed in the 9/11 terrorist attacks.
2016	The United Kingdom held a one‑off national referendum to determine whether to remain part of or to leave the European Union (EU). The UK had become a member of the European Economic Community (EEC) in 1973. The referendum result was a majority desire to leave the EU. The UK was the first country to leave the union since the EEC was formed in 1957. The process of leaving, often referred to as ‘Brexit’, was completed in 2020. HM Queen Elizabeth II became the longest reigning monarch in British history, surpassing Queen Victoria (1819‑1901), who had reigned for 63 years and 7 months.
2017	Businessman and Republican politician Donald Trump became the 45^th president of the U.S.A. The UK triggered Article 50 of the Lisbon Treaty, initiating the Brexit process that led to the UK leaving the EU after 47 years of membership. American president Donald Trump announced the U.S. government’s intention to withdraw unilaterally from the Paris Climate Agreement.
2018	The longest total lunar eclipse of the 21^st Century took place, lasting approximately 1 hour and 43 minutes. Canada legalised the sale and use of cannabis, only the 2^nd country to do so, Uruguay being the first.
2019	A catastrophic fire broke out in the roof of medieval Roman Catholic Notre Dame de Paris cathedral in France, destroying much of the building’s roof, spire and upper walls. The final stronghold of the so‑called Islamic State in Al-Baghuz Fawqani, Syria, was liberated. Violent protests and civil unrest occurred in Hong Kong, ignited by controversial Chinese legislation that allegedly undermined the region’s autonomy and civil liberties. Activists belonging to Extinction Rebellion, a global movement created to use direct non‑violent civil disobedience to force governments to react positively towards the threat of climate change, biodiversity loss and ecological collapse, caused widespread disruption in major cities worldwide.

Musical Genre Development 2010-2019

Sadly, during the 2010s there were no recent new genres or emergent significant sub‑genres, and little sign of any on the horizon. It is a struggle to identify any hugely influential genre developments during the ‘teenies’. Yes, there were ventures, projects, collaborations, experiments and side lines including, for instance dubstep and grime but, let’s be honest, these aren’t really new; they are simply variations on past themes that were re‑established for wider audiences. However, modern music has shown an incredible tenacity to rejuvenate and reinvent itself, especially when it appears to be entering the doldrums. One can only watch and wait to see what happens from here on in. Let’s start with some of the nuances during the 2010s.

Female pop mega‑artists such as Adele, Taylor Swift, Miley Cyrus, Lady Gaga and even Lana Del Rey have become very powerful, successful multi‑millionaires predominantly focusing their considerable resources on commercially lucrative target audiences. These industry pillars have become renowned as much for their business acumen as their musical prowess. New artist, Billie Eilish looks set to continue this trend into the 2020s. The token male artist in this bracket is probably Ed Sheeran.

The indie movement continued to grow from strength to strength into the 2010s broadening the diversity of indie and keeping it fresh by fusing with other styles such as folk, blues, rock, punk, roots, garage and Americana. Notable indie artists of the teenies include (in no particular order); Courtney Barnett, Arcade Fire, Vampire Weekend, The War On Drugs, Band Of Skulls, The National, Sharon Van Etten, St. Vincent, Fleet Foxes, Real Estate, Feist, Tame Impala, Parquet Courts, Kurt Vile, Girls, Courteeners, Daughter, Angel Olsen, Fleet Foxes, Haim, Father John Misty, Ariel Pink, Sheerwater, Foals, Two Door Cinema Club, Villagers, EMA, The Horrors, The Kills, The Low Anthem, Royal Blood, Rival Sons, The Vaccines, Alt‑J, The XX, Wolf Alice, The Dead Weather, The Twilight Sad, Cage The Elephant, London Grammar, Savages, Band Of Skulls, Warpaint, Slaves, Wolf Alice, Bat For Lashes, K.T. Tunstall, Cigarettes After Sex, Blood Red Shoes, Real Estate and Dry the River among a multitude of others.

While clearly a niche subgenre of the fading mainstream Electronic Dance Music (EDM) and related genres and closely related to ambient, downtempo, progressive electronic, darkwave, glitch and chillwave, Intelligent Dance Music (IDM) flourished, building on the shoulders of pioneers such as The Orb, Future Sound of London, Orbital and Aphex Twin. IDM and related artists pushed the boundaries of esoteric syncopated, and stripped down electronica to new, often indulgent extremes. Under the broadest definition, some IDM artists include; Four Tet, Boards of Canada, Caribou, Crystal Castles, Neon Indian, Jon Hopkins, Bonobo, Burial, Flying Lotus, Memory Tapes, Apparat, Toro y Moi, James Blake, Oneohtrix Point Never, Com Truise, Autechre, Mouse On Mars and Squarepusher.

In the late 20^th Century, modern jazz had newfound credibility in the fusion years of the 1970s, with artists like John McLaughlin, Stanley Clarke, Herbie Hancock, Al Di Meola, Utopia and Weather Report, followed by other virtuoso instrumentalists like Larry Coryell, Larry Carlton and Lee Ritenour during the 1980s. Move forward in time to the 21^st Century and jazz experienced a stunning rejuvenation, often referred to as nu‑jazz or jazztronica, eschewing old-style constraints and fusing jazz elements with electronic music ranging from the traditional to the experimental. While growing on the popularity in the 2000s of artists like St. Germain, Mr. Scruff, Joss Stone and Jamie Cullum, nu‑jazz really came into its own in the 2010s. Nu‑jazz artists embraced hip‑hop, electronica, dance, reggae, electro‑swing and many other forms to create something vital and engaging, including artists such as Snarky Puppy, The Cinematic Orchestra, Floating Points, GoGo Penguin, Thundercat, Unknown Mortal Orchestra, The Comet Is Coming, The Correspondents and Mammal Hands.

Musical Facts 2010-2019

Day	Month	Year	Music Fact
11	January	2010	American indie rock band Vampire Weekend released their 2^nd studio album, ‘Contra’.
8	February	2010	English trip-hop group, Massive Attack released their 5^th studio album, ‘Heligoland’ in the UK.
17	February	2010	Northern Irish indie rock band Two Door Cinema Club released their debut studio album, ‘Tourist History’.
10	March	2010	Welsh guitarist and member of progressive rock band Man, Micky Jones died of cancer in Swansea at the age of 63.
15	March	2010	The American Rock & Roll Hall Of Fame inducted its ‘Class of 2010’, including ABBA, Genesis, The Hollies, Jimmy Cliff, The Stooges and David Geffen.
28	March	2010	Highly influential American jazz guitarist Herb Ellis died of Alzheimer’s disease in Los Angeles, California at the age of 88.
13	April	2010	Experimental virtuoso English rock guitarist, Jeff Beck released his 10^th solo album, ‘Emotion And Commotion’ in the UK.
18	May	2010	American blues/rock duo The Black Keys released their classic 5^th studio album, ‘Brothers’.
25	June	2010	Canadian rock band, Rush, received a star on the Hollywood Walk Of Fame at 6752 Hollywood Boulevard.
9	July	2010	English indie rock group Bombay Bicycle Club released their understated acoustic 2^nd studio album, ‘Flaws’.
25	October	2010	American singer and songwriter Taylor Swift released her commercially successful 3^rd studio album, ‘Speak Now’.
16	November	2010	After many years of negotiation, The Beatles’ back catalogue was finally made available on Apple’s iTunes music platform.
17	December	2010	American rock singer, songwriter and musician, Captain Beefheart (real name Don Van Vliet) died from complications resulting from multiple sclerosis in a hospital in Arcata, California at the age of 69.
22	December	2010	The famous zebra crossing at Abbey Road, London, just outside Abbey Road Studios and featured on The Beatles’ classic titular 1969 album cover, was Grade II Listed by English Heritage.
24	January	2011	English pop singer, Adele released her massive commercial 2^nd studio album, ‘21’.
30	January	2011	Legendary English composer of classic film and television scores, John Barry died of a heart attack in New York at the age of 77.
6	February	2011	Irish blues/rock guitarist and singer, Gary Moore died from a heart attack in Malaga, Spain at the age of 58.
14	February	2011	English alternative/indie rock singer, songwriter and multi-instrumentalist, P.J. Harvey released her award‑winning 8^th studio album, ‘Let England Shake’.
14	March	2011	The American Rock & Roll Hall Of Fame inducted its ‘Class of 2011’, including Alice Cooper, Neil Diamond, Dr. John, Tom Waits and Leon Russell.
2	June	2011	Canadian country singer Shania Twain received a star on the Hollywood Walk of Fame at 6270 Hollywood Boulevard.
6	June	2011	English indie rock band, Arctic Monkeys released their 4^th studio album, ‘Suck It and See’.
23	July	2011	English singer and songwriter, Amy Winehouse died from an alcohol overdose in Camden, London at the age of 27.
7	August	2011	American bass player and key member of Johnny Cash’s backing band, the Tennessee Two, Marshall Grant died in Jonesboro, Arkansas at the age of 83.
16	August	2011	American indie rock band The War On Drugs released their breakout 2^nd studio album, ‘Slave Ambient’.
7	September	2011	On what would have been his 75^th birthday, American rock ‘n’ roll singer Buddy Holly received a posthumous star on the Hollywood Walk of Fame at 1750 North Vine Street.
5	October	2011	Accomplished Scottish acoustic folk guitarist Bert Jansch died after a long battle with lung cancer in London at the age of 67.
4	December	2011	American blues guitarist, singer and member of Howlin’ Wolf’s band, Hubert Sumlin died from heart failure in Wayne, New Jersey at the age of 80.
16	December	2011	American blues/rock duo The Black Keys released their classic 7^th studio album, ‘El Camino’.
20	January	2012	Legendary American multi-genre singer, Etta James died of leukaemia in hospital in Riverside, California at the age of 73.
31	January	2012	American singer and songwriter, Lana Del Rey released her breakout 2^nd studio album, ‘Born To Die’.
9	February	2012	English bass guitarist and former member of The Beatles, Paul McCartney received a solo star on the Hollywood Walk of Fame at 1750 North Vine Street.
6	February	2012	Scottish indie rock band The Twilight Sad released their underrated 3^rd studio album, ‘No One Can Ever Know’.
11	February	2012	American soul/pop singer, producer and actress, Whitney Houston died from drug misuse and accidental drowning at the Hilton hotel in Beverley Hills, California at the age of 48.
29	February	2012	English singer and member of media pop band The Monkees, Davy Jones died from a heart attack in Florida at the age of 66.
5	April	2012	English innovator, entrepreneur, businessman and founder of iconic Marshall amplifiers, ‘The Father of Loud’, Jim Marshall OBE, died from cancer in Milton Keynes, Buckinghamshire at the age of 88.
14	April	2012	The American Rock & Roll Hall Of Fame inducted its ‘Class of 2012’, including The Beastie Boys, Donovan, Guns N’ Roses, The Red Hot Chili Peppers, The Small Faces/The Faces, Freddie King and Tom Dowd.
16	April	2012	English indie rock band Spiritualized released their 7^th studio album, ‘Sweet Heart Sweet Light’.
10	July	2012	English-American guitarist Slash (a.k.a. Saul Hudson) received a solo star on the Hollywood Walk of Fame at 6901 Hollywood Boulevard.
31	August	2012	Northern Irish indie rock band Two Door Cinema Club released their 2^nd studio album, ‘Beacon’.
2	October	2012	Highly acclaimed English session guitarist ‘Big Jim’ Sullivan died of complications from heart disease and diabetes in Billingshurst, West Sussex at the age of 71.
10	January	2013	Swiss founder and manager of the famous Montreux Jazz Festival since 1967, Claude Nobs, died in Lausanne at the age of 76.
18	February	2013	Alternative rock band, Nick Cave & The Bad Seeds released their outstanding reflective 15^th studio album, ‘Push the Sky Away’.
6	March	2013	English blues/rock guitarist and singer, Alvin Lee died of complications following surgery in Estepona, Spain at the age of 68.
18	April	2013	The American Rock & Roll Hall Of Fame inducted its ‘Class of 2013’, including Heart, Albert King, Randy Newman, Public Enemy, Rush and Donna Summer.
20	May	2013	American keyboard player with, and co-founder of, The Doors, Ray Manzarek died from bile duct cancer in Rosenheim, Germany at the age of 74.
3	June	2013	American rock band Queens Of The Stone Age released their 6^th studio album ‘…Like Clockwork’.
26	July	2013	Reclusive and influential American blues/rock guitarist, singer and songwriter, J.J. Cale died from a heart attack in La Jolla, California at the age of 74.
9	September	2013	English indie rock band, Arctic Monkeys released their 5^th studio album, ‘AM’.
27	October	2013	Legendary American singer, songwriter, guitarist, member of the Velvet Underground and successful solo artist, Lou Reed died of liver disease at his home in New York at the age of 71.
4	November	2013	American singer and cultural icon, Janis Joplin received a posthumous star on the Hollywood Walk of Fame at 6752 Hollywood Boulevard.
3	January	2014	American singer and guitarist, Phil Everly, half of the vocal harmony duo The Everly Brothers, died of lung disease in Burbank, California at the age of 74.
25	February	2014	Spanish virtuoso flamenco guitarist and composer, Paco de Lucía died from a heart attack while on holiday in Playa del Carmen, Mexico at the age of 66.
18	March	2014	American indie rock band The War On Drugs released their 3^rd studio album, ‘Lost In The Dream’.
10	April	2014	The American Rock & Roll Hall Of Fame inducted its ‘Class of 2014’, including KISS, Nirvana, Cat Stevens, Peter Gabriel, Linda Rondstadt and Hall & Oates.
17	June	2014	American singer and songwriter, Lana Del Rey released her 3^rd studio album, ‘Ultraviolence’.
16	July	2014	Renowned American blues/rock guitarist, Johnny Winter died from emphysema and pneumonia near Zurich, Switzerland, at the age of 70.
25	October	2014	Scottish bass guitarist with blues/rock super group Cream, Jack Bruce died of liver disease in Suffolk, England at the age of 71.
27	October	2014	American singer and songwriter Taylor Swift released her commercially successful 5^th studio album, ‘1989’.
13	March	2015	Australian guitarist, singer, songwriter, poet and co‑founder of psychedelic rock bands Soft Machine and Gong, Daevid Allen died from cancer in Australia at the age of 77.
30	March	2015	English dance/rock band The Prodigy released their 6^th studio album, ‘The Day Is My Enemy’.
14	May	2015	Legendary blues guitarist, singer, songwriter and producer, B.B. King died from a stroke caused by type 2 diabetes in Las Vegas, Nevada at the age of 89.
21	May	2015	American bass guitarist Louis Johnson of funk band Brothers Johnson died from internal bleeding in Las Vegas, Nevada at the age of 60.
30	May	2015	The American Rock & Roll Hall Of Fame inducted its ‘Class of 2015’, including Green Day, Joan Jett & The Blackhearts, Lou Reed, Ringo Starr, Stevie Ray Vaughan & Double Trouble and Bill Withers.
27	June	2015	English bass guitarist with progressive band Yes, Chris Squire died from leukaemia in Phoenix, Arizona at the age of 67.
11	September	2015	English indie rock band The Libertines released their highly anticipated 3^rd studio album, ‘Anthems for Doomed Youth’.
10	November	2015	American musician, songwriter, arranger and record producer Allen Toussaint died of a heart attack while on tour in Madrid, Spain at the age of 77.
13	November	2015	Islamic terrorists attacked a concert where American rock band Eagles of Death Metal were performing at the Bataclan Theatre in Paris, France. A total of 89 innocent people lost their lives.
4	December	2015	A commemorative statue of The Beatles was unveiled in their home city of Liverpool, 50 years after their last gig there.
28	December	2015	English singer, songwriter, bass guitarist, founder and front man of rock band Motörhead, Ian ‘Lemmy’ Kilmister, died of cancer in Los Angeles, California at the age of 70.
8	January	2016	Iconic English singer, David Bowie released his final studio album, ‘Blackstar’, on his 69^th birthday, just 2 days before his untimely death.
10	January	2016	Chameleonic English singer, rock legend, actor and cultural icon, David Bowie died from liver cancer at his apartment in New York City at the age of 69.
18	January	2016	Highly regarded American singer, songwriter and guitarist with country rock band Eagles, Glenn Frey died from complications of rheumatoid arthritis in New York City at age of 67.
4	February	2016	Northern Irish singer Sir Van Morrison OBE was knighted by Prince Charles at Buckingham Palace, London, UK for services to the music industry and tourism.
13	February	2016	Four members of English indie band Viola Beach and their manager were tragically killed in a car accident in Södertälje, Sweden.
8	March	2016	Legendary English record producer, Sir George Martin CBE, known by many as the ‘Fifth Beatle’, died at his home in Wiltshire at the age of 90.
11	March	2016	English keyboard player with progressive rock group Nice and a founding member of super group Emerson, Lake & Palmer (ELP), Keith Emerson died from a self-inflicted gunshot wound in Santa Monica California at the age of 71.
6	April	2016	American country singer and guitarist Merle Haggard died on his birthday as a result of complications from pneumonia at his home in Palo Cedro, California at the age of 79.
8	April	2016	The American Rock & Roll Hall Of Fame inducted its ‘Class of 2016’, including Cheap Trick, Chicago, Deep Purple, Steve Miller and NWA.
21	April	2016	American singer, guitarist, producer and actor, Prince died from an accidental drug overdose of the pain killer fentanyl at his home in Chanhassen, Minnesota at the age of 57.
21	April	2016	Influential American blues/rock guitarist Lonnie Mack died of natural causes in hospital near his home in Smithville Tennessee at the age of 74.
10	June	2016	British pop/rock singer and songwriter Sir Rod Stewart CBE was knighted in the Queen’s Birthday Honours list for services to music and charity.
28	June	2016	American singer Elvis Presley’s main guitarist in the early rock ‘n’ roll years, Scotty Moore died in Nashville, Tennessee at the age of 84.
15	July	2016	English virtuoso rock guitarist Jeff Beck released his fascinating change-of-direction 11^th studio album, ‘Loud Hailer’.
9	September	2016	Alternative rock band, Nick Cave & The Bad Seeds released their desperately melancholic 16^th studio album, ‘Skeleton Tree’.
13	October	2016	Legendary American singer, songwriter and guitarist Bob Dylan was awarded the prestigious Nobel Prize for Literature in Stockholm, Sweden. He skipped the official awards ceremony and delivered his acceptance lecture in April 2017.
21	October	2016	Canadian singer, songwriter and guitarist, Leonard Cohen released his elegiac final studio album, ‘You Want It Darker’.
7	November	2016	Canadian singer, songwriter, poet and guitarist, Leonard Cohen died after a fall at his home in Los Angeles, California at the age of 82.
13	November	2016	Legendary American musician and songwriter, Leon Russell died in his sleep at his home in Mount Juliet, Tennessee at the age of 74.
2	December	2016	English rock band Rolling Stones released their great back-to-basics blues/rock studio album, ‘Blue & Lonesome’ in the UK.
7	December	2016	English bass guitarist, singer, songwriter and founding member of progressive rock bands King Crimson and ELP, as well as a solo artist, Greg Lake died from cancer in London at the age of 69.
24	December	2016	English guitarist with pop/rock band Status Quo, Rick Parfitt died from sepsis caused by a shoulder infection in hospital in Marbella, Spain at the age of 68.
25	December	2016	English singer, songwriter and member of pop band Wham!, George Michael died of heart failure at his home in Goring-on-Thames, Oxfordshire at the age of 53.
31	January	2017	Welsh guitarist and regular on-off member of the progressive jam rock bands Man and Iceberg, as well as a solo artist, Deke Leonard died at the age of 72.
4	February	2017	English heavy metal pioneers, Black Sabbath performed their final live concert of their ‘The End’ tour at the NEC Arena in their home city of Birmingham, UK.
19	February	2017	Influential American virtuoso jazz fusion guitarist, Larry Coryell died of heart failure in New York City at the age of 73.
16	March	2017	English singer and member of pop/rock band The Kinks, Sir Ray Davies CBE received a knighthood from Prince Charles at Buckingham Palace, London, UK for his service to the arts.
18	March	2017	Legendary American rock ‘n’ roll singer, songwriter and guitarist Chuck Berry died of a reported cardiac arrest at his home in Wentzville, Missouri at the age of 90.
7	April	2017	The American Rock & Roll Hall Of Fame inducted its ‘Class of 2017’, including ELO, Joan Baez, Journey, Pearl Jam, Tupac Shakur and Yes.
15	April	2017	Influential virtuoso English jazz/rock fusion guitarist Allan Holdsworth died from heart disease at his home in Vista, California at the age of 70.
18	May	2017	American singer, songwriter and front man of hard rock bands Soundgarden and Audioslave, Chris Cornell committed suicide in his hotel room in Detroit, Michigan at the age of 52.
27	May	2017	American musician and co-founder of The Allman Brothers Band, Gregg Allman died from a heart attack in Richmond Hall, Georgia at the age of 69.
8	August	2017	American country singer and guitarist, Glen Campbell died of Alzheimer’s disease in Nashville, Tennessee at the age of 81.
25	August	2017	American indie rock band The War On Drugs released their 4^th studio album, ‘A Deeper Understanding’.
3	September	2017	American guitarist and bass guitarist, songwriter and co‑founder of rock band Steely Dan, Walter Becker died from oesophageal cancer at his home in Manhattan, New York at the age of 67.
2	October	2017	American singer, songwriter and guitarist Tom Petty died of an accidental overdose of prescription painkillers at his home in Santa Monica, California at the age of 66.
18	November	2017	Scottish-born guitarist and co-founder of Australian rock band AC/DC, Malcom Young died following a long battle with dementia in Elizabeth Bay, New South Wales at the age of 64.
10	January	2018	English guitarist and one-time member of the rock band Motörhead, ‘Fast’ Eddie Clarke died from pneumonia in hospital in London at the age of 67.
9	March	2018	After 66 years, the UK weekly music magazine The New Musical Express (a.k.a. NME) published its final printed copy, signalling the end of an era in British music press.
9	March	2018	British indie rock band Editors released their 6^th studio album, ‘Violence’.
20	March	2018	English drummer and former member of The Beatles, Sir Richard Starkey (a.k.a. Ringo Starr) MBE was knighted by HRH Prince William at Buckingham Palace, London, UK.
14	April	2018	The American Rock & Roll Hall Of Fame inducted its ‘Class of 2018’, including Bon Jovi, The Cars, Dire Straits, Moody Blues, Nina Simone and Sister Rosetta Tharpe.
8	June	2018	English guitarist, singer, songwriter and member of Anglo-American rock group Fleetwood Mac from 1968 to 1972, Danny Kirwan died from pneumonia in London at the age of 68.
2	July	2018	Scottish bass guitarist and founding member of 1970s pop group The Bay City Rollers, Alan Longmuir died in Larbert, Scotland, following an illness while on holiday in Mexico at the age of 70.
16	August	2018	Legendary American singer, songwriter and the ‘Queen of Soul’, Aretha Franklin died of pancreatic cancer at her home in Detroit, Michigan at the age of 76.
22	August	2018	American guitarist and bass guitarist with southern rock band Lynyrd Skynyrd, Ed King died following a battle with cancer at his home in Nashville, Tennessee at the age of 68.
22	September	2018	English guitarist and singer, best known as half of London duo Chas & Dave and as a session musician, Chas Hodges died from organ failure following treatment for cancer at the age of 74.
29	September	2018	Great American blues guitarist, singer and songwriter, Otis Rush died from complications resulting from a stroke in Chicago, Illinois at the age of 83.
16	March	2019	Influential American guitarist, ‘the king of surf guitar’, Dick Dale died of heart failure in hospital in Loma Linda, California at the age of 81.
17	March	2019	Irish guitarist and member of heavy rock bands Gillan and Ozzy Osbourne, Bernie Tormé died of pneumonia in London, England at the age of 66.
29	March	2019	The American Rock & Roll Hall Of Fame inducted its ‘Class of 2019’, including The Cure, Def Leppard, Janet Jackson, Stevie Nicks, Radiohead, Roxy Music and The Zombies.
29	March	2019	Emerging American indie/pop singer and songwriter Billie Eilish released her phenomenally successful debut album, ‘When We All Fall Asleep, Where Do We Go?’.
30	April	2019	English guitarist and co-founder of jazz/funk band Level 42, Boon Gould died at his home in Dorset at the age of 64.
13	May	2019	American singer and Hollywood actress Doris Day died of pneumonia in Carmel Valley Village, California at the age of 97.
30	May	2019	Cypriot/Canadian jazz/blues singer, songwriter, guitarist and actor Leon Redbone died following complications from dementia in hospice care in Bucks County, Pennsylvania, USA at the age of 69.
31	May	2019	Pioneering American guitarist, singer and songwriter with psychedelic rock band 13^th Floor Elevators Roky Erickson died in Austin Texas at the age of 71.
6	June	2019	Great American singer, songwriter, pianist and occasional guitarist Dr John died of a heart attack in New Orleans, Louisiana at the age of 77.
20	June	2019	English guitarist and former member of Pink Floyd, David Gilmour auctioned 120 of his guitars in New York, raising nearly £17m to help fight climate change. His famous Black Strat sold for £3.1m.
30	August	2019	American singer and songwriter, Lana Del Rey released her standout 6^th studio album, ‘Norman Fucking Rockwell!’ (a.k.a. ‘NFR!’).
6	October	2019	Legendary English drummer and co-founder of the rock bands Cream, Blind Faith and Baker Gurvitz Army, as well as solo artist, Ginger Baker died in hospital after a long illness in Canterbury, Kent at the age of 80.

Tailpiece

So, finally, that’s the major part of the extensive adventure now covered. Along the way, way more than 100 additional facts have been squeezed into the timeline, so somewhere around 1,700 music‑related facts. That doesn’t include the hundreds of ‘Historical Context’ facts that I think brought some of the more obscure musical events to life.

Undoubtedly, over time, more ideas and data will expand the long list of factoids further. Fortunately, these supplemental incidences won’t be lost, as they will appear on CRAVE Guitars’ quotidian ‘Musical Facts Of The Day’, which are posted daily on Twitter and Facebook.

The next article… or two… or three… will be wrapping up the voluminous subject matter in a way that I hope provides adequate closure to the lengthy journey. As there are no more decades to cover, the next episode will take a different look at what has already been covered. Intrigued by what the next slice of exposition might comprise? I hope so. Come back and find out.

In the meantime, I will be continuing my personal quest to bring you ‘Cool & Rare American Vintage Electric’ Guitar heritage for your entertainment (?!?!). This chore inevitably means the routine business of accumulating and appreciating some hopefully interesting old guitar gear. Hey, it’s a tough job but someone’s got to do it and, quite frankly, I ain’t complainin’. Much. Until next time…

CRAVE Guitars’ ‘Quote of the Month’: “The purpose of art is to stimulate an emotional reaction, regardless of what that reaction is.”

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30 Jun 2019

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

by CRAVEGuitars | posted in: History, Introduction, Observations | 0

Introduction

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

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

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

The Story of Modern Music Part IV 1940-1949

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

Historical Context 1940-1949

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

Year	Global Events
1940	Conservative MP Winston Churchill became British Prime Minister and would remain in power to lead Britain to victory in WWII. The mass evacuation of more than 330,000 allied soldiers from the beaches of Dunkirk in northern France to England took place during WWII. In WWII, the German Luftwaffe carried out the ‘Blitz’, the massive air bombardment of London, UK. The WWII aerial Battle of Britain took place in the skies over Britain and Europe.
1941	Russia entered WWII when German‑led Axis forces crossed the area covered by the German–Soviet Nonaggression Pact, thereby effectively invading the Soviet Union. The classic motion picture film, ‘Citizen Cane’ directed by and starring Orson Welles was released. After 14 years of labour, the Mount Rushmore National Memorial in Black Hills, South Dakota was opened to the public, depicting the massive sculptures of four American presidents; George Washington, Thomas Jefferson, Theodore Roosevelt and Abraham Lincoln. America joined WWII after the Japanese attacked Pearl Harbor in Hawaii.
1942	The classic movie, ‘Casablanca’ was premiered, starring Humphrey Bogart and Ingrid Bergman.
1943	The world’s largest office building and headquarters of the United States Department of Defense, The Pentagon, was completed in Virginia.
1944	Operation Overlord (commonly known as ‘D-Day’) saw 150,000 allied troops successfully storm the beaches of Normandy in France against German defences.
1945	Germany surrendered to the allied forces, effectively ending WWII in Europe. U.S. atomic weapons testing was undertaken at the Trinity nuclear test site in New Mexico as part of the research & development programme known as the Manhattan Project. Two American atomic bombs were dropped on Hiroshima and Nagasaki in Japan leading to unconditional surrender and the formal end of WWII. Over 60 million people were killed during the conflict. The United Nations (UN) organisation was formed, with a mission to maintain international peace and security. Democrat Harry S. Truman became 33^rd President of the U.S.A. following the death of Franklin D. Roosevelt. The Nuremburg Trials began; a military tribunal established to prosecute the most prominent political and military leaders of Nazi Germany for war crimes during WWII.
1946	ENIAC (Electronic Numerical Integrator and Computer), the first programmable electronic computer was unveiled at the University of Pennsylvania.
1946/ 1947	The Cold War between Russia with its neighbouring Eastern Bloc states and America with its western allies started and lasted until the collapse of Communism and the Soviet Union between 1889 and 1991. The transistor semiconductor was developed by American technology company, Bell Labs in New Jersey.
1947	Italian motor company Ferrari started production of luxury sports cars in Modena. American test pilot Captain Chuck Yeager became the first person to break the sound barrier in level flight in a rocket-propelled Bell X-1 aircraft that he nicknamed ‘Glamorous Glennis’, achieving a recorded top speed of Mach 1.06 (807.2mph) at an altitude of 45,000 ft.
1948	British author George Orwell wrote his prophetic dystopian novel, ‘1984’. The independent state of Israel was established after the British pulled out of Palestine. The British National Health Service (NHS) was founded and would become the model for universal health care in the country. The NHS was part of the wider liberal welfare state system reforms that were implemented the UK.
1949	The Communist People’s Republic of China was proclaimed by Chairman Mao Zedong. The North Atlantic Treaty Organisation (NATO) was formed comprising 29 independent member states committed to mutual defence in response to an attack by any non‑member countries.

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

Musical Genre Development 1940-1949

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

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

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

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

Musical Facts 1940-1949

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

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

Day	Month	Year	Music Fact
–	–	1940	American blues/rock guitarist, singer and songwriter, Seasick Steve was born c.1940 or 1941 (date not disclosed) in Oakland, California.
27	July	1940	Billboard magazine published its first Music Popularity Chart. Topping the chart at No. 1 was Tommy Dorsey with his hit song, ‘I’ll Never Smile Again’.
9	October	1940	Massively influential of English singer, songwriter, guitarist, former member of The Beatles and successful solo artist, John Lennon MBE (1940-1980, 40) was born in Liverpool.
26	November	1940	Hugely influential English folk guitarist, Davey Graham (1940-2008, 68) was born in Market Bosworth, Leicestershire.
21	December	1940	Prolific genius, American guitarist, singer, songwriter and composer, the one and only Mr Frank Vincent Zappa (1940-1993, 52) was born in Baltimore, Maryland.
9	January	1941	Legendary perennial American folk/protest singer, songwriter, guitarist, and political activist, Joan Baez was born in Staten Island, New York.
15	January	1941	Influential American rock singer, songwriter and musician, Don Van Vliet (better known as Captain Beefheart) was born in Glendale, California.
24	January	1941	Acclaimed American singer, songwriter, guitarist and actor Neil Diamond was born in Brooklyn, New York.
24	January	1941	English folk singer, songwriter and guitarist Michael Chapman was born in Leeds, Yorkshire.
14	February	1941	Prolific English studio session guitarist Big Jim Sullivan (1941-2012, 71) was born in Uxbridge, Middlesex. Sullivan appeared on about 750 chart singles including 54 chart toppers.
24	April	1941	Australian virtuoso classical and contemporary guitarist, as well as one-time member of instrumental fusion rock group SKY, John Williams was born in Melbourne.
24	May	1941	Nobel prize-winner for literature, American folk/rock singer, songwriter and guitarist, Bob Dylan was born in Duluth, Minnesota.
18	July	1941	Influential country/blues/rock guitarist and singer songwriter, Lonnie Mack (1941-2016, 74) was born in West Harrison, Indiana.
14	August	1941	American singer, songwriter and guitarist, founder of The Byrds and Crosby, Stills & Nash, Hall of Famer, David Crosby was born in Los Angeles, California.
20	August	1941	The ‘grandfather of space rock’, English guitarist, singer, songwriter and co-founder of psychedelic rock band Hawkwind, Dave Brock was born in Isleworth, Middlesex.
13	October	1941	Living legend, American singer, songwriter, guitarist, formerly half of Simon & Garfunkel and a successful solo artist, Paul Simon was born in Newark, New Jersey.
21	October	1941	Multi-Hall of Famer, American guitarist, songwriter, record producer and member of Stax Records’ house band Booker T. & the MG’s, Steve Cropper was born in Dora, Missouri.
28	October	1941	English guitarist, singer and songwriter, best known for his uniquely distinctive work with The Shadows, Hank Marvin was born in Newcastle upon Tyne.
2	November	1941	English guitarist, singer, songwriter and producer, best known as an original member of instrumental pop/rock band The Shadows, Bruce Welch OBE was born in Bognor Regis, West Sussex.
20	November	1941	Great American singer, songwriter, pianist and occasional guitarist Dr John was born in New Orleans, Louisiana.
4	January	1942	English jazz/rock fusion guitarist, composer, solo artist and member of Mahavishnu Orchestra, John McLaughlin was born in Doncaster, South Yorkshire.
28	February	1942	English guitarist and founding member of rock band The Rolling Stones, Brian Jones (1942-1969, 27) was born in Cheltenham, Gloucestershire.
2	March	1942	Legendary American virtuoso jazz guitarist Charlie Christian died from tuberculosis in New York at the age of just 25.
2	March	1942	American singer, songwriter and guitarist with The Velvet Underground and as a successful solo artist, Lou Reed (1942-2013, 71) was born in Brooklyn, New York.
24	April	1942	Oscar-winning American singer, songwriter, actress and film maker Barbra Streisand was born in New York City.
17	May	1942	Hugely influential American blues guitarist, singer and songwriter, Taj Mahal (a.k.a. Henry Saint Clair Fredericks, Jr) was born in Harlem, New York.
1	June	1942	Highly influential virtuoso Spanish flamenco guitarist, Paco Peña was born in Cordoba.
18	June	1942	English bass guitarist, singer, songwriter and former member of pop/rock bands The Beatles and Wings, as well as a successful solo artist, Sir Paul McCartney MBE was born in Liverpool.
13	July	1942	American singer, songwriter, guitarist and co-founder of rock band The Byrds, Roger McGuinn was born in Chicago, Illinois.
1	August	1942	Influential American singer/songwriter and guitarist with Grateful Dead, Jerry Garcia (1942-1995, 53) was born in San Francisco, California.
27	November	1942	A true music legend, American rock guitarist, singer and songwriter, the one and only James Marshall Hendrix (1942-1970, 27) was born in Seattle, Washington.
31	December	1942	English guitarist, composer, member of rock band The Police and successful solo artist, Andy Summers was born in Poulton-le-Fylde, Lancashire.
10	January	1943	American folk/rock singer, songwriter and guitarist, Jim Croce (1943-1973, 30) was born in Philadelphia, Pennsylvania.
19	January	1943	Legendary American psychedelic blues/rock singer Janis Joplin was born in Port Arthur, Texas.
25	February	1943	English singer, songwriter, guitarist and member of The Beatles, George Harrison (1943-2001, 58) was born in Liverpool.
22	March	1943	Influential American jazz/soul/R&B guitarist, singer and songwriter, George Benson was born in Pittsburgh, Pennsylvania.
2	April	1943	American jazz guitarist, the ‘Godfather of Fusion’, Larry Coryell (1943-2017, 73) was born in Galveston, Texas.
14	May	1943	Scottish bass guitarist, singer, songwriter and former member of blues rock super group Cream, Jack Bruce (1943-2014, 71) was born in Bishopbriggs, Lanarkshire.
5	July	1943	Canadian guitarist, songwriter, composer, producer and former member of Americana rock group The Band, Robbie Robertson was born in Toronto, Ontario.
26	July	1943	English singer, songwriter and occasional guitarist, a founding member of rock band the Rolling Stones, Mick Jagger was born in Dartford, Kent.
28	July	1943	Renowned American blues guitarist and Hall of Famer, Mike Bloomfield (1943-1981, 37) was born in Chicago, Illinois.
24	August	1943	American guitarist and founder of west coast rock bands Quicksilver Messenger Service and Copperhead, John Cipollina (1943-1989, 45) was born in Berkeley, California.
6	September	1943	English bass guitarist, singer, songwriter and co-founder of progressive rock band Pink Floyd, Roger Waters was born in Great Bookham, Surrey.
5	October	1943	American guitarist, singer, songwriter and bandleader, Steve Miller was born in Milwaukee, Wisconsin.
3	November	1943	Sublimely talented Scottish guitarist and founding member of folk revival band Pentangle, Bert Jansch (1943-2011, 67) was born in Glasgow.
7	November	1943	Highly influential Canadian folk, jazz, rock and pop guitarist, singer and songwriter Joni Mitchell was born in Fort Macleod, Alberta.
28	November	1943	Highly acclaimed American singer, songwriter and composer of numerous film scores, Randy Newman was born in Los Angeles, California.
8	December	1943	Iconic American singer, poet, counter-culture rebel and front man of rock band, The Doors, Jim Morrison was born in Melbourne, Florida.
12	December	1943	American guitarist, singer, songwriter, composer and founding member of rock band The Allman Brothers Band, Dickey Betts was born in West Palm Beach, Florida.
18	December	1943	Legendary English guitarist, singer, songwriter and co-founder of rock band The Rolling Stones, Keith Richards was born in Dartford, Kent.
21	December	1943	Hugely talented English guitarist and songwriter known for his country/rock hybrid picking style, Albert Lee was born in Lingen, Herefordshire.
31	December	1943	American singer, songwriter, guitarist and producer, John Denver (1943-1997, 53) was born in Roswell, New Mexico.
9	January	1944	English musical innovator and legendary guitarist, best known for his work with hard rock band Led Zeppelin, the highly influential Jimmy Page OBE was born in Heston, Middlesex.
23	February	1944	Great American blues guitarist and Blues Hall of Famer, Johnny Winter (1944-2014, 70) was born in Beaumont, Texas.
1	March	1944	English singer, actor, founder and long-term front man of rock group The Who, Roger Daltrey was born in London.
23	March	1944	Trailblazing English guitarist and founder of blues/rock band Groundhogs, Tony McPhee was born in Humberston, Lincolnshire.
15	April	1944	Welsh rock guitarist, singer, songwriter and producer Dave Edmunds was born in Cardiff.
28	May	1944	American Motown legend and award-winning ‘Empress of Soul’, the formidable Gladys Knight was born in Atlanta, Georgia.
7	June	1944	American bluegrass and country rock guitarist who was a member of rock band The Byrds and an accomplished session musician, Clarence White was born in Lewiston, Maine.
8	June	1944	American singer, songwriter and guitarist, former member of the Steve Miller Band and a successful solo artist, Boz Scaggs was born in Canton, Ohio.
17	June	1944	Respected, versatile and prolific English session guitarist, singer and producer, Chris Spedding was born in Staveley, Derbyshire.
21	June	1944	English singer, songwriter, guitarist and former front man of pop/rock band The Kinks, as well as solo artist, Sir Ray Davies CBE was born in London.
24	June	1944	Outstanding and prolific English instrumental guitar genius, as well as former member of blues/rock band The Yardbirds, Jeff Beck was born in Wallington, Surrey.
8	August	1944	Renowned English guitarist and songwriter, known for his work with Bert Jansch and folk revival group Pentangle, John Renbourn (1944-2015, 70) was born in London.
16	August	1944	English singer, songwriter and guitarist with psychedelic rock band Soft Machine, as well as a successful solo artist, Kevin Ayers (1944-2013, 68) was born in Herne Bay, Kent.
9	October	1944	Legendary English bass guitarist with rock band The Who, nicknamed ‘The Ox’, John Entwistle (1944-2002, 57) was born in London.
19	October	1944	Jamaican reggae guitarist, singer and songwriter, a member of Bob Marley & The Wailers and a successful solo artist, Peter Tosh was born in Grange Hill, Jamaica.
15	December	1944	Famous American big band leader and musician Glenn Miller was killed when the plane in which he was flying disappeared in bad weather over the English Channel during WWII at the age of 40.
18	December	1944	British guitarist, best known as member of progressive rock band Man, Deke Leonard (1944-2017, 72) was born in Llanelli, South Wales.
19	December	1944	Highly regarded English guitarist, singer, and member of blues/rock group Ten Years After, Alvin Lee (1944-2013, 68) was born in Nottingham.
3	January	1945	American guitarist, singer and songwriter, famous for his work with Buffalo Springfield and Crosby, Stills, Nash & Young (CSNY), Stephen Stills was born in Dallas, Texas.
6	February	1945	A true legend as well as a great ambassador for Jamaica and reggae music with The Wailers, Rastafarian singer, songwriter and guitarist Bob Marley (1945-1981, 36) was born in Nine Mile, Jamaica.
9	March	1945	English blues/rock guitarist who came to fame as a member of rock band Procol Harum, before embarking on a long and successful solo career, Robin Trower was born in London.
11	March	1945	American guitarist, member of Canned Heat amongst others, and one of the first to popularise the two-handed tapping playing technique, Harvey Mandel was born in Detroit, Michigan.
30	March	1945	Highly renowned English blues/rock guitarist, singer, songwriter and Hall of Famer, Eric Clapton CBE was born in Ripley, Surrey.
13	April	1945	Great American guitarist, singer and songwriter with Little Feat, Lowell George (1945-1979, 34) was born in Hollywood, California.
14	April	1945	Hugely influential English guitarist and co-founder of hard rock bands Deep Purple and Rainbow, as well as folk rock duo Blackmore’s Night, Ritchie Blackmore was born in Weston-super-Mare, Somerset.
6	May	1945	American rock singer, songwriter, guitarist, pianist and leader of the Silver Bullet Band, Bob Seger was born in Detroit, Michigan.
19	May	1945	English rock guitarist, singer, songwriter and member of The Who, Pete Townshend was born in London.
28	May	1945	American rock singer, songwriter, guitarist and former member of Creedence Clearwater Revival, John Fogerty was born in Berkeley, California.
1	July	1945	American singer, songwriter, actress and founding member of rock band Blondie, Debbie Harry was born in Miami, Florida.
31	August	1945	Northern Irish rhythm & blues singer, songwriter and producer, Sir Van Morrison OBE was born in Belfast.
4	September	1945	Amazing American ‘Redneck Jazz’ guitarist, Danny Gatton (1945-1994, 49) was born in Washington D.C.
10	September	1945	Prolific Puerto Rican guitarist, singer and songwriter, José Feliciano was born in Lares.
11	September	1945	Extraordinary American multi-genre acoustic guitarist and a true master of his instrument, Leo Kottke was born in Athens, Georgia.
26	September	1945	English singer, songwriter and former front man of glam art rock band Roxy Music, Bryan Ferry CBE was born in Washington, County Durham.
3	October	1945	American singer Elvis Presley made his first public performance at the age of 10 when he sang ‘Old Shep’ at the Mississippi/Alabama Dairy Show talent competition. Reports say he came 2^nd and won $5, while Elvis later recollected coming 5^th and not winning a prize.
31	October	1945	English guitarist, singer, producer and one time member of rock band Argent, Russ Ballard was born in Waltham Cross, Hertfordshire.
26	November	1945	English bass guitarist with rock bands John Mayall’s Bluesbreakers and then Fleetwood Mac, John McVie was born in London.
30	November	1945	Welsh bass guitarist, songwriter and producer, best known as a member of heavy rock bands Deep Purple and Rainbow, Roger Glover was born in Brecon, Powys.
24	December	1945	English bass guitarist, singer, songwriter and founder of rock band Motörhead, Ian ‘Lemmy’ Kilmister (1945-2015, 70) was born in Stoke-on-Trent, Staffordshire.
25	December	1945	English bass guitarist and member of the Jimi Hendrix Experience, Noel Redding (1945-2003, 57) was born in Folkestone, Kent.
3	January	1946	English bass guitarist, songwriter, former member of hard rock band Led Zeppelin, solo artist as well as a member of Them Crooked Vultures, John Paul Jones was born in Sidcup, Kent.
6	January	1946	English singer, songwriter, guitarist and founding member of psychedelic/progressive rock band Pink Floyd, Syd Barrett (1946-2006, 60) was born in Cambridge.
8	January	1946	American guitarist, singer and songwriter, best known as a key member of rock band The Doors, Robby Krieger was born in Los Angeles, California.
19	January	1946	Larger-than-life American country music legend, successful business woman and actress, Dolly Parton was born in Pitman Center, Tennessee.
20	February	1946	American guitarist and leader of The J. Geils Band, John ‘J’ Geils (1946-2017, 71) was born in New York City.
6	March	1946	English guitarist, singer, songwriter, and former member of Pink Floyd, as well as a successful solo artist, the incomparable David Gilmour was born in Cambridge.
12	March	1946	Oscar-winning American singer and actress, Liza Minelli was born in Los Angeles, California.
1	April	1946	English bass player, singer, songwriter and founder of rock bands the Small Faces and the Faces, Ronnie Lane (1946-1997, 51) was born in Plaistow, Essex.
4	April	1946	English guitarist and member of pop/glam rock band Slade, Dave Hill was born in Holbeton, Devon.
16	May	1946	One of the great experimental English guitarists of our time and member of progressive rock band King Crimson, Robert Fripp was born in Wimborne Minster, Dorset.
26	May	1946	Great English rock guitarist and close companion of David Bowie, Mick Ronson (1946-1993, 46) was born in Kingston upon Hull.
7	June	1946	Welsh guitarist and co-founder of progressive/psychedelic rock band Man, Micky Jones (1946-2010, 63) born in Merthyr Tydfil.
15	June	1946	English guitarist and singer with glam pop/rock group Slade, Noddy Holder MBE was born in Walsall, Staffordshire.
6	August	1946	Extraordinarily talented English virtuoso fusion/rock guitarist Allan Holdsworth (1946-2017, 70) was born in Bradford.
23	August	1946	Influential and eccentric English drummer and member of rock band The Who, Keith Moon, was born in Wembley, Middlesex.
5	September	1946	Flamboyant English singer with rock/pop band Queen, Freddie Mercury (real name Farrokh Bulsara) was born in Stone Town in the Sultanate of Zanzibar (now Tanzania).
14	October	1946	English singer, songwriter and guitarist with rock band The Moody Blues, Justin Hayward was born in Swindon, Wiltshire.
29	October	1946	Highly acclaimed and influential English guitarist and co-founder of blues/rock band Fleetwood Mac, Peter Green was born in London.
5	November	1946	American country rock guitarist with The Byrds, Gram Parsons (1946-1973, 26) was born in Winter Haven, Florida.
17	November	1946	Great English guitarist, best known as a long-term member of rock band Jethro Tull, Martin Barre was born in Birmingham.
20	November	1946	Legendary American guitarist and co-founder of the Allman Brothers Band, nicknamed ‘Skydog’, Duane Allman (1946-1971, 24) was born in Nashville, Tennessee.
22	November	1946	Jamaican bass guitarist and producer who played with reggae bands Bob Marley & The Wailers and The Upsetters, Aston ‘Family Man’ Barrett was born in Kingston.
24	December	1946	Dutch progressive rock and jazz fusion guitarist best known for his work with rock band Focus, as well as a long solo career, Jan Akkerman was born in Amsterdam, Netherlands.
30	December	1946	Influential American singer, poet and activist, part of the vibrant New York punk movement, Patti Smith was born in Chicago, Illinois.
–	–	1947	American session guitarist and collaborator, best known for his work with Steely Dan, Elliott Randall was born (exact date not known).
8	January	1947	A true legend, English singer, songwriter, occasional guitarist and actor, the one and only David Bowie (1947-2016, 69) was born in London.
22	January	1947	English punk pioneer, the manager of New York Dolls and the Sex Pistols, as well as a solo music artist, Malcolm McLaren was born in London.
30	January	1947	English ‘mod’ guitarist with rock bands Small Faces and Humble Pie, Steve Marriott (1947-1991, 44) was born in London.
3	February	1947	English guitarist, singer and songwriter who, along with his older brother Ray, provided the driving force behind pop/rock band The Kinks, Dave Davies was born in London.
14	February	1947	American multi-genre singer, songwriter and guitarist, Tim Buckley (1947-1975, 28) was born in Washington D.C.
15	March	1947	American musician, composer, songwriter and phenomenal slide guitarist, Ry Cooder was born in Los Angeles, California.
25	March	1947	Flamboyant multi-award-winning English pop singer, songwriter and pianist, Sir Elton John CBE was born in Pinner, Middlesex.
8	April	1947	Great English guitarist, songwriter and producer best known as a long-time member of progressive rock group Yes, Steve Howe was born in London.
1	June	1947	English guitarist with rock band The Rolling Stones and previously the Faces and the Jeff Beck Group, Ronnie Wood was born in Hillingdon, Middlesex.
5	June	1947	American guitarist, singer, co-founder of funk band Sly And The Family Stone, and now a Christian pastor, Freddie Stone was born in Vallejo, California.
9	June	1947	English guitarist and long-time member of rock band Uriah Heep, Mick Box was born in Walthamstow, East London.
12	July	1947	Influential English guitarist, singer, songwriter and former member of pub rock band Dr. Feelgood, Wilko Johnson was born in Canvey Island, Essex.
19	July	1947	Award-winning English guitarist, astrophysicist, animal rights activist and co-founder of rock/pop band Queen, Dr. Brian May CBE was born in Hampton, Middlesex.
20	July	1947	Highly acclaimed Mexican/American guitarist, songwriter and main man for Latin/jazz/fusion/rock group Santana, Carlos Santana was born in Autlán de Navarro, Jalisco.
3	September	1947	Northern Irish blues/rock guitarist and founder of rock group Thin Lizzy, Eric Bell was born in Dublin.
30	September	1947	Massively influential English glam rock pioneer Marc Bolan of Tyrannosaurus Rex and then T.Rex (1947-1977, 29) was born in London.
1	October	1947	English bass guitarist, singer and founding member of rock band Wishbone Ash, Martin Turner was born in Torquay, Devon.
8	November	1947	English guitarist, singer, songwriter and former member of pop/rock bands The Move, Electric Light Orchestra (ELO) and Wizzard, Roy Wood was born in Birmingham.
10	November	1947	English bass guitarist, singer and songwriter, famous for his work with progressive rock bands King Crimson and ELP, as well as a successful solo artist, Greg Lake (1947-2016, 69) was born in Poole, Dorset.
10	November	1947	American guitarist best known for working with the original Alice Cooper band, Glen Buxton (1947-1997, 49) was born in Akron, Ohio.
12	November	1947	American guitarist with rock band Blue Öyster Cult since its formation in 1967, Buck Dharma (a.k.a. David Roeser) was born in Long Island, New York.
20	November	1947	Great American guitarist, singer, songwriter, solo artist and member of country rock band Eagles, Joe Walsh was born in Wichita, Kansas.
8	December	1947	American guitarist, singer, songwriter and co-founder of the Allman Brothers Band, Gregg Allman (1947-2017, 69) was born in Nashville, Tennessee.
21	December	1947	Highly influential Spanish virtuoso Flamenco guitarist, Paco de Lucíá (1947-2014, 66) was born in Cadiz.
12	January	1948	English jazz fusion guitarist supreme and long-term member of progressive rock band Soft Machine, John Etheridge was born in London.
15	January	1948	American singer and frontman of Southern rock band Lynyrd Skynyrd, the great Ronnie Van Zant was born in Jacksonville, Florida.
2	February	1948	American guitarist, songwriter, producer and ex-member of funk band Earth Wind & Fire, Al McKay was born in New Orleans, Louisiana.
4	February	1948	Theatrical American rock singer, songwriter, actor and presenter, Alice Cooper was born in Detroit, Michigan.
19	February	1948	English rock guitarist with Black Sabbath and the ‘Godfather of Heavy Metal’, Tony Iommi was born in Birmingham.
2	March	1948	Legendary Irish blues/rock guitarist, singer and songwriter Rory Gallagher (1948-1995, 47) was born in Ballyshannon, County Donegal.
2	March	1948	American jazz fusion guitarist, composer and prolific multi‑genre session musician, the great Larry Carlton was born in Torrance, California.
4	March	1948	Renowned English bass guitarist and co-founder of progressive rock band Yes, Chris Squire (1948-2015, 67) was born in London.
6	April	1948	Talented English multi-genre guitarist and composer, Gordon Giltrap was born in Brenchley, Kent.
30	April	1948	American guitarist, singer, songwriter, producer, composer and co-founder of rock band MC5, Wayne Kramer was born in Detroit, Michigan.
15	May	1948	Pioneering experimental English composer, producer, musician and founding member of glam rock band Roxy Music, Brian Eno was born in Melton, Suffolk.
18	June	1948	Columbia Records began mass producing the 33RPM long‑playing (LP) record. The original concept of the vinyl ‘album’ has endured and has undergone a retro revival in the digital age.
19	June	1948	Highly respected English singer, songwriter and guitarist, Nick Drake (1948-1974, 26) was born in Rangoon, Burma (now Myanmar).
20	June	1948	Scottish bass guitarist and founding member of 1970s pop group, The Bay City Rollers, Alan Longmuir (1948-2018, 70) was born in Edinburgh.
22	June	1948	American singer, songwriter, guitarist and producer, solo artist and founding member of progressive rock band Utopia, Todd Rundgren was born in Philadelphia, Pennsylvania.
17	July	1948	American guitarist and songwriter with Iggy Pop and the Stooges, Ron Asheton (1948-2009, 60) was born in Washington D.C.
2	August	1948	Welsh singer, songwriter, guitarist and founding member of rock band Amen Corner, Andy Fairweather Low was born in Ystrad Mynach.
24	August	1948	French electronic composer, instrumentalist and producer, Jean-Michel Jarre was born in Lyon.
31	August	1948	German rhythm guitarist, songwriter and founder of hard rock band Scorpions, Rudolf Schenker was born in Hildesheim.
11	September	1948	Hugely influential and innovative British singer, songwriter and guitarist, John Martyn (1948-2009, 60) was born in London.
8	October	1948	Pioneering American punk rock guitarist and songwriter with the Ramones, Johnny Ramone (1948-2004, 56) was born in New York.
12	October	1948	English guitarist and long-term member of rock band Status Quo, Rick Parfitt (1948-2016, 68) was born in Woking, Surrey. ‏
6	November	1948	American guitarist, singer, songwriter, actor and founding member of country rock band Eagles, Glenn Frey (1948-2016, 67) was born in Detroit, Michigan.
3	December	1948	English singer, songwriter, TV personality and member of heavy metal rock band Black Sabbath, nicknamed ‘The Prince of Darkness’, Ozzy Osbourne was born in Birmingham.
13	December	1948	American guitarist, best known for his work with Steely Dan, The Doobie Brothers and Spirit, Jeff ‘Skunk’ Baxter was born in Washington D.C.
13	December	1948	Controversial American singer, songwriter and guitarist, known for his ultra-conservative political views, the ‘Motor City Madman’, Ted Nugent was born in Redford, Michigan.
18	December	1948	English guitarist, singer, songwriter and producer best known for his work with experimental rock band Be-Bop Deluxe, Bill Nelson was born in Wakefield, Yorkshire.
22	December	1948	American guitarist, singer and songwriter with rock band Cheap Trick, Rick Nielsen was born in Elmhurst, Illinois.
17	January	1949	English guitarist and former member of blues/rock bands John Mayall’s Bluesbreakers and The Rolling Stones, Mick Taylor was born in Welwyn Garden City.
19	January	1949	English pop/rock singer and songwriter and member of rock bands Vinegar Joe and the Power Station, Robert Palmer was born in Batley, Yorkshire.
7	February	1949	English bass guitarist and founding member of pop/rock band Status Quo, Alan Lancaster was born in London.
31	March	1949	Record company, RCA Victor released their first 45RPM 7″ single, ‘Texarkana Baby’ by Eddy Arnold… on green vinyl.
3	April	1949	English guitarist, singer, songwriter, solo artist and former member of folk rock band Fairport Convention, Richard Thompson was born in London.
4	May	1949	Scottish guitarist, best known for his work with The Sensational Alex Harvey Band in the 1970s, Zal Cleminson was born in Glasgow.
17	May	1949	English guitarist, singer, composer and founder of progressive rock band Camel, Andrew Latimer was born in Guildford, Surrey.
19	May	1949	American bass guitarist and long-term member of southern blues/rock band ZZ Top, Dusty Hill was born in Dallas, Texas.
29	May	1949	English singer, songwriter and guitarist with rock/pop band Status Quo, Francis Rossi OBE was born in London.
17	July	1949	Great English bass guitarist with heavy metal rock band Black Sabbath, Terence ‘Geezer’ Butler was born in Aston, Birmingham.
12	August	1949	British guitarist, singer, songwriter, producer, composer and co-founder of rock band Dire Straits, Mark Knopfler OBE was born in Glasgow.
20	August	1949	Irish bass guitarist, singer, songwriter and founding member of rock group Thin Lizzy, Phil Lynott, (1949-1986, 36) was born in West Bromwich, Staffordshire, England.
25	August	1949	Israeli/American bass guitarist, singer, actor, businessman and co-founder of rock band KISS, Gene Simmons, nicknamed ‘The Demon’ was born in Tirat Carmel, Haifa, Israel.
28	August	1949	English guitarist, singer, songwriter and ex-member of punk rock pioneers, The Stranglers from 1974-1990, Hugh Cornwell was born in London.
5	September	1949	English guitarist with rock bands Colosseum, Humble Pie and a successful solo artist, Clem Clempson was born in Tamworth, Staffordshire.
14	September	1949	American guitarist with southern rock band Lynyrd Skynyrd, Steve Gaines (1949-1977, 28) was born in Seneca, Missouri.
14	September	1949	American guitarist and bass guitarist with southern rock band Lynyrd Skynyrd, Ed King (1949-2018, 68) was born in Glendale, California.
23	September	1949	American living legend that is ‘The Boss’, Mr. Bruce Springsteen was born in Long Branch, New Jersey.
3	October	1949	American guitarist, singer and songwriter primarily with rock band Fleetwood Mac and now solo, Lindsey Buckingham was born in Palo Alto, California.
8	November	1949	American blues, rock, Americana roots and with a hint of country guitarist, singer, songwriter and activist, Bonnie Raitt was born in Burbank, California.
6	December	1949	American blues/folk guitarist and singer, Lead Belly (Huddie William Ledbetter) died of motor neurone disease in New York at the age of 61.
7	December	1949	Prolific and hugely influential American singer, songwriter, composer and actor, Tom Waits was born in Pomona, California.
13	December	1949	American singer, songwriter and guitarist with alternative post-punk rock band Television, Tom Verlaine was born in Denville, New Jersey.
16	December	1949	American guitarist, singer and songwriter with blues/rock band ZZ Top and solo artist, Billy F. Gibbons was born in Houston, Texas.
23	December	1949	American guitarist and singer with a long solo career and known for his work with British progressive rock band King Crimson and a host of others including Frank Zappa, David Bowie and Talking Heads, Adrian Belew was born in Covington, Kentucky.

Tailpiece

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

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

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

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

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30 Jan 2019

January 2019 – Old and New In at CRAVE Guitars

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

Intro

Well, here we are at the beginning of 2019. Wonders will never cease. We made it to the start of a new year in the history of the universe, as measured by mankind. For what it’s worth, it feels just like the universe did a human month ago but, heh, what do I know what’s been happening in the infinity of existence we call home since I last put finger to keyboard in the quest for guitar nirvana?

At the beginning of a new year, I would normally pontificate over a ‘state of the village’ observation covering what’s going on out there in guitar land. Not this year, at least not yet. I will mention that, Gibson now has a new President and CEO in James ‘JC’ Curleigh and the company was at winter NAMM in January 2019, so that’s a positive start. Here in the UK, Brexit is about to throw the country into further turmoil and mayhem that can do absolutely no good for the British music industry which is already very fragile after more than a decade of recessionary pressures. What a pathetic mess. Anyhoo… to preserve my vulnerable sanity I’m not going to expound on that any further and it’s time to get down to this month’s business‑as‑usual…

I mentioned in my end‑of‑year roundup in December 2018 that there had been a few acquisitions during the year. I also commented that the CRAVE Guitars web site hadn’t been updated for ages and things were mightily out‑of‑date. Therefore, this month, it seems time to start putting things right. Before I start, I would normally add links to the relevant web site features for the ‘new in’ gear. However, this article has been prepared ahead of publishing the features, so there is currently nothing to link to. Ggrrr. As soon as the features are in place (heck, I took the photos and wrote the narratives months ago, so no excuses!), I’ll add the links in here where they should be.

The Guitars (listed in order of acquisition)

1988 PRS Standard – First to arrive, way back in February 2018 was a stunning 1988 PRS Standard. I had been mulling over the idea of trying to get hold of an early PRS without breaking (into) the bank. I had actually been looking at a fetching early PRS CE in metallic Electric Blue when this pretty baby came to find me, purely by chance. She was local too, so no hassles over importation, couriers and all the risks that go with it.

While many punters might go for the flashy PRS Custom with figured maple cap and fancy bird fretboard inlays, I was really taken with the lovely grain of the all‑mahogany body and the understated but very attractive moon neck inlays. More importantly, it was relatively affordable compared to its more flamboyant relative (the Custom). OK, so it doesn’t have the collector‑requisites of an original case or the case candy but that made owning one achievable. More importantly, it is a very good guitar indeed with 24‑fret Brazilian rosewood fingerboard (pre‑CITES regulations and before PRS voluntarily stopped using it other than on their top‑end models). Everything that is significant, i.e. the guitar itself, is just as it should be and she plays and sounds terrific. She is also in remarkably good condition too, having been used but very well looked after. Result!

PRS guitars was founded by luthier and musician Paul Reed Smith in 1985 and this is one of the early guitars delivered from the original factory in Maryland and before PRS introduced CNC manufacturing. It may not be one of the pre‑company hand‑made instruments but they are very scarce and scarily expensive. While 1988 is modern for CRAVE Guitars, it was still early days for the fledgling PRS. I am very happy with this lovely piece of guitar history, now aging very gracefully at a mere 31 years old.

1988 PRS Standard

1978 Fender Musicmaster – Second to arrive in August 2018 was a cute little 1978 Fender Musicmaster. While this may not be everyone’s first choice as a vintage collectable, it appeared on my radar while looking for a different Fender offset (see below). The reason that this one appealed was simply that the CRAVE Guitars’ family already has Musicmasters from 1959 and 1965, so it was about adding a late example from a different decade.

By the late 1970s, the Musicmaster, like many other budget ‘Made in U.S.A.’ Fenders, was really pared down to its basics. However, it is still a very cool guitar and compares favourably to, although different from, the same model from previous decades. Presented in simple black and white, it represents a degree of purity of purpose that other, more familiar, ‘classics’ don’t exude. The covered single coil neck pickup is the same as the other ‘student’ models and has that funky sound that is characteristic of the ‘baby’ Fender lines. Good guitars from the late 1970s and early 1980s are still relatively affordable but I predict that won’t be the case for long.

All in all, I think she deserves her pride of place in the CRAVE Guitars’ clan and is a great guitar to pick up and play without having to think too much about the controls, meaning one can focus on playing. Regular readers will know that I have a thing for simple, single pickup guitars and also underrated, underdog guitars, so this modest 1978 Musicmaster scores on several fronts.

1978 Fender Musicmaster

1989 Gibson Les Paul Standard – August 2018 was a busy (-ish) time for buying. Third to arrive was a very pleasing wine red 1989 Gibson Les Paul Standard. It may seem strange to go for such a relatively ‘modern’ guitar at just 30 years old this year and right at the upper end of CRAVE Guitars’ criteria for age (pre‑1990). So what was the story here? Well… there are three reasons. The first is that one of the first ‘proper’ guitars I played was a 1970s wine red Les Paul Custom and I’ve wanted one in that gorgeous colour ever since, taking me c.40 years to achieve! The second was pure serendipity, it came up on eBay as an auction and I set a limit simply because guitars like this rarely come up for auction these days. I didn’t think that I’d win it but, lo and behold, although it reached my limit, I won and for a reasonable price too. Another result! I think that the seller was disappointed but that’s the way the cookie crumbles. The third reason is a little more intriguing. The dual humbucking pickups in this guitar are the original short‑lived Bill Lawrence‑designed HB‑L and HB‑R ‘circuit board’ pickups, which Gibson used only in 1988 and 1989. Some may criticise them but to me that is a reason to see what the fuss was about and to try them out for myself.

She certainly isn’t in museum condition but that doesn’t matter to me. I prefer a guitar to be used for its intended purpose, which inevitably means a few signs of being played. She hasn’t been abused, so no big deal, especially given that it wasn’t the most expensive Les Paul out there and certainly cheaper than a new one. A bonus is that she is very light for a Les Paul, which is refreshing. As for those pickups, well, the design is largely cosmetic. Although this guitar is not wired for it, the pickups have 4 conductors so in theory the coils could be split for added tones. To be honest, as she is, she doesn’t sound hugely different to most 1970s humbucker‑equipped Les Pauls. However, what is surprising is that I found that she plays in a different way to other Les Pauls. For some strange reason, it is one to play in a much more relaxed and laid back style. Perhaps it’s the pickups, perhaps not but, to me, it is a guitar to chill out with, rather than to thrash. All in all, it’s a great value‑for‑money guitar that’s only going to get better with age.

1989 Gibson Les Paul Standard

1971 Fender Bronco – Last but not least to arrive, also in August 2018, is a natty little bright red 1971 Fender Bronco. The Bronco was the last of the offset ‘student’ models introduced by Fender in the 1960s. As such, it is often disregarded compared to the Mustangs, Duo‑Sonics and Musicmasters. However, that fact alone makes it of interest to me. OK, so it only has a single pickup but, unlike the Musicmaster, it is located near the bridge, giving it more bite and a distinctive gnarly tone of its own. Like the Mustang, it has a vibrato bridge but unlike its older brother, it is a unique system not used on any other Fender. In my view, the Bronco deserves objective re‑appraisal within its historical context.

The backstory with this one is that it spent some time in Russia before being imported into the UK by the previous owner. That may account for the crazing in the finish that gives it a vintage mojo that suits it down to the ground. She needs a little TLC to get her back up to optimum playability including some careful work on the electrics. One feature that doesn’t affect the sound one iota is the cool use of black and silver control knobs that only appeared between 1967 and 1971. Overall, it’s not a bad little guitar for a 48‑year old. The Fender Bronco was to some extent popularised by Alex Turner of indie band Arctic Moneys, which has tended to attract the attention of collectors and push up vintage prices accordingly. It also tends to distract from the fundamentals of what is a very good, simple guitar.

1971 Fender Bronco

So, 2018 saw the acquisition of two budget Fenders from the 1970s and a Gibson and a PRS from the late 1980s. This outcome was dictated not only by a limited budget but also by space and personal circumstances during the year. In order to get the most out of them, the two Fenders really need some sensitive conservation. Despite the fact that they may not be to everyone’s taste or even qualify for what vintage snobs might consider to be ‘collectable’, I don’t care. I cannot help but express my admiration for all four of them, each in their own way. Apologies for mixing metaphors but I’ve always been one to buck a trend and swim against the tide. On reflection, it wasn’t a bad outcome at all for what was otherwise a demure year.

The Amp

The CRAVE Amps family has seen only one humble ‘new’ arrival during 2018. It may only be modest but it is as welcome as any other adoption.

1978 Fender Champ – you may ask why go for a 1970s ‘silverface’ Champ, especially when there is already a Vibro Champ from the same era in the family? The answer is partly one of keeping things as simple as possible (spot the trend here?) and, once again, opportunity. One came up on eBay and, completely unable to resist temptation, it just had to be mine! Even better, it’s a UK model wired for 240V mains. After not being used for a couple of months, it’s crackling a bit, so it may be in need of a service.

I rate these dinky little Class A valve amps and believe they deserve a much stronger reputation than the unwarranted perception of a beginner’s ‘toy’ amp, when compared to Fender’s bigger ‘classic’ amps. They are light, take up hardly any room and are fine for practice, it breaks up into distortion beautifully and works well as a good platform for effect pedals, particularly in a practice or studio environment. All‑in‑all, a solid little vintage valve amp. What’s not to like?

The Champ is clearly part of the Fender family both sonically and visually, just more compact and, in my view, cuter in all respects. Its simplicity doesn’t mean that it should be overlooked. For information, despite what the purists may assert, the ‘silverface’ Champ retains the electronic design of its predecessors and only the aesthetics changed. The point is that, where it really matters, this is a worthy little amp with quality fundamentals that are now beginning to be appreciated and much emulated by modern high‑end boutique amp builders. That Leo Fender bloke certainly knew what he was doing, even if he was running Music Man when this particular Champ was born in Fullerton, CA.

1978 Fender Champ

The Effect Pedals

Also ‘new in’ at CRAVE Effects in 2018 were a number of vintage (and, as it turns out, not so vintage) analogue effect pedals. I’ve tended to go for the popular brands to which I was exposed as a teenager, so the focus is very much on two American brands – Electro‑Harmonix and MXR Innovations – and two Japanese brands – BOSS and Ibanez. The era of interest is essentially but not exclusively from the mid‑1970s to the mid‑1980s.

Given the choice, the ‘Made in U.S.A.’ effects have always been my favourites, especially the whacky Electro‑Harmonix stomp boxes. This doesn’t mean that I’m not open to other brands, e.g. Maestro, Dod, etc. They are just the ones which I have more knowledge about and experience of using. There are so many options out there, one has to have some sort of rationale to limit the obsession.

The advantage of effects is that they are often relatively cheap to acquire and they don’t take up much room. To keep things brief, I will summarise by brand in alphabetical order.

Boss

1979 BOSS PH-1 Phaser – I already have a green PH-1 but it is ‘player’ grade, so there was an element of upgrading involved here. The incumbent worked fine but it wasn’t in totally original condition, so a slightly better and older one was found. I’ve previously written about the PH-1 and this was essentially a direct replacement, so I won’t repeat that here. Expect the old one to appear on eBay UK at some point.

1979 BOSS PH-1 Phaser

1980 BOSS CE-2 Chorus – The sky blue CE‑2 is a highly regarded ‘classic’ pedal by those in the know and it was a notable gap in the ‘collection’, so a nice one was procured. For once, I followed the trend and found a desirable ‘long dash’, silver screw, black ‘Made in Japan’ label version. Needless to say, it lives up to its envious reputation with a lovely analogue warmth and is simplicity itself to use. It is one of those that cost more than it is worth but, in this case, it was just about justifiable.

1980 BOSS CE-2 Chorus

1986 BOSS PSM-5 Power Supply & Master Switch – The red PSM‑5 is a bit of an oddity in that it isn’t an effect at all. It actually serves two functional purposes for other effects. The first is as a PSA power supply for a number of pedals. This isn’t much use to me, as most of the BOSS pedals are the earlier ones requiring an ACA supply (which actually provide up to 12V, rather than 9V). The second is as a simple effect loop, which can be of use in a basic multi‑pedal setup. It was also a cheap impulse purchase in a weak moment, so here it is.

1986 BOSS PSM-5 Power Supply and Master Switch

Electro-Harmonix

1998 Electro Harmonix Small Stone Phase Shifter – Now this is an anomaly. For one thing, it isn’t strictly vintage and it is outside CRAVE Guitars’ usual age criteria, i.e. up to but not beyond 1989. Electro‑Harmonix failed in c.1984 and part of its revival was to set up operations in Russia in 1990. The main two pedals made in the former USSR were the Small Stone phaser and the Big Muff fuzz (see below). They were based on the original American circuit boards but were constructed in a very different way. The rationale for these pedals piqued my curiosity enough to track them down. Operationally, the Small Stone is very similar to its American predecessor and it sounds as you might expect. The main draw, though, is the distinctly OTT soviet military aesthetic in sinister black and red finish. I thought it was cool enough to live alongside its vintage counterparts.

1998 Electro-Harmonix Small Stone (Russian)

1999 Electro-Harmonix Big Muff ϖ – This is the other non‑vintage pedal from the resurrected Russian incarnation of Electro‑Harmonix. This one isn’t one of the early tank‑like khaki versions, mainly because the soviet manufacturer used proprietary parts that can be a devil to maintain. EHX learnt from this and released the smaller black and yellow version which used more standard components. Crucially, this Big Muff is aurally very different from its American forebears, much more polite and with a different tone altogether. Some say that is modelled more on the Bass Muff, which may explain its tamer timbre. As such, it remains a curiosity in the EHX canon so, as with its eastern bloc comrade above, the black Russian Big Muff gets a look in.

1999 Electro-Harmonix Big Muff π (Russian)

1980 Electro-Harmonix Zipper Envelope Follower – Now we are talking the genuine article. Back in the day when I was playing psychedelic/space rock guitar, I used a Zipper alongside the Electro‑Harmonix Memory Man (echo) and Electric Mistress (flanger). While I have other envelope followers in the ‘collection’, there is nothing before or since quite like the ‘Made in NYC’ Zipper for creating touch sensitive filter sweeps. A vintage Zipper just had to (re‑)join the family and I am glad to say that it is as fantastic as I remember. Far out, man.

1980 Electro-Harmonix Zipper Envelope Follower

Ibanez

1982 Ibanez AD9 Analog Delay – here is another replacement pedal. The existing one works fine but has an unpredictable tendency to lose repeats, which can be irritating. Whether there is a fault I don’t know but I had to find out. The ‘new’ one is much better and works as anticipated. I can now appreciate why the AD9 has become a desirable classic analogue delay on the vintage market. I still prefer my EHX Memory Man but this one almost gives it a run for its money. I’m glad to have it along for the ride. I see the outgoing AD9 as a ‘player’ grade example that may well appear on eBay in due course for someone not so fussy to play with.

1982 Ibanez AD9 Analog Delay

1981 Ibanez AF-201 Auto Filter – My quest to find a creditable challenger to the EHX Zipper led to me track down the rare and collectable ‘0’ series AF-201. It is truly an intriguing little beast with a lot more controllability over the analogue filter’s parameters. Lots of sliders and switches but no rotary knobs at all. Therein lies its weakness for me. Finding just the right combination of controls can take a bit of exploration and it can be hard to recall a particular setting. What it does, it does well and it is a fascinating pedal to experiment with. The AF‑201 takes a different approach to other envelope filters.

1981 Ibanez AF 201 Auto Filter

1981 Ibanez GE-601 Graphic Equalizer – To be honest, I have never been a fan of graphic equalizers either in hi‑fi or guitars – very 1970s. However, I admit that the ability to tweak EQ can be useful in certain circumstances. After acquiring the MXR version also in 2018 (see below), I thought I would try the Ibanez ‘0’ series equivalent. They both do the same job and the Ibanez has the major advantage of a foot switch, so instant tonal variation can be applied, which also means that it doesn’t have to be ‘always on’. The downside for me is that it doesn’t have the boost/cut range of the MXR and therefore doesn’t work so well as a creative tool. I guess you pays your money and takes your choice depending on what you want to use it for.

1981 Ibanez GE-601 Graphic Equalizer

1983 Ibanez SD9 Sonic Distortion – Anyone with a solid grounding in guitar lore will be aware of the ‘holy grail’ of overdrive pedals for many, the venerable Ibanez TS‑808 Tube Screamer Pro. Well, the snot green SD9 takes the basic template and pumps it up with a shed load of steroids. A subtle pedal this is not. The ‘9’ series superseded the ‘0’ series, so it is both visually and tonally a very different animal compared to the ‘classic’ Tube Screamer. If you want more ‘meat on the bone’ without the OTT fuzziness of, say, an EHX Big Muff, the SD9 may fit the bill.

1983 Ibanez SD9 Sonic Distortion

MXR

1975 MXR Blue Box – here is another ‘upgrade’ pedal. The existing 1977 ‘script’ logo Blue Box was a bit of a bitsa. Again, it worked (if you can call what it does as working!) but it wasn’t exactly a pretty example, with a changed footswitch and baseplate. I paid well over book for the new one from a London dealer on the grounds that it was all‑original and, as is always the risk buying on the hinterwebby thing, this one arrived, also with a changed footswitch. Argh! A clear case of caveat emptor (buyer beware) if ever there was one. Other than that, it is original and in better condition. The Blue Box is a weird device combining a fuzz and an octave generator, and it sounds just as crazy as the other one – if you want manic aural chaos, this is a pedal to seek out. The outgoing one is likely to make an appearance on eBay at some point.

1975 MXR Blue Box

1976 MXR Phase 45 – The original ‘script’ logo MXR Phase 90 has become deservedly legendary over the decades. The ‘collection’ already has a vintage 1977 ‘block’ logo Phase 90, so this all‑original ‘script’ logo Phase 45 was seen as a complementary purchase. It is subtler and smoother than its big brother and, to my ears just as flattering. If you want soft swooshes, the Phase 45 is perfect and, like the Phase 90, is simplicity itself to use, just one control knob to grapple with.

1976 MXR Phase 45

1980 MXR Six Band Graphic Equalizer – I was generally scouting around for other offbeat pedals when I came across this diminutive little pedal. At the time, I didn’t have a graphic equalizer and was content to use guitar and amp controls. Then I got to thinking about what it might be able to do and the rest, as they say, is history. I took the plunge in a susceptible moment and here is the little blue SBGE (for short). It is always on, so no footswitch, which may be a limiting factor for many. However, when the cut/boost sliders are pushed to extremes (i.e. other than for basic EQ adjustment), the tonal abilities are quite fascinating. I now think of the pedal not as a glorified active tone control but as a creative utensil to transform an ordinary guitar’s limited tonal range into something else altogether. A little blue miracle worker.

1980 MXR Six Band Graphic Equalizer

Other

1970s Colorsound Swell (volume pedal) – I’m not quite sure of the age of this swell pedal without dismantling it, so for now it is just ‘1970s’. It works fine, is in very good condition and does just what it says on the tin. Volume pedals are nothing particularly exciting but they can add an extra bit of flexibility to proceedings. To be upfront, I got this one as it works better than the VOX (see below).

1970s Colorsound Swell

1960s VOX Volume/Expression – here’s another pedal that I bought on a whim, fancying a bit of the old violin‑type swell that a volume pedal could provide and I didn’t have one lying around. This one came up and, while being ergonomically modified (they originally were designed for use with VOX keyboards and came with a captive output lead), it seemed an interesting purchase. Some of these early 1960s effects are now becoming quite rare and collectable, so I couldn’t let it pass. The issue with this one is an overly scratchy potentiometer and I’m now in that dilemma of whether to replace it with a modern reliable pot or leave it for someone to decide at some point in the future. I’m still mulling that predicament over.

1960s VOX Volume

So… have any of these purchases made a great deal of difference and have they changed my opinion about vintage effects? Not really. In my view, the American pedals are just so much better suited to what I’m looking for than their Japanese and European counterparts. This is a very subjective value judgement and it should not be seen as America = good, elsewhere = bad. The far eastern pedals are very good. It’s just the way things have panned out for me personally.

The CRAVE Effects’ ‘collection’ is now much broader (although not by brand) and I have learned a lot from the experience. Sadly for the bank account, I feel the topic as a whole needs further investigation. The guitars remain the primary focus but these old analogue pedals certainly play their part in the grand scheme. Modern effect units have become, generally, far too complicated for my poor brain to comprehend, so I’ll stick with the pure and simple. No real surprise there.

There is no ‘magic’ to old/vintage gear and it won’t transform anyone into the next Van Halen. Modern tech is wonderful and that’s where the future of mainstream music production lies. The magic stems from the musician and the equipment is simply there to shape the tone that the musician hears and wants to communicate with the listener. My fascination in the ‘old school’ technology is on one hand personal preference and on the other to act as a steward of these gems the future.

Guitar Repatriation News

OK, so that’s the ‘new in’ at CRAVE Guitars from 2018. The really BIG news is actually of major significance to the enterprise and could come under a strange heading of ‘old in’ in 2019.

Now… here’s the thing… I may not have explained a particular episode from the past, so it is time to put things in context. Due to life changing events back in 2010, the majority of CRAVE’s guitars had to go into enforced exile in 2011 for as long as it would take to get things back in order. Some of them have been kept in less than ideal (but thankfully safe) storage for nearly eight years. Others have been stored on a more temporary basis having been swapped in and out over the years.

At this point, I have to give a very special shout out to my close friend Pete who looked after them for me and without his compassion (and loft space), who knows what would have happened to them. I am immensely grateful to him for doing it and putting up with me over the years. I never expected it to take as long as it has but that, I guess, is how life goes.

The major change since last month’s article is that on 21^st January 2019, a total of 42 guitars – 40 of them vintage, ranging from 1961 to 1989 – were reunited with me and the other guitars that were already here. While it is a massive relief to have them all in the same place again, their arrival presents two specific challenges that now must be addressed during 2019.

Repatriation Guitar Cases

The first is to work through the guitars, evaluate their condition and assess what remedial work needs to be done. I am certain that some major TLC will be required to get them all back into good playing order. At best, this will mean a general setup, cleaning and pampering, checking electrics and all the variables associated with corrosion, restringing them all, and playing them back to health. Guitars should be played to keep them in tip top condition, so that is one particular task that I’m looking forward to.

As Cheap Trick guitarist Rick Nielsen said, “Guitars are meant to be played, and they’re happiest when they’re making music”. The improvement in the Melody Maker after a few days of being used was proof positive.

Note: I hate re‑stringing guitars at the best of times but this will be a mammoth trial of endurance, a test of patience and a pitting of my strength of will against bits of wire. I am convinced that guitar strings are a risk to health and potentially downright lethal!

I was encouraged by the first guitar out of its case, my cute 1964 Gibson Melody Maker. The strings were rusty and she wouldn’t get/stay in tune, a few frets choke out (easily sorted) and the volume pot is scratchy (I can’t recall if it was like that before). The finish looks a bit dull and the metalwork a bit tarnished but nothing serious. After 3‑4 days, the benefits of being played were immense; it feels like it is coming back to life and sustains beautifully. The electrics need sorting out but it looks promising and not too bad for a 55‑year old. If the other 41 are no worse, I will be utterly amazed and truly delighted. As ‘they’ say, expect the worst and hope for the best. Fingers crossed.

The second challenge, I actually alluded to back in December 2017 in my end‑of‑year roundup. The ‘new’ house has a dark, damp, grotty cellar that I was hoping to make into a suitable home for the guitars during 2018. Unfortunately, this did not happen, as other priorities had to be undertaken first, e.g. a new roof! Converting the cellar into a usable space means ‘tanking’ it to keep the space and the rest of the structure dry, as well as some means of controlling temperature, humidity, ventilation and security.

As with all good intentions, this major project was meant to be completed prior to the guitars’ repatriation. However, as most of these things go in my life, it has happened the wrong way round. It may, though, spur me onto getting the ‘guitar room’ appropriately reconditioned in 2019, resources permitting of course. I should mention that this is not some luxurious mansion with an extensive basement area, it is very small, built into a cliff, with no natural light or ventilation and, unless one is naturally vertically challenged there is no headroom, as it is only about 5 feet (1.5 metres) high, and that is before any work is done on it. Also, access to it is far from easy to put right and will never be ideal. Nevertheless, it is better than nothing and, once it is finished, it should provide safe and secure accommodation for the instruments, amps and effects. In the meantime, I’m sleeping amongst a few piles of dusty guitar cases. Still, as a self‑confessed guitar nut, there are worse things I can think of.

CRAVE Guitars – Cellar

You never know, having a wider choice of vintage guitars to play may even improve my musicianship, as they are inspiring to pick up and use – God knows, my playing needs to improve and not just to do justice to these fine instruments!

There are other benefits of reuniting the ‘collection’, other than getting to play them. I should be able to take new photographs (and perhaps even videos?!) to populate the web site. New images can accompany the revised narrative that has already been partially prepared. There may also be an opportunity to liven up social media output as, frankly, I’m bored of posting the same old pictures from a decade ago.

I have long wanted to share my passion with others who may have a similar persuasion and it would be good to feature some or all of them in some sort of publication. If anyone is interested, give me a while to spruce them up and let me know. I think they are ‘cool & rare’ and just may be of interest to a wider audience.

I am hopeful that, despite the many setbacks that have led to where things are today, this may just be the turning point in the evolution of CRAVE (Cool & Rare American Vintage Electric) Guitars that I’ve been waiting for and a launch pad to better things. One day, maybe.

Outro

I think that has caught up with most developments taking place at CRAVE Guitars over the last year. While the ‘Potted History of the Guitar’ series was a great thing to do, it’s also good to get back to the personal ethos underpinning CRAVE Guitars. The prematurely trailed follow up to the ‘Potted History’ series is having to be put back, as I haven’t yet done the background research to get started. The reintegration work associated with the no‑longer‑exiled guitars will also take up considerable time and effort in coming weeks and months, so who knows what will appear here next month. Why not come back at the end of February and find out?

The invigorating prospect of having so many great vintage instruments to hand will hopefully act as a catalyst for change and progress. I’m still not tempted to set up CRAVE Guitars as a business; I just don’t have the ‘killer instinct’ to trade and, anyway, the sentimental connection has become strong. So, it looks like the not‑for‑profit mission to conserve this particular aspect of popular music heritage will continue, at least for the foreseeable future. Whatever transpires, the venture will certainly keep me busy for a while and that has to be seen as a positive.

Just in case you didn’t know this already, vintage guitars are AWESOME!

Now… where on Earth do I start with the ‘old in’? I think it might just be a case of, ‘eenie meenie miney mo…’ and see what happens. Until next time…

CRAVE Guitars ‘Quote of the Month’: “I would rather fail at being great than succeed at being mediocre”

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