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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30 Apr 2025

April 2025 – An A‑Z of Vintage Guitar Gear: in 150 Snippets

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

Prelude

ALL PRESENT AND CORRECT, SIR, YES SIR! Here we are once again dear friends, acquaintances and anyone else who wishes to explore the Any‑Zany world of vintage gear. Spring is here folks and time to enjoy the freshness of rejuvenated nature accompanied by a suitable musical backdrop. It is a wonderful time of the year, in the northern hemisphere at least. I’ll get my monthly plea for a civilised society in our far too uncivilised world out of the way now. Even the notion of armed (or economic or social) conflict of any kind is futile and archaic in the 21^st Century. Harmony, not discord, is the key to a flourishing future and it is achievable should we care enough and value it enough. What’s wrong with a bit of peace & love? Goodness knows we need it.

After the last three articles referencing Far Eastern influences, you may be relieved to know that that is not the focus of this month’s masterpiece (Ed: conceited or what?). I started out on this article thinking that it would be fairly straightforward. By the end, I was in the ‘what on Earth was I thinking?’ frame of mind. If I want to make space and time for writing ‘The Distortion Diaries’, this really is NOT the way to go about it. When will I learn? Well, it’s done now and time to move onto the next ‘big’ thang.

A CRAVE Guitars A‑Z of Vintage Guitar Gear

Looking back over the 90‑odd monthly articles so far, I was quite surprised I haven’t tried this particular exercise or something like it before now. This month is definitely one for the list‑o‑philes out there. For all you list‑o‑phobes, you might want to sit this one out.

The following narrative is an A‑Z that covers guitar gear including guitars, basses, amps, effects, accessories, etc. In order to give enough credence to many notable names, the A‑Z comprises subjects now associated with the vintage market and the main focus is on names with a clear historical component. There could have been many more but a line had to be drawn somewhere and it ended up a conveniently rounded 150.

For the author’s fragile sanity, the exercise is specifically about guitar‑related stuff. If I had gone for a looser definition or a wider scope for musical industry, instruments, equipment and accessories, it would have proved to be unmanageably massive.

Some of these names will be familiar household names while others are going to be somewhat esoteric. Some are companies, while others are products – it’s a bit mix and match but the rationale will hopefully become clear. It is not intended to be exhaustively comprehensive and I will undoubtedly have missed some important names that readers will pick up on and no doubt berate me for not including them. However, it is MY list and I’m sticking to it, although I apologise to anyone I may have omitted or misrepresented (easy to do with such a large number of précis).

There are plenty of notable industry names not included below, such as Ashdown, Blackstar, Eastman, Eastwood, Faith, Fractal, Kemper, Line 6, Luna, Manson Guitarworks, Matamp and Suhr among many, many, many more. The focus here is primarily on producers and products. Distributors and retailers are generally not listed, including names like Chandler Music, Gruhn Guitars, Macari, Rose Morris, Sam Ash, Guitar Center, PMT, Sweetwater, Thomann, Gear4Music, etc. Some key people are included as contributors to guitar gear, rather than in their own right, such as Robert Moog and Larry Fishman. Also pro studio gear tends not make the cut here. Not everything can make the list!

The volume of available information means that the descriptions here have to be very (and sometimes overly) brief, resulting in a lot of detail being left out skewing balance. However, the A‑Z may provide an interesting launching pad for further exploration and/or investigation should you so desire. Hey, I’m not going to do everything for you!

One thing I discovered (or rather became increasingly aware of, having understood it intuitively beforehand) during the research for this article is that the global music industry has been markedly incestuous and inbred over the last 150 years or so. The industry’s relationship status could probably best be described as, ‘it’s complicated’. There has been a great deal of to‑ing and fro‑ing, buyouts, mergers, sell‑offs, liquidations, shake outs, bankruptcies, relaunches, revivals and complex interdependencies between the various players. Trying to make sense of the numerous combinations and permutations in a consistent and coherent way made my head hurt. A lot.

Due to the nature of the subject matter and the work involved, there aren’t any words‑of‑wisdom quotes/idioms or many illustrative images this month. Horses for courses and all that. I apologise that this isn’t a very ‘pretty’ blog article.

Wherever possible, I have relied on my own resources built up over many years. While I have not plagiarised content from online sources, I have relied on generalised sources such as Wikipedia, specific sources such as company/brand web sites, as well as details from various books and other publications to inform the A‑Z. I would not have been able to achieve the significant amount of information herein without seeking corroborative cross‑references as part of the research. My thanks go out to those sources, which have been of significant assistance. It probably goes without saying that there is no end of ‘information’ on all of this should you wish to delve into the endless rabbit warren that is the hinternet thingummyjig.

There was, however, a great deal of unreliable, conflicting and/or inaccurate information making collation challenging. There is, therefore, despite best endeavours, a risk that the lack of definitive facts, especially relating to dates and individuals, may have made its way into the narrative. If that is the case, I apologise pre‑emptively. For that reason alone, I do not recommend using this as a source of irrefutable factual information. It is, as always, only for entertainment and broad information. The following is pretty heavy going and may stray into nerdy nirvana. Are you sitting comfortably?

Without further ado, it’s time to get analytically and amazingly alphabetic. Following convention, we start with…

A – A Stands for…

AER	AER (Audio Electric Research) was founded in 1992 by Udo Rösner, Michael Eisenmann and Susanne Janz in the the Ruhr area of Germany. As a relative newcomer, AER has specialised in developing and manufacturing amplifiers for acoustic instruments, an under‑represented field at the time. Their slogan is, ‘the acoustic people’.
Airline	Airline Guitars was a brand used by American mail order company Montgomery Ward on a range of electric and acoustic guitars between 1958 and 1968. Like their competitor, Sears, Montgomery Ward sourced instruments from the likes of Valco, Kay and Harmony. The Airline name was also used on a range of amplifiers manufactured by Valco and Danelectro during the same period. Eastwood Guitars purchased rights to the Airline brand in the early 2000s and is still used for retro designed guitars as of 2025.
Akai	Akai Electric Company Ltd. was founded by Masukichi and Saburo Akai in Tokyo in 1946. Akai was a Japanese electronics manufacturer for many years. In the 1980s, Akai Professional focused on studio production and recording equipment and stage audio gear. The original Akai business ceased production in 2000, although Akai Professional continued manufacturing a wide range of equipment, including synthesisers.
Alembic	Alembic was founded in 1969 by Owsley Stanley (1935‑2011) in Novato, California. Alembic was, and still is, an American manufacturer of high‑end basses and guitars, Alembic was an innovator in premium bass instruments including 5‑string and graphite necks. Alembic basses have been favoured by artists such as Jack Casady, Stanley Clarke and Mark King.
Alvarez	The American Alvarez guitar brand was created in 1965 by retailer Gene Kornblum and luthier Kazuo Yairi, based in St. Louis, Missouri. The firm focused on steel‑string acoustic guitars manufactured in Japan and imported into the US. Alvarez is a private company under the ownership of St. Louis Music as of 2025.
Ampeg	The American company that became Ampeg was founded in 1946 by Everett Hull and Stanley Michaels in Linden, New Jersey. Ampeg is an abbreviation of ‘AMlified PEG’, a transducer pickup for upright acoustic basses. Ampeg’s main focus over decades has been to specialise in bass amplifiers, although it has diversified into guitar amps as well. Like many other American manufacturers, it was sold in the mid‑1960s in order to survive. Ampeg is now a brand owned by Japanese giant, Yamaha.
Aria	Aria Guitars Co. was founded in 1956 by Shiro Arai (1930‑2019) in Nagoya, Japan. Initially, Aria was a musical instrument retailer. In 1964, Aria started manufacturing acoustic guitars and, from 1966, electric guitars and basses. Aria made its name during the 1970s and changed its name to Aria Pro II in 1975. Aria currently also owns Pignose amps (see below).
Audiovox	The original Audiovox Manufacturing Co. was founded by musician and inventor, Paul Tutmarc (1896‑1972). Tutmarc was famous for the introduction of the Audiovox Model 736 Bass Fiddle – the precursor to the fretted bass guitar – in 1936. Not to be confused with another consumer electronics company bearing the same name, founded in 1960, based in Orlando, Florida.

B – B Stands for…

B.C. Rich	B.C. Rich was founded by Bernardo Chavez Rico (1941‑1999) in 1974 in LA, California. The American company is famous for manufacturing acoustic and electric guitars, and basses. B.C. Rich guitars became known for radical guitar designs that became popular with heavy metal bands, particularly during the 1980s. Budget B.C. Rich guitars are made in Asia, while high‑end boutique instruments are made in small numbers in the US. After the founder’s death in 1999, the brand changed ownership several times before returning to private ownership in 2019.
Bigsby	Bigsby was the brainchild of innovator Paul Bigsby (1899‑1968) who started building bespoke guitars for professional artists like Merle Travis and Chet Atkins in Scottsdale, Arizona from 1946. Bigsby is best known for its worldwide industry standard vibrato tailpieces used by many other brands often under licensing agreements. Bigsby sold the company to Gibson president, Ted McCarty in 1966 and it was sold again to Fender in 2019.
Binson	The Binson Amplifier HiFi Company was founded by engineer, Bonfiglio Bini in Milan in the mid‑1940s. The company is best known for its legendary portable echo and reverberation effect, the Binson Echorec introduced in 1953/1954. Uniquely, the Echorec used a magnetic disc, rather than tape loop, to record and replay the original signal. The company ceased production in 1986. The Binson Echorec name has since been revived by guitar effect company T‑Rex.
Bogner	Bogner Amplification was founded in 1989 by Reinhold Bogner in LA, California. Bogner is an American manufacturer of guitar amps, speaker cabinets and effect pedals. The company started out making boutique amps based on modified Fender and Marshall amps before moving into mainstream production with three discrete amp lines.
BOSS	BOSS is a division of the Roland Corporation that was formed in 1972 in Osaka, Japan. BOSS focuses mainly on the manufacture of compact guitar and bass effect pedals, as well as modern multi‑effect units and amplifiers. The company started making its familiar compact BOSS effect pedals in 1977, first in Japan until c.1990 and then in Taiwan and latterly Malaysia. BOSS has become one of the biggest names in guitar and bass effects.
Burns	Burns Guitars London is a manufacturer of electric guitars and basses, founded in 1959 by Alice Farrell and Jim Burns (1925‑1998) in London, England. After a period of success during the 1960s, the Baldwin Piano Company acquired the business and the original Burns guitar line ceased production in 1970, although Jim Burns continued to make guitars independently. A range of Burns‑branded guitars re‑appeared in 1992 with guitars made in the Far East.
Buzz Feiten	Howard ‘Buzz’ Feiten II (1948‑) is a musician and luthier notable for patenting a unique tuning system for guitars in 1992. The Buzz Feiten Tuning System (BFTS) for fretted instruments is intended to correct inherent intonation issues by replacing a guitar’s standard fingerboard nut with a specialised compensated version. In 2012, Buzz Feiten Guitars was formed, renamed Buzz Feiten Guitar Research in 2018.

C – C Stands for…

Carlsboro	Carlsbro is a guitar amplifier company, founded in 1959 by Stuart and Sheila Mercer in Nottingham, England. It is one of the oldest British guitar amp makers. In 2002, production was shifted overseas and in 2010 the company was acquired by the Chinese Soundking Group.
Carvin (Kiesel)	The American Carvin Corporation was founded in 1946 by Lowell Kiesel (1915‑2009) based in San Diego, California. Carvin guitars and basses were popular with rock and metal guitarists during the 1970s and 1980s. After Kiesel’s death, the company was split into Kiesel Guitars and Carvin Corporation, the latter mainly covering audio equipment.
Charvel	Charvel is an American guitar company founded in 1974 by Wayne Charvel in Azusa, California. Charvel sold the company to Grover Jackson (of Jackson Guitars) in 1978. Charvel guitars were popular with rock and metal guitarists during the 1980s. After several changes, both Charvel and Jackson brands were acquired by Fender in 2002.
Collings	The American Collings Guitars company was founded in 1973 by Bill Collings (1948‑2017) in Austin, Texas. Collings manufacture a wide range of high quality acoustic, arch top and electric guitars, as well as other fretted instruments including production of quality mandolins and ukuleles.
Colorsound	Guitar effect brand Colorsound was formed in 1967 by brothers Larry and Joe Macari in London, England. Colorsound pedals were manufactured by another Macari‑owned company, Sola Sound. Colorsound is probably best known for the iconic Tone Bender fuzz pedal, made famous by rock guitarists in the 1960s and 1970s.
Columbus	Columbus was a brand name used by the American importer Elger Guitars on entry level copies of Gibson, Fender and Rickenbacker guitars. The flagrant copies were made in the Far East by the Japanese manufacturer, Hoshino Gakki Gen. Elger used the Ibanez name in the US and Columbus in the UK.
Coral	In 1967, the giant MCA company acquired guitar manufacturer Danelectro (see below) and introduced the short‑lived Coral brand with instruments produced in Danelectro’s Neptune City, New Jersey facility between 1967 and 1969. The brand is best remembered for its distinctive instruments like the Coral Bellzouki and the Coral Sitar.
CSL	The CSL brand name was used by Charles Summerfield Limited, based in Gateshead, England. During the 1970s, CSL distributed guitars in the UK that were manufactured by FujiGen Gakki in Matsumoto, Japan. At the time, FujiGen was known for supplying guitars for other brands including Ibanez, Fender, Yamaha and Greco. CSL guitars were mainly blatant ‘lawsuit era’ copies of Fender, Gibson and Rickenbacker models. CSL ceased trading in 1993.

D – D Stands for…

D’Angelico	D’Angelico was founded by master luthier John D’Angelico (1905‑1964) in 1932, in Manhattan, New York. D’Angelico built a strong reputation for hand built archtop guitars created in small numbers during the 1930s. Original instruments are now highly sought after. After D’Angelico’s death, the business (but not the name) was bought by former apprentice Jimmy D’Aquisto (see below). The D’Angelico brand was re‑launched in 1999 and continues as of 2025 with a range of American and Far Eastern models.
D’Aquisto	James L. D’Aquisto (1935‑1995) was an American luthier who served as an apprentice to John D’Angelico from 1952 until the latter’s death in 1964. D’Aquisto concentrated on building and repairing archtop guitars under his own name. As he predicted, he died at the same age as his mentor (59). Fender currently manufactures a range of guitars using the D’Aquisto name.
Dallas Arbiter	John E. Dallas & Sons was formed in 1875 in London, England making and selling musical instruments. Dallas imported musical instruments from Europe and the USA, including brands such as Kay, Harmony and Vega. Separately, Sound City was formed in London by Ivor Arbiter, another industry bigwig, which specialised in guitars and amplifiers. Around 1965, Dallas Music acquired the Arbiter‑Western company thereby creating Dallas Arbiter, which produced drums, guitars and basses under the Hayman brand. Dallas Arbiter is, though, best known for the iconic Fuzz Face effect pedal, manufactured from c.1966 to 1975 (and which has been reissued many times since). Dallas Arbiter went out of business in 1975.
Dan Armstrong	Dan Kent Armstrong (1934‑2004) was an American guitarist and luthier born in Pittsburgh, Pennsylvania. After opening his own business in 1965, Armstrong designed an innovative range of guitars for Ampeg in 1968 using bodies made from clear Plexiglas (a.k.a. Lucite), a synthetic polymer. The instruments also used interchangeable pickups designed by colleague Bill Lawrence. In the 1970s, Armstrong moved to England and designed a new range of traditional guitars, basses, effects and amps. In 1998, a Plexiglas Dan Armstrong guitar was reissued, made in Japan.
Danelectro	American company Danelectro was founded in 1947 by Nathan Daniel (1912‑1994) in Neptune City, New Jersey. ‘Dano’ made distinctive semi‑hollow guitar and bass bodies made from poplar or plywood frames faced with Masonite front and back and with vinyl tape binding. The instruments also used characteristic ‘lipstick’ single coil pickups and ‘coke bottle’ headstocks. MCA bought Danelectro in 1966 and ceased guitar production in 1969. The brand was revived in the 1990s focusing intermittently on guitars/basses, effect pedals and amps. Danelectro is currently owned by Evets Corporation.
DeArmond	Harold DeArmond (1906‑1999) was an American electrical designer who founded DeArmond Research in Toledo, Ohio to develop a magnetic guitar pickup in 1935, working with Bud Rowe, owner of Fox Electrical and Manufacturing. The first acoustic guitar pickups were manufactured in 1939. In 1940, production was consolidated as Rowe Industries. Although best known for guitar pickups, Rowe introduced a tremolo effect pedal in 1941, the first of its kind. By the time Harry DeArmond retired in 1976, his company had made over 170 different types of pickup, as well as many amplifiers and effect pedals. In c.1998, Fender acquired the rights to use the DeArmond name.
Dean	Dean Guitars was founded in 1976 by Dean Zelinsky in Chicago, Illinois. Dean originally made a variety of guitars for many famous artists. Zelinsky sold Dean in 1986, which continued in business but with little connection to the original company. Professional musician Elliott Rubinson of Armadillo Enterprises bought the business in 1997 and successfully rejuvenated the Dean Guitars brand with a range of products from Far Eastern budget models to US‑built custom shop instruments. The late guitarist Dimebag Darrell was a key endorsee.
DiMarzio	Larry DiMarzio started making guitar pickups in Staten Island, New York in the 1960s. DiMarzio became famous for manufacturing after‑market guitar pickups and stock pickups for a number of brands. DiMarzio also produces a range of accessories and merchandise. DiMarzio Inc. continues to make a wide range of products including around 200 types of guitar and bass pickups.
Dobro	Dobro Manufacturing Company was originally founded in 1928 by four Dopyera Brothers (Dobro is a conflation of DOpyera and BROthers). Dobro produced single cone acoustic resonator guitars to compete with National’s tricone resonator guitars. In 1932 Dobro merged with National to form the National‑Dobro Company. In the 1940s the business was sold to Valco (see below). In 1964, the Dopyera Brothers re‑introduced the Dobro name, which was eventually acquired by Gibson 1993 with guitars manufactured by Gibson subsidiary, Epiphone from 2012.
DOD (DigiTech)	DOD Electronics, deriving from the initials of founder David Oreste DiFrancesco, was formed in Salt Lake City, Utah in 1973. DOD, and its brand DigiTech, manufactures a wide range of popular guitar effect pedals. DOD/DigiTech was sold to Harman International around 1991 and then sold again to South Korean giant Cortek (owner of Cort Guitars) in 2018.
Dumble	Dumble Amplifiers was a one‑man‑band enterprise founded by reclusive Alexander Dumble (1944‑2022) to build no‑compromise hand‑made guitar amplifiers in very small numbers, often for wealthy celebrity artists. Dumble amplifiers have acquired legendary status amongst guitarists, particularly for his Dumble Overdrive Special. Commercially, the brand died along with its founder in 2022.
Dunlop	Dunlop Manufacturing was founded in 1965 by Scottish immigrant to the USA, entrepreneur Jim Dunlop (1936‑2019) in Benicia, California. Dunlop built the business from a humble start in his living room and garage to become one of the largest manufacturers of musical accessories and guitar effect pedals. Dunlop remains a private company as of 2025.

E – E Stands for…

EBow	The EBow is an innovative guitar accessory manufactured by Heet Sound Products in LA, California. The battery‑powered EBow (short for ‘electronic bow’) uses battery‑powered electromagnetism to vibrate a guitar string producing a sustained sound like a bowed violin or cello string. The sound contrasts with the rapid attack and decay of a plucked guitar string. Greg Heet invented the EBow in 1969, launched it commercially in 1976 and patented it in 1978. The EBow remains in production as of 2025.
Echoplex	Engineer Mike Battle designed the Echoplex tape delay effect unit in 1959, based on an earlier design by Ray Butts from the 1950s. The Echoplex was sold through Chicago Musical Instruments (CMI) and then Maestro, a distributor owned by Norlin (which also owned Gibson). The effect rapidly became an industry standard. In 1970, a solid‑state Echoplex superseded the valve‑driven unit, developed by Maestro. The Echoplex brand was purchased by Gibson in the 1990s and the Echoplex name was used on a line of digital looping delays. In 2019, Echoplex became a trademark of Dunlop Manufacturing.
EKO	EKO Guitars was founded in 1959 by Oliviero Pigini in Recanati, Italy. EKO manufactures classical guitars, 12‑string guitars, archtop guitars, electric guitars and acoustic bass guitars. During the 1960s, EKO became the largest guitar exporter in Europe and made guitars and effect pedals for other brands such as VOX. EKO remains a private company that continues to manufacture guitars as of 2025.
Electro-Harmonix	Electro-Harmonix (a.k.a. EHX) was founded in 1968 by musician Mike Matthews in New York City. EHX makes effect pedals and sells rebranded amplifier valves. During the 1970s, EHX manufactured a wide range of innovative affordable state-of-the art guitar effect pedals for guitarists and bass players. In the 1980s EHX stopped making effect pedals and focused on valves in the 1990s. At that time, EHX started producing a few effect pedals in Russia before returning to its roots from 2002 and continues to excel in the manufacture of guitar effect pedals.
Epiphone	What would become Epiphone in 1928 was founded by the family of Greek/Turkish immigrant luthier Anastasios Stathopoulo (1863‑1915) in 1873 in the Ottoman Empire. Initially a fiddle and lute maker, Epiphone became a major competitor to Gibson during the 1930s, especially in the manufacture of high quality archtop guitars. A struggling Epiphone was finally acquired by Gibson in 1957. Epiphone is best known for the Casino hollow body electric guitar because of an association with The Beatles. From the 1970s, Epiphone became a low cost offshore manufacturer of Epiphone‑branded copies of Gibson models.
Ernie Ball	Ernie Ball Inc. was founded in 1962 by American musician and entrepreneur Roland Sherwood Ball (1930‑2004) in San Luis Obispo, California. Ernie Ball is an instrument and accessory company, particularly known for its guitar strings. In 1972, Ernie Ball also started producing guitars. Guitars and basses are also manufactured by Music Man, which Ernie Ball bought in 1984 and now called Ernie Ball Music Man (EBMM). Ernie Ball’s son, Sterling Ball (1955‑) is the current CEO of the company, keeping it a private family business.
ESP/LTD	ESP Company Ltd was founded in 1975 by Hisatake Shibuya (1937‑2024) in Tokyo, Japan. ESP’s main business is manufacturing electric guitars and basses, as well as an OEM supplier of parts for other companies. ESP is also parent to subsidiary brand LTD amongst others. ESP and LTD guitars have been favoured by heavy metal guitarists in particular. ESP also has had an American headquarters based in LA, California since 1993. ESP’s primary competitor is rival Japanese brand, Ibanez.
Eventide	The American Eventide Inc. was founded in 1971 by recording engineer Stephen Katz, inventor Richard Factor, and businessman Orville Greene in New York City. Eventide is best known for its extensive range of premium quality studio and guitar effect pedals using digital effect processors and Digital Signal Processor (DSP) software. Eventide is now based in Little Ferry, New Jersey.

F – F Stands for…

Fender	Fender, one of the world’s most famous and important names in guitars, basses and amplifiers was founded in 1946 by Clarence Leonidas ‘Leo’ Fender (1909‑1991) in Fullerton, California. Leo Fender sold his business to CBS in 1965. Following a management buyout in 1985, Fender Musical Instrument Company (FMIC) once again became a private company. Fender is home to iconic instruments like the Telecaster, Stratocaster, Precision, Jazz Bass, Jaguar, Jazzmaster and amplifiers like the Twin, Deluxe, Bassman and Princeton. Fender also produces accessories and merchandise.
Fernandes	Fernandes Guitars was formed in 1972 from its predecessor, Saito Musical Instruments, founded in 1969 in Niizo, Japan. Fernandes is a Japanese company that produces electric and bass guitars, amplifiers and accessories. Fernandes has become one of the biggest guitar producers in Japan. Fernandes, though, is possibly best known for its Sustainer pickups that use electromagnetism to vibrate the guitar’s strings in a similar way to the eBow (see above). Fernandes also owns the Burny brand, known for making copies of Gibson guitars.
Floyd Rose	The Floyd Rose locking vibrato system (erroneously called a tremolo) was designed by Floyd D. Rose in 1976 and patented in 1979. The vibrato was intended to return the strings to accurate tuning despite extreme ‘dive bombing’ of a guitar bridge to change the pitch of strings. The system relies on firmly clamping the strings at both the nut and bridge. Floyd Rose vibratos became phenomenally popular, particularly with rock and heavy metal guitarists and the approach has been widely imitated and officially licensed.
Framus	Framus was founded in 1946 by Fred Wilfer in Luby, Czechoslovakia to make stringed instruments and to resettle German Bohemians expelled from Bohemia after WWII. Framus is a conflation of FRAnconian MUSical instruments. Framus became the largest guitar producer in Europe during the 1950s. Despite success, Framus went bankrupt in 1975. The brand was re‑introduced in 1995 by founder Fred Wilfer’s son as part of the German bass guitar manufacturer Warwick (see below).

G – G Stands for…

G&L	G&L Musical Instruments was founded in 1980 by George Fullerton (1923‑2009)(G), Leo Fender (L) and Dale Hyatt in Fullerton, California. G&L was the venture Leo Fender pursued after he left Music Man in 1979 and before Music Man was sold to Ernie Ball in 1984. G&L focused on continuing to innovate and evolve Leo Fender’s guitar and bass designs in a way that Fender (the company) couldn’t. After Leo Fender died in 1991, BBE Sound, Inc. took over the business.
Gibson	Gibson, one of the oldest, most famous and most important names in guitars was founded in 1894 by Orville Gibson (1856‑1918), in Kalamazoo, Michigan. Orville started off making labour‑intensive carved top guitars and mandolins. Lloyd Loar (1886‑1943) designed key jazz archtops like the L5 for Gibson in the 1920s. The ES‑150 was the first production ‘electric’ guitar in 1936. Collaborating with professional musician Les Paul (1915‑2009), Gibson introduced the Les Paul Model guitar in 1952. Company president Ted McCarty (1909‑2001), followed the Les Paul with the Explorer, Flying V, ES‑335, SG and many others. Gibson was sold by parent company CMI to Norlin in 1974 and was subsequently subject to a management buy‑out in 1986. Despite financial difficulties, Gibson remains a private company as of 2025.
Godin	Godin Guitars was founded by Robert Godin in Montreal, Quebec, Canada in 1972. Godin currently manufactures electric and acoustic guitars and basses under its own name, built in Canada, as well as other subsidiary brands like Seagull. Godin is Canada’s largest guitar business.
Gordon Smith	Gordon Smith Guitars was founded in 1974, named after its founders, Gordon Whitham and John Smith in Greater Manchester, England. Gordon Smith is a manufacturer of hand‑crafted electric guitars. The company is also Britain’s longest‑running electric guitar manufacturer. In April 2015 Gordon Smith Guitars was acquired by British firm, Auden Guitars, based in Northamptonshire, England.
Goya	Goya guitars (named after the Spanish artist) were manufactured by Levin, a company founded in 1900 by Herman Carlson Levin in Gothenburg, Sweden. In 1952, Goya introduced nylon‑strung acoustic guitars followed by steel‑string acoustic guitars in the 1960s. In 1976, the Goya brand was sold to CF Martin (see below). Production of Goya guitars suffered and Martin stopped selling Goya‑branded guitars during the 1990s.
Greco	Greco is a brand name used by the wholesaler Kanda Shokai Corporation, formed in 1948 in Japan. The company started selling Greco guitars in the mid‑1960s. In the 1970s, although not specifically targeted by Gibson, Greco became embroiled in the ‘lawsuit-era’ copy scandal. In 1982, Kanda Shokai was part of a joint venture with Fender Japan, making acoustic and electric guitars for the Japanese market. Various guitar models have used the Greco name on and off since the 1990s.
Gretsch	Gretsch was originally founded by German immigrant Friedrich Gretsch (c.1856‑1895) in 1883, located in Brooklyn, New York, USA. Gretsch focused primarily on guitars as a core business in the 1930s and the company hit their peak era from the mid‑1950s to mid‑1960s during the rock & roll boom. Gretsch was sold to Baldwin Pianos in 1967 and the family business has worked in partnership with Fender since 2002. Gretsch is probably best known for the iconic 6120 Chet Atkins hollow body guitar.
Guild	The Guild Guitar Company was founded in 1952 by professional guitarist and music retailer Avram ‘Al’ Dronge (1911‑1972) in Manhattan, New York. Guild intended to compete primarily with rivals Epiphone and Gretsch. Following expansion, Guild was sold to the Avnet Corporation in 1966, which moved production to Westerly, Rhode Island. Guild was sold again to Fender Musical Instrument Corporation (FMIC) in 1995. In 2014, Guild was acquired by Cordoba Music Group and moved yet again to Oxnard, California.
Guyatone	Guyatone was founded in 1933 by Mitsuo Matsuki in Yamanashi, Japan. Matsuki Manufacturing produced guitars under the Guya brand until 1940. In 1951 the Guyatone name was established for electric guitars and, in 1955, the first Guyatone solid-body electric guitar was introduced. In Japan, Guyatone guitars were sold using the Ibanez name. In the UK, Matsuki used the Antoria name and in the US, they used the Kent name. The Guyatone name is now owned by DeMont Guitars LLC.

H – H Stands for…

Hagström	Hagström was founded in 1925 by Albin Hagström in Älvdalen, Dalecarlia, Sweden. Hagström’s main business was accordions before they started making electric guitars in 1958 and subsequently amps. Hagström pioneered with the innovative H8 8‑string bass and also began to experiment with guitar synths. Hagström ceased production in 1983 in the face of stiff competition. The brand was revived in 2004 and now produces guitars in both Europe and the Far East.
Hamer	Hamer Guitars was founded in 1973 by Paul Hamer and Jol Dantzig in Wilmette, Illinois. Hamer became well‑known for building guitars and basses based on Gibson’s designs. In 1988, Hamer was acquired by Kaman Music Corporation (KMC), which owned Ovation guitars. In 2008, Fender bought KMC including the Ovation and Hamer brands. Fender closed down Hamer production in 2012. In 2015, Fender sold KMC again. In 2017, KMC revived the Hamer name with products imported into the US.
Harmony	The Harmony Company was founded in 1892 by Wilhelm Schultz. Sears, Roebuck & Co. purchased Harmony in 1916 for the latter’s ukulele business. By the 1950s, Harmony produced a wide range of instruments, peaking in the mid‑1960s. In 1975, the production of Harmony guitars ceased and the brand name was sold. In 2018, BandLab Technologies of Singapore revived the Harmony brand, producing guitars and amps made by Heritage (see below).
Heritage	Heritage Guitar Inc. was founded in 1985 by three former Gibson employees in Kalamazoo, Michigan. Heritage set up business in the old Gibson factory after Gibson had moved to Nashville, Tennessee in 1974. As of 2025, Heritage is a small‑scale manufacturer of guitars heavily based on Gibson’s traditional designs.
HH Electronics	HH Electronics was founded in 1968 by Mike Harrison, Malcolm Green and Graham Lowes in Harston near Cambridge, England. It was a manufacturer of distinctive solid state guitar, bass and PA amps, as well as speaker cabinets. In the 1990s, HH was acquired by Laney Amplification (see below).
Hiwatt	Hylight Electronics, better known as Hiwatt, was founded in 1966 by Dave Reeves in Surrey, England. Hiwatt are best known for their guitar and bass amps. As part of the 1960s and 1970s boom in high powered amps, Hiwatt (including Sound City, see below) along with its main competitors Marshall, Orange and VOX helped to cement the ‘British sound’ of rock music, contrasting with the ‘American sound’ of Fender (and its derivatives) amps.
Höfner	Karl Höfner GmbH & Co. KG was founded in 1887 by German luthier Karl Höfner (1864‑1955) in Schönbach, Austria-Hungary (now Luby in the Czech Republic). One part of the company manufactured classical string instruments while another produced guitars and basses. After WWII, Höfner moved to West Germany, where the company thrived. Höfner became closely associated with The Beatles who were seen to use Höfner guitars and basses. In 1994, Höfner was sold to British music publisher, Boosey & Hawkes. After financial difficulties, the Höfner brand was sold to a former Höfner employee in 2004.
Hohner	Hohner Musikinstrumente GmbH & Co. KG was founded in 1857 by clock maker Matthias Hohner (1833‑1902) in Trossingen, Baden‑Württemberg, Germany. While Hohner is best known for its harmonicas, the company manufactured a wide range of musical instruments, including guitars from the 1950s until c.2015. Hohner has since returned to its roots and currently produces harmonicas, melodicas, accordions and recorder flutes.
Hondo	The Hondo guitar company was founded in 1969 by Jerry Freed and Tommy Moore. Hondo was a joint venture with the Samick Company of South Korea to manufacture entry‑level acoustic and electric guitars and basses, importing them into the USA using the Hondo name. Many of Hondo’s guitars were based on, or copies of, classic American guitar designs. The Hondo name had largely disappeared by 1989 but was revived by what is now Musicorp in 1995.
Hughes & Kettner	Hughes & Kettner was founded in 1984 by brothers Hans and Lothar Stamer in in Neunkirchen, Saarland, Germany. The company focuses on manufacturing premium level amps and innovative effect pedals. H&K as built a strong reputation with a particular focus on high‑gain amplifier technology for heavy metal and hard rock.

I – I Stands for…

Ibanez

Ibanez is a guitar brand created in 1957 in Nagoya, Aichi, Japan. Ibanez is owned by Hoshino Gakki a musical instrument manufacturer founded in 1908. Ibanez began production of guitars in 1957 and were known for copies of American guitars during the 1960s. Ibanez in particular was the target for litigation by Gibson because of trademark infringements during the 1970s. Ibanez (and other) brand guitars of the period became known as ‘lawsuit‑era’ instruments. Also in the 1970s, Hoshino Gakki licensed Maxon effect pedals for sale under the Ibanez brand.

J – J Stands for…

Jackson	Jackson Guitars was founded in 1980 by American luthier Grover Jackson in Glendora, California to manufacture electric guitars and basses. Grover Jackson had worked closely with Wayne Charvel until the latter sold the Charvel name to Jackson in 1978. During the 1980s, Jackson manufactured high-quality, US‑made, custom instruments, primarily for heavy metal guitarists including Randy Rhoads. Fender acquired both Jackson Guitars and Charvel in 2002. Low budget Jackson guitars are manufactured in the Far East. Grover Jackson is now co‑owner of independent GJ2 Guitars, based in Orange County, California.
Jen	JEN Elettronica was founded in c.1969 in Pescara, Italy. Jen’s focus was to become Europe’s biggest music OEM manufacturer including guitar effect pedals. Jen was notable for manufacturing products for VOX and Gretsch among others, as well as a line of guitar effect pedals under the JEN name. Jen is best known for making the iconic wah‑wah pedal, the ‘Cry Baby’ in the 1960s. Jen failed to trademark the Cry Baby name, so any manufacturer could use it at the time.
John Hornby Skewes (JHS)	John Hornby Skewes (JHS for short) was founded in 1965 by John & Madge Hornby Skewes in Garforth near Leeds, England. Over the years, JHS has become an international company offering thousands of products including a number of JHS proprietary brands including Fret‑King, Vintage, Encore and JHS‑branded guitar effect pedals.

K – K Stands for…

Kahler	Kahler Systems International was formed in the late 1970s by Gary Kahler. The company started out making parts for other companies such as Fender and DiMarzio. The cam‑operated Kahler vibrato (not tremolo!) was introduced in 1981, just in time for the rock and metal boom of the 1980s with its associated ‘shredding’ and ‘dive‑bombing’ guitar playing styles. Kahler’s main competitor was Floyd Rose (see above). Like Floyd Rose, the focus was on maintaining tuning stability. Unusually, Kahler also produces a bass vibrato version. When demand for vibrato systems declined in the 1990s, Kahler switched to making golf clubs but returned to manufacturing guitar hardware including the classic Kahler vibrato in 2005.
Kalamazoo	Gibson was based in Kalamazoo, Michigan until 1974. Kalamazoo was also a brand name used by Gibson for archtop and flattop acoustic guitars, lap steels, banjos, and mandolins. Kalamazoo was a low cost option that many musicians needed during the Great Depression (1929‑1939). The original short‑lived Kalamazoo brand was used between 1933 and 1942. During the 1960s, Gibson temporarily resurrected the Kalamazoo name for low-cost, beginner guitars until Gibson positioned Epiphone into that market to compete with Far Eastern competition.
Kawai	Kawai Musical Instruments Manufacturing Co Ltd was founded in 1927 by Koichi Kawai (1886‑1955) in Hamamatsu, Shizuoka, Japan. The company is best known for its pianos, electronic keyboards and synthesisers. Kawai worked for Nippon Gakki (Yamaha) before setting up his own business. Koichi’s son, Shigeru took over control of Kawai until his death in 2006. Shigeru’s son, Hirotaka Kawai now runs the family business. Kawaii also bought the Teisco brand, which manufactured a range of distinctive guitars and basses.
Kay	Kay Musical Instrument Company was founded in 1931 by Henry ‘Kay’ Kuhrmeyer in Chicago, Illinois, although previous incarnations date back to 1890. Kay produced budget and pro‑level guitars, mandolins, banjos and ukuleles from 1936. Kay migrated to electric guitars and basses from c.1955. Kay was sold in 1965 and again in 1967, this time to Valco (see below) who went bust in 1968, and then sold again in 1969. The Kay name has been used intermittently over the years, often attached to instruments imported from China.
Korg	Korg Inc. (previously Keio Electronic Laboratories) was founded in 1962 by Tsutomu Kato (1926‑2011) and Tadashi Osanai in Tokyo, Japan. Korg was and is best known for their keyboards and synthesisers from the late 1960s to the 1980s. In 1987, Yamaha took temporary control of Korg until 1992. In 1992, Korg acquired British amp maker VOX (see below).
Kramer	Kramer Guitars was founded in 1976 by Gary Kramer in Neptune, New Jersey. Gary Kramer and Travis Bean had formed the Travis Bean guitar company in 1974 shortly before Kramer formed his own company. Initially, Kramer continued to use aluminium necks on guitars and basses, improving on Travis Bean’s designs. Kramer reverted to traditional wood necks from 1981. Kramer guitars and basses became associated with the rock and metal boom of the 1980s. Kramer filed for bankruptcy in 1989. Eventually, Gibson acquired the rights to Kramer in 1997 and guitars are now manufactured by Epiphone using the Kramer name. In 2005, Gary Kramer founded the independent Gary Kramer Guitars (GKG).
Kustom	Kustom Amplification was founded in 1964 by Charles ‘Bud’ Ross in Chanute, Kansas. Kustom is a manufacturer of guitar and bass amplifiers, PA systems and accessories. Uniquely, speaker cabinets were wrapped in a sparkling car upholstery material called Naugahyde, giving them a particularly standout image. Baldwin Pianos bought Kustom in 1972 and is now owned by Hanser Music Group who keep the style and spirit of the original Kustom designs going. Founder Charles Ross went on to form effect pedal company Ross Musical (see below) in c.1972.

L – L Stands for…

Laney	Laney Amplification was founded in 1967 by musician Lyndon Laney in Birmingham, England. The British Laney brand manufactured guitar and bass amplifiers, speaker cabinets and PA systems. Laney developed from its humble beginnings in Laney’s father’s garage into a major player in the global amp market. Laney remains in business as a private company, as of 2025.
Larrivée	Jean Larrivée Guitars Inc. was founded in 1967 by Jean Larrivée in Toronto, Canada. The company moved to Vancouver in 1982 then to California in 2001. Since 1977, Larrivée has manufactured a range of premium acoustic guitars, often featuring ornate inlays. Larrivée Guitars is still in production as a family business as of 2025.
Leslie	The Leslie speaker was the invention of electronic engineer Donald Leslie. Development began in the 1930s as a means for a Hammond organ to emulate the sound of a pipe organ. Production began in 1941. The speaker comprises a variable speed rotating baffle in front of the loudspeaker(s) which modulates the sound exploiting the Doppler Effect. Leslie speakers have been used by guitarists keen to obtain the signature Leslie sound. In contemporary times, many attempts have been made to imitate the sound effect, first through analogue circuits and then by Digital Signal Processing (DSP). In 1965, Leslie sold his business to CBS who, in turn sold it to Hammond in 1980. In 1992, the Japanese Suzuki Musical Instrument Corporation bought both the Hammond and Leslie brands.
Lowden	George Lowden (1952‑) is an Irish luthier based in Bangor, County Down. He founded the eponymous company, George Lowden Guitars in 1974. Lowden’s main output comprises premium nylon and steel‑string acoustic guitars although he has also dabbled in making electric solid body guitars. In an unusual move, Lowden licenses other luthiers to build guitars using the Lowden name, especially in Japan. In 2002, Lowden introduced a more affordable range of guitars, called Avalon.

M – M Stands for…

Maccaferri	Henri Selmer Paris was a company founded in 1885 in Mantes‑la‑Ville near Paris. In 1932, Selmer worked with Italian luthier Mario Maccaferri (1900‑1995) to design what are known as ‘gypsy jazz’ acoustic guitars, famously used by virtuoso Belgian/French jazz guitarist Django Reinhardt. Maccaferri guitars have a large body with thin ladder‑braced top and squared off bouts. Early sound holes were D‑shaped while later ones were oval, with a rounded cutaway on the upper treble bout. Selmer made less than 1,000 of these guitars until production ceased in 1952.
Maestro	Gibson’s parent company, Chicago Musical Exchange (CMI) had used the Maestro name on products like the legendary Echoplex tape loop echo effect (see above). From 1962, CMI was one of the first companies to move into effect pedals using the Maestro name. They launched a number of effect pedals starting with the FZ‑1 Fuzz Tone. In 1974, Norlin acquired Gibson from CMI and the company put synthesiser pioneer, Robert Moog in charge of Maestro effects. By 1979, Norlin was struggling and ceased production of all Maestro products. In 2022, Gibson revived the Maestro name and re‑launched a new range of effect pedals.
Magnatone	The origins of Magnatone date back to the late 1930s and a company called Dickerson Musical Instrument Company in California. The business was bought by Art Duhamell in c.1946, when the name was changed to Magna Electronics Company, using the brand name Magnatone. Magna manufactured a range of electric guitars and vibrato (actually tremolo!) amplifiers produced between 1937 and the mid‑1970s. In 2013, Ted Kornblum reintroduced the Magnatone brand on a range of reissued amps.
Marshall	Marshall Amplification was founded in 1962 by drummer and retailer Jim Marshall (1923‑2012) in London, England. The British company built its formidable reputation manufacturing Marshall guitar and bass amps, and speaker cabinets, starting with the classic JTM45 amp head in 1963. The Marhsall ‘stack’ became a familiar icon of rock music from the 1970s onward. Other guitarists preferred combo amps like the Bluesbreaker. In 1965, Marshall launched a sister brand, Park which made amps until 1982. Facing stiff competition from American companies like Mesa and Soldano, Marshall explored the use of solid state, rather than valve‑based amp circuits, including hybrid versions. In 2007, some former employees of Marshall left and founded Blackstar Amplification. In 2023, Marshall was sold to Swedish company Zound Industries, majority owned by the Chinese HongShan Capital Group. Marshall was nicknamed, ‘The Father of Loud’.
Martin	C.F. Martin & Company was founded in 1833 by German immigrant Christian Frederick Martin in New York City before relocating to Nazareth, Pennsylvania in 1838. C.F. Martin was an apprentice for Johann Georg Stauffer, a famous luthier from Vienna, Austria. Following consumer demand, Martin refocused its manufacturing toward steel‑strung acoustic guitars around 1921 using many key innovations to improve the company’s already strong reputation. In 1931, Martin launched its dreadnought acoustic guitar with X‑bracing, which became a best seller and industry standard, particularly the D‑18 and D‑28 models. Pre‑WWII Martin guitars are highly sought after today. Martin has also dipped its toes into solid body electric guitars and basses, as well as strings. Martin continued to innovate including the use of composite materials from the 1990s onward. The company has been family‑owned and run throughout its entire history with the great‑great‑great‑grandson of the founder, C.F. ‘Chris’ Martin IV as current president as of 2025.
Maxon	The Japanese company, Nisshin Onpa was formed in 1965 in Tokyo Japan. Maxon was a brand name used by the company for its range of guitar effect pedals from 1969. Maxon became an OEM provider for Ibanez, producing stomp boxes using the Ibanez name, including the iconic TS‑808 Tube Screamer Pro. Nisshin Onpa also marketed pedals under its own Maxon name. Maxon stopped working with Ibanez in 2002 and Maxon continues to manufacture and market its own effect pedals.
Mesa/Boogie	Mesa Engineering was founded in 1969 by Randall Smith (1946‑) in Petaluma, California. Randall started out by hot‑rodding Fender amps in his home workshop. The Mesa/Boogie nickname derived from a comment made by Carlos Santana when demoing a Mesa‑modified Fender Princeton. The Boogie amps went through a number of generations (Marks) and in the 1990s the Boogie was supplemented by high‑gain Rectifier models. Gibson acquired Mesa Engineering from Smith in 2021.
Morley	Morley Pedals was founded in 1969 by American brothers Raymond and Marvin Lubow in LA, California superseding their previous enterprise, Tel‑Ray Electronics. The distinctively rugged Morley guitar effect pedals, particularly their wah‑wah and volume pedals using electro-optical circuitry, grew in popularity during the 1970s. Chicago‑based firm, Sound Enhancements, Inc. acquired Morley in 1989.
Mosrite	Mosrite guitars was founded in 1956 as Mosrite of California by Semie and Andy Moseley in LA, California. Semie Moseley (1935‑1992) had been an apprentice at Rickenbacker and Bigsby where he learnt his craft. Mosrite guitars were known for their radical designs and innovative features, as well as the brand’s association with surf pop/rock band The Ventures. The original Mosrite company went bankrupt in 1968. Several attempts were made to resurrect the brand over intervening decades, although without much success. Semie’s daughter, Dana Moseley is keeping the name alive.
Mu‑Tron	Musitronics Corporation (a.k.a. Mu‑Tron) was founded in 1972 by former Guild employees, Mike Beigel and Aaron Newman in Rosemont, New Jersey. Musitronics was known for manufacturing a number of high-quality guitar effect pedals including their most famous effect unit, the Mu‑Tron III envelope filter in 1972, which produced an electronic wah‑wah type sound beloved by funk guitarists. Musitronics ran into financial trouble in the late 1970s and production wasn’t resumed until 2014 when Mike Beigel founded Mu‑FX.
MXR	MXR Innovations was founded in 1972 by Keith Barr and Terry Sherwood in Rochester, New York. MXR is famous for its range of guitar effect pedals, starting with the iconic Phase 90, followed by the Distortion +, Dyna Comp and Blue Box. MXR was acquired by Dunlop Manufacturing in 1987 and continues to manufacture effect pedals using the MXR name as of 2025.
Music Man	Music Man (a.k.a. MM) was the company formed in 1974 by Leo Fender and partners 10 years after Leo sold the firm that bore his name to CBS in 1965. MM made its name with the Stingray Bass introduced in 1976. Leo Fender left Music Man in 1979 and went on to found G&L in 1980 (see above). Music Man was sold to Ernie Ball Inc. in 1984.

N – N Stands for…

National

The National String Instrument Corporation was an American guitar company founded in 1927 by entertainer George Beauchamp and luthier John Dopyera in LA, California. The company started by manufacturing banjos and then acoustic resonator guitars, an innovative instrument intended to be loud enough to be heard in a big band environment. In 1932, National merged with Dobro (see above) to form the National Dobro Company. It later came under the control of Valco (see below) until the latter went bankrupt in 1968. The spirit of National resonator guitars was rejuvenated by independent company, National Reso‑Phonic Guitars founded in 1989 in San Luis Obispo, California.

O – O Stands for…

Orange	Orange Amps was founded in 1968 by musician, electronics designer and retailer Clifford Cooper in London, England. The bright orange covering on their amp heads and speaker cabinets was a distinctive aesthetic, making them instantly recognisable. It helped that the sounds were also what many guitarists and bass players were listening out for at the time. Orange partnered with Radiocraft owned by Mat Mathias, which led to the Orange Matamp amps. After a 4‑year period in which Gibson reissued amps using the Orange name, Cooper regained the brand in 1997 and production was resumed in 1998. Orange is still flourishing as of 2025.
Orville	Orville by Gibson guitars and basses were part of the Gibson Guitar Corporation, destined for the Japanese market from 1988. Japanese distributor Yamano Gakki and Gibson decided not to use the Epiphone brand name and chose Orville – after Gibson founder Orville Gibson – despite the fact that Gibson was selling both Gibson and Epiphone in Japan. Production of Orville by Gibson guitars ceased in 1998 with Gibson’s focus on promoting Epiphone Japan models.
Ovation	Ovation was founded in 1965 by aeronautical engineer Charles Kaman (1919‑2011), in Hartford, Connecticut, USA. Kaman Music Corporation (KMC) used the founder’s technical background to manufacture guitars employing composite materials, predominantly bowl‑back acoustic guitars using a synthetic material called Lyracord. Fender briefly owned Ovation from 2008 to 2014 and the business is now owned by German company GEWA Music as of 2025.

P – P Stands for…

Parker	Parker Guitars was founded in 1993 by American luthier Ken Parker with input from pickup pioneer Larry Fishman in Chicago, Illinois. Parker guitars, particularly the Fly model, used innovative composite construction including a wood core covered with a carbon fibre/resin exoskeleton to reduce weight and increase rigidity. Pickups were traditional magnetic coil split humbuckers supplemented by piezo pickups to provide acoustic‑like tones. Fingerboards comprised composite materials with stainless steel frets. The US Music Corporation acquired Parker in 2003, moving production overseas before selling the brand again to Jam Industries. Parker Guitars has been defunct since 2016, despite several efforts to revive the brand.
Patrick James Eggle	Patrick Eggle Guitars was founded in the 1990s by British luthier Patrick James Eggle in Coventry, England. He left his own company in 1994 and, after several side projects in the US and UK, he formed Patrick James Eggle Guitars producing high‑end acoustic guitars. Eggle also helped to design Faith Guitars. In 2016, Eggle switched production from acoustic to electric guitars and in 2017. Eggle has also designed guitars for the revived Shergold Guitars brand (see below).
Paul Reed Smith (PRS)	PRS, a relatively new kid on the block, was founded in 1985 by American luthier Paul Reed Smith (1956‑) in Annapolis, Maryland. PRS guitars were cleverly positioned strategically between Fender and Gibson often using flamboyant designs and highly figured tone woods, often selling for premium prices. In 2003, PRS created the highly successful SE (Student Edition) range manufactured in the Far East. PRS remains a private company as of 2025.
Peavey	American innovator, Hartley Peavey (1941‑) founded Peavey Electronics in 1965, based in Meridian, Mississippi. Peavey has grown to become one of the largest music audio equipment manufacturers in the world. Peavey is mainly known for its amps and speaker cabinets, Peavey has also manufactured acoustic and electric guitars as well as basses. As of 2025, Peavey remains a privately owned company.
Pignose	Pignose was founded in 1969 by Richard Edlund and Wayne Kimbell in Chicago, Illinois. The company focuses on the manufacture of battery‑powered guitar amps, mains‑powered practice amps and innovative travel guitars incorporating an integrated amp and speaker. The iconic Pignose 7‑100 was considered to be the first portable electric guitar amp. Since 2023, Pignose has been under the ownership of Japanese company Aria (see above).
Pro Co	Pro Co Sound is based in Kalamazoo, Michigan and is best known for a single product, the Pro Co Rat distortion effect pedal (and multiple variations thereof). The Rat – allegedly named after the rodent‑infested basement in which the pedal was designed – was the brainchild of Pro Co engineer Scott Burnham in 1974, entering full production in 1979. The Rat has become one of best‑selling distortion stomp boxes of all time.

Q – Q Stands for…

I got nothin’

R – R Stands for…

Ramírez	Ramírez Guitars was founded in 1882 by José Ramírez in Madrid, Spain. The company has been manufacturing hand‑built professional, concert‑grade classical and flamenco acoustic guitars. Ramírez has been in business for over 140 years and has remained a private family business for five generations (to‑date).
Randall	Randall Amplifier Company was founded in 1970 by Don Randall in Irvine, California. Before setting up his own business focusing on guitar amps, Randall was vice president and general manager of Fender and then the Fender Sales divisions of CBS. After Randall sold his business in 1987, it was acquired by US Music Corporation, a subsidiary of Canadian corporate group Exertis.
Regal	What would become the Regal Musical Instrument Manufacturing Company from 1901 was founded in 1896 by Emil Wulschner in Indianapolis, Indiana. Regal started out making ukuleles and tenor guitars. Regal later made resonator guitar components for National and Dobro as well as making instruments under their own brand. Regal ceased production of guitars in 1941 and closed business in 1954, Fender owned the brand for a while before it was sold again to Saga Musical Instruments in 1987, who reintroduced a range of resonator instruments using the Regal name.
Rickenbacker	Swiss immigrant Adolph Rickenbacher (1886‑1976) founded Rickenbacker Manufacturing Company in 1925 to make metal bodies for National Guitars before setting up the Ro‑Pat‑In Corporation in 1931 along with performer and inventor George Beauchamp in LA, California. In 1932, Rickenbacker became the first company to make a production solid bodied electric guitar and by 1934, the company was using the Rickenbacker name. Rickenbacker really hit its stride in the 1950s after Rickenbacker sold his company to businessman F.C. Hall. Rickenbacker International Corporation (RIC) is famous for its 300 series guitars and 4000 series basses. Rickenbacker remains a private company, with its headquarters in Santa Ana, California.
Roger Mayer	Electrical engineer Roger Mayer is a name closely associated with Jimi Hendrix among others in the 1960s. In particular, Mayer’s fame resulted from the Octavia guitar effect pedal that integrated an octave (up) generator with a fuzz distortion effect. The classic Octavia remains in production still using the Mayer name. Mayer was also involved with modifying Maestro Fuzz Tone pedals and influencing the Sola Sound/Coloursound Tone Bender fuzz pedals.
Roland	The Roland Corporation was founded in 1972 by Ikutaro Kakehashi (1930‑2017) in Osaka, Japan. Roland is a multinational company manufacturing electronic organs, synthesisers, drum machines, amps and effect pedals with many iconic models, too many to mention here. Roland was also a key player in the development, introduction and promotion of the MIDI communication protocol for electronic music equipment. Roland also owns famous subsidiaries, including BOSS, Drum Workshop, Edirol and Rhodes.
Ross	Kustom Amps was founded in 1964 by Charles ‘Bud’ Ross in Chanute Kansas. After Kustom achieved considerable success, Ross sold his company to Baldwin Pianos in 1972. At that point, Ross launched Ross Musical and released the first Ross guitar effect pedals in c.1974. While Ross manufactured a wide range of effects, three Ross pedals are noteworthy, the tan‑hued Distortion, the orange Phaser and the now legendary grey Compressor. Ross pedals were revived in c.2020 by JHS Pedals (see above under John Hornby Skewes) with reissues of the classic Ross stomp boxes from the 1970s.

S – S Stands for…

Sadowsky	Sadowsky Guitars Limited was founded in 1979 by American luthier Roger Sadowsky in Long Island, New York. Roger Sadowsky has a strong reputation for building high‑end boutique guitars and basses. From 2019, Sadowsky has remained a private company while instruments are produced by German bass manufacturer Warwick (see below).
Santa Cruz	The Santa Cruz Guitar Company was founded in 1976 by American luthier Richard Hoover in Santa Cruz, California. Santa Cruz manufactures a limited number of high‑end steel‑string acoustic and acoustic bass guitars along with baritone guitars and ukuleles. Santa Cruz remains a private company as of 2025.
Schaller	Schaller GmBH was founded in in 1945 by Helmut Schaller (1923‑1999) near Nuremberg, Bavaria, Germany. Schaller manufactures a wide range of guitar parts and accessories. Initially, Schaller focused on the development of amps and speakers before moving into manufacturing metal guitar aftermarket and OEM components used by a wide variety of companies. Schaller tuners and bridges have achieved recognition for build quality. After the deaths of founding family members by 2006, Schaller was restructured as a limited liability company (GmbH).
Schecter	Schecter Guitar Research was founded in 1976 by David Schecter in Van Nuys, California. Initially, Schecter manufactured a wide range of replacement guitar parts and accessories. In 1979, Schecter started producing its own custom made guitars based on Fender designs. By 1983, Schecter was bought out by investors and, after legal action from Fender, the company was bought again by Japanese businessman Shibuya Hisatake, owner of ESP Guitars (see above), to make high‑end custom guitars. In addition to American manufacturing, Schecter imported South Korean‑built guitars from the late 1990s. In 2012, Schecter resumed American custom shop production.
Selmer	Henri Selmer Paris was founded in 1885 by Henri Selmer in Mantes la Ville near Paris, France. Selmer started off by manufacturing professional woodwind and brass instruments. In 1928, a UK branch of Selmer was formed under the leadership of brothers, Ben and Lew Davis. In the 1930s, Selmer partnered with luthier Mario Maccaferri to produce gypsy jazz guitars (see above). They also moved into PA systems during the 1930s. In the 1950s, Selmer also went into manufacturing organs as well as importing guitars from Europe. Selmer began producing a range of guitar and bass amps prompted by the rise of rock & roll. In the 1970s, Gibson owner CMI acquired Selmer UK. From 1976, CMI’s successor Norlin started running down Selmer UK until it was shut down in the early 1980s. In 2018, the family‑owned Henri Selmer Paris was sold to European equity group, Argos Wityu.
Seymour Duncan	Seymour Duncan was founded in 1976 by Seymour Duncan (1951‑) and his wife Cathy Carter in Santa Barbara, California. Seymour Duncan is best known for manufacturing a wide range of aftermarket guitar and bass pickups, as well as effect pedals. Most pickups are American‑made although the low‑cost OEM ‘Duncan‑designed’ pickups are manufactured in South Korea. Seymour Duncan’s main competitor is DiMarzio (see above).
Shergold	Shergold Guitars was founded in 1967 by former Burns London employees Jack Golder and Norman Houlder in London, England. After producing products for other companies, Shergold started making and selling guitars under the Shergold name in 1975. Shergold ceased manufacturing guitars in 1982 and there were several subsequent failed attempts to revive the brand. Barnes & Mullins acquired Shergold in 2015 and, in 2016, British luthier Patrick James Eggle (see above) became a shareholder and helped to design a range of new Shergold models.
Shin-ei	Little known outside of Japan, Shin‑ei was a major manufacturer of guitar effect pedals from the late 1960s and throughout the 1970s. In 1968, Shin‑ei created the legendary Uni‑Vibe modulation effect made famous by Jimi Hendrix. The Uni‑Vibe’s unique tones have been much imitated since. Shin‑ei manufactured products for different companies as well as under its own name. The rejuvenated company is Honey Shin-ei LLC, based in Austin, Texas.
Silvertone	Silvertone was a brand name used by the American Sears, Roebuck & Company mail order and department store for its line of consumer electronics and musical instruments from 1916. Silvertone instruments and amplifiers were manufactured by a wide variety of companies including Danelectro, Harmony, Kay, National, Supro, Teisco and Valco. Sears stopped using the Silvertone brand in 1972. In 2001, South Korean company, Samick Music acquired the rights to Silvertone and reissued a number of instruments under the revived Silvertone brand. Samick sold Silvertone to current owners, RBI Music in 2021.
Sola Sound	Sola Sound was a British guitar effect pedal brand best known for making the iconic Tone Bender fuzz pedals. The Tone Bender first appeared in 1965, designed and built in London by electronic technician Gary Hurst. The Tone Bender derived from Maestro’s Fuzz Tone and inspired Dallas Arbiter’s Fuzz face. From 1970, Sola Sound produced Colorsound‑branded pedals. Sola Sound also made pedals for other companies, such as VOX, Marshall, Carlsboro, Rotosound, CSL and many others. Both Sola Sound and Colorsound were owned by brothers Larry and Joe Macari of London, England, known for their eponymous London retail store.
Soldano	Soldano Custom Amplification was founded in 1986 by American Michael Soldano in LA, Calirfornia. Soldano designed and manufactured high‑gain guitar amps after modifying Fender and Mesa/Boogie amps. Michael Soldano, latterly based in Seattle, Washington, sold his company to Boutique Amps Distribution in 2019.
Sound City	British amp manufacturer Hiwatt (see above) was formed in 1966. Hiwatt’s founder Dave Reeves contacted Ivor Arbiter to produce guitar amplifiers re‑badged using Arbiter’s Sound City music store name. Sound City amps became associated particularly with The Who and Jimi Hendrix.
Steinberger	Steinberger was founded in 1979 by Ned Steinberger (1948‑) in Brooklyn, New York. The company manufactured a range of electric guitars and basses designed by the founder. Steinberger was eventually sold to Gibson in 1987, which stopped selling Steinberger guitars in the mid‑1990s. The most distinctive Steinberger instruments have downsized synthetic construction bodies and necks devoid of a traditional headstock, giving the instruments a minimalistic look. Steinberger (under Gibson) licensed the design to other companies including Hohner and Cort, accounting for new models.
Stick	Stick Enterprises is the company behind the innovative Chapman Stick, an unorthodox electric musical instrument devised by jazz musician Emmett Chapman (1936‑2021), which started production in 1974. The Chapman Stick commonly comprises 8, 10 or 12 strings on an enlarged fretboard and is usually played by a ‘two handed tapping’ technique, rather than by plucking the strings. While based on a guitar, it is classified as a composite chordophone.
Stromberg	Stromberg Guitars was founded in 1906 by Swedish immigrant Charles Stromberg in Boston, Massachusetts. Stromberg started out by making banjos and mandolins until 1927 when they produced their first archtop jazz guitar. Stromberg only made around 640 guitars during the big band era, during which their guitars’ large size gave them sufficient volume to compete with loud horn sections. Production stopped in in 1955 with the death of the founder.
Supro	Supro guitars date back to 1935, made as a low‑cost brand by the National Dobro Corporation (see above). From the 1950s, Supro produced electric guitars, basses, amps and effects. National Dobro was acquired by Valco, which went out of business in 1968, at which time the Supro name was discontinued. The Supro name was revived in 2013 making guitars, amps and effects. In 2020, Supro was bought by Bond Audio.

T – T Stands for…

Takamine	Takamine Musical Instruments Manufacturing Co., Ltd. was founded in 1959 by Ozhone in Sakashita, Gifu, Japan. In 1962, the company was named after Mount Takamine in Japan. Takamine focuses on manufacturing steel‑string acoustic guitars and it has become one of the leading companies of its kind. In 1978, Takamine was one of the first firms to make acoustic/electric guitars using innovative transducers, particularly suited to live performance, as they reduced feedback. For a short period, Takamine also produced solid body electric guitars and basses. Takamine remains a private company as of 2025.
Taylor	Taylor Guitars was founded in 1974 by Bob Taylor and Kurt Listug in El Cajon, California. Taylor manufactures premium acoustic, classical and semi‑hollow electric guitars in the USA and Mexico. Taylor has become famous for its innovative manufacturing technologies, use of exotic tone woods and sustainable production processes. In 2021, Taylor Guitars became owned by its employees and in 2022, Luthier and guitarist Andy Powers became Taylor’s Chief Executive, President, and Chief Guitar Designer.
TC Electronic	TC Electronic was founded in 1976 by brothers Kim and John Rishøj in Denmark. The company specialises in a wide range of innovative music audio products and is most famous for its guitar effect products. TC Electronic is only one of several companies under the ownership of TC Group holding company. In 2015, TC Electronic was purchased by Music Group (now Music Tribe).
Teisco	Teisco was founded in 1946 by guitarist Atswo Kaneko and electrical engineer Doryo Matsuda in Tokyo, Japan. The company produced a range of esoterically designed guitars, basses and baritone guitars as well as other musical equipment including amps, synthesisers and drums. In the US, guitars were re‑badged Teisco Del Rey. In 1967, the Teisco name was acquired by Japanese company Kawai Gakki Seisakusho which ceased using the Teisco name outside Japan in 1969. In 2018, the Teisco name, along with Harmony Guitars (see above), was relaunched by BandLab Technologies of Singapore.
Thomas Organ	The Thomas Organ Company was founded in 1875 by Edward Thomas in Woodstock, Ontario, Canada. The company’s early focus was on pipe and pump organs. In the 1950s, the company invented the Thomas electronic organ. Thomas became US importer of VOX products, exemplified by the Thomas Organ Cry Baby (the Cry Baby name wasn’t trademarked). Thomas also acquired rights to make Moog synthesisers. In 1979, Thomas Organ ceased business, although the name was revived 1996 to manufacture electronic organs once again.
Tobias	Tobias Bass Guitars was founded in 1977 by Michael Tobias in Orlando, Florida. The majority of Tobias basses were cost‑effective neck‑through models. Tobias was acquired by Gibson in 1990 and production was moved to Nashville, Tennessee. In 1992, Michael Tobias left Gibson to found Michael Tobias Design making boutique bass guitars. Tobias bass guitars are manufactured by Gibson’s Epiphone division and the brand has been rejuvenated in 2025.
Tokai	Tōkai Gakki was founded in 1947 by Tadayouki Adachi in Hamamatsu, Shizuoka, Japan. Initially, Tokai focused on harmonicas and pianos as well as other instruments. In 1968, Tokai started manufacturing electric guitars alongside acoustics and, later, basses and amps. In 1972, Tokai worked with C.F. Martin to build Martin’s Sigma electric guitars. In the early 1980s, Tokai got caught up in the ‘lawsuit era’, a period during which American brands threatened Japanese businesses over design copyright infringements. Tokai was a family business until it was sold in 2021 to Grace Company Ltd.
Tom Anderson	Tom Anderson Guitarworks was founded in 1984 by American luthier Tom Anderson in Newbury Park, California. Anderson started out working for Schecter before branching out on his own making limited numbers of highly‑regarded premium boutique and custom guitars. By 1990, Anderson moved from manufacturing parts to building whole guitars. Tom Anderson remains in business as of 2025.
Trace Elliot	Trace Elliot was founded in 1979 by retailer Fred Friedlein in Romford, Essex, England. The company specialised in bass amps and speaker cabinets, and from 1989, acoustic guitar amps. In 1992, KMC (who owned Ovation) acquired Trace Elliott to focus on the US market. In 1998, the company was sold again to Gibson. Then, in 2005, Peavey acquired Trace Elliott.
Travis Bean	Travis Bean Guitars was founded in 1974 by American luthier Travis Bean (1947‑2011) and business partner Gary Kramer in California to manufacture high‑end guitars using necks made from machined aluminium. Kramer left the company in 1975 to found Kramer Guitars (see above). Bean once again toyed with guitar manufacture in the late 1990s but the potential from his innovative construction techniques was largely unrealised.
Traynor	Traynor Amplifiers was a brand founded in 1963 by electronics designer Peter Traynor in Toronto, Canada under parent company Yorkville Sound. Traynor focused on manufacturing bass and guitar amps. In 1976, Peter Traynor left due to poor health and the brand diminished over a period of years until it was revived by Yorkville in 2000, still manufacturing bass, guitar, acoustic and keyboard amps.

U – U Stands for…

Univox

Univox was a musical instrument brand founded in 1960 by Thomas Walter Jennings in Westbury New York. The company marketed Univox guitar amplifiers, guitars, keyboards and drum machines. Univox’s main claims to fame were the legendary Uni‑Vibe and Uni‑Fuzz pedals. They also distributed Matsumoku guitars, Shin‑Ei effect pedals and Korg synthesisers. In 1985, the parent company Unicord was sold to Japanese company Korg, after which the Univox brand was phased out.

V – V Stands for…

Valco	Valco was formed in 1940 by a stakeholder restructuring of the National Dobro Company. Valco manufactured a range of guitars, basses and amplifiers using a variety of brand names including National, Airline and Supro, as well as making guitars for other companies such as Sears and Montgomery Ward. However, they didn’t retail any products using the Valco name. Valco merged with Kay in 1967 before going bankrupt in 1968.
Vega	The American Vega Company was formed in 1881 by Julius and Carl Nelson in Boston, Massachusetts. At the start of the 20^th Century, the firm concentrated on banjos, mandolins and brass instruments. Vega started building guitars in the 1930s and was later acquired by C.F. Martin in 1970, primarily for its banjo expertise. In 1989 the Vega name was sold to the Deering Banjo Company who continue to make banjos using the Vega brand.
Vigier	Vigier Guitars was founded in 1980 by luthier Patrice Vigier in Grigny, Essonne, France. Vigier manufactures premium grade electric guitars, basses and strings. Vigier guitars has introduced many innovations and became particularly noteworthy for its Surfreter fretless variation on the Excalibur 6‑string guitar model.
VOX	VOX was founded in 1957 by Thomas Walter Jennings in Dartford, Kent, England. The company is mostly associated with guitar amplifiers such as the iconic AC30. From 1962, VOX also manufactured a range of electric guitars and effect pedals, often using Italian production facilities. VOX was sold to Rose Morris in 1978 and then again to the giant Japanese corporation Korg in 1992. Korg still own the VOX name as of 2025.

W – W Stands for…

Wal	Wal is a British brand of bass guitars founded in 1974 by electronic innovator Ian Waller and luthier Pete Stevens in London, England. Starting out making custom‑made bass guitars for professional players, the first production Pro Series basses started appearing in 1978 and the Custom Series in 1983. After Ian Waller died in 1988, Pete Stevens kept the business going at a low level. The company was revived under the leadership of luthier and former Wal employee Paul Herman in 2008.
Wandre	Wandre Guitars was founded in c.1957 by Antonio Vandrè Pioli in in Cavriago, Italy. Wandre manufactured a very small number of electric guitars and basses using some esoteric radical design elements until production ceased in 1968. To‑date, the Wandre brand has not been revived. Examples of Wandre instruments are highly sought after on the vintage guitar market.
Warwick	Warwick was founded in 1982 by Hans‑Peter Wilfer in Erlangen, Bavaria, Germany. Hans‑Peter was the son of Fred Wilfer, who had founded Framus (see above) back in 1946. Warwick is famous for manufacturing premium bass guitars, as well as more affordable bass models, amps and bass strings.
Washburn	Washburn Guitars was originally founded in 1883 by American businessman George W. Lyon and Patrick J. Healy in Chicago, Illinois. Washburn initially focused on guitars, mandolins, banjos, ukuleles and zithers. Washburn’s early years were particularly volatile and hard to document accurately. After bankruptcy, Regal (see above) tried to rejuvenate the brand without success. After many further changes, Washburn International was formed in 1987. Washburn bought the US Music Corporation in 2002 and was then sold on to Jam Industries in 2009. Washburn‑branded instruments are currently sourced from Indonesia and China.
Watkins (WEM)	Watkins Electric Music (WEM) was founded in 1949 by Charlie and Reg Watkins in London, England. WEM was one of the first British makers of guitar and PA amplifiers from 1954. In 1958, WEM introduced one of the first portable tape loop echo effects, the iconic Copicat. WEM amps and speaker cabinets were adopted by a wide range of British rock bands in the 1960s and early 1970s. Watkins sill manufactures small numbers of Copicat tape echo units.
Westone	The official Westone brand was formed in 1975 when Japanese company Matsumoku purchased the rights to the Westone name. Westone began by producing affordable acoustic and electric guitars, and basses. St. Louis Music registered the Westone brand in the US to import Japanese Westone guitars. The Westone name was superseded by Alvarez (see above) in 1991. Since then, a number of firms have used (or tried to use) the Westone name.

X

I got nothin’

Y – Y Stands for…

Yamaha

The massive Japanese Yamaha Corporation is the world’s largest manufacturer of music and audio equipment. Yamaha was founded as the Nippon Gakki Co. in 1887 by Torakusu Yamaha (1851‑1916) in Hamamatsu, Shizuoka, Japan. The company began as a reed organ manufacturer. In 1987, Nippon Gakki was renamed Yamaha Corporation in honour of its founder, still based in Hamamatsu. Yamaha also owns some other famous brands such as Ampeg and Line 6.

Z – Z Stands for…

Zemaitis

Zemaitis was founded in 1955 by luthier Tony Zemaitis (1935‑2002) in London, England. He hand built guitars, renowned for their engraved metal tops (created by Danny O’Brien) and later pearl inlaid tops. Zemaitis gained an enviable reputation among many famous artists. After his death, the tradition was continued by Zemaitis Guitars of Tokyo, Japan, led by the founder’s son, Tony Zemaitis Jr. and still using the metal engraving skills of O’Brien. Original Zemaitis guitars are now highly sought after.

Links to CRAVE Guitars’ Brand Features

The CRAVE Guitars’ web site currently has feature pages on 14 guitar brands. These provide a bit more detail than the above, should you wish to explore further (each link opens in a new browser tab):

Danelectro
Epiphone
Fender
Gibson
Gretsch
Guild
Kramer
Music Man
National (Dobro/Valco)
Ovation
Paul Reed Smith (PRS)
Peavey
Rickenbacker
Silvertone

Final Thoughts on ‘An Alternative A‑Z of Vintage Guitar Gear’

Well, that was a bit of a slog (at least for me). For once, there is not a great deal to add, so this will be very brief. That’s it. There you go. No point in wasting words on waffle. So, let’s move on with aplomb.

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

It seems appropriate this month to applaud the accomplishments of not one but two bands and their classic studio albums, both with an alphabetic emphasis from A(BC) to Z(Z Top). See what I did there? These two albums should prove beyond doubt that there was some great music – and MTV‑friendly pop music videos to boot – to be had in the 1980s. Without further ado, let’s dig in for some upbeat joyful musical exuberance…

ABC – The Lexicon of Love (1982): ‘The Lexicon of Love’ was the chart‑topping debut studio album by English new wave/new romantic/pop band ABC. It was released in June 1982 on Neutron Records. The astounding popularity and commercial success of the album led it to be ranked as ‘one of the greatest albums of the 1980s’. It sounds both of its time and also timeless, if you get my drift. ABC were not able to capitalise on their success and the slick 10 tracks (38 minutes) of ‘The Lexicon of Love’ remains the pinnacle of their career (to‑date).

ZZ Top – Eliminator (1983): ‘Eliminator’ was the 8^th studio album by American blues/rock band ZZ Top. It was released in March 1983 on Warner Brothers Records. Despite only reaching #3 in the UK album chart and #9 in the US Billboard 200, it proved phenomenally popular and commercially successful. Whether you remember the iconic pop music videos, the customised 1933 Ford Coupe hot rod or the spinning sheepskin‑covered guitars, the striking images and fresh sounds of the 11 tracks (45 mins) on ‘Eliminator’ couldn’t be ignored. It may not be their best but it is certainly their biggest. There is no doubt that ‘Eliminator’ launched the power trio into superstardom.

There you have it – from ABC-ZZ Top. Love or loathe these albums epitomising the excesses of the 1980s, they have both become landmarks in music history and represent the cultural zeitgeist at the time. Perhaps it is now time for a re‑appraisal of their merit within the broader historical context. Are they ‘essential listening’? I think so but, when it comes down to it, it’s up to everyone to make up their own minds. All I can do is put it out there for consideration.

BELIEVE IN MUSIC!

Tailpiece

Well, that was a lot, and I mean A LOT, of work and, for what I ask? Was it worth it? Well, for the author’s own sanity and personal development, yes. For everyone out there, that’s for you to judge. I hope it has been both informative and entertaining. Given the huge amount of work involved in compiling this A‑Z article, I intend to use a lot of it in modified form as a permanent part of the ‘Resources’ section of the CRAVE Guitars web site.

Next month, the author will face a conundrum, a dilemma, a challenge, a quandary, a predicament, a pickle and, most of all, an enigma, a paradox and a bit of a mystery (at least for now). Typically trailing trendy tantalising tantra. Intrigued? Be sure to check in, same time, same place, next month. Bye for now, y’all.

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

CRAVE Guitars’ ‘Quote of the Month’: “A picture can tell a thousand lies”

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30 Mar 2025

March 2025 – Eastern Concepts and Vintage Guitars

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

Prelude

HOWDY AND A HEARTY HELLO HOPEFULLY HAPPY HOMIES. Welcome to a musical spring. A whole quarter of a year down already and three more quarters left to round off 2025 – the first quarter of the 21^st Century. Thank you for coming (back) to join me for the maniacally, methodical muddled, mental mumblings of an alliterative self‑confessed vintage gear junkie. I have to say that craving (sic!) for vintage guitars is a lot safer and a lot healthier than the insane expansionist power lust of deviant narcissists seeking to dominate every aspect of our very existence and remorselessly exploit whatever assets they can seize to feed their own rapacious appetites. Stop. It. Already!

Back to the point, thankfully. Things have taken a bit of an unexpected detour in recent months. It all started with ’10 Things I Love and Hate About Vintage Guitars’ (essentially now Part 1 of 3 – Universal Balance/Yin & Yang), followed by the complementary, ‘Ikigai and Vintage Guitars’ (basically now Part 2 of 3 – Reason for Living). However, that still left some material uncovered and some loose ends untied. So this month, I’ll be closing the circle and squaring the loop (yay! Maddening mixed metaphors are back too!).

So… the ramification is that, this month, we have what is effectively now Part 3 of 3 – other ‘Eastern Concepts and Vintage Guitars’. If you wish to view or review either or both of the previous articles, they can be reprised or discovered here (links open in a new tab):

January 2025 – 10 Things I Love and Hate About Vintage Guitars
February 2025 ‑ Ikigai and Vintage Guitars

As always, no AI was used in the research and writing of this article, so you can blame the author’s paltry organic grey matter for errors, omissions, wayward opines and dubious writing skills. Apologies for being a mere puny human.

Some interesting Japanese cultural concepts

In addition to ikigai, there are a number of other Japanese concepts that may help us to make sense of our life experiences. They may also help to illuminate a tiny aspect of the universal balance in everything from the infinite vastness of the cosmos to the most elusive sub‑atomic particles. As with the last two articles, each of the seven topics covered below will be introduced and then the relevance to vintage gear will be explored. For clarity, as always, the scope of vintage gear in this context includes guitars, basses, effects and amps.

In a slight change from the norm, instead of usual quotes, the numerous sayings littered through this month’s article comprise a selection of Japanese proverbs and idioms. These have been used to help illustrate the cultural foundations behind the subject matter.

“Good fences make good neighbours” – Japanese proverb (boundaries are important for healthy relationships)

I hasten to add that this is not an exhaustive encyclopaedia of eastern philosophical constructs, just a casual dipping of toes in the deep dark waters of some interesting (at least to me) alternative perspectives on life, the universe and everything.

“One who chases after two hares won’t even catch one!” – Japanese proverb (if you go after too many things, then you may end up with none)

Shikata ga nai (仕方がない)

In short, shikata ga nai means ‘control what you can control’. It is often translated as ‘it cannot be helped’, ‘there is no alternative’ or ‘nothing can be done about it’. The inference is that one should not waste one’s life on things over which one has no control; rather one should focus on those things that one can actually affect. In some ways, it may be regarded as similar to the modern Western onion‑like model of ‘levels or spheres of influence’. In addition, shikata ga nai emphasises acceptance and resilience in the face of external adversity. It is about rejecting resignation and weakness in favour of creating strength and tenacity. Shikata ga nai acknowledges that some things are outside of one’s ability to change and places the emphasis on motivation and finding a way to move forward despite challenges and setbacks.

Over the years, CRAVE Guitars has faced many seemingly insurmountable challenges, the most devastating being the total loss of home, career and assets (2010‑2012), which took many gruelling years to recover any sense of self‑determination. It was during this long salvage period (2012‑2019) that most CRAVE Guitars were safely stored by a close friend and any sort of growth was largely in abeyance. During this time, even though CRAVE Guitars was effectively in stasis, the opportunity was taken to launch the web site, introduce social media and create monthly blog articles. In many ways, re‑establishing stability is still a work‑in‑progress, even 13‑15 years later. There have been other hurdles but none compare to that cataclysmic event. Therefore, Shikata ga nai has been of particular relevance to CRAVE Guitars.

“Work in the fields on a fine day, read books on a rainy day” – Japanese proverb (adapt to circumstances and enjoy life)

Gaman (我慢)

Gaman is a Zen Buddhist term that simply means to do one’s best in distressing circumstances and to maintain self‑control and discipline. Gaman roughly translates to ‘enduring the seemingly unbearable with patience and dignity’. It emphasises strength, perseverance, resilience, and self‑discipline during periods of hardship and adversity. Gaman is, therefore, similar in many ways to Shikata ga nai. Both emphasise a reactionary approach to imposed external events. Whereas Shikata ga nai is about ability to exert influence, Gaman is about rising above the immediate dangers and managing one’s approach to overcoming threats with confidence, determination and positivity.

For CRAVE Guitars, Gaman has definitely been about riding the waves of difficulty and using near‑delusional optimism to brave the stresses and pressures of everyday modern life, as well as in the context of ‘that’ incident mentioned above. CRAVE Guitars has taken many years of patient endeavour from inception to fruition, which was almost destroyed in a few fateful days. Hopefully important lessons about truth, fortitude and wisdom have been learned. When faced with significant threat, stoicism is key, as is the necessity to safeguard one’s mental health. Nuff said on that front.

“Fall down seven times, stand up eight” – Japanese proverb (keep trying until you succeed)

Wabi‑sabi (侘び寂び)

This ancient Japanese aesthetic concept literally translated means ‘subdued, austere beauty and rustic patina’. It embraces the beauty of imperfection, transience, incompletion and nature. It’s about finding beauty inherent in the flawed, the partial and the fleeting. Wabi‑sabi encourages us to step back, open one’s mind and appreciate the simple, unadorned, and natural elements of life. Wabi‑sabi comprises seven aspects, simplicity, asymmetry, subtlety, naturalness, grace, freedom from habits and tranquillity. Wabi‑sabi is something that I have mentioned many times including the two previous articles. A brief definition even features on the home page of the CRAVE Guitars’ web site.

One of the aspects of CRAVE Guitars that I have long laboured is the uniqueness and individuality of each and every vintage instrument, whether it is the near‑mint (but never perfect) guitars or the ones that many might regard as being ‘player grade’, from expensive to the budget, from the classic to the esoteric, from respected to maligned – all are welcome here. Readers will also probably be aware that I am not an advocate of modern relic treatments that aim, let’s be honest, to fake the natural wear and tear of decades of real music‑making use. Minor damage can have its own beauty. It is safe to say that wabi‑sabi is integral to the beliefs, values and norms of CRAVE Guitars.

“Flowers even bloom on grass that has been stomped on” – Japanese proverb (you can recover from your difficulties)

Kaizen (改善)

The Japanese idea of kaizen refers to the process of unceasing and unrelenting endeavours to improve in every way. Its roots lie in post‑World War II Japanese economic reform and is closely associated with the culture of the Toyota Motor Corporation. Kaizen literally means ‘improvement’. In modern businesses, kaizen embodies the approach of ‘continuous improvement’ in leadership, management, operational and organisational processes. It’s about making numerous small, incremental changes or ongoing sustainable adjustments in all aspects of life, from personal development through manufacturing to commercial procedures. Kaizen is the means while the end is achieving long‑term strategic goals and enduring success.

As mentioned in last month’s article, three essential components of ikigai are ‘starting small’, ‘harmony and sustainability’ and ‘the joy of little things’. All of these are consistent with Kaizen and the gradual evolution of CRAVE Guitars over the last 18 years. With finite funds and space, advances to CRAVE Guitars can only be achieved through continuous improvement and positive change, at least over the things that one can control (see above). Another aim is to attempt to avoid occasional, radical change, which can be damaging, disruptive and distracting. Easier said than done. Being realistic, there really could not have been an alternative approach.

“Better to ask and be embarrassed than not ask and never know” – Japanese proverb (it is OK to question, even if it is a seems humiliating)

Shu‑Ha‑Ri (守破離)

This is a concept derived from martial arts, particularly aikido and describes a three‑stage process from learning to mastery. Shu‑Ha‑Ri has extended beyond its martial arts origins and has been adapted to various disciplines, including business, education, hobbies and personal development. The three stages can be crudely paraphrased as; Shu (‘protect’ – follow the rules), Ha (‘detach’ – break the rules) and Ri (‘separate’ – transcend the rules). Shu‑Ha‑Ri emphasises the importance of following tradition and learning from others, before developing one’s own style or approach.

Founding CRAVE Guitars was definitely the start of a long process of exploring, learning and understanding the discipline associated with vintage guitars. It involved researching, corroborating and rationalising what ‘vintage guitars’ means and how the subject could be approached objectively. Evolving CRAVE Guitars meant breaking away from traditional conventions, making the entity unique, challenging prevailing views and preconceived ideas, and avoiding assumptions from a position of informed opinion. Questioning the status quo is not about conforming to existing wisdom or spouting forth with ignorant arrogance but about improving collective knowledge through better information and greater understanding. The future of CRAVE Guitars may or may not encompass mastery, which I believe is an unending process rather than an achievable absolute outcome. Personally, I believe that ‘transcendence’ can only ever be an ongoing aspiration. That doesn’t mean that one should not strive continuously to attain mastery. CRAVE Guitars has followed, and continues to follow, the path laid out by shu‑ha‑ri.

“Even a monkey can fall from a tree” – Japanese proverb (an expert can still make mistakes)

Mono no aware (物の哀れ)

This can be translated to mean, ‘the pathos of things’ and also as ‘an empathy toward things’. It is a Japanese idiom for the awareness of impermanence and transience. It also includes the idea of wistfulness, sorrow and the gentle sadness of passing, as all things must. Mono no aware describes the bittersweet feeling of appreciation for the fleeting nature of life. It is an empathy for all things and a reminder that change is an unalterable reality of existence, including joy, sadness, beauty, death and decay. It is about cherishing the here and now and living in the present moment, acknowledging its importance and feeling gratitude for the time and things one has.

An essential element of ikigai is ‘being in the here and now’ and mono no aware is very much about the Buddhist philosophy of appreciating what one has in the present moment. In last month’s article, I talked about the role of stewardship and guardianship of vintage guitars, all of which preceded me and which will hopefully long outlive me. The past cannot be affected. The best that one can do is to act in the present moment, learning from the past and creating the best environment for the future. For CRAVE Guitars, there has been plenty of mournful remorse; regret and wasted thoughts about what might have been had external events beyond my control not intervened so profoundly. Mono no aware is therefore a crucial value for CRAVE Guitars.

“Two bodies, same heart” – Japanese proverb (two people in perfect harmony)

Mottainai (勿体無い)

Mottainai is about a sense of regret over what one discards. Alternatively, it is about the spirit of valuing and respecting resources as well as avoiding unnecessary waste or extravagance. While this concept is often associated with modern‑day environmentalism and sustainability, it can also be applied to intangible resources like time, energy and money. The Western approach of ‘reduce, reuse, recycle and repair’ stresses that we should all use limited resources fully and effectively, to express gratitude, to promote respect, and to avoid wastage. Put simply in the Western vernacular, mottainai is used as the rather bland expression, ‘what a waste’, which is a typical first world dumbing down of an important idea. The implication of mottainai is that Western cultural ideals based on capitalism and growth are ultimately doomed, as they are both destructive and finite.

Ikigai also emphasises ‘harmony and sustainability’. I have proposed the importance of conserving, rather than preserving vintage guitars for the future, keeping them functional and ensuring their longevity. CRAVE Guitars is certainly not about ephemera, obsolescence and disposability. Mottainai is the antithesis of the insistent desire for shiny new gear, only for it to be summarily disposed of when something newer or better comes along. The relevance of mottainai to CRAVE Guitars is about maximising what is already in existence and wasting nothing (or at least as little as possible). My hope is that the time and effort that I have poured into CRAVE Guitars over the last 18 years has not been in vain and, in some miniscule way, has made the world a better place. I have natural concerns about mortality and legacy – what happens to CRAVE Guitars once this mortal coil has been cast off – although, realistically, that is not my call to make.

“Dumplings over flowers” – Japanese proverb (substance over style)

Final Thoughts on Eastern Philosophy and Vintage Guitars

Hopefully, the topics explored in the two previous articles and herein make some sense and that the seven complementary concepts above help to reinforce the nature of CRAVE Guitars’ reflections on the subject of vintage guitars. Whether this is expressing the ’10 Things I Love and Hate about Vintage Guitars’ or exploring’ Ikigai and Vintage Guitars’, there is a synergy about these ideas that is both fascinatingly philosophical in its own right as well as founded in pragmatic real‑life common sense.

Humans are currently in existential crisis. We currently live in a way that is unsustainable and not in harmony with our (only) world. As things are, and unless we change, we are firmly set on a course of unavoidable self‑destruction and hominid extinction. If, as some believe, life on Earth is unique in the universe, we are seemingly determined to exploit it ruthlessly until there is nothing left. That is hubris in the extreme. Tragic fact.

“Know the pain of others by pinching yourself” – Japanese proverb (always have compassion for others)

Over the years, in my research, I believe that the not‑for‑profit entity that is CRAVE Guitars is unlike anything else and its position does not fit any convenient categorisation. Part of the reason for this has, I hope, been covered in these three articles. CRAVE Guitars is not an egomaniacal accumulation of vintage gear that would be worthy of museum curatorship or an elite private collection. Neither is it a commercial enterprise striving for maximum return on investment and profit. Furthermore, CRAVE Guitars is not about hiding away these artefacts from the world. They may not be precious but they are precious to me. Neither am I a fame and fortune‑seeking individual, far from it. One unbreakable CRAVE Guitars principle is, if I cannot afford it, I cannot own it. No exceptions. While this may limit expectations and opportunity, it is a necessary code born from experience and past events.

“To lose is to win” – Japanese proverb (sometimes it is better deliberately to step away from conflict)

I hope that, through these three articles, I have been able to demonstrate that CRAVE Guitars represents a rational perspective towards vintage guitar ownership that can be appreciated and shared. I have taken a somewhat esoteric approach to get to this point and I hope that it has in some way been entertaining, interesting and informative. While the context is not unique, the viewpoints expressed over these three months are my own. Have I succeeded in applying Eastern teachings to CRAVE Guitars in a practical way? I believe and hope so. The Far Eastern concepts have been based on many centuries of accumulated learning, knowledge and wisdom, so they have substantial proven credibility and shouldn’t be immediately dismissed as irrelevant to today’s modern Western world. This isn’t the be‑all and end‑all of things; I do believe strongly that we all have a great deal still to learn and we should open our minds to possibilities and potential as yet unused. Arguably, we should be careful not to exploit those prospects for personal gain, the detriment of others or adverse impact on our environment. Greed, avarice and materialism are not on CRAVE Guitars’ agenda. We should (and need to) be wiser than that.

“If a fish is kind to the water, the water will be kind to the fish” – Japanese proverb (quid pro quo)

Thankfully, what I have discovered through my research is congruent, rather than divergent. If it was the latter, I would now be in a heck of a confused mess. There is a remarkable level of consistency. I do not think that I have fallen into the trap of positive confirmation and manipulation (only seeking evidence that support a predetermined hypothesis and disregarding what does not), rather it has been a journey of personal discovery and enlightenment. While that statement may seem overly conceited, pompous and pretentious, there is something to what has been learned over the last three months that has been practically life‑affirming.

“A pearl to a pig” – Japanese proverb (don’t waste things on those who won’t appreciate them)

Early on, I wondered if any of this would help to determine the future of CRAVE Guitars and the direction in which it should be taken. Well… sadly, there hasn’t been any sort of inspirational epiphany that will transform CRAVE Guitars into something very different from where it has been going anyway. That, in itself, is reassuring. Perhaps my research has strengthened and reinforced my approach or perhaps it might have gone that way intuitively without basing it on Oriental, rather than Occidental, philosophical leanings. In truth, though, the answer to that particular quandary is impossible to determine post‑facto.

“A skilled swordsman has superior manners” – Japanese proverb (noble behaviour is just as important as combat skills to a warrior)

The outcome is that nothing much is likely to change and CRAVE Guitars will continue to develop and evolve in an organic way and that is OK by me. There is no need for a strategic plan or business objectives for the next few years, which is something that would be needed for a commercial operation. To be honest here, I also don’t think that that really matters. I could be wrong but, if I am relatively content with things as they are, there seems little point in changing CRAVE Guitars to be something else with which I would not be content.

“The talented hawk hides its claws” – Japanese proverb (be modest about your abilities)

CRAVE Guitars’ ‘Album of the Month’

I’m definitely going off the well‑trodden path of previous albums of the month. After three articles delving into Eastern philosophy, it makes sense to conclude the triptych with a Japanese musical work of art as the focus this month. In a very rare move, I’m contradicting my previously declared lack of appreciation for classical music. However, it isn’t typical orchestral stuff, it is a modern interpretation of classical themes. Previously, electronic synthesizers had been used mainly in experimental and avant‑garde music. It wasn’t until Walter/Wendy Carlos released, ‘Switched‑On Bach’ (1968) that electronica was brought tentatively into the (margins of the) mainstream of popular music. While that seminal work was undeniably a key benchmark, it isn’t my choice this month. Instead, that honour goes to…

Tomita – Snowflakes are Dancing (1974) – ‘Snowflakes Are Dancing’ is the second studio album by late Japanese electronic musician Isao Tomita (1932‑2016). The original album was released by RCA Records in April 1974. The ten tracks are Tomita’s arrangements of Claude Debussy’s (1862‑1918) music with the track ‘Clair de Lune’ probably being the most familiar to those not inculcated in the classics. The pieces on ‘Snowflakes are Dancing’ were performed by Tomita on a Moog synthesizer and a Mellotron, and his approach proved ground breaking in the use of extensive studio effects, sequencer programming, complex pseudo‑polyphonic sounds and quadraphonic recording techniques. While all of this may seem archaic and pedestrian today, it was an astounding achievement back in the early 1970s. The album was not only critically acclaimed, it was also reasonably successful commercially and laid the ground for Tomita’s later career moves. More recent reissues have added bonus tracks but that is superficial icing on an already very nicely prepared cake. It’s a beautiful listen for non‑classical musos.

‘Snowflakes’ could have been a sterile facsimile of music but somehow Tomita managed to extract emotion and mood from oscillators and filters. I have previously stated that classical music really ain’t my thang. That still stands and I don’t listen to ‘Snowflakes are Dancing’ in that way, I wallow in the ambient, spacy soundscapes (called ‘tone painting’) and it is that easy‑on‑the‑ear (and brain) nature that marks the difference, at least for me, from Walter/Wendy Carlos’s earlier works.

BELIEVE IN MUSIC!

“What one likes, one will do well at” – Japanese proverb (do things that you enjoy and you will become more proficient at them)

Tailpiece

Thank you all for looking in once again and suffering my ceaselessly cerebral cul‑de‑sac of ceremonial contemplation. I think that, at least for now, this article concludes the triple outing of viewing the world of vintage guitars through the binoculars of Far Eastern philosophical concepts. While it could have been hard‑going, I hope it has been entertaining and informative. I have certainly learned a great deal along the way, so it has been worthwhile adventure for that reason alone.

This month, I believe that I’ve tied up loose ends and brought things to a logical conclusion and also done it relatively succinctly (for me). While there is undoubtedly plenty more to explore, that would represent diminishing returns for monthly articles, so it is time to put this particular theme to bed, at least for now. I still desperately need to make time and space for writing ‘The Distortion Diaries’, something I have singularly and woefully been unsuccessful in achieving recently. Sigh.

“Three years sitting on a rock” – Japanese proverb (the value of patience)

Next month, I will have to contrive another source of inspiration. What I can say, though, is that it will not be a nominal Part 4 of this particular journey. Unexpect the expected.

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

CRAVE Guitars’ ‘Quote of the Month’: “If money is the root of all evil, then just stop and think for a moment about who is the root of all money”

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27 Feb 2025

February 2025 – Ikigai and Vintage Guitars

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

Prelude

IT IS WITH GREAT RESPECT AND HONOUR that I welcome you with open arms to CRAVE Guitars’ February article. One trusts that the little blue marble on which 8bn+ citizens fly at an astonishing rate through the universal void (NB. approximately 627km/s (1,402,559mph) relative to the Cosmic Microwave Background) is still a habitable ecosystem, despite mankind’s worst (and unfathomable) efforts to obliterate it and everything worthwhile on it. The current world state is, frankly, a disgrace to anyone’s sensible definition of civilisation. Talk about regression. OK. Let’s not.

Do you feel as though you are travelling at over 1.4 million miles per hour? No? Me neither. But you are. The reality of it seems unreal. We cannot comprehend the truth; it is beyond our ability to rationalise. Sometimes we need to think beyond what our five meagre senses tell us about our environment and wonder at our place in the vastness of the universe.

“In the sky, there is no distinction between east and west; people create distinctions out of their own minds and then believe them to be true” – Buddha (Siddhārtha Gautama – c.480‑400BCE)

Once again, I am returning to the comfortable and comprehendible micro‑biosphere of vintage guitars. Once again, I am taking an oblique perspective and thinking about these adorable instruments within a wider life process. Once again, I shall be looking to the Orient for inspiration. Once again, it will, hopefully, make sense by the time we reach the end. Once again, here we go…

When writing this article, I found myself returning to some of the ideas covered in last month’s article, ’10 Things I Love and Hate about Vintage Guitars’. By providence, it turns out that this article makes a relevant companion piece to January 2025’s blog. Rather than reiterate some of the previous article here, you can access it here (opens in a new browser tab):

January 2025 – 10 Things I Love and Hate about Vintage Guitars

Last month, I used quotes came from Shakespeare’s ‘Taming of the Shrew’ and from the modern coming‑of‑age rom‑com film based on the Bard’s play, ’10 Things I Hate About You’ (hence the title’s tie‑in to the article). This month, I will focus on supporting quotes from the wise dude that is Buddha. Despite the different countries and religions of origin, the thoughts and ideas are harmonious.

“I don’t like to do what people expect. Why should I live up to other people’s expectations instead of my own?” – Kat from the film, ‘10 Things I Hate About You’

What is ikigai?

On the face of it, Ikigai (生き甲斐) is simply a word. However, behind those six letters/four characters lie a universe of possibility and potential. Ikigai is an ancient eastern philosophical construct that literally means, ‘iki’ (to live) and ‘gai’ (reason), usually used to mean, ‘purpose for being’. In Asian countries, particularly Japan, ikigai is so ingrained in the culture that it is inseparable from their daily way of life. It is therefore integral to the habitual behaviour and feelings of its citizens, rather than a discrete, overt rulebook for how to act.

It is believed that ikigai originated from Okinawa in Japan as a guiding philosophy for a long, happy, and meaningful life. Interestingly, Okinawa is the island prefecture of Japan known for its high number of centenarians per capita population. It has been suggested that Ikigai, enhances mental health, wellbeing and mindfulness. Taking the other side of the same coin, studies have shown that people who do not feel ikigai are more likely to be affected by cardiovascular disease. Interestingly, the vague notion of ‘happiness’ is downplayed in ikigai for more meaningful emotional states.

Ikigai is scalable and can be used to refer to an individual, a community, an organisation, a country/nation/state or society as a whole. In modern times, Ikigai was popularised by the Japanese psychiatrist and academic Mieko Kamiya in her book, ‘On the Meaning of Life’ (1966).

“The most genuine aspect about ikigai is that it involves your feelings. Ikigai is something you feel. It is related to one’s sense of self‑worth and personal values. And is more future‑oriented than happiness” – Mieko Kamiya (1914‑1979)

The Japanese government goes as far as to describe ikigai as, “A broad concept, ikigai refers to that which brings value and joy to life: from people, such as one’s children or friends, to activities including work and hobbies”.

Ikigai is not unique and the principles are not exclusive to Asian origin, similar ideas have manifested in other countries and cultures such as the French ‘raison d’être’ and ‘joie de vivre’, the Greek ‘Eudaimonia’ and the Austrian ‘logotherapy’. The western Cognitive Behavioural Therapy (CBT) of mindfulness is based on elements of ikigai. It seems that, whatever words are used to define it, many cultures actively seek the path to a satisfying and meaningful life, so why should we not join them in the venture?

Am I wedded to, or invested in, ikigai? Nope. Do I use it as my guide to life? Nope. Do I deliberately think about applying its principles on a daily basis? Nope. If that is the case, why is it important enough to write about and how does it work on a conscious and subconscious level? Well, I thought that, if I applied the principles of ikigai to something practical in the real world, it might produce some interesting results.

“The secret of happiness is not in doing what one likes, but in liking what one does” – Buddha

The principles of ikigai

There are many variations to the concept of ikigai. Many writers refer to ‘the four pillars’, ‘eight intersections’, ‘nine steps’ or ‘ten rules’. This means that the core concept has been interpreted in many different ways for different audiences. Looking into the variety of ‘frameworks’, it seems that authors can adapt the concept in any way they please to make their point. Some takes on ikigai are logical while some are frankly hard to connect to ancient oriental philosophical thinking. Some frameworks purport to be ikigai but aren’t – beware! Some people refer to the ‘rules’ of ikigai but ikigai is definitely not rules‑based – avoid! So… how to make sense of the subject matter?

In the end, perhaps because it resonated with my own personal norms and values, I am going to use the ideas put forward by distinguished Japanese neuroscientist, broadcaster and author Ken Mogi (1962‑) in his book, ‘The Little Book of Ikigai’ (2017). The tagline to the book is, ‘The Japanese way to finding your purpose in life’. I read this book with a curious, critical and almost‑sceptical mind. I chose this tome because it is relatively slim (and therefore accessible) and because I was, perhaps vainly, hoping that it would give me some tangible direction to my own sense of purpose. While the latter sadly wasn’t realised (perhaps I was expecting too much in the way of an epiphany), it was still a thought provoking read, providing many real‑world examples to bring the concept to life. Ken Mogi suggests the following as the ‘5 pillars of ikigai’:

Starting small
Releasing yourself
Harmony and sustainability
The joy of little things
Being in the here and now

Mogi suggests that these are neither mutually exclusive nor exhaustive and therefore best used as a guide, not a doctrine. The approach is entirely discretionary and relies heavily on common sense. Ikigai is neither religious nor spiritual dogma so it is secular in origin and application. However, ikigai isn’t a ‘pick & mix’ where fulfilment can be achieved by embracing some parts while rejecting others. If it is to be life changing and life confirming, it’s kind of an all‑or‑nothing holistic approach.

Perhaps it is because Mogi is a neuroscientist and I have a lay person’s interest in how the brain functions, his ideas accorded with my own. My curiosity lies in how humans make sense of our environment through perception, thought, memory, reasoning, learning, decision‑making and behaviour. Basically, there is nothing clever or pretentious going on here, ikigai’s quintessential simplicity seemed to me to be a reasonable and practical place to start.

The aim of Mogi’s book is to provide an outline to help readers to realize and discover their own ikigai. While Mogi’s methodology didn’t deliver (for me) on the implied and unmeasurable promise of “less stress, better health and greater happiness” (NB. from The Times newspaper review), it provided a basis for further exploration. Ikigai seemed a tantalising way of applying ideas to reality. In this case, testing what CRAVE Guitars is, the longevity of its journey, why it is compulsive and, perhaps, how it might develop in the future. So, in a nutshell, that’s where I am coming from.

“The only real failure in life is not to be true to the best one knows” – Buddha

Why ikigai?

Regular readers may well have noticed that CRAVE Guitars’ articles often refer to things that have an Eastern origin and I regularly use quotes from the Buddha. To clarify; my ethnicity is white/British and I am not religious, so there is no cultural or ideological/theological motive to exploring this theme. I have absolutely no agenda here. I am not trying to influence anyone (including myself) or to promote anything. However, it has turned out to be more than just a detached intellectual investigation in that I can understand that there is more to ikigai than trite personal development ‘spin’. It is, by the way, much more profound than the headlines above might suggest.

“He is able who thinks he is able” – Buddha

While I admit to past hippie‑ish tendencies when I was younger, there is no history of Far Eastern philosophy driving my life. However, there are many things that I come across in my research that have roots in Eastern culture and actually mean something to my personal perspective on life. It may appear that Eastern thinking sits at odds with the harsh realities of the Occidental post‑industrial capitalist ethics pervading my country of origin (the UK). Ikigai clearly isn’t for everybody – each to their own.

Thus it was that, amongst many other topics, I came across ikigai and it struck a chord (sic!), sufficient to be worth investigating. It therefore seemed logical to extend that stimulus to include how it relates to my obsessive passion for vintage guitars.

“I never see what has been done; I only see what remains to be done” – Buddha

Ikigai and Vintage Guitars

So how does all this work regarding vintage guitars? Well, I hope to explain, first by clarifying what each of the five ‘pillars’ used by Ken Mogi mean and then how that equates to my passion for CRAVE Vintage Guitars.

Starting small – This can mean the little rituals and habitual routines that, together, make it worth getting up in the morning. It is about discovering life’s little pleasures that have meaning, even if no‑one else shares them. Once one recognises the small things that give you pleasure, one can cultivate, nurture and grow these things until they become something unique and tangible, which have value and reward. Over time, such appreciation can contribute to good health, a contented, fulfilling life and greater longevity. Some interpretations of ikigai extrapolate the ideas to include work and making money from one’s endeavours. However, commerce is not the focus here.

Starting small makes sense. How often is one able to start something fully formed, sizeable and successful? Big dreams and big outcomes (generally) have to start small if their potential is to be fully realised. Starting small doesn’t mean doing something shoddily. It is important, regardless of scale and scope, to act to the best of one’s ability. Doing small things and executing each small step with uncompromising perfection and proficiency is part of ikigai’s mantra.

When it came to guitars, it all started in the late 1970s with my first ‘real’ electric guitar (a Fender Mustang) and, following a trade up and savings, to a Fender Stratocaster and a Gibson Les Paul Standard. At the time of acquiring them, they were far from vintage, both being second hand and less than two years old at the time. Small beginnings were a very big thing for me then. Then life and its burden of responsibility intervened for over two decades.

When it came to founding CRAVE Guitars, it began in a flash, spotting a 1989 Gibson Les Paul Custom in a shop window in Brighton, East Sussex, UK in 2007. It looked ‘right’ and I was hooked instantly, even though it wasn’t vintage at the time. From that moment on, the die was irrevocably cast. I gradually migrated away from a random accumulation of acoustic and electric guitars of various ages and budgets from all over the world to what became the more focused entity that is CRAVE Guitars of here and now.

The magic of vintage guitars is now a vital part of my daily life and has been for years. Several guitars are always on show and can be picked up and played at a moment’s notice or just looked at and cherished. There is some ‘it’ factor about vintage guitars that is beguiling and mesmerising (see last month’s article). Each one is unique and each has its own idiosyncrasies. While CRAVE’s overall ‘stockpile’ continues to grow, there are many moments of discovery, insight and pleasure that equate very well with ‘starting small’.

“An idea that is developed and put into action is more important than an idea that exists only as an idea” – Buddha

Releasing yourself – In ikigai, releasing yourself is the idea of self‑negation, the person not being the centre of an activity, not being burdened by social status or a definition of ‘self’. Some interpret it as subordinating oneself for the interests of others. It also means that consciousness is linked to the discovery of sensory pleasure in things. To release oneself, one needs to let go of one’s ego – it is not the sense of self that is important, it is all the facets of what one does that makes something pleasurable. Releasing yourself is basically the antithesis of seeking fame or pursuing insipid celebrity ‘status’ for its own sake.

Not realising or understanding the idea of releasing yourself when writing last month’s article, I tried to articulate what I now comprehend as sensory pleasure. I talked then about the look, feel and tone of vintage guitars as well as an appreciation of their past and future. It really isn’t about me, it is about the almost transcendental experience of owning and playing music on a vintage instrument. I do not go on about how big my collection is, how special it is or how much it is worth (I genuinely have absolutely no idea of monetary worth). Neither is it about my playing ability (NB. rubbish) or the type of music I create – none of these things matter to the guitar.

The idea of releasing yourself, again not realising it, has been and is integral to CRAVE Guitars. Readers may have noticed that I attempt to remain enigmatically anonymous and in the background. The focus has always been on facilitating and sharing the wonder of CRAVE Guitars. The personality of the founder is immaterial. Indeed, I am uncomfortable putting ‘me’ in any limelight. Again, it is not about who I am, my ego or self‑esteem, it isn’t about my social standing or how I might be perceived by others; it is 100% about the vintage gear. I try hard not to reveal my identity and I purposefully do not share images of myself, CRAVE Guitars is all about (and only about) the artefacts, and it has been that way since it was established in 2007. Hopefully, this dissociation enhances the quality of the CRAVE Guitars experience.

CRAVE Guitars is not an elite collection and it isn’t a commercial enterprise. It is a non‑profit information sharing project. It is not modelled against any other entity, so it may be unique. It is what it is and I hope that others share my interest. Personal circumstances dictate that I have to live a modest, humble life and vintage guitars are my mission in life, unburdened by institutional, professional or commercial constraints.

Another example is when talking about the spin‑off project to (try and) write fiction – ‘The Distortion Diaries’. I have already stated that, if it is ever published, it won’t be under my own identity, it will be under a pseudonym. The aim is to focus readers on the material content, not the author. It is most definitely not about the author’s ego. How many times do people read a book because it is written by an author they like (or avoid one by an author they don’t), rather than read it because of its inherent literary merit? Removing the author’s identity, ego, vanity and position from the decision to read something may (?) enhance the journey in a different way.

I do not (need to) seek external validation for my work on CRAVE Guitars. Striving for approval (or not) is not a primary factor, although it is quite gratifying when positive feedback is received. If people wish to interact with CRAVE Guitars, that’s fine but it is not the same as interacting with me as a private individual; they are separate things – the disembodiment of the ego from the entity. I would much rather visitors focus their interest on the cool & rare American vintage electric guitars, rather than the vain, narcissistic vintage owner of them.

It seems that ikigai’s ‘releasing yourself’ has already been habitual for some considerable time. This was not deliberate but, now, ikigai finally makes sense to me.

“There are only two mistakes one can make along the road to truth, not going all the way, and not starting” – Buddha

Harmony and sustainability – This is about creating a sense of community around something that has a lasting, unforgettable impression. In our evermore connected world, it is easier to put something out there for others with a similar mind set to engage with. It also becomes easier for the community to contribute towards a shared outcome. Our modern world also means that we can achieve this far easier without causing adverse impacts associated with, for instance, environmental damage caused by travel.

Established norms, values, rituals and customs over time all form part of a continuum sustained in harmony. In last month’s article, I referred to universal balance and an equilibrium that allows for a dynamic system of opposites to co‑exist. The Chinese way of yin and yang is all about harmony and sustainability.

In the last article, I talked about stewardship and temporary guardianship of vintage guitars and I also talked about the importance of conserving, rather than preserving, vintage instruments. All these are part of harmony and sustainability. The web site, social media and these blog articles all contribute towards CRAVE Guitars being a contributory part of a much broader community of like‑minded people anywhere in the world. Temporal sustainability also helps to maintain continuity between the past, the present and the future.

“Nothing ever exists entirely alone; everything is in relation to everything else” – Buddha

CRAVE Guitars is not about the modern (bad) habit of convenient material obsolescence and disposability, or Gen‑Z’s inconsiderate demand for random, sterile immediacy and attention. CRAVE Guitars is about bringing instruments from the past, taking care of them in the current moment so that they will be relevant in the long‑term future. CRAVE’s esoteric trove of vintage gear attempts to find a synergistic coherence in the whole that is greater than the sum of the individual instruments.

The aim is that CRAVE Guitars isn’t a point in time, it is just a part of a much bigger, much longer story within the broader context of a vintage guitar community that includes the despicable ‘collectorati’, retailers, dealers, auctioneers, museum collections, individuals, artists and wider society. All of these things form just a small portion of CRAVE Guitars ikigai.

“In our interactions with others, gentleness, kindness, respect are the source of harmony” – Buddha

The joy of little things – Like starting small, this isn’t about appreciating the idea of something but it is about enjoying something for what it actually is. The joy of little things applies to all human senses, which may or may not be relevant depending on what one is experiencing. For instance the aroma and taste of expertly prepared food or drink is a sensory pleasure (hopefully). The visual appearance of nature, abstract art, architecture or (good) industrial design can evoke an emotional response. The touch of a blade of grass, a tree bark or a grain of sand can evoke a tactile experience beyond the object itself. The ambient sound of the waves or wind can compare with the greatest music if one is prepared to appreciate ones surroundings as suggested by ikigai. Nurturing an individual’s hobbies is about combining the joy of little things that is unique to that person.

Last month I talked about wabi sabi, the Japanese concept that something can be perfect because of its imperfections, using examples such as the patina, light reflections, scuffs, bumps and nicks, lacquer fading, finish crazing, and genuine wear and tear. It can also apply to details such as inlays, binding, tuners, knobs, frets, screws, contrasting materials, as much as to the whole. The uncompromising approach of luthiers to make something exceptional exemplifies ikigai. This doesn’t mean that quality is just about the most expensive and faultless artistic creations. It is about genuine quality – an object’s fitness for purpose. Some of the most basic and straightforward objects can carry just as much fascination. Budget guitars from the 1950s and 1960s can compare with the most expensive classics on a level playing field in terms of the joy of little things.

CRAVE Guitars is not obsessed with the most valuable or the rarest of all guitars, it is about real instruments. It is not about how much they are worth, it is about how they make one feel. Just as much joy can be found in every instrument by accepting it for what it is and not comparing it with some, often fictitious or unobtainable (and therefore ultimately joyless) ideal. Once acquired, a CRAVE Guitar rarely gets moved on. It is the pleasure of longevity that adds to and deepens the attachment to each instrument. The same, I hope obviously, applies for basses, effects and amplifiers.

Some manufacturers have developed a whole livelihood around the attention to every detail in an attempt for continuous improvement, examining every minute element to create synergy. Paul Reed Smith is one example of obsessional striving for excellence in every element while not forgetting the guitar’s fundamental purpose as a musical instrument. His fixation on superiority in every aspect of manufacturing is transferable to the pleasure of ownership and playability experienced by customers. The same ikigai has been instrumental (sic!) in the phenomenal rise of many boutique luthiers making a bespoke guitar as perfect as it can be for each individual customer.

“Do not overrate that you have received, nor envy others. He who envies others does not obtain peace of mind” – Buddha

Being in the here and now – This pillar of ikigai is also a fundamental part of Eastern spiritualism, as much as it is to society and culture. The past is gone, the future is as yet unwritten. All anyone can ever do is to act in the present moment. Animals, for instance, do not appear to abide by the human concept of time or space – they exist only in the here and now.

“What you are is what you have been. What you will be is what you do now” – Buddha

This doesn’t mean that the status quo is perpetual or unchanging. Rather, it is about change being constant and perpetual. The decisions that one makes in the present moment do not affect the past and can only have consequences in the future. Compared to the universe, we exist in one miniscule place and one miniscule moment in time. However, it is incumbent on each individual to do the best that they can while in the here and now.

“Everything changes, nothing remains without change” – Buddha

As mentioned in last month’s article, many guitars existed before I came along and will (hopefully) exist long after I’ve gone. Even then, each instrument only occupies a part of my time on Earth. One can appreciate the history, the mythology and the unknown stories of their past and one can only speculate about their post‑CRAVE future.

“What we are today comes from our thoughts of yesterday, and our present thoughts build our life of tomorrow; our life is the creation of our mind” – Buddha

My role and responsibility is to document the here‑ness and now‑ness of each one. One cannot play all the instruments at the same time, so each experience is by definition different and ever‑changing.

“The secret of health for both mind and body is not to mourn for the past, nor to worry about the future, but to live the present moment wisely and earnestly” – Buddha

Final thoughts on ikigai

So… the idea is to accept yourself for who you are and to find your own ikigai – your own reason for living, your purpose in life and your motivation to get up in the morning. I cannot guarantee that exposure to these ideas will change your life, make you happier (or wealthier), or make your life more fulfilling and satisfying. Ultimately, it is just a different way of looking at the same things. There are no revelations and there is nothing revolutionary here, however I have found that, once exposed to the ideas, incorporating some aspects of ikigai into daily activities may make life just a bit more bearable.

“Happiness will never come to those who fail to appreciate what they already have” – Buddha

Popular motivational (and often cringe‑worthy) sayings along the lines of, “small choices become actions, actions become habits and habits become a way of life”, pervade modern first‑world popular cod‑philosophy. However, ikigai does represent a mindful interpretation that has endured over many centuries to become part of and beyond Japanese culture. I don’t think one can simply dismiss ikigai (or other ideas like it) as irrelevant or ‘foreign’. It doesn’t mean that it works for you, so I’m just putting it out there for consideration. It doesn’t just apply to vintage guitars, I simply used that as a mechanism to illustrate how an abstract concept can be applied to just one practical example. Ultimately, this article is not instructional, its purpose is simply written for entertainment and information.

“If you do what is good, keep repeating it and take pleasure in making it a habit. A good habit will cause nothing but joy” – Buddha

I was quite surprised, when writing this article, how consistent it is with last month’s article about universal balance and vintage guitars. Unbeknownst to me at the time, I was espousing many of the ideas I’ve covered this month. I suppose that at least it was complementary, rather than contradictory. Phew!

When starting this article, I intended to include some other philosophical concepts that could be relevant to vintage guitars. However, this article has taken up considerably more time and research than I originally envisaged. The other ideas will have to wait for another article for another month.

“What we think, we become” – Buddha

CRAVE Guitars’ ‘Album of the Month’

There didn’t seem anything obviously relevant to this month’s article, so I homed in on the ‘perfect because of its imperfections’ idea and came up with this month’s accolade. And so… drum roll please… I present to you…

Kurt Vile – Smoke Ring For My Halo (2011): Kurt Vile (1980‑) is a strange animal to pin down. He is an American singer/songwriter, multi‑instrumentalist and record producer from Pennsylvania and former member of the indie rock band, The War On Drugs. His music is generally regarded as belonging to the ever‑so‑vague category of indie with a distinct leaning towards slacker rock and lo‑fi rock. SRFMH is Kurt’s fourth studio album released in March 2011 on Matador Records. Kurt sums up his feelings about the album much better than I can, “It’s just me and those thoughts you have late at night when nobody is around. It is more a feeling than a statement – a general wandering feeling” and, “a kind of trance‑like, Appalachian folk‑style”. His comments understate his otherworldly chiming heavily effected acoustic guitar playing and his laid back, contemplative vocal style that is best listened to as an immersive experience rather than a critical audition. Just 10 tracks covering 47 minutes, with the exquisite, ‘Baby’s Arms’ as the sub‑4 minute opening track and closing with the deeply haunting and unsettling, minute‑long ‘Ghost Town’. Overall, it’s a laid back indulgent pleasure.

Smoke Ring For My Halo is perhaps the least stressed out indie rock album I’ve heard and one to go back to, to take the edge off the world’s anxieties and to chill out. The lasting impression it leaves the author can be encapsulated in the framework of ikigai’, so, it kinda fits after all.

“When you realize how perfect everything is you will tilt your head back and laugh at the sky” – Buddha

BELIEVE IN MUSIC!

Tailpiece

Well now… there’s quite a lot to get one’s head around in this month’s topic. I hope it has, in some way, proved enlightening or thought provoking. There are also a great deal more questions that have been provoked by this article, to which I will have to return to in due course, if nothing else other than to tie up some loose ends.

Strangely, I seem to have avoided my usual (irritating) traits of abundant alliteration, mixed metaphors, horrendous hyperbole and nonsensical non‑sequiturs this month. I’m sure my abundant grammatical and literary sins will be back after a sensible sabbatical.

Next month, I’m hoping to return to the topic of vintage guitars viewed from another angle. I would be delighted if you wish to return and join me and the fruits of my mangled imagination. See y’all soon.

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

CRAVE Guitars’ ‘Quote of the Month’: “Why does every silver lining have to have a cloud?”

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28 Jan 2025

January 2025 – 10 Things I Love and Hate about Vintage Guitars

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

Prelude

HERALDING A HEARTY “HELLO” to y’all for the first time in 2025. Welcome one and all this fresh, shiny New Year, albeit nearly a month old now. Personally, I dislike January. It is cold, dark, wet and definitely inclement. In addition, due to the preceding festive season, January is a month of self‑imposed financial austerity. Almost unbelievably, this year (2025) represents a quarter of the way into the first century of the second millennium already. Where does time go and, more importantly for each of us, uniquely, is where did our time go? One thing is for sure, once it’s gone, it’s gone and it can never be recycled for any purpose other than memory and, perhaps, reminiscence. As one gets older and nearer to the long rest of inevitable mortality, time becomes disproportionately more precious and ephemeral.

Now, ‘they’ say that those who can’t do, teach, those who can’t teach, teach teachers and those who can’t teach teachers write about the things they can’t do or teach. So here I am writing about stuff that I don’t really feel qualified to discuss. Again. Some readers will know way more about vintage guitars than I ever will. Wait… hold on a sec… that’s never stopped me. Oh, what the heck, let’s do this.

This month, I’d like to get back to the subject close to my heart, vintage guitars. It’s been a while because I’ve been writing about other things. This month, while I’m still trying (and not getting far) to work on ‘The Distortion Diaries’, I was thinking about what I like about vintage guitars and what I don’t like about them. One might think that my experience might be entirely positive. However, the reality is a great deal more pragmatic.

The free‑ranging thought processes led me to this month’s article, ‘Ten Things…’ In previous articles, I have attempted to understand the appeal of vintage guitars compared to modern instruments and other old stuff. However, this was inherently a predisposed approach, using positive reinforcement to justify a lifelong preoccupation. Time then, I thought, to take a more contemplative, critical and non‑prejudicial approach by questioning what I love about vintage guitars and the polar opposite of what I hate about vintage guitars.

For info, the majority of the quotes this month are from William Shakespeare’s ‘Taming of the Shrew’ (c.1590‑1594) and a romantic comedy film loosely based on the play, ‘10 Things I Hate About You’ (1999). This is intentional and fitting.

“You can’t just buy me a guitar every time you mess up, you know” – Kat from the film, ‘10 Things I Hate About You’

Understanding universal balance

Before we start, please bear with me while I take a bit of an existential ‘helicopter view’, then we’ll get to the point. Like most things in the universe (at least our universe if you believe in multiverses), there exists a natural balance that, overall, maintains a steady state of equilibrium over time while also allowing for chaotic fluctuations.

Once again, I’m looking to the east for cultural inspiration. In ancient Chinese philosophy, the concept regarding opposite but complementary, interconnected and self‑perpetuating cycle is known as yin and yang. The opposing forces of yin and yang interact to form a dynamic system in which the whole is greater than the parts and the parts are integral to the whole. The concept is represented by the Taijitu (the familiar diagram of the ‘supreme ultimate’, c.3^rd Century BCE) with black representing yin (the female/passive/negative) and white representing yang (the male/active/positive). The contrasting dots in the Taijitu represent the one co‑existing within the other. Yin and yang are co‑dependent – they cannot exist in isolation, only in perpetual, infinite duality (called a unity of opposites). With yin & yang, the duality exists between the opposing cosmological forces of order and chaos. In human socio‑political terms, the duality is signified by the tension between order and disorder, good and evil, etc. The concept of universal balance applies equally to the past, the present, and the future of existence. Put simply, opposites exist for a reason. Right, that’s the mind‑bending bit over. Deep breath time.

“You’re 18, you don’t know what you want. And you won’t know what you want ’til you’re 45, and even if you get it, you’ll be too old to use it” – Walter from the film, ‘10 Things I Hate About You’

Applying universal balance

So… balance is important. The fundamental and elemental ‘rules of engagement’ represented by yin and yang are applicable to every aspect of “life, the universe and everything” (NB. A reference from ‘The Hitchhiker’s Guide to the Galaxy’ (1979) by author Douglas Adams).

Thus, when it comes to vintage guitars (and, by extension, equally to vintage basses, effects, amps, etc.), there is a universal balance that provides for the existence of these bits of wood, plastic and metal, and how we feel about them. Accepting the principle of equal and opposing absolutes; light and dark, good and bad, black and white, truth and lies, men and women (at least in my day), concepts of heaven and hell, N and S magnetic poles, etc., let’s start with the positives before we move onto the negatives.

Please remember that this is my, albeit biased, personal opinion under the guise of establishing objective fact. Readers will undoubtedly think differently, so please regard these ‘10 things…’ as the author’s own perspective – nothing more, nothing less. Above everything else, though, this perfunctory examination is for entertainment purposes only. Reader discretion is advised.

I will, however, attempt to curtail my typical tendency to alliteration, my personal propensity for hyperbole, my fun‑filled metaphor mixing and other intentional grammatical sins.

“Better once than never, for never too late” – William Shakespeare from ‘The Taming of the Shrew’

10 Things…

For once, I am not going to go into great depths and will limit each point for brevity. I trust that the implied message behind a few words (for me) is sufficient to convey what I struggle to express. Right, without further ado, let’s get into the action.

10 Things… I Love About Vintage Guitars:

The Heritage and the History – Vintage guitars are the epitome of heritage and they chart the sights and sounds of music over many decades. Many guitars are associated with artists and musical genres that embody and reflect social culture of their time. They play a fundamental and integral part of music history. These aren’t just ‘antiques’ to be stuck on a dusty shelf, they can (and should) actually still be used to make music. My playing skills are inadequate but that doesn’t matter. Holding and playing vintage instruments imbues an intangible, almost mystical appreciation of a zeitgeist stored within the materials. They are vintage because of the long life they have lived, not just the number of years since manufacture. It is, however, all too easy to slip into a deceptively romanticised view of the past.
The Ownership – Fundamentally, people like to own stuff and, for me, that means vintage guitars. Once we start accumulating stuff, there are deep‑seated psychological reasons why we develop a compulsion to collect more stuff. There is no space here to cover that, so you’ll have to take my word for it (for now – I feel another article topic coming). Watching guitars on stages, TV and, yes, even viewing them in museums is one thing but the thrill of having them literally to hand and being able to pick up a vintage guitar and to play it is massive part of the ownership experience. Simply owning and playing some of these old instruments is a pleasurable exercise. Once acquired, I don’t feel inclined to move any of them on; they become part of my life. Protracted ownership is one of the key reasons I’m not a dealer.
The Uniqueness – Back in the day, guitars were largely manufactured by hand and it is unlikely to find two that were identical even back at the factory. On top of that, add in all the things that have happened to them over many years and they bear the marks of time, giving them their mojo and making each and every one of them even more unique and genuinely so. No fake aging here. There is something uniquely satisfying about knowing that the guitar in your hand is unlike any other on the planet, not because it’s been messed with but because it has lived a life of music making over the decades.
The Authenticity – Vintage guitars are the real thing. Not reissues, not New Old Stock (NOS), not relics. They show in every way that they’ve had a life of playing and making music. They don’t just look the part, they are the genuine archetypes on which many modern guitars are styled. I must admit that I prefer vintage guitars that are all‑original if possible, even though this isn’t always practical. I am divided on the topic of refinishes. Generally speaking, original is best – once a refinish has been undertaken, the original can never be reinstated. I do not advocate modifying a vintage instrument unless it can easily be put back to original.
The Variety – Particularly but not exclusively in the 1950s, there was an explosion of design creativity as far as American (and other) electric guitars are concerned. This brought us the Telecaster, Stratocaster, Precision bass, Les Paul, ES‑335, Explorer, Flying V, etc. etc. This means that, although the number of vintage guitars for a specific period is finite, there remains a great deal of diversity, even though there were no such things as ‘mod shops’ or custom shops at the time. In particular, I tend to like the unusual guitars that many others detest. My choice. Their loss.
The Look – I can sit and look at vintage guitars for ages. Wabi sabi is the Japanese concept that something can be perfect because of its imperfections. Whether it’s the patina, the light reflections, the bumps and nicks, the lacquer fading, finish crazing, the genuine wear and tear mean that there is always something that draws the eye over and over again. In my view, the best guitars are well‑used instruments and far more interesting that pristine museum‑grade examples. Where others might see ugliness, I see loveliness in droves.
The Feel – Looks are one thing, feel is another. Most vintage guitars are well played in, although some are worn out. The materials age naturally over time, giving them a tactile feel that is far from the generic newness of mass produced modern guitars. Modern machine manufacturing is very different from the somewhat haphazard and idiosyncratic construction methods of the past. Many modern manufacturers try (and fail) to mimic the physical effects of extended age and use in new instruments. One can almost feel the honest history of each instrument every time it is picked up and played.
The Tone – After the previous two points, one cannot ignore the tone. Many modern guitar designers spend inordinate amounts of time trying to replicate the tones of original instruments. Tone woods are unique and age uniquely. Pickups for instance were often made out of what was available at the time and, while it is possible to emulate the materials, the passage of time seems to exert a permanent change in the physical structure which not only makes each one unique (see above) but makes them impossible to replicate in every way. Modern technology and techniques can only get so far. There are also plenty of under‑the‑radar vintage guitars that can provide a wide range of tones beyond the ‘classic’ sounds of the icons.
The Mythology and the Truth – The absence of genuine documentation leads to much interpretation and opinion. Even the most fastidious research can only uncover some of the truth. The rest is, and will probably likely always will be, unknown. The scant facts result in a truth vacuum within which stories have been created and promulgated, with varying degrees of truth. The fact that only some things can be verified, means a wide variety of opinions persevere. In the absence of documentation, who really knows what these instruments have been through in their lifetime? Using one’s imagination imbues them with intangible mystery that may or may not be deserved. Generally speaking, the more pristine the example, the less storied its history.
The Privilege of Stewardship – Ownership is one thing (see above). However, many vintage guitars not only predate their owners but also will probably outlast them, possibly many times over. This means that ‘owners’ are essentially only temporary and are transitional guardians of important historical artefacts. It is good to be part of their story, perhaps being documented for only the first time in their long life. While I’m here, I am trying hard to do my bit for prolonging posterity, even if I won’t be there to enjoy it once my time is up.

“No profit grows where is no pleasure ta’en. In brief, sir, study what you most affect.” – William Shakespeare from ‘The Taming of the Shrew’

10 Things… I Hate About Vintage Guitars:

The Economics of Collectors vs. Enthusiasts – Regular readers will know that I abhor the whole ‘vintage guitar collector’ world and its elitism, asset accumulation, profiteering based on return on investment and flaunted status symbols of wealth. Most ‘golden era’ vintage guitars (c.1950‑1965) from the major American brands are now so far out of the reach of enthusiasts that many will never get to appreciate the charms of these icons. A case could be made that collectors help to preserve heritage but only if they can make a profit along the way. I can’t abide, let alone change, the arrogant avarice and scornful snobbery associated with vintage guitar ‘collecting’ but at least I can attempt to share my ardent enthusiasm. I recognise that dealers have to make a profit but some take the price of ‘exclusivity’ to extremes. This particular gripe is not about vintage guitars per se but directed at the leeches that avidly feed off them. It is even worse when those pariahs can’t even play them while at the same time denying others the joy.
Provenance and Celebrity Ownership – What distinguishes a standard guitar from the same model owned by a famous musician. Normally nothing really, other than the artist association. A guitar that would otherwise cost just a few thousand pounds/dollars can be escalated to stratospheric, often seven figure sums. Owning a celebrity guitar wouldn’t make me sound like them (why would I want to?) and it doesn’t make me play any better (sadly). I am interested in the instruments, not the artists. While it is good to have some genuine insight to a guitar’s history, I will leave the quest for insanely costly instruments with documented provenance to others. If I mention that auction house, Christie’s of London sold part of the late, great Jeff Beck’s guitar collection on 22 January 2025, raising over £8.7m ($10.7m) in the process, you’ll possibly kinda see where I’m coming from.
The Maintenance (Inc. Parts & Accessories) – Keeping vintage guitars is not straightforward; they require ongoing care and attention. If vintage guitars are used (as they should be), wear and tear ensues. Taking care of vintage guitars often exceeds the skills of amateur meddling and benefit from (expensive) professional skills. Finding a luthier who really knows what they are doing and can be trusted is not an easy task. Sourcing genuine vintage parts is becoming harder and more costly meaning that it is a challenge to keep them vintage correct AND usable. Worn out and badly treated vintage guitars are a sad sight and some, in all honesty, are just not worth conserving. Refinishes devalue an otherwise great instrument. Refrets are, however, sometimes necessary. Neck breaks unfortunately determine eternal ‘player’ status. The prices of vintage guitar cases on their own can also be quite daunting, not to mention case candy, sales tags, manuals and sales documents, normally discarded many decades ago.
The Environment – Vintage guitars are more sensitive to environmental conditions than new ones – temperature, humidity, UV light, etc. Different materials respond differently over time. The ideal environment for vintage guitars often differs from what people experience in day‑to‑day living areas. Most vintage guitars, in my view, should not be locked away in secure environmental storage, meaning that there has to be compromise for us ordinary enthusiast owners. Managing the environment in a normal home without climate control is therefore not ideal but, at least in my case, good enough (just). Thankfully, most electric guitars are less susceptible to changes in environment than acoustics, although archtops and semi‑acoustics can prove problematic. Prevailing wisdom is that guitars should be kept in their cases at a temperature of 21‑24˚ (70‑75˚) and a relative humidity (RH) of 40‑50%. The most important factor here, though, is ‘stability’, avoiding extremes and rapid fluctuations.
The Playing Experience – Part of the mythology is that vintage guitar playing is some transcendent spiritual experience that cannot be matched by mere mortals with ordinary instruments. The reality is, however, much more mundane. However, no matter what period vintage guitars were originally manufactured, some are great, many are OK and some are dogs. The consistency and accuracy of manufacturing back in the day means that many are not always the easiest or most pleasant to play. Sometimes, however, the challenge may also inspire different approaches to playing. Bottom line, the truth is that a guitar of a certain edge doesn’t guarantee blissful nirvana, not by a long way. Be prepared for fret buzzing, high action, scratchy pots, stiff or loose tuners, inaccurate intonation, ineffective truss rods (if any), etc.
The (Lack of) Documentation – Even today, accurate information isn’t always easy to come by but with vintage guitars, it is often almost impossible to get to the bottom of things. From serial numbers, to manufacturing/shipping numbers, to seemingly contradictory features and specifications, identifying and dating vintage instruments can be a nightmare, despite best efforts and extensive research. Even George Gruhn’s illustrious ‘bible’ has plenty of errors and omissions. The best approach is to undertake diligent research and, if possible, find corroborating information from someone who may know more. Sometimes, one just has to use one’s experience and take a punt on an undocumented instrument.
The Noise of the Opinionated Ignorant – The usual example of this is the vociferous and damning condemnation of CBS‑era Fenders and Norlin‑era Gibsons, et al. Such broad‑spectrum denigration simply isn’t justified. These disparaging views are sustained by many people who don’t really know and understand what they are talking about – they just spout out the derivative, clichéd rhetoric of the lazy and uninformed. While there may be no smoke without fire, it is plain wrong to assume that sweeping generalisations apply to every instrument. Don’t believe everything you read; make up your own mind, based on real experience. Extrapolating the point further, the noise of self‑appointed, erratically opinionated commentators over time can create a broad perception that is not necessarily true but, if restated sufficiently strongly, people will believe it anyway (the so‑called illusory truth effect). Such automatic assumptions need to be challenged and re‑evaluated. I strongly advocate an open mind and critical questioning of blind dogma. The symptom may be exacerbated by selective positive reinforcement, i.e. someone agreeing with similar views while dismissing opposing views. File under guitar snobbery, hogwash and boloney.
Fakes and Copies – Where there is money involved, often lots of it, there are unscrupulous companies and individuals wanting to exploit innocent victims for financial gain. There have long been fakes of classic guitars pervading the vintage market and some of them are hard to identify and root out, let alone the possibility of bringing the perpetrators to justice. A lesser ‘crime’ is companies imitating classic guitars and selling them in large numbers. I can understand some people wanting the look without the cost but it is not a thing to be proud of and it often isn’t good for the industry. The most infamous cases were in the 1970s with the lawsuit‑era guitars where flagrant copies by Ibanez (and others) were almost identical to the originals. Then there was the Gibson vs. PRS battle in the early 2000s over the single cutaway Les Paul outline. Now, cheap Chinese knock offs are flooding western markets with an adverse impact on genuine models and are, politically, impossible to litigate against. There really is no need to counterfeit the classics – do something original and improve the breed with integrity.
The Preserve or Conserve Dilemma – Should museum grade vintage guitars be locked up in vaults or in glass cabinets so they can be ‘preserved in aspic’ or should vintage guitars be used for what they were intended to be used for, making music? A case can be made for protecting a very few historically significant items but not all by any means. In my view, playing vintage instruments is good for them, even if it means that they experience greater wear and tear in the process. An old guitar that hasn’t been used for some time sounds dull and lifeless. Playing a stored vintage guitar can bring it back to life. My generally pragmatic stance here is to conserve but not to preserve. One should never feel afraid to touch, pick up or play a vintage guitar.
The Responsibility of Stewardship – While temporary stewardship of vintage guitars is a privilege (see above), it also carries a great deal of responsibility so that they can be passed on for the benefit of future generations of players and enthusiasts (and, begrudgingly, collectors) in a condition that befits their previous ownership. It is up to current ‘owners’ that the legacy can continue untainted into the future. Those that don’t take the responsibility seriously probably shouldn’t own a vintage guitar. For instance, my advice is not to mess with an original vintage instrument unless unavoidable. Far too many guitars have been modified in the past – often when they were near new – and can’t easily be restored to original. Things like tuners, nuts, frets, pickups, bridges, scratchplates, electrics, knobs and strap buttons should be kept original if at all possible. Some mods may be ‘tolerable’, for instance where changes can be 100% reversible without any damage, as long as the original parts are kept with the instrument. Routing out a guitar body to accommodate inappropriate pickups, for instance, may be considered a travesty.

“If you repeat a lie often enough, people will believe it, and you will even come to believe it yourself” – a ‘law of propaganda’ attributed to the Nazi Joseph Goebbels (1897‑1945), used as evidence to substantiate ‘the illusory truth effect’.

I have tried, objectively, to explain why I am addicted to allure of vintage guitars. So… If it isn’t about money and it isn’t about vanity and it isn’t about my playing ability, just what is it about? That’s the subjective, intangible bit that I still find hard to articulate.

Regarding the subject matter, I suspect that my passion for these objects doesn’t come across particularly well. That is my prosaic inadequacy for which I apologise.

In conclusion… if my idle observations carry any substance, there is some semblance of universal balance after all and the equilibrium is sustained. The same principles apply to just about anything you might care to think about.

“Don’t let anyone, ever, make you feel like you don’t deserve what you want” – Patrick from the film, ‘10 Things I Hate About You’

10 Images which you may love or hate

Below are 10 CRAVE Guitars images for you to feast your eyes upon and, perhaps, crave (sic!). NB. None of which are to be found on the web site (until now).

Final thoughts about 10 Things…

When I started accumulating (rather than collecting) guitars in the mid‑late 1970s there wasn’t really a broadly accepted awareness of electric guitars let alone basses, effects and amps being ‘vintage’ (a word that is hard to define in this context). The original CRAVE Guitars are the 1975 Gibson Les Paul Standard, the 1977 Fender Stratocaster, the 1977 Fender Precision fretless bass and the 1978 Music Man Stingray Bass – I still have all four of them. They may be considered vintage now but back in the day, they were just guitars. Only the Music Man Stingray was acquired new, the others were simply second hand. How things have changed in the intervening 40‑50 years. Now I feel old… sorry, vintage!

If you haven’t gathered already, I love genuine, original vintage guitars. I know that they aren’t essential to civilisation’s survival but they do represent a peaceful diversion from the meanness of the modern world. Exploring the ‘Ten Things I Love/Hate’ leads inexorably onto insatiable cravings (sic!) and obsessional pursuits. For many, this is more widely known as G.A.S. (Gear Acquisition Syndrome). For many vintage guitar enthusiasts there is an additional layer of addiction and passion that has real world consequences (e.g. funds, space, etc.).

“You don’t always have to be who they want you to be, you know” – Kat from the film, ‘10 Things I Hate About You’

Not everything about vintage guitar ownership is hunky dory. There is a zen-like steady balance to ownership, which is kinda the point I’m getting at, in rather a circuitous route. There are times of excruciating sufferance and moments of ecstatic exuberance. The latter more or less cancel out the former and, thus, the status quo is maintained. There is a karmic tension that many won’t understand, some will seek to fulfil, and fewer likely to tolerate. Vintage guitar ownership requires a particular type of person and a certain degree of patience that is not for everyone. Thankfully so, as there are simply not enough of these things to go around.

Economics is a social science that studies how we allocate scarce resources for production, distribution, and consumption. In this instance, the consumption component is fundamentally about the laws of supply and demand. The inversely proportional interdependence between quantity and price is something about which many vintage guitar buffs are all too well aware. As quantity reduces, prices increase. It rarely (other than in recessionary times) goes the other way in the finite world of vintage guitar market (and why an over‑abundance of new guitars keep retail prices low).

“You’re looking at this from entirely the wrong perspective. We’re making a statement” – Kat from the film, ‘10 Things I Hate About You’

Some things about vintage guitars are intangible and subjective, so much so that it is difficult to articulate effectively. Can some of the attributes associated with vintage guitars, including many of the statements above be measured or explained definitively? The ageing of electronic parts for instance. Scientifically, it is not easy to say why one vintage pickup hits the sweet spot while another fails to sound right. Does the type and quality of the tone wood make a real difference to the feel and tone of vintage instruments? How much is real and how much is simply suspicious snake oil? One thing is for sure, vintage guitars have something that new guitars don’t. Identifying with any sort of certainty what that ‘something’ is will engage people in debate, probably forever, and that just adds further mystique and mythology surrounding vintage instruments.

“I burn, I pine, I perish” – William Shakespeare from ‘The Taming of the Shrew’

Some may accuse CRAVE Guitars of actually being a symptomatic example of the abominable ‘collectorati’, a secretive society of which I am so consistently critical. That is probably a ‘fair cop’ to some extent and it is an insinuation that I must bear and justify as a necessary compromise. However, as a not‑for‑profit entity, CRAVE Guitars is certainly not in it for money and I do my best to share the heritage with anyone who wants to look in, so not secretive. They are played, although each one doesn’t get as much playing time as I would like. In addition, I do not try to preserve them, they are too important to waste away in a sterile stasis.

“… But mostly I hate the way I don’t hate you. Not even close, not even a little bit, not even at all” – Kat from the film, ‘10 Things I Hate About You’

One thing you might ask at this juncture is (how) do I rank guitars in the ‘collection’? Well, the easy answer is that I don’t. There are undoubtedly ones that I prefer playing to others, some that I prefer to look at to others, and some that sound better than others. However, in overall terms each one has its place and is valued in different, if not directly comparable, ways. However, I cannot rule out the fact that the thorny subject of favouritism may come back under the spotlight at some point.

Where all the CRAVE Guitars’ guitars, basses, effects, amps and accessories will eventually end up, who on Earth knows? In the meantime, I’ll just continue as a curatorial custodian of valued vintage paraphernalia to the best of my (limited) ability.

One wonders what future generations will make of things if/when they look back to the 2020s and, maybe, come across this article. Even in another 40‑50 years, I am certain that perspectives will be very different again. I will also wager that many of the much maligned guitars that I personally like will be much in demand attracting inflated premium prices. Unfortunately and sadly, I won’t be around to proclaim ever so smugly, “I told you so”. Shame.

“If she and I be pleased, what’s that to you?” – William Shakespeare from ‘The Taming of the Shrew’

CRAVE Guitars’ ‘Album of the Month’

Given the subject matter of this month’s article, there is only one album that I think fits the bill (in a slightly tangential fashion).

Leonard Cohen – Songs Of Love And Hate (1971). This impressive recording was Leonard Cohen’s 3^rd studio album, released in March 1971 on the Columbia record label. The album was recorded during a difficult period in Cohen’s life, suffering from depression, making it a very personal and emotionally intense album for the late, great Canadian singer/songwriter. As a whole, it is an extraordinary recording, famous for evocative tales including, ‘Avalanche’, ‘Last Year’s Man’, ‘Famous Blue Raincoat’ and ‘Joan Of Arc’. Despite Cohen believing ‘Songs Of Love And Hate’ was a failed experiment, it endures as one of his finest achievements. Many commentators assert this album as proof of Cohen’s pessimistic ‘downer’ reputation but that misses the point, as it can be a powerfully cathartic listening experience. Only 8 tracks on the original release, coming in at under 45 minutes, it was not only a commercially successful album but also it represents a priceless memoir in the annals of musical history. A fine legacy from a fine artist. Thank you Mr. Cohen (1934‑2016, 82).

The relevance, once again, is that love and hate are interdependent polar opposites that exemplify the importance of, and need for, universal balance – the yin and yang referred to at the top of this article. If we do not understand hate, we cannot appreciate the value of love. If we do not wholeheartedly embrace love, hate will overcome and overwhelm us. Profound existentialism that provides for the equilibrium of life and humanity in the cosmos.

“Who needs affection when I have blind hatred?” – Patrick from the film, ‘10 Things I Hate About You’

BELIEVE IN MUSIC!

Tailpiece

So, 2025 is now well underway. Thank you for taking precious time out of your life to spend it here with me. I am pleased that CRAVE Guitars is back to talking about vintage guitars within a wider context. The change of scene for a few months was healthy and the subject matter fascinating but vintage guitars still rule. I hope you were able to get some interest and/or pleasure from it. The length of articles is beginning to creep up again, requiring more time to be spent on researching and writing articles than focusing on ‘The Distortion Diaries’. Note to self: Stop it! Now!

I know it’s not my place but in a world of escalating aggression and conflict, the only sensible bit of guidance I can give is for y’all to just chill the heck out (apologies for the split infinitive). Be kind to yourself and others.

Next month, ceteris paribus, we’ll be taking another oblique view about the world of vintage guitars. In the meantime, may you maintain your universal balance and find harmony and contentment therein.

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

CRAVE Guitars’ ‘Quote of the Month’: “We don’t make love. Love makes us”

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30 Dec 2024

December 2024 – CRAVE Guitars 2024 In Review

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

Prelude

YES FOLKS, “THE END IS NIGH” (no, not the video game). The clichéd idiom of woeful doomsayers is the pessimistic prediction of impending Armageddon – the end of the world according to God’s final judgement enshrined in religious belief. Not here though. In this instance, I’m referring to the far less fatalistic but probably more imminent finale to the Gregorian calendar year of two thousand and twenty four (NB. The Gregorian calendar was established as a reform of the Julian calendar in 1582 by Pope Gregory XIII). While ‘The End Is Nigh’ may also represent the rallying cry for the biblical apocalypse, that is not my intention or implication, just my peculiar sense of absurdity.

“This is the way the world ends, not with a bang, but a whimper” – T.S. Eliot (1888‑1965)

You are probably tired of all the usual end‑of‑year retrospectives. For those few who aren’t weary of looking back, I am using the hackneyed ‘annual review’ as a convenient mechanism to conclude this particular 12 months of our collective existence. For the list‑o‑philes out there, this is probably the article for you.

Thus far, despite best endeavours, I have singularly failed to make sufficient time and space to work on the novel, ‘The Distortion Diaries’ announced in November 2024, so it looks like shorter articles will be the way of CRAVE Guitars’ regular output going into 2025.

So, without further ado, let’s take a swift look back at 2024 through the languid lenticular lens of CRAVE Guitars…

CRAVE Guitars Gear 2024 (0)

Sadly, and with great disappointment, there have been zero guitars, zero basses, zero effect pedals and zero amplifiers added or sold during 2024. Nothing. Nada. Rien. Nichts. Nulla. Zilch. Ma. Ning. Nihil. Sin. Nichto. Inga. To put it in the western euphemistic vernacular, f‑all ‘new’ old stuff. Sigh.

There have been three on‑going primary reasons for this:

Funds – As the author is on a low, fixed income and CRAVE Guitars is a non‑profit entity, there has simply been insufficient capital to invest in my preferred pastime
Space – CRAVE Guitars exists in an ordinary (small) family home, in which there is insufficient space to accommodate any more gear. The long-frustrating inability to convert the house’s dark damp cellar into a suitable CRAVE Guitars emporium is still on‑going and unlikely to change any time soon (see first reason!)
Competing priorities – In addition to a shortage of funds and space, some other things in life cannot be avoided and require priority attention. Such mundane obligations serve to divert precious funds and consume available space (see first two reasons!)

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

2024 was the first year since CRAVE Guitars was established in 2007 that there has been no change whatsoever to the ‘collection’. The assemblage of assorted artefacts, it seems, has reached an uneasy equilibrium. It is not my intention for this stagnant state of affairs to continue. Other things, therefore, must change in one, two or all three of the factors above before there is a substantial change to either the quantity or quality of CRAVE Guitars’ vintage gear. Don’t get me wrong, I would dearly love for the ‘collection’ to change and/or grow but, as political economists fail to understand, growth is finite.

After all is said and done, I have to declare that I am massively grateful and eternally thankful for what I have in CRAVE Guitars. It may be modest and humble but, with the dire state of the modern world, I am indeed lucky to be in this fortunate position. As ‘they’ say, things could be a whole lot worse.

“Happiness will never come to those who fail to appreciate what they already have” – Buddha (Siddhārtha Gautama – c.480 400BCE)

Some of those that left the building in 2024 (20):

As with every year that passes, sadly, there has been a number of notable music artists that have thrown off the mortal coil. Here, in memoriam, are just a few souls that we lost this year:

4 January: David Soul, aged 80
11 January: Anne Nightingale (BBC radio and television presenter), aged 83
23 January: Melanie (Melanie Anne Safka Schekeryk), aged 76
2 February: Wayne Kramer (MC5), aged 75
3 February: Aston ‘Family Man’ Barrett (Bob Marley & The Wailers and The Upsetters), aged 77
17 March: Steve Harley (Cockney Rebel), aged 73
14 April: Dickey Betts (The Allman Brothers Band), aged 80
30 April: Duane Eddy, aged 86
7 May: Steve Albini (Shellac and record producer), aged 61
22 July: John Mayall (The Bluesbreakers), aged 90
5 September: Herbie Flowers, aged 86
5 September: Sergio Mendes, aged 83
28 September: Kris Kristofferson, aged 88
15 October: Tito Jackson (Jackson 5), aged 70
16 October: Liam Payne (One Direction), aged 31
25 October: Phil Lesh (Grateful Dead), aged 84
21 October: Paul Di’Anno (Iron Maiden), aged 66
3 November: Quincy Jones, aged 91
14 November: Vic Flick, aged 87
15 December: Zakir Hussain, aged 73

“Even death is not to be feared by one who lived wisely” – Buddha

2024 album releases purchased (27):

After a prodigious injection of creativity during and immediately after the Covid pandemic, there seem to have been fewer ‘great’ albums to tempt one to part with one’s filthy lucre this last year. More mediocre musical material manifested. Over the last 12 months, there have been only a few new releases to add to the music library – just over one per fortnight. Sigh. As regularly mentioned through this platform, despite embracing music streaming, I still prefer to go ‘old skool’ and buy physical media (on CD, I no longer have vinyl). The 27 new releases purchased in 2024 were:

The Aristocrats – DUCK
Caribou – Honey
Nick Cave & The Bad Seeds – Wild God
Cigarettes After Sex – X’s
Culture – Good Things (reissue)
The Cure – Songs Of A Lost World
The Cure – Songs Of A Live World: Troxy London MMXXIV (live)
Dreadzone – 9
Billie Eilish – Hit Me Hard And Soft
Fat Freddy’s Drop – Slo Mo
Floating Points – Cascade
Four Tet – Three
Beth Gibbons – Lives Outgrown
Jamie xx – In Waves
Jon Hopkins – Ritual
The Jesus And Mary Chain – Glasgow Eyes
Melts – Field Theory
Niney & The Observers – Tubby’s Want The Channel: Dubbing With The Observer 1976‑1978
Opeth – The Last Will And Testament
Lee ‘Scratch’ Perry – King Perry
Lee ‘Scratch’ Perry & Youth – Spaceship To Mars
The Smile – Wall of Eyes
Linval Thompson – Ganja Man
Chelsea Wolfe – She Reaches Out To She Reaches Out To She
Various Artists – Jon Savage’s Ambient 90s
Various Artists – Niney The Observer Presents Jah Fire: The Observer 7″ Singles Collection 1976‑1977
Waxahatchee – Tigers Blood

The list above doesn’t include all the other pre‑2024 CDs added to the library over the last 12 months, which run into the several hundreds‑ish.

“If music be the food of love, play on, give me excess of it; that surfeiting, the appetite may sicken, and so die” – William Shakespeare (1564-1616)

2024 major gigs (2)

As with vintage guitar gear and creative new music, it’s also been a pretty moribund year for experiencing live music, with only two sizeable concerts attended, sadly. Thankfully, both concerts were terrific:

The Australian Pink Floyd Show (November)
Baroness (support: Pallbearer, Graveyard) (November)

Even local pub band gigs have been sparse this year. The local ‘weekender’ event featured largely cover bands and artists dishing out popular hits from the past with little, if any, original material. This paralysing trend has been commented on before. While it is good that live music is out there, it is not so good that very little fresh, new material appears to be coming up from the grass roots.

“After silence, that which comes nearest to expressing the inexpressible is music” – Aldous Huxley (1894-1963)

KEEP MUSIC LIVE!

Various tangential observations about 2024

It is that time of year, with 2025 on the proximate horizon, to round up a few random things together into some sort of convenient (if incoherent) package.

The market prices of vintage guitars and gear has increased significantly over the last 12 months within the context of volatile operating environments across the globe. Many collectors are turning their sights to previously under‑the‑radar models as the economics of supply and demand inflate the so‑called ‘golden era’ vintage guitars beyond belief. The effect of such inflation is that it is putting many ‘cool and rare vintage electric guitars’ out of reach enthusiasts (like me!). Many emerging value‑for‑money vintage guitars that were previously just about affordable, no longer are. The relative shortage and price of vintage guitars presents a difficult challenge for the future of CRAVE Guitars. As a result, I won’t be proclaiming a prioritised list of gear to look for and acquire in 2025.

My aim for 2025 is to attract 50k visits on the web site. At the time of writing, there were 43k visits in 2024. To reach 50K, it will take nearly 150 visits pre day on average. That target doesn’t seem to challenging but, believe me, it is. With the fall off in visitor numbers to the web site (probably also due to the lack of gear turnover), I will need to pay a bit more attention to promotion and social media output, including on Bluesky Social. Currently, at the end of 2024, there is very little in the way of vintage guitar content on Bluesky, so CRAVE Guitars is kinda leading the way in that respect. Bring it!

CRAVE Guitars on Bluesky Social (@crave-guitars.bsky.social)

Reflecting a seriously worrying trend with the economics of the music industry, we lost all 42 Sam Ash Music Stores in the US in May 2024. This loss is the tip of a worrying iceberg and signifies at best a stagnant musical equipment industry and, at worst, a shrinking one. The switch to Internet procurement provides some commercial compensation, although is that really the best way to purchase the gear musicians want and need?

In a similar vein, the owners of the famous Sam Goody entertainment chain announced that it will close its final music stores in 2025, after nearly 75 years of business (founded in 1951). Adios to both Sams.

Mirroring a trend of migrating from printing to virtual publishing, ‘Total Guitar’ magazine sadly met its physical demise in October 2024 after 30 years on the newsagents’ shelves.

Commercially successful bands also seem to be in decline judging by the number of single and album chart successes performed by ‘real’ bands being at a considerably lower level than that of solo artists. Streaming has also demonstrated that ‘the album’ now has less significance than curated playlists and popular single tracks. So… one conclusion that might be drawn from this is that serious music creativity might be under threat (although hasn’t it always been thus?).

Perhaps the comeback of physical media (see below) might reinvigorate greater interest in bands and albums. One band that released a successful studio album in 2024, thereby bucking the otherwise inevitable trend, gets CRAVE Guitars’ Album of the Month (and Year).

As an avid buyer of new and used physical music media, the author has noticed that the market for CDs seems to have experienced an upturn during the last year. According to some sources, 2024 is likely to be the second year in a row that CD sales have shown signs of a resurgence, following the example of vinyl. Coincidentally, according to some research, this turnaround may also be a sign that demand for music digital streaming may have peaked and digital downloads are definitely in decline. The almost‑trend of CD growth, assuming it continues, could potentially match the vinyl revival in demonstrating that music lovers appreciate and value the ownership of tangible media.

The indication is that the availability of second hand CDs has decreased slightly at the same time that the price of used CDs has increased – once again demonstrating the inevitable dynamics of economic supply and demand. Ultimately, though, the method of listening is less important than the fact that people are actually listening to more music in the post‑Covid, pre‑dystopian world.

On the subject of physical media, readers may know about my particular proclivity for reggae and especially dub reggae. I am now finding it quite hard to find and buy quality dub reggae CDs at a reasonable price. The diminishing returns effect means I’m beginning to get into rare and collectable dub reggae CDs, which is competing for finite funds that could be used on vintage guitars. Decisions, decisions, decisions.

Final thoughts on the end of 2024: the future starts here

The world seems increasingly to be descending irretrievably towards society’s End of Times (see top of the article), driven by just a few maladjusted, misguided maniacal, malevolent, malignant, megalomaniacs, seemingly sanctioned by the compliant acquiescence of copious complicit citizens. Critical questioning seems to have been replaced by indolent, possibly ignorant, apathetic obeyance. Harmony, stability and security are fundamental imperatives for human survival and we seem conveniently to have forgotten this, or worse, not to care a jot. Why should I care; no‑one else seems to?

“Frankly, my dear, I don’t give a damn” – Rhett Butler played by Clark Gable in the film ‘Gone with the Wind’ (1939)

Now, the thing is… I do care. War is repugnant and indefensible in the 21^st Century. ALL countries need to STOP and reflect on the insanity of where we are heading. Fighting Is Utterly Futile. Fact!

“Hatred does not cease by hatred, but only by love; that is the eternal rule” – Buddha

If we do not wake up soon to this pervasive and insidious threat, I fear it will be too late. The human extinction process has begun and appears to be irreversible without an urgent call to action to create a better civilisation and sustainable future. Peace has to be the first step to global co‑operation, which would then release the potential, ability and resources to tackle global issues in a truly united way.

“We set sail on this new sea because there is new knowledge to be gained, and new rights to be won, and they must be won and used for the progress of all people” – John F. Kennedy (1917‑1963)

How to do that? My (vain) suggestion would be that the United Nations (UN) should be transformed into a potent force that is empowered to act in the interests of all species on our little planet. A strengthened UN could intervene to curtail existing conflicts and counteract new ones through diplomacy and negotiation, using force only as a last resort. The UN is ideally placed to do so but it needs to become much, much more than the impotent talking shop that it is now. It could, and perhaps should, become a genuine peace‑making and peace‑keeping force that is mandated by the collective of all non‑pariah states to supersede unilateral national interests and intercede where necessary for the long‑term sake of humanity as a whole. That, after all, was what the UN was set up to do post‑WWII.

If realised, the UN could also become an international rescue organisation to assist after natural disasters and an aid distribution organisation to help victims of misfortune. However, given that national interests will continue to overwhelm efforts towards collective agreements, sadly, I cannot see that happening, at least not in my lifetime.

“We choose to go to the moon in this decade and do the other things, not because they are easy, but because they are hard, because that goal will serve to organise and measure the best of our energies and skills, because that challenge is one that we are willing to accept, one we are unwilling to postpone, and one which we intend to win, and the others, too” – John F. Kennedy (1917‑1963)

Military conflict, though, is only for starters. We also need to guard against unrestrained population growth, catastrophic deforestation, critical food insecurity, irrevocable climate change, unbridled economic migration, uninhibited ideological extremism, perilous habitat erosion, acute ecological pollution of air land and water, and devastating social division. All are perilous global crises created by humans. Only humans can act together to resolve them. Only the ignorant can sit idly by and ignore them. No biggies then! Perhaps the end is nigher than we think after all.

“The world will not be destroyed by those who do evil, but by those who watch them without doing anything” – Albert Einstein (1879‑1955)

I am, by nature a romantic optimist, almost to the point of hapless delusion. So, I guess we have to retain some sense of belief, purpose and positivity about the future in order to avoid cataclysm and improve our, and future generations’, chances of survival and salvation, starting in 2025.

“We must accept finite disappointment, but never lose infinite hope” – Martin Luther King Jr (1929‑1968)

I propose to you a simple but profound premise – Hope is based on progress resulting in a future that will be better than the past and the present. I don’t pray for a miracle. I pray that we become wise enough that we do not need miracles. Time will tell but will there be anyone around to listen? Apologies folks. Soap box over. Again.

“I Have a Dream…” – Martin Luther King Jr

CRAVE Guitars’ ‘Album of the Month (and Year)’

As we are at the end of the year, it only seems fair to select an album from this year’s new releases. Full disclosure here, on this occasion I am biased, as the band has been one of my go‑to favourite bands for nearly five decades.

The Cure – Songs of a Lost World (2024). After 16 long years since the flawed, ‘4:13 Dream’ (2008), The Cure released their 14^th studio album, ‘Songs of a Lost World’ on 1 November on the Fiction record label. SoaLW was The Cure’s first album to reach number 1 in the UK album chart since, ‘Wish’ (1992) – a gap of 32 years! It is also their best since, ‘Disintegration’ (1989), up there with, ‘Bloodflowers’ (2000), ‘Pornography’ (1982) and, ‘Faith’ (1981). In its first week, SoaLW outsold all other chart albums in the top 5 combined, a rarity for a band album these days (see above). As it turns out, it is a rare thing and well worth waiting for.

Hyperbole like ‘triumphant’ and ‘monumental’ are regularly thrown about but rarely well‑deserved. SoaLW is high on atmosphere and represents a tremendously powerful achievement, ably showing that there is life in the old dogs yet. There is not much in the way of happy, catchy sing‑along commercial material but, thankfully, The Cure remain true to no‑one but themselves. It is a densely layered intricate and immersive ‘wall of sound’ best experienced in a single sitting; certainly not easily accessible for a casual listener. Rather than selling out to marketable popularism, the band has released a deeply personal and affecting collection of 8 tracks covering just 49 minutes. Robert Smith also took an unusual step in publically thanking everyone for their support and loyalty. SoaLW was also accompanied by live recording of the launch concert, ‘Songs of a Live World: Troxy London MMXXIV’.

At this stage in their career, The Cure didn’t have to release an album of such laboured, tortured quality. They could easily have phoned in a profitable release with little effort (see, ‘Wild Mood Swings’ (1996) and ‘The Cure’ (2004)). Such integrity and creativity is rare for a band that has been around for so long, admittedly not always consistently great. Thankfully, Robert Smith and his band have delivered an astonishing late‑career masterpiece (apologies for more hyperbole) that bucks the trend of 2020s popular music.

In other news, The Cure has been a hard‑working band, still touring for a large part of each year as well as fighting against the abhorrent avarice of ‘dynamic ticket pricing’, so that fans can get a fair deal. No wonder that The Cure were recipients of NME’s Godlike Genius Award in 2009 and inducted into the Rock & Roll Hall of Fame in 2019. SoaLW took years in the making but it turned out to be a good end to 2024. See, I said I was biased.

“If I go back to how I was when I was a younger man, my plan was to keep doing this till I fall over, my idea of when I fell over wasn’t this old” – Robert Smith (1959-)

BELIEVE IN MUSIC!

Tailpiece

So, there you have it. Another calendar year comes to an end and passes into history. Gone, never to return. For those of us in existence today, it represents another year closer to us all attending that great gig in the sky. However, it’s probably best not to dwell on that particular inevitability.

It has been another full year of CRAVE Guitars articles. With the lack of productivity regarding gear acquisitions, monthly articles have tended to be less focused on old instruments, effects and amps that are the mainstay of CRAVE Guitars. However, this has provided an opportunity to explore other, more holistic, facets of vintage guitars, the wider music industry and cultural musicology.

With the need to make time and space for ‘The Distortion Diaries’ novel (first hinted at December 2023 and covered in more detail in October 2024), we’ll just have to wait and see what CRAVE Guitars articles will be like in 2025. Let us hope 2024+1 proves to be a positive year and that there will be plenty of interest to sustain attention.

Wishing y’all a Happy New Year and thanks for looking in. P.S. I hope you enjoyed the postponed (for now) End of Days! The end, it seems, might not be quite so nigh after all. Hopefully.

“I am here, alone, at the end of the world. I reach out and touch nothing” – Haruki Murakami (1949‑)

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

CRAVE Guitars’ ‘Quote of the Month’: “If nowhere actually exists, how can you possibly know when you are in the middle of it?”

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30 Nov 2024

November 2024 – A Virtual Decade of CRAVE Guitars

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

Prelude

BONJOUR, BOUNTIFUL BRETHREN. It is good to have you here with me this late November 2024. As previously mentioned, I am hoping to concentrate on writing, ‘The Distortion Diaries’ (see last article) by creating a bit of time and space, which has meant changing my approach to monthly articles for a (hopefully) short period. So this is another (hopefully) short article, essentially as a placeholder until things get back to ‘normal’ (hopefully). One has to remain hopeful. So far, it hasn’t gone to plan, so I must endeavour harder, for longer than intended. This article is mercifully short (for me) as a result.

This month, though, we have a Tin Anniversary to commemorate. NB. Tin is a silver‑coloured metal and chemical element belonging to the carbon family, with the symbol Sn (from the Latin, stannum) and atomic number 50. A 10^th anniversary is designated ‘tin’ because the metal represents durability, strength, flexibility and resistance to corrosion and wear. So, there you go. Tin for Ten it is.

So, exactly what is it that is 10 years (3,653 days) old? CRAVE Guitars online presence, that’s what. Before November 2014, CRAVE (Cool & Rare American Vintage Electric) Guitars had already been a formal, non‑profit entity for seven years (since the late summer of 2007). During those early seven years, it couldn’t easily be shared with anyone. All that changed a decade ago when CRAVE Guitars rapidly became visible to anyone who wanted to find out about it.

“Most modern calendars mar the sweet simplicity of our lives by reminding us that each day that passes is the anniversary of some perfectly uninteresting event” – Oscar Wilde (1854‑1900)

Happy 10^th Online Anniversary CRAVE Guitars

It seems a timely moment for celebration. Yup, in November 2014, the web site and the multiple social media channels (some used more than others) have been rattling around in cyberspace (NB. A word coined in the novel, ‘Neuromancer’ (1984) by author William Gibson) for a decade now. And so it was, that the very first short blog article, titled perhaps unsurprisingly, ‘Welcome to CRAVE Guitars’ was posted on 30 November 2014.

Over the years, the web site has expanded and improved, although it hasn’t reached the potential that it undoubtedly has. There is also potential that I would still like it to achieve, all other things being considered. No rush.

Social media grew significantly until ‘The Hiatus’. It used to take up a great deal of every day but this has had to be scaled back considerably over recent years. It’s still there but not in the volume of posts that used to appear. Another step taken to mark the anniversary is that, in addition to the likes of X, Facebook, Instagram, LinkedIn, etc., CRAVE Guitars is now also on Bluesky Social at:
@crave‑guitars.bsky.social.

Over the years, the number of CRAVE Vintage Guitars on the website has steadily increased (to 65 so far). Since the original launch of the website, the other parts of the site, CRAVE Basses (just 4 of them so far), CRAVE Amps (just 5 so far) and CRAVE Effects (68 so far) have also been added for a veritable vibe of vintage variety.

There have been approximately 85 blog articles (a.k.a. ‘Musings’) over the 10‑year period, covering all sorts of topics. The early ones were just a few sentences long and the content has consistently grown in length and complexity over the last decade. The shortest article? ‘Hiatus’ (September 2020) at just 5 lines. The longest? The 14-part ‘Story of Modern Music in 1,500+ Facts’ (between March 2019 and May 2020). My favourite? Probably, ‘Dub Reggae Revelation’ (August 2023). My least favourite? Apart from the embarrassing first ‘Welcome to CRAVE Guitars’ (November 2014), the nadir was probably the melancholic aforementioned, ‘Hiatus’.

One thing that I don’t really understand is why visitors to the website have fallen off a cliff this year, after almost a decade of year‑on‑year increasing numbers. The only thing I can think of is that there has been nothing in the way of new vintage guitar gear recently. In addition, recent articles haven’t been focused on vintage guitars per se as much as they have been in the past – there is only so much one can wax lyrical (NB. a phrase from, ‘Jean-Christophe in Paris’ (1911) by Romain Rolland) about these wonderful artefacts.

“It’s always good to remember where you come from and celebrate it. To remember where you come from is part of where you’re going” – Anthony Burgess (1917‑1993)

A moment of reflection

Has it all been worth it? Big question and one to which I really don’t have an answer. As a not‑for‑profit, non‑commercial entity, CRAVE Guitars exists but it doesn’t actually DO anything. So why bother? Who the heck knows? I don’t. Does it have any value? Well, the vintage guitars definitely do and will only increase in value over the long‑term. Are they worth a lot? Not really, that isn’t the point. I go for unlikely, alternative vintage gear, the sort that serious collectors are likely to overlook. The ‘collection’ as a whole isn’t worth a great deal compared to a highly‑regarded classic like a 1959 Gibson Les Paul Standard, a 1952 Fender Telecaster or a 1962 Fender Stratocaster. Perhaps if I sold every bit of vintage gear I’ve got, I could get one really ‘good’ vintage guitar. However, that wouldn’t satisfy my cravings (sic!) for vintage guitar diversity. Such is life. We all make economic decisions and we all abide by the consequences. Is the CRAVE Guitars brand worth anything in isolation. Sadly, no.

“Let us celebrate the occasion with wine and sweet words” – Plautus (Roman playwright, c254‑184BCE)

Would I be prepared to sell off CRAVE Guitars? Well, I guess everyone has their price, although I have no intention of selling my baby at this time. Having said that, what will happen to CRAVE Guitars when I inevitably hit the mortal exit button? My son will inherit the enterprise in total but, as he has little interest in the venture, it will probably be wound up and sold off wholesale, possibly at auction. Shame.

What would make the biggest difference to both CRAVE Guitars and its online presence over the next ten years? Well, finally getting around to converting the dark, damp cellar of the house into a dry, warm home for the ‘collection’ would be incredible. The technical complexity, practicality, feasibility and cost are all prohibitive, so it ain’t gonna happen anytime soon. Sadly. That’s why the ‘collection’ has largely stalled since Covid, due to finite funds, space and time as well as other competing priorities.

“I’m not going to be caught around here for any fool celebration. To hell with birthdays!” – Norman Rockwell (1894‑1978)

Final thoughts on a virtual tinny decade

I couldn’t let the personal landmark go without some form of recognition but, equally, I don’t want to over‑stress the importance of the fact.

For info, the first ever web site was published on 6 August 1991 by British physicist sir Tim Berners‑Lee (1955‑), a.k.a. TimBL, based at CERN in Switzerland. Now, CRAVE Guitars is like just one grain of sand in a desert. The number of web sites has grown exponentially since 2000. In 2014, when CRAVE Guitars first appeared on the hinterwebby thingummy, there were less than 1 billion web sites globally. According to Statista, there are now over 1.9 billion web sites globally. Approximately 4 million new websites are created annually (as of 2024). No wonder it is so hard to get noticed and so easy to get overlooked these days. The enormity of that broader context makes CRAVE Guitars an infinitesimally insignificant online entity. Sigh.

What do I hope for the future of CRAVE Guitars? Nothing, actually – my ambitions are, out of necessity, very modest and humble. If, in some infinitesimally insignificant, way I have changed the world for the better and/or I have left an infinitesimally insignificant indentation on this isolated lonely world of ours that will be remembered positively in time, then I will be infinitesimally but significantly content.

Will there still be a CRAVE Guitars in another 10 years’ time? Who knows? If I have anything to do with it, yes there will, but who knows what fate and destiny hold in store for us all. I trust that there will be more vintage gear to enjoy over the next decade. So… ceteris paribus, here’s to the next 10 years or so.

“A good time to celebrate is any time you can” – Dr. Seuss (Theodor Seuss Geisel, 1904‑1991)

CRAVE Guitars’ ‘Album of the Month’

This month’s selection kinda fits with the reminiscent nature of the above and needs some preliminary exposition. I tried to think of a studio album that meant a lot to me at the time and which has influenced my own guitar playing. The year was 1976 and the UK saw a rare baking, long hot summer. I took an extended solo road trip and attended my first three open air music festivals (Knebworth, Reading and Hyde Park) during that summer. I was a teenager at the time and it was also memorable for many reasons, some that I don’t think I should divulge here.

I occasionally reminisce selectively (of course) about that life‑affirming blissful ‘Summer of ‘76’ through appropriately rose‑tinted lenses. Coincidentally, it was also the year that I found out about the mysteries of girls of the opposite sex. After that crucial but brief coming‑of‑age journey (think of the evocative films, ‘American Graffiti’ (1972), ‘Fast Times at Ridgemont High’ (1982), ‘Stand By Me’ (1986) and ‘Dazed and Confused’ (1993)), before life became an unavoidable and unbearable progression of obligation, heavy burden of responsibility and other requisite restraints. I have never been able to shatter the shackles of adulthood and recapture that youthful sense of vitality, vigour, liberty and élan. What album on Earth could possibly live up to all that? For me, it was…

Steve Hillage – L (1976). ‘L’ was the sophomore solo studio album by Steve Hillage, who came to the fore as guitarist with the psychedelic/progressive rock band, Gong. The LP, produced by Todd Rundgren in New York, was released in September 1976 on the Virgin record label. It comprises just 6 tracks covering 44 minutes. While other Steve Hillage albums may be closer to his Canterbury Scene roots, ‘L’ was elevated into something greater in my mind, probably because of the combination of time and place in my heady, youthful experiences. I recognise that it won’t be to everyone’s taste but that is not the point. For me it exhibited both earthbound joyful exuberance and infinite cosmological splendour. I guess you had to be there to understand.

The first time I saw Steve Hillage live was at the above mentioned Hyde Park free festival on 18 September 1976, attended by over 150,000 people. Queen headlined that particular event. Todd Rundgren’s Utopia and Lynyrd Skynyrd performed at Knebworth on 21 August that same year, with The Rolling Stones headlining. Reading Festival between 27‑29 August saw Gong, 801 and Colosseum II amongst others. Since then, I have seen Steve Hillage and Gong live at Brighton and, as System 7 at the Glastonbury Festival. The most recent Steve Hillage concert I went to was in 2022, so he has held a place in my music appreciation for nearly 50 years! Yikes! While I don’t have ‘guitar heroes’, Steve Hillage was influential for me and I still believe that he is a much underrated songwriter, musician and guitarist.

“A lot of good love can happen in ten years” – Jim Carrey (1962‑)

Tailpiece

Well… that’s basically it for another month. Short and (maybe) sweet. There is rarely an opportunity to celebrate something positive and this month was an occasion to do just that. Without me bringing it up it, it would surely have passed into history completely unnoticed. So, Happy 10^th Birthday to CRAVE Guitars’ presence on the ‘information superhighway’ (NB. A term coined by American Senator Al Gore Jr in 1978). Do you remember when the Internet was called the ‘World Wide Web’ (a term coined by Sir Tim Berners Lee in 1989)?

As a final moment of contemplation, what were you doing 10 years ago today? What momentous moments have you experienced over the last 10 years? Spend just a moment to contemplate the positives. Endure the bad and celebrate the good.

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

CRAVE Guitars’ ‘Quote of the Month’: “Dystopia is as guaranteed as utopia is unobtainable”

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CRAVE Quote

Prelude

To Collect or Not to Collect

The Compulsion to Collect Things:

Guitar Collecting and CRAVE Guitars

Guitar Collecting and Playing

Guitar Collecting and Ownership

Guitar Collecting and Value

Guitar Collecting and Dealing

Examples of Vintage Guitar Collections

Some Private Collections:

Some Public Exhibitions:

A Few Clichéd & Corny Puns about Guitar Collecting

Final Thoughts on the Compulsion to Collect Vintage Guitars

CRAVE Guitars’ ‘Album of the Month’

Tailpiece

Prelude

A – A Stands for…

B – B Stands for…

C – C Stands for…

D – D Stands for…

E – E Stands for…

F – F Stands for…

G – G Stands for…

H – H Stands for…

I – I Stands for…

J – J Stands for…

K – K Stands for…

L – L Stands for…

M – M Stands for…

N – N Stands for…

O – O Stands for…

P – P Stands for…

Q – Q Stands for…

R – R Stands for…

S – S Stands for…

T – T Stands for…

U – U Stands for…

V – V Stands for…

W – W Stands for…

X

Y – Y Stands for…

Z – Z Stands for…

Prelude

Some interesting Japanese cultural concepts

Shikata ga nai (仕方がない)

Gaman (我慢)

Wabi‑sabi (侘び寂び)

Kaizen (改善)

Shu‑Ha‑Ri (守破離)

Mono no aware (物の哀れ)

Mottainai (勿体無い)

Final Thoughts on Eastern Philosophy and Vintage Guitars

CRAVE Guitars’ ‘Album of the Month’

Tailpiece

Prelude

What is ikigai?

The principles of ikigai

Why ikigai?

Ikigai and Vintage Guitars

Final thoughts on ikigai

CRAVE Guitars’ ‘Album of the Month’

Tailpiece

Prelude

Understanding universal balance

Applying universal balance

10 Things…

10 Images which you may love or hate

Final thoughts about 10 Things…

CRAVE Guitars’ ‘Album of the Month’

Tailpiece

Prelude

CRAVE Guitars Gear 2024 (0)

Some of those that left the building in 2024 (20):

2024 album releases purchased (27):

2024 major gigs (2)

Various tangential observations about 2024

Final thoughts on the end of 2024: the future starts here

CRAVE Guitars’ ‘Album of the Month (and Year)’

Tailpiece

Happy 10^th Online Anniversary CRAVE Guitars