30 Jul 2026

July 2026 – CRAVE Vintage Guitars (CVG) in AI Graffiti Style

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

Prelude

SHESH, ALOHA, HEY, YO, HI, ZUP AND TIA FOR DROPPING IN PPL! Da home crew iz takin’ a wholly (holy?) diffo ‘proach to dis month’s dope OG piece. Like it or not, iz gonna be a bitchin’ wild ride and somethin’ purdy diffo from all prev CRAVE Guitars’ blogs. Brace yo’selves dudes ‘n’ dudettes; hang in there for sometin’ a bit rad an’ frawesome, broskis. Yo MC is off to grab I some high‑octane caffeine and I’s gonna hand over to my am bro’s in peepdom to tek yaz somewhere far out thar fo a fresh apocryphal, audacious, arty adventure y dos. So… chill the frack out, kick yo’selves back, get blazed, slam on a late 20^th Century sick soundtrack of yo life an’ revel in a chaotic carnival of cool caligraffiti fun ‘n’ frolics. Coolio. I PRMS, it’s not a CWOT. Iz gonna B majorly ill ‘n’ TTLLY INSN fo sure. Just don’ take it 2 SRSLY. BTW, en passant, AI B toy ‘n’ whack; 2 fake 4 words. Time to beat, bomb ‘n’ burn; headin’ out streetwise homies. Stay tight stylee writers. L8rs sk8rs – roll smooth ‘n’ shred. Ciao 4 now a‑dubs. NJY, RSPCT & TTYL, TC (The CRAVEman).

“The greatest crimes in the world are not committed by people breaking the rules but by people following the rules. It’s people who follow orders that drop bombs and massacre villages” – Banksy (1973‑)

This Month at CRAVE Guitars…

Back to English! In an attempt to mix things up a bit and take another, albeit different, far‑fetched flight of fancy. I was thinking that the CRAVE Guitars logo has been around for a long time now (over 10 years!), recently updated with the addition of the American flag (nothing to do with the semiquincentennial btw). The design of the formal logo is one thing, however, the ‘big idea’ behind CRAVE Guitars brand image is not confined to a single signature symbol, it can appear in many, many ways as part of a much broader approach to interfacing with the big bad biosphere out there.

Back in my article, ‘April 2024 – Artificial Intelligence takes on Vintage Guitars: Part II’, I asked AI to design a logo for CRAVE Vintage Guitars. The results were, to my eye, appalling and totally unusable but it was an interesting approach to test the emerging publically‑available technology. I keep an eye on AI and its development with interest. It’s still not past the toddler stage of equivalent growth yet.

“Should graffiti be judged on the same level as modern art? Of course not: It’s way more important than that” – Banksy (1973‑)

So, I thought, how would AI deal with interpreting and emulating popular street art culture? Not in the sense of the CRAVE logo but AI’s interpretation of CRAVE Guitars’ image from a street art perspective. This month’s outing is part narrative and part heavy on pictorial representations. The original intention was to give y’all a mid‑year summer holiday break from factual information‑heavy articles. I may have failed. However, I think this diatribe makes for an appealing prose and visual diversion but then again, I am biased. One good thing about this month’s missive is that no prior knowledge or expertise is required to get something from it.

AI has been used extensively for most of the numerous images in this article. In many instances, the images were so‑so at best and many had to be ‘enhanced’ by CRAVE Guitars using graphics software (Paint.net, as mentioned previously) in order for them to be even remotely passable. NB. AI cannot spell for toffee! It doesn’t even know what toffee tastes like. No AI was used for researching or writing the chronicle, as usual. This month’s quotes of wisdom are all about graffiti and street art.

Herein lies a veritable feast of AI imagery for the visually‑oriented readers out there, for one month only. Not a lot for list‑o‑philes this month. Your time will come again (very shortly!).

“Writing graffiti is about the most honest way you can be an artist. It takes no money to do it, you don’t need an education to understand it, and there’s no admission fee” – Banksy (1973‑)

The Rationale for the Article

In a momentary flight of fantastical make‑believe, my mediocre mind meandered and I wondered what might happen if the following fantastic five criteria were met. What if CRAVE Guitars:

Had any artistic skill whatsoever
Became world famous
Was somehow considered by all generations to be cool
Was worthy of being elevated to popular cult status, and
Became the subject of popular street art

Yeah, OK, so I know it’s a long stretch and realistically it ain’t gonna happen but one can dream. So… I decided that I would write an article about graffiti/street art in its various forms and illustrate it with AI images based on the CRAVE Guitars brand. I had to use AI because I have little in the way of practical artistic skills and nothing in the way of acquired anti‑social audacity to create authentic street graffiti. Yup. I’m copping out. So sue me. Graffiti? I cannot do it but I can appreciate it.

On this occasion, I am not using this article as a critique of AI, although it could so easily have turned out that way. Rather I am utilizing AI to create some images to represent something that I could not possibly produce in other way. It is for entertainment and fun only. Please do not take it too seriously (other than, perhaps, the researched ‘Origins and Spread of Graffiti’ below). I have chosen some fun locations onto which The CRAVEman graffiti artist has left his ‘mark’. Whether you think he’s any good at graffiti art doesn’t really matter either. I’m not trying to be culturally accurate and AI has no clue as to what ‘culture’ or ‘accuracy’ are anyway.

Apologies to authentic practitioners of graffiti and street art – I mean no disrespect. Up front; the examples in this article are FAKE images and are not intended to pass as genuine in any way. I’m sure many real graffiti artists will be apoplectic over such artifice. My point is not to present authentic graffiti, it is to present CRAVE Guitars in a different and hopefully entertaining way. I have tried very hard not to use ‘lazy’ AI (lazy eye, geddit?). It is safe to say, I went overboard with this one. Note: The lettering ‘CVG’ in a number of the graffiti images is just the acronym for ‘CRAVE Vintage Guitars’. It works OK as a graffiti ‘tag’.

Right… Before getting to the real pictorial meat of the article, it is worth a short exploration of what graffiti is all about.

“Graffiti is one of the few tools you have if you have almost nothing” – Banksy (1973‑)

The Origins, History and Spread of Graffiti

To start with, the simple contemporary definition of graffiti can be summed up as, ‘drawing or writing applied to a wall or other surface, usually without the owner’s permission and where it is in plain public view’.

Graffiti, as a means of visual communication, has been around in one form or another since the emergence of humanity. That is a long, long time, folks. Ancient civilisations have long used basic materials, tools and skills to create lasting images that can still be seen today, even if tangible evidence of their culture has long since disappeared. Examples of ancient graffiti include:

Pictographs – Designs painted onto rock surfaces using natural pigments. Early pictographs can be seen at the Maltravieso cave in Spain, dated to at least 64,000 years old
Petroglyphs – Designs formed on stone surfaces by chipping, carving, or scraping. Early petroglyphs can be seen at Murujuga in Western Australia, dated up to 50,000 years old
Geoglyphs – Gigantic designs formed on the Earth’s surface using stones, gravel or earth. Early geoglyphs can be seen at Nazca, Ica, Pisco, Chincha, Palpa and Acarí valleys in southern Peru (a.k.a. the Nazca Lines) dated up to 2,500 years old

Tattoos – People throughout history (well, at least for the last 5,000+ years) have applied graffiti art not only to solid surfaces but also to human skin, known commonly as a tattoo or, colloquially, ‘ink’. The earliest evidence of tattoos can be found on a mummified man called Ötzi (‘The Iceman’, who lived c.3350‑3105BCE), discovered high in the Italian‑Austrian Ötzal Alps in 1991. Ancient Egyptian female mummies from around the same era also display tattoos. Tattoos are, a practice that continues today and will undoubtedly endure well into mankind’s future. Fundamentally, a tattoo is a form of body modification made by applying inks or dyes into the underlying dermis layer of the skin to create an indelible design. I’m not going to expand further on the world of tattoos here.

In comparison, the oldest written graffiti from Greece dates to a mere c.2,500 years old. The etymology of the word ‘graffiti’ goes back to ancient Greece with ‘graphein’, meaning ‘to write’. Over time ‘graffiato’, meaning ‘scratched’, was adopted by the Italians. The modern use of the word ‘graffiti’ first appeared in 1851, used by archaeologist Francesco Maria Avellino to describe inscriptions and murals found in the ruins of Pompeii, Italy, having been preserved by the eruption of the volcano, Vesuvius in 79CE. The image below (real, not AI) is from Pompeii.

Pompeii Graffiti Mural (Courtesy Alex Revilla)

Since the mid‑19^th Century, the word graffiti has been used increasingly to describe the use of graphics displayed in public places, becoming a general catch‑all word in modern vernacular. Graffiti can be used as both plural and singular, although graffito can also be used in the singular.

“A wall is a very big weapon. It’s one of the nastiest things you can hit someone with” – Banksy (1973‑)

Murals have been a part of architecture for centuries particularly in the Byzantine (330‑1453), Renaissance (1300‑1527) and Baroque (1600‑1750) periods in Europe. Not all graffiti was decorative. It was not uncommon in medieval times for religious or fortified buildings to have convicts’ names scratched into walls. Napoleonic prisoners of war (c.1803‑1815), in particular, left indelible marks on buildings and prison walls across Europe. More recently, it was also common to find communication symbols applied to American rail cars by both train workers and hobos since the late 19^th Century. Another form of relatively recent graffiti art was the creation of murals as urban public art and has its community roots dating back to the American Great Depression (1929‑1939).

“People say graffiti is ugly, irresponsible and childish… but that’s only if it’s done properly” – Banksy (1973‑)

Contemporary graffiti, as we recognise it now, really came into its own from the early 1960s and into the 1970s particularly in the larger urban expanses of east and west coast American cities. In the 1960s a new form of illegal graffiti known as ‘tagging’ appeared using cans of indelible spray paint for speed of ‘writing’. Tags use repeated symbols as a public statement of the writer’s presence and identity, as well as to mark a crew’s or a gang’s territory in urban neighbourhoods. The process of competitive tagging is a writer’s pursuit of recognition and quest for reputation known as ‘getting up’. The antisocial behaviour of defacing of public and private property rapidly became a blight on many urban communities.

The cultural impact and spread of graffiti as a means of expression went hand in hand with the increasing popularity of urban rap/hip hop music, MC‑ing, breakbeats and breakdancing (b‑boys), the rise of skateboard parks, and basketball courts, especially in the United States. The boroughs of New York City, especially (but not only) The Bronx, fashioned the zeitgeist for a lot of diverse and interdependent urban underground scenes, particularly for disenfranchised youths in deprived areas. For many law abiding residents, graffiti became a scourge of local communities and a gauge of insidious levels of gangland activity, violent crime and random vandalism.

In the late 20^th Century, extensive graffiti on buildings, subway cars, buses, bridges, underpasses and billboards in New York City came to define the city’s landscape aesthetic. Bombing the Big Apple became de rigueur. The image below (real, not AI) was taken in Bedford Stuyvesant in Brooklyn, New York City.

New York City Graffiti Wall (Courtesy Mikhail Andrsn)

In the 21^st Century, graffiti has spread to all parts of the globe with many discrete sub‑styles becoming characteristic of where they came from. Much to the chagrin of many graffiti artists, their works have become regarded as an everyday part of modern life, mainstream and acceptable as a recognised public art form. Some individuals’ art pieces began appearing in galleries and museums. Gentrification of neighbourhoods has gradually made graffiti street art more acceptable to some communities. To many serious graffiti artists, rules – either written or unwritten – are still there to be broken. Such is the way of the adaptive subcultures. Graffiti has also increasingly become a suburban and rural artefact and not solely associated with inner city landscapes.

“Some people become cops because they want to make the world a better place. Some people become vandals because they want to make the world a better looking place” – Banksy (1973‑)

Creative graffiti art has, in more recent times, been elevated in status, become celebrated as art, and graffiti artists have become famous for their innovative creations. Such promotional activity has led to the exploitation and commercialisation of graffiti compositions. Public opinion about graffiti and street art varies considerably. Many see it as a criminal act, defacing communities while others see it as an essential reflection of individual expression and neighbourhood identity. Either way, graffiti tends to elicit an intense and divisive emotional reaction which is, perhaps, what was intended in the first place.

One of the world’s most infamous and notorious but popular street artists is the anonymous British graffiti artist popularly known as Banksy, known for his culturally conscious, politically satirical and anti‑war stencil art since c.1990. Banksy has also been known to venture into other art forms such as sculpture, as exhibited in his home city of Bristol, England. Examples of Banksy’s street art appear in galleries and museums and his designs have been widely published in coffee table book format (ironically). New Banksy street art is usually a newsworthy event and has become so valuable that, sadly, when a genuine street art piece appears, criminals go to great lengths to steal the graffiti for illegal personal gain, denying the public opportunity to appreciate his art in situ as the artist intended. Banksy also has a lot of interesting social insight, as can be picked up from his quotes throughout this article.

The Angel Bust by Banksy At Bristol Museum & Art Gallery

In March 2026, according to a Reuters news agency investigation, Banksy’s identity has finally been revealed to be Bristolian resident Robert Gunningham, born in 1973, who later changed his name to David Jones around 2008. Banksy, through his legal representative, has rejected the revelation and asserted that his anonymity prevents privacy violations and protects his freedom of expression when raising sensitive and potentially inflammatory political, religious or social injustice issues through his artworks. All I would say is don’t believe everything you read… including here.

Music videos making use of graffiti and given rotation on MTV in the 1990s were transmitted directly into people’s living room televisions. Large multinational corporations such as IBM and Sony jumped on the bandwagon and used advertising campaigns based on graffiti styles in the 2000s. Something that didn’t go down well with authentic graffiti artists, despite showcasing what they did in a popular format. For many graffiti writers, vanity does not play a part in graffiti culture; it is the piece, not the artist that matters. To others, it is an opportunity for aspiring celebrity while, for others, daring notoriety.

Some peculiar forms of graffiti have also risen in popularity in the 21^st Century, such as ‘yarn bombing’, which first appeared in 2005. Yarn bombing is a type of graffiti or street art using colourful displays of knitted or crocheted wool, particularly to decorate local street furniture.

As a result, there has been significant debate as to whether such work is innovative art or abhorrent and deliberate vandalism. Some cities introduced mural programs, sometimes called ‘free walls’ to provide opportunities for young adults to express their street art creativity legally and safely. There are a number of famous legitimate spaces dedicated to graffiti walls in NYC aimed at curbing illegal graffiti and providing an outlet for youth creativity. Such sites include Houston Bowery Art Wall, First Street Green Art Park, Underhill Walls and Nelson Avenue Graffiti Art Wall.

I have had a passing interest in street art for many years, including locations such as London, Brighton and Bristol in the UK. The following impressive graffiti mural images were taken by the author in Bristol in 2024 (real, not AI).

Much local government and private funding has been used over decades to prevent or clean up unsightly graffiti on public property, with varying degrees of success. In Britain, The UK Anti-Social Behaviour Act 2003 and the Clean Neighbourhoods and Environment Act 2005 are key pieces of legislation that address graffiti and vandalism. Legally, the definition of Graffiti in the UK is the, ‘act of writing, drawing, or marking on property without the owner’s consent with the intent to damage or deface it. This includes both public and private property’. Graffiti vandalism is deemed to be criminal damage and includes anything from simple tags to decorative murals.

However, UK laws place the responsibility for prevention or removal of graffiti on property owners affected by unsightly graffiti. Graffiti is, to some extent, arguably not illegal in the UK. However, it is an offense to write or paint graffiti on public property without permission if it is deemed to be ‘offensive, menacing, abusive or insulting’ and/or obstructs the rights of any other person or business. I don’t know about you but, to me, there are some very grey areas open to interpretation there!

“SAMO^© as an end to mindwash religion, nowhere politics, and bogus philosophy” – Jean-Michel Basquiat & Al Diaz

Graffiti has, over the years, morphed from its rebellious, destructive counterculture roots and has partially entered into the artistic mainstream, becoming a global phenomenon in the process. An exhibition held at the Brooklyn Museum in NYC in 2006 displayed the city’s graffiti as a legitimate art form. Authentic graffiti artists frequently reject such popularisation, democratisation and commercialisation of their work.

Underground graffiti artists continue to buck the trend of acceptance, popularity of, and profiteering from, graffiti and describe it as selling out their roots. They see their work as anti‑establishment and a grounded protest against transformation of urban neighbourhoods and public spaces. Such dissenters still prefer to regard graffiti as a belligerent, thrill‑seeking activity aimed at the undermining of mainstream societal norms and cultural values.

Gosh! That is more than enough perfectly pedantic preamble for now. Time to move on and to look at the various ‘genres’ of graffiti, as of 2026.

“Art should comfort the disturbed and disturb the comfortable” – Banksy (1973‑)

Basic Types of Graffiti

Graffiti in the 21^st Century has come of age and artistic differences have led to attempts to categorise of a number of distinctive styles, thereby providing an element of structure to an art form that has largely rejected any form of mainstream organisation or classification. As the spread and evolution of graffiti has become increasingly diverse, many of the styles have diverged, fused, mutated and overlapped over time. Below is a rundown on twenty of the most common graffiti styles, each with a basic AI image (AI is not really very good at interpreting graffiti street art style – blame the technology please, not the author) giving a pictorial introduction of the style, including:

Tags – Tags are regarded as the simplest and most basic form of graffiti, predominantly comprising a stylised signature or pseudonym to identify the ‘writer’. Tags are sometimes called ‘handstyle’. Tags are often used as illegal personal symbols, gang emblems and territorial markers. Tags are liberally applied to just about any surface by using spray paint or marker pens. Tags are intended to be done quickly in a single colour. Tags are the most common (and detested) form of graffiti vandalism. Tag graffiti became commonplace in Philadelphia and New York in the 1960s and has since spread globally. Most graffiti artists start off with tags and some then move on to develop more advanced skills while others abandon the practice.

Throw Ups – Throw ups, also called ‘flops’ or ‘old school’, are usually large and characterised by lettering that uses round edged letters, as if inflated, also known as ‘bubble’ or ‘simple’ graffiti. ‘Silver’ graffiti is similar using silver paint with a black outline. Text often comprises outlines with contrasting coloured fills and with little negative space. They are considered to be relatively basic with simple lettering, intended to be done quite quickly and to be highly visible. ‘Throwies’ range somewhere between progressive tags and more complex forms. ‘Two letter throw ups’ are simpler, bridging the gap between tags and throw ups. Throw ups developed in New York City Metro train yards in the 1970s.

Hollows – Hollows are basically similar in style to throw ups but comprise only an outline with no infill. They are designed to be simple, efficient and quick, generally only in a single monochrome colour. However, hollows can be deceptively difficult to create without visible mistakes.

Straights – Straights use large, bold lettering with a more typographic form and done with attitude and simplicity. Graffiti straights are sharper and more clearly defined than hollows or throw ups and generally comprise only one or two colours. They are intended to be easily and quickly readable, and tend to be highly legible from a distance.

Pieces – A graffiti piece is short for ‘masterpiece’ and originates from New York City subway cars in the 1980s. Pieces focus on lettering and tend to be large, detailed and complex, multi‑coloured and using effects such as fills, backgrounds and outlines. 3D effects such as shadows and highlights are used to accentuate the text.

Blockbuster – Blockbuster graffiti is characterised by oversized large, straight ‘blocky’ edged letters painted with only two or three contrasting colours for a bold, standout effect. In addition to spray paint, brushed or roller paint can be used to speed up the process. The aim of the blockbuster style is all about in‑your‑face visual impact.

Stencils – Stencil graffiti is a form of street art produced by using a template with shapes cut out of it then using (usually) black spray paint applied to the underlying surface through the cut outs. Probably the most famous purveyor of stencil graffiti art is the British graffiti artist, Banksy. Stencil graffiti is often used to convey political ideas and activism, cultural insight and/or social commentary through imagery rather than text.

Wildstyle – Wildstyle graffiti lettering, also called ‘burners’, often comprise large, highly complex, extremely stylised and often colourful abstract designs. Distorted, interlocking letters with arrows, serifs, spikes, flares, sharp edges and other intricate elements tend to make the text intentionally hard to decipher. Wildstyle’s inherent illegibility is part of its visual attraction. Wildstyle is considered to be one of the more advanced forms of graffiti, painted by experienced artists. Wildstyle graffiti designs take time to plan, prepare and apply. Wildstyle originated in New York City in the mid‑1970s and 1980s on subway cars and city walls. A simpler form of wildstyle is known as semi‑wildstyle.

Murals – Murals take graffiti to a street art level and represent an advanced form that incorporates characters, objects and colourful 3D imagery to complement lettering. Sometimes murals are abstract or surreal while others often strive for realism. Murals are often commissioned, painted with permission and, as a result, are more widely accepted in communities. Murals can be used to transform urban landscapes into free public art galleries. Murals often take considerable planning and a long time to create. Murals are considered to transcend traditional graffiti conventions and are sometimes likened to fine art and find favour with the pretentious art gallery crowd.

Calligraphy – Calligraffiti, as it is also known, combines traditional calligraphy lettering with modern graffiti styling (NB. calligraphy – from the Greek for ‘beautiful writing’ – originated in the Chinese Shang and Han dynasties c.206 BC‑220AD). Calligraphy graffiti requires a degree of skill that fuses styles and crosses orthodox artistic genres. Calligraffiti is difficult to master and is therefore less common than other popular forms. Other styles go beyond calligraphic styles and include glyphs, cryptograms, codes and historic symbols.

Roll Ups – Roll ups are normally massive pieces created using a bucket of emulsion paint applied with paint rollers to speed up the process. Rollers on poles are used to create bold, blocky graffiti in hard to reach, high up places without needing to use a ladder. Very inaccessible sites are often called ‘heaven spots’, which can prove to be high risk and very dangerous, created by daredevil graffiti artists wishing to go above and beyond the norm for their art.

Stickers – Sticker bombing, with larger types also called ‘posters’ or ‘paste‑ups’, is a common and popular type of graffiti. They are produced by graffiti artists who create designs on paper and then, as the name implies, stick them up in public places, making the style quick and highly portable. Stickers are often provocative, socially conscious or politically satirical. Stickers tend to be easier to remove than painted graffiti.

3D – 3D graffiti attempts to go beyond the 2D surface on which it is created. 3D emerged as a distinctive graffiti form in the 1990s. 3D results in dramatic artistic effects, using highly coloured 3D perspective to create optical illusions or trompe‑l’oeil (NB. A French literal translation meaning to ‘deceive the eye’). Perspective, angles and vanishing points are used to accentuate text and create images with convincing impressions of depth.

Cartoon – Cartoon‑style graffiti, as its name suggests, uses cartoonish characters with or without accompanying text, sometimes integrating both. Some can be based on familiar animation or comic book characters, while others can be original characters created in a cartoon style, depending on the imagination and ambition of the artist.

Splash – Splash graffiti is a relatively uncommon style of urban street art incorporating intentional random, free‑flowing paint with liberal decorative elements like drips, streaks and splatters to emphasise the dynamic and chaotic nature of text or abstract imagery. The intention is to demonstrate the artist’s unpredictable spontaneity, emotional creativity and vivacious freedom of expression.

Wheatpaste – Wheatpaste is a simple method for producing graffiti/street art, similar to ‘stickers’ graffiti but often larger. Posters are stuck to surfaces using a flour and water paste, hence the name. While it probably has its origins in ancient Egypt, it became popular as a means of urban street expression and rebellion in the late 1960s and 1970s. This type of graffiti has been particularly associated with the British counterculture punk rock scene of the late 1970s. Punk artists include, Jamie Reid, Lydia Lunch and Alan Vega. A well‑known and much‑ridiculed expression from the UK during the 1970s and 1980s used to be, ‘bill stickers will be prosecuted’. In a similar vein, the American equivalent was, ‘no bill posters’. To-date, Mr William Stickers hasn’t been apprehended for vandalism. (no need to LOL!)

Anti-Style – Anti‑style, as the name suggests, is a type of graffiti that ignores traditional ‘rules’ and conventions used by other graffiti artists. It is also known as ‘hipster’, ‘ill style’ or ‘ignorant’ graffiti. Anti‑style graffiti writers suggest that their alternative results are intentional, rather than just poorly done. Anti‑style graffiti artists reject the concept of a graffiti ‘rule book’. Going against the grain makes it harder for anti‑style artists to gain recognition in the wider graffiti community.

Anime – Anime reflects a mixture of other graffiti styles, including ‘cartoon’ but focuses mainly on Japanese manga/anime‑style characters. Anime is becoming increasingly popular as a counter culture movement in the 21^st Century, so this form is relatively recent. It can also be very aesthetically pleasing in the right situation. Anime graffiti art requires a significant amount of expertise to do well.

Etch – Etch graffiti is a particular type of graffiti regarded as illegal vandalism because it uses an acid to imprint tags on glass, metal or stone permanently, making examples both costly and difficult to remove. Destructive etch styles have become common on train windows and vacant shop windows, sometimes by scratching the surface, rather than etching it (evoking the etymology of the word graffiti meaning, ‘to scratch’). Etch graffiti tends to be crude, ugly and universally unpopular. It isn’t clever, it is thuggery.

Light – Last but not least… Light graffiti, as the name states, involves the use of light (obvs.!) rather than paint. The 21^st Century has seen an explosion in LED graffiti with projected still or moving images projected onto buildings and other public spaces as a form of technological graffiti. Light graffiti has the advantage of being non‑destructive, portable and easily replicated. Sometimes it is used by event organisers for positive decoration and sometimes by protesters unable to deface certain sites.

In addition to the hardcore American and British graffiti archetypes, there are many national and regional styles worldwide that build on the styles above and make them unique to their geographical location. The many variations are not covered here; for anyone wanting further information, there are plenty of online resources on the Hinterwebby thingummy.

Many graffiti artists have become well known (at least in pseudonyms) outside graffiti artist circles, including (in alphabetic, rather than style order): Al Diaz, Banksy, Bates, Ben Frost, Blade, Blek le Rat, Bones, C215, CBS Crew, CES, Chaka, Charlie, Comet, Cornbread, Daim, David Choe, Daze, Dondi Duro, Eddie Colla, Edgar Mueller, Eggs, Eine, Espo, Faile, Faith47, Fume, Futura 2000, Gane, Ghost, Grave, Hex, Hert, Horfe, Iz the Wiz, JA, Jean-Michel Basquiat, Katsu, Kerse, Ket, Kurt Wenner, Lady Pink, Lost Hills, Mear One, Mode 2, MTA Crew, Nekst, Nick Walker, OG Abel, Oiler, Pyramid Oracle, Phase 2, Retna, Revok, Rime, Saber, Samo, Scaf, Serch, Shepard Fairey (Obey Giant), Sight, Slick, Smear, Space, Swoon, Taps & Moses, Tempt One, Tracey 168, Triston Eaton, Twist, Vhils, White, and Zorro.

Pinpointing quite where the boundary between authentic illegal graffiti vandalism ends and commissioned legal street art begins is a tricky one when investigated in the complicated subjective modern-day paradigm. Imagine a continuum with crude tags at one end and accomplished 3D and mural art done with consent at the other end. The aforementioned boundary will be a fluid point swishing around somewhere in between, determined as much by the consumer as by the artist. Graffiti is a subject for open‑ended debate that is unlikely to reach a mutually agreed, let alone unanimous, resolution. Discuss…

“Graffiti has been used to start revolutions, stop wars and generally is the voice of people who aren’t listened to” – Banksy (1973‑)

Films and Documentaries about Graffiti

There have been quite a few feature films about graffiti artists and graffiti culture including, ‘Wild Style’ (1982), ‘Style Wars’ (1983), ‘Beat Street’ (1984), ‘Kings & Toys’ (1997), ‘Bomb the System’ (2002), ‘Quality of Life’ (2004), ‘The Graffiti Artist’ (2004), ‘Against the Wall’ (2004), ‘Rash’ (2005) and ‘Piece by Piece’ (2005). The film, ‘Wild Style’ is probably the most well‑known of the pack.

In addition, there have been several documentary films about graffiti including, ‘Exit Through the Gift Shop’ (2010), ‘Stations of the Elevated’ (1981), ‘Downtown 81’ (2000), ‘Jisoe’ (2004), ‘Infamy’ (2005), ‘Wholetrain’ (2006), ‘Bomb It’ (2007), ‘Dirty Hands: The Art and Crimes of David Choe’ (2008), ‘Graffiti Wars’ (2011), ‘Graffiti Fine Art’ (2011), ‘Banksy Does New York’ (2014) and ‘Saving Banksy’ (2017).

There are plenty of other films based within inner city environs shaped by graffiti, hip‑hop and street dance culture all going hand‑in‑hand, including, ‘The Warriors’ (1979), ‘Subway’ (1985), ‘Colors’ (1988), ‘Kids’ (1995) and ‘Dark Days’ (2001). Needless to say that this shortlist is only the tip of the illustrated iceberg.

The lines between a feature film, a docu‑film and a documentary are blurred when exploring an underground subculture like that of graffiti writers and artists. These films bring the static imagery into sharp relief and the attitudes underlying the motivations of those who risk their freedom making a point. The films showcase the art, hip‑hop music, DJs, urban dance with the focus as much on the people as on their creations.

“Your mind is working at its best when you’re being paranoid. You explore every avenue and possibility of your situation at high speed with total clarity” – Banksy (1973‑)

Music about Graffiti

Unsurprisingly, given that music closely reflects social culture over time, graffiti and music were integral to the lives of ‘boys in the ‘hood’. Graffiti writing seemingly became inseparable from rap/hip‑hop for a while, despite evolving discreetly, converging and diverging over time. Graffiti‑laden neighbourhoods became sources of inspiration for music artists wanting to be associated with ‘the streets’ rather than the recording studios for whom they made money. The two mediums, while contemporaneous were not mutually exclusive. Other music genres were also used to reference graffiti culture, including punk rock, electronica, indie rock and pop. Some examples testifying to the enduring nature of graffiti include (in date order):

Black Flag – Spray Paint the Walls (1981)
Grandmaster Melle Mel and the Furious Five – Beat Street (1984)
Lordz of Brooklyn – Tales from the Rails (1992)
Souls of Mischief – 93 ‘Til Infinity (1993)
Loop Troop – Spray Can Stories (1996)
Task Force – New Mic Order (1999)
Tommy Tee – Aerosoul (2003)
Mayhem Lauren – Got the Fever (2010)
ALL(H)OURS – Graffiti (2025)
Joywave – Graffiti Planet (2025)

I refuse to include Ed Sheeran’s ‘Overpass Graffiti’ (2021) in the list! Such a creative travesty indicates the desperation of the uncool mainstream to appear cool by associating with (if not appropriating) street culture. Sheesh!

“I am humbled by the destructive and creative nature in us all. This is what keeps me painting” – Faith47 (1979‑)

CRAVE Guitars’ Graffiti Gallery

Finally… Got there. The focus of this article is basically, what would happen if a reasonably adept but not necessarily great street graffiti artist was to be let loose to apply graffiti interpretations of CRAVE Guitars, CRAVE Vintage Guitars or just CVG wherever he/she wanted in whatever style he/she wanted to use at the time? This isn’t illegal because it is 100% make believe, so no real harm done, other than perhaps to one’s visual cortex (NB. the region of the human brain located in the occipital lobe responsible for processing visual information from the eyes via the optic nerves).

What follows is a small selection of 50‑odd examples of CRAVE Vintage guitars in various graffiti styles, produced by AI. I had to produce several hundreds of images in order to showcase these few which I think were the most ‘acceptable’ of the bunch. As a bit of a challenge, see if you can match the graffiti style in the images with the descriptions above. I’m not going to spoon feed you on this one – make up your own minds. Like the genuine work of graffiti artists, CRAVE Guitars intends the subject matter to evoke some form of reaction – good or bad. No iconoclasm here. No famous monuments were harmed in the making of this article.

Just an easy one to start with. I took the CRAVE Guitars logo used all over the web site and social media and asked AI to recreate it graffiti‑style. These are what it came up with…

“Graffiti is beautiful; like a brick in the face of a cop” – attributed to Hunter S. Thompson (1937‑2005)

An interesting start. OK then. I’m going to disappear for a while and make myself scarce. I’ll leave you to peruse some of the locations in which CRAVE Guitars graffiti may be found. The 54 images are ordered alphabetically by whereabouts. I hope you enjoy the spectacle and I’ll see you later on…

Earlier in the article, I also referred to geoglyphs, tattoos and ‘yarn bombing’ as an adjunct to, rather than core element of, graffiti, so here are a three CRAVE Guitars examples just to illustrate what I mean.

CRAVE Logo Tattoo

Finally, what might a totally fictional retail outlet for CRAVE Guitars might look like if the toned‑down signage was entrusted to a graffiti artist. I think I’d probably stick to the existing CRAVE logo thanks.

WOW! CRAVE Guitars sure gets out and about doesn’t it? A global phenomenon? Now wouldn’t that be nice. Good to know that fans, followers and acolytes are spreading the word and advertising the brand on my behalf. The examples are certainly not traditional forms of brand marketing but, heh, why not? All that promotional exposure and zero damage or harm done to anything or anyone in the slightest. The results may not be authentic but some of the images are, I reckon, quite fun. They may not necessarily be realistic but they are aesthetically intriguing nevertheless.

“I don’t think about art when I’m working. I try to think about life” – Jean-Michel Basquiat (1960‑1988)

Final Thoughts on ‘CRAVE Guitars AI Graffiti Style Gallery’

This month, I’ve largely let the images do the talking for a change, so I don’t have an awful lot to add. What I will say is that it took me a considerable amount of time and effort to get this far. Sometimes fun, sometimes laborious, sometimes satisfying and sometimes frustrating. Worth all the effort? On reflection, I think it hangs together reasonably well. No vintage guitars in sight this time, though; apologies for that.

I must re‑stress that I am not an artist and there is no way that I could have produced this month’s images from scratch using my extremely limited graphics skills. My role was in using my imagination to contrive the prompts used to generate the AI images in the first place. That role then extended to manually ‘improving’ what AI produced initially. Without AI, there wouldn’t be this article. Whether genuine street artists see any merit in the output, I probably doubt. I am, though, indebted to them for providing me with sufficient inspiration to give it a go and to put it out there in the public domain under my own brand. A bit of courteous and responsible ownership there.

While I am stressing points, I want to reiterate that this month’s article was intended purely as a bit of amusement. No educational content is presumed. I am not so conceited as to describe it as ‘cool’; that is for others to judge. At times, I had quite a lot of fun doing it. However, correcting AI’s basic mistakes was at times very exasperating. Furthermore, the outputs are entirely digital and virtual; I didn’t damage or deface anyone’s property in doing so and no-one has to deal with the consequences of my actions. I do not condone vandalism but I do understand and respect the social and cultural roots behind the practice and protest of street art. By its nature, graffiti is anti‑institution and the cultural critiques conveyed by this distinct form of expression are very real and shouldn’t be dismissed, simply because it was produced in an underground (i.e. not mainstream), anti‑social, amateur way.

“I don’t know if street art ever really works indoors. If you domesticate an animal, it goes from being wild and free to sterile, fat and sleepy. So maybe the art should stay outside” – Banksy (1973‑)

Perhaps most importantly, what do you think? Whether you like it or not, whether it is something to be appreciated, abhorred or abolished, whether it is worthy art or criminal vandalism, is subjective and will vary from person to person. One thing is assured, graffiti in its many diverse forms ain’t goin’ anywhere anytime soon. Public spaces will continue to reflect the community in all its forms, good and bad. Graffiti will continue to be used as a form of human communication as it has done for millennia already. Whether based in grass roots urban isolation, deprivation and social rejection or pompous art gallery‑worthy exploitation of a subversive movement that was intended to challenge where it ended up is for further deliberation. Discuss…

I pondered the thought about ‘what is the dealio with graffiti?’ I quickly came to the conclusion that, for me at least, graffiti shouldn’t mean anything, it doesn’t need to justify its place, it doesn’t need to seek external validation. It just… is.

A quick thank you to the providers of two stock images and two fonts that were used to support this article. Everything else is my own work.

In terms of AI capability, the technology has moved on considerably since I covered the topic in depth from March to May 2024. No real surprise there. Some of the imagery, to me, is actually quite stimulating within the context of the subject matter (in which I am no expert, remember). AI still has a long way to go and the artificial ‘artistry’ on show here, I believe, demonstrates the point admirably. The simple fact that many of the images had to be finessed by my own real hand (taking a lot longer than the original digital image took to create) emphasises the remark that AI is very much still a work‑in‑progress process as of July 2026.

Just a final thought on AI… I neither embrace nor fear AI. I use it as pragmatically as a creative tool – a means to an end, not an end in itself. I don’t believe that AI will be as good or as bad as many people predict. Like all emerging technologies, one cannot fight against it and hope to achieve much traction. Think about the pronounced evils of industrialisation, the motor car, television, rock & roll music, the Internet, etc. Never mind the Luddites (NB. Named after Ned Ludd who destroyed machinery in 1779 and became an eponym for organised protests against automated factory machines from 1811 to 1816) facing off against the unstoppable progress of the industrial revolution. Like previous paradigm changes in human evolution, it will reach an equilibrium that we may not be comfortable with but will learn to adopt one way or another in the medium‑long‑term. Get used to it folks, AI is here to stay. Don’t get left behind. Let’s just hope that Skynet doesn’t get a look in though.

“Public space is supposed to be for the public, not just for commercial messages” – Shepard Fairey (1970‑)

The CRAVEman at Work and Play

Before we go any further, I find it unbelievable that it was only July last year (2025) that The CRAVEman was introduced to the world. Since that auspicious inauguration, he has kinda become a regular visitor to CRAVE Guitars’ articles. Apologies to anyone who may not appreciate his particular presence over the last 12 months.

I guess that it was inevitable that el jefe, The CRAVEman would want to inveigle himself into some graffiti action. So, here is the Stone Age Rock God, ‘TC’ for short, providing us all with a bit of his very own prehistoric cave wall art presented in his very own distinctive graffiti style.

Back to the modern day and The CRAVEman has been immortalised as the subject of his own ‘piece’ of mural street art. Here he is, painted spectacularly on a modern end‑of‑terrace house wall. How cool is that?

Finally, having established that The CRAVEman has been casually commemorated throughout human history, here he is depicted as a contemporary cartoon character in street graffiti art style. Warning! Having now introduced you to ‘Cartoon CRAVEman’, you may just see more of him in the future (or should that be the past?). Maybe.

“I wanted to be a star, not a gallery mascot” – Jean-Michel Basquiat (1960‑1988)

CRAVE Guitars’ ‘Album of the Month’

Well, we are talking graffiti, so this month’s selection was relatively easy to come up with. You might think that it should be a slice of classic east coast rap/hip‑hop but that could be construed as a bit too narrow. So I’ve gone with a slice of classic hard rock it is. The album cover is an ideal counterpoint to the CRAVE Guitars’ graffiti banner on a NYC brownstone tenement building above. This month’s accolade therefore goes to…

Led Zeppelin – Physical Graffiti (1975): Physical Graffiti was Led Zeppelin’s 6^th studio album, released in 1975 on Swan Song Records and distributed by Atlantic Records. The double album comprised 15 tracks covering 84 minutes. The original vinyl release featured an innovative die‑cut‑out sleeve, designed by Peter Corriston, based on actual tenement block buildings at 96 & 98 St. Mark’s Place in Manhattan’s East Village, NYC (NB. A cool place to visit if you can, as I have). The album’s release was supported by a sell‑out series of five concerts held at London, England’s Earl’s Court venue. The song material is diverse and multi‑genre, demonstrating the band’s pinnacle of musical creativity. Classic tracks such as, ‘Houses of the Holy’, ‘Trampled Under Foot’ and the colossal, ‘Kashmir’ made certain the album was a critical and commercial success. The band had evolved considerably over previous albums, nominally called, ‘Led Zeppelin I‑IV’ (1969‑1971 and ‘Houses of the Holy’ (1973).

As a teenager, ‘Physical Graffiti’ was the first Led Zeppelin album I bought. Sadly, I no longer have the vinyl double LP with its iconic cut‑out sleeve artwork. I was, though, lucky enough to get tickets and attend one of the Earl’s Court shows in May 1975, which remains a highlight in my gigging experience, even today. The concert series was filmed and is available as, ‘Led Zeppelin – Live At Earl’s Court 1975’. Good old days indeed.

Yeah, I could have gone for the soundtrack to the great coming‑of‑age film, ‘American Graffiti’ (1973). Great music for a compilation by various artists, called, ‘41 Original Hits from the Soundtrack of American Graffiti’. The film’s title is, however, a bit of a misnomer (NB. It was originally called, ‘Another Quiet Night in Modesto’). The eventual title is apparently a metaphor for ‘scratching the surface’ of the characters’ attempts to express their individualism, experiences and emotions before parting ways forever. Whatever dude, I’m sticking with Led Zeppelin on this occasion.

BELIEVE IN MUSIC!

“Street art’s biggest crime is that it’s more interesting than the advertising it replaces” – Shepard Fairey (1970‑)

Tailpiece

Well, that’s it for another month. I hope you enjoyed something just a bit different from the normal output from CRAVE Guitars. You never know, you might have learned something along the way. I did. I try to keep things fresh and I think this month’s missive fits that particular bill quite well.

‘Nuff said. Whatever you think about the practice of graffiti and street art, I hope you appreciated viewing this article as much as I did in creating it.

FWIW, DFTBA ‘n’ DLTBGYD amigos y amigas! KWIM? FNLLY, No dissin’ yo MC ‘n’ PLS RSPCT OPP! Hang loose ‘n’ shaka, baby. Lateskies. I’m ghost.

“Speak softly, but carry a big can of paint” – Banksy (1973‑)

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

CRAVE Guitars’ ‘Quote of the Month’: “You must make peace with yourself before you can make lasting and genuine peace with others”

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30 Jun 2026

June 2026 – A Year of Notable Anniversaries

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

Prelude

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

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

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

This Month at CRAVE Guitars…

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

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

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

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

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

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

The Rationale for the Article

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

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

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

The United States of America at 250 and Counting

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Feature – 1976 Gibson Firebird Bicentennial

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

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

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

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

Fender at 80 and Counting

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

The Fender Telecaster at 75 and Counting

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

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

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

US Patent Application – Fender Telecaster 1951

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

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

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

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

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

Fender FMIC Telecaster History

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

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

… Among many, many others

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

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

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

The Fender Precision at 75 and Counting

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

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

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

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

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

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

US Patent Application – Fender Precision 1952

US Patent Application – Fender Precision 1959

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

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

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

Fender Precision 75th Anniversary Promotion

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

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

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

Feature – 1977 Fender Precision Fretless Bass

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

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

The Music Man Stingray Bass at 50 and counting

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

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

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

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

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

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

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

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

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

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

Feature – 1978 Music Man Stingray Bass

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

Final Thoughts on ‘A Year of Notable Anniversaries’

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

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

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

Other Notable Anniversaries in 2026

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

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

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

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

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

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

The CRAVEman Celebrating Anniversaries

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

The CRAVEman American Independence Day Anniversary

The CRAVEman Fender Telecaster Anniversary

The CRAVEman Fender Precision Anniversary

The CRAVEman Music Man Stingray Bass Anniversary

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

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

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

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

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

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

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

BELIEVE IN MUSIC!

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

Tailpiece

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

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

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

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

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31 May 2026

May 2026 – Zen and the Art of Vintage Guitar Photography

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

Prelude

HELLO THERE OR, IN ANCIENT ENGLISH PARLANCE, hail, what do ye, hwæt, wilcuma, godne dag, how fare ye, be thou healthy, and hāl. I thought I’d run out of pretentious greetings. Not this month. I will do my best to keep things simple for the rest of this tremendously tantalising tome. It also seems to me that a lengthy introduction is largely superfluous, so I’ll keep the preamble short and get onto the subject matter sooner rather than later for once. Wonders will cease… just not yet.

It seems that no‑one is taking heed of my passionate campaign for peace & love in the tortuous trials of 21^st Century Earth, so I won’t waste any more time on it this month. It seems hate has conquered love, at least for now. Bad news for everyone. I won’t stop hoping for a better world, though, with or without people. For the sake of the 7.8 million (at least) other species that inhabit Earth, life without people would probably be a good thing.

This Month at CRAVE Guitars…

Altogether now, “Say cheese”! (NB. A phrase that first appeared in 1943, popularised by American ambassador to the Soviet Union, Joseph E. Davies (1876‑1958)). “Click!” Get the picture? This article – as signposted by the title – is dedicated to the ‘art’ of photographing vintage guitar gear. Predominantly, from the author’s perspective, that means guitars. I don’t do this from the position of a professional photographer and I don’t claim to have the skills required to produce world class photographs.

I have had an interest in photography (and art) since I was a teenager, some few decades ago now, and I am familiar with the basic principles. As a result, I am clearly not qualified to provide much in the way of hints and tips about how to do things better. This is therefore not an instruction manual! If you want a ‘how to’ guide, there are a few web sites that impart some of their dark secrets. I have no secrets (dark or otherwise), silver bullets (NB. a good thing) and no magic wand (Harry stole it). What I can do, though, is to relate my experience of photographing guitars over a number of years, and that alone may (or may not) prove insightful. As for the Zen bit of the article’s title, although photographing vintage guitars is essentially a practical application of repetitive technique, I approach creative outcomes with a certain meditative and philosophical frame of mind practiced in the here and now. I think.

I do this from the standpoint of a complete amateur trying his best to capture the visual essence of what makes vintage guitars visually so unique and desirable. For once, I’m not delving into the realm of playing guitars (I’m OK‑ishly proficient at best), neither am I exploring the sounds produced by guitars (I’m not obsessed with searching for the ‘holy grail’ of tone). This is primarily about their visual appearance. As you probably know, I enjoy the whole experience of vintage guitar gear to the point of obsession and addiction. Photographic imagery is my way to share this fascination with others. Personally, I see this as an important and integral part of my mission to spread the CRAVE Guitars’ word.

“There are no rules for good photographs, there are only good photographs” – Ansel Adams (1902‑1984)

A photo is just a photo, isn’t it? Photographing guitars is easy, right? One might think so. Guitars don’t have unpredictable human temperament (you don’t have to make them pose or smile) and they (generally) stay where you put them. There are no time constraints on any stage of the procedure (they don’t get tired or need cups of tea!). True on all three counts. As static photo models go, the methodology should prove smooth and stress‑free. As is so often the case, though, doing something well requires a bit more diligence than the basic notion might otherwise suggest.

While it may seem uncomplicated prima facie, photographing guitars well is actually not as straightforward as one might think. It’s not just a case of pointing a lens at them and the job is done. Nope. Nowhere close. To take photos with any sort of consistent competence requires time, effort and a modicum of acquired ability. To do it exceptionally, requires a highly proficient skillset (I can only assume that latter point, seeing as I cannot demonstrate such proficiency!). I believe my photographic ability lies somewhere along the continuum from hopeless to expert, probably in the area of basic competency and rudimentary adequacy. Quite possibly, my talents lie somewhere else altogether. Unfortunately, I can’t afford to pay for professional photos, so basic and rudimentary will have to do.

Despite the title of the article, this topic isn’t just about CRAVE Guitars, it is also about CRAVE Basses, CRAVE Effects and CRAVE Amps. However, it is the guitars that I am most familiar with and on which the main focus (sic!) of this article will be based.

As usual, no AI has been used for anything this month (other than the image of prehistoric Rock God that is The CRAVEman in his section near the end of the article). This month’s plentiful ‘quotes of wisdom’ are about the art of photography.

“What I like about photographs is that they capture a moment that’s gone forever, impossible to reproduce” – Karl Lagerfeld (1933‑2019)

The Rationale for the Article

Strangely, given the number of photographs I have used over the years to showcase CRAVE Guitars, I think this is the first time that I have ventured any opinion on the subject matter. It is time to change that apparent omission, methinks.

I have always enjoyed taking photographs right from my first Kodak Instamatic in the late 1960s up to my original Olympus OM‑2, a great go‑to 35mm SLR of the late 1970s and 1980s. I also took photography as part of an art foundation college course, also in the late 1970s, so I have a bit of history with it comes to taking pictures, even if only as a youthful enthusiastic lay person. Even then, my creative instincts always went beyond just taking casual point‑and‑shoot holiday snaps and I was always trying to see deeper into subject matter. The cost and inconvenience of film stock was always a limitation for me at the time. Digital photography has proved to be a revolution and a revelation, which has finally come of age. I have, in the past, used Sony and Nikon digital cameras to good effect, although I’ve never been a fan of Canon.

So… why look into the process of capturing the aesthetics of vintage guitars this month? The trigger came in feedback to a social media post of a headstock close up photo. The comment basically said, “I hadn’t noticed that in the photo of the whole guitar”. So, here we are, looking into that thought in more detail. This then led onto a series of more practical‑style close up photos of components that stood out for me. It was then a short step to thinking less about the guitars themselves and more about drawing out some of the elements that set vintage guitars apart from their modern counterparts. In effect, all I am doing is accentuating the expert industrial design that went into the creation of the instruments in the first place. I am just a middle‑man; the familiar archetypal designs have already been in existence for decades. I am just a mechanism for emphasising some of them for enjoyment.

“A great photograph is one that fully expresses what one feels, in the deepest sense, about what is being photographed” – Ansel Adams (1902‑1984)

I will state at this point that there are many, many people who take far, far better photographs than I will ever produce. However, that sad fact doesn’t prevent me from trying. My skills are very lacking and it is a frustrating exercise to produce something that I feel is barely adequate enough to share on social media and on the web site. I am not qualified or trained in the art, although I would have liked to have been. I am always keen to improve my ability, although not in a structured academic way. I like taking photographs of many things, not just guitars. I think I just about have a ‘good eye’ for images, developed more out of curiosity, rather than educated technique. I will say that taking good photographs comes from patience and persistence and has little or nothing to do with fancy photographic equipment. Good photo gear might make things easier though.

As far as I can tell, my first stab at photographing vintage guitars in a systematic way was in early c.2002 when I recorded ‘portraits’ of the guitars I had at the time, including ones that I have owned for the longest period (since c.1978), the 1975 Gibson Les Paul Standard and the 1977 Fender Stratocaster. The images predate my interest in vintage guitars and the formation of CRAVE (Cool & Rare American Vintage Electric) Guitars in mid‑2007. Here are the 2002 images, I think you’ll agree, things have moved along in the last quarter century…

At the time of writing, I do not have or use any professional photography equipment. The camera that I use is a humble iPhone, albeit the best that I can afford. My current ‘camera’ is an Apple iPhone 17 Pro Max, which I bought mainly for its camera capability, not for any other reason. To‑date, I have not supplemented the iPhone with any accessories or equipment to make the process easier or better. I currently only use natural light, as I don’t have access to any studio lighting equipment. The backdrops I use are what I have to hand – floorboards, a (too) small American flag and an old duvet cover (CRAVE’s go‑to purple satin background). I don’t have any fancy purpose‑built tripods, frames, stands, lights or backgrounds. I take hand held photos in the house’s run‑of‑the‑mill living space, nothing at all that could be described as specialised or fit‑for‑purpose. That’s it. Absolutely nothing exceptional. A lot can be achieved with everyday items and a bit of ingenuity. Photography definitely doesn’t have to be elitist and expensive in 2026. Thankfully.

“Creativity is a wild mind and a disciplined eye” – Dorothy Parker (1893‑1967)

The key for me is to create a consistent, and hopefully, easily identifiable, look. The overall presentational style is all part of the carefully crafted CRAVE Guitars brand image with all the elements intended to work in synergy. I try hard not to do anything that diverges from the core ‘brand’. I have an image (sic!) to protect after all. At this point, I have to state that all CRAVE Guitars’ photographs are copyrighted with ‘all rights reserved’ and unauthorised use of them is prohibited. Take note image thieves.

The aim of CRAVE Guitars’ photography is not to produce lasting gallery‑worthy artistic images, to record newsworthy events or to generate income. Those won’t be my legacy. CRAVE Guitars’ aim is far more quotidian; partly to document the object and partly an attempt to convey some of the object’s physical characteristics in the best possible way. If this can be done in a visually attractive way, all the better. However, the patience and discipline needed to obtain the best image possible is a fundamental basis for both aesthetic and documentary photography. That doesn’t mean that one can’t have fun with reality and use a little creative expression to add ‘un soupçon du je ne sais quoi’ to complement the basic pictures once in a while.

“All the technique in the world doesn’t compensate for the inability to notice” – Elliott Erwitt (1928‑2023)

Some Basic Photographic Underpinnings

The word photography derives from the Greek, meaning ‘drawing of light’. The modern use of the word is widely attributed to English astronomer Sir John Herschel (1792‑1871) from 1839.

The very earliest form of image projection was the pinhole camera or camera obscura and may date as far back as the 4^th Century BCE in both Greece and China. The camera obscura led to the development of lenses to control focus (image sharpness) and diaphragms to control aperture (amount of light entering the camera) in the 16^th Century. The box‑type camera obscura was used as the basis for experimentation in the development of the first photographic cameras.

The photographic process depends on two basic steps; the first is to use a device to expose an image onto a light sensitive surface, while the second is to develop and fix (store) the image permanently. Those basics have held true from the earliest experiments to today’s technologically advanced digital cameras.

The earliest surviving photograph dates to 1826, captured by Nicéphore Niépce (1765‑1833) using a process called heliography. It was Louis Daguerre (1787‑1851) that developed the first commercially available photographic plate process, the daguerreotype. At the time, all images captured were monochrome. Photographic film became available from 1888, invented by George Eastman (1854‑1932). The first mass‑market Kodak Brownie camera appeared in 1901. Colour photography, invented by Auguste and Louis Lumière, was made commercially available in 1907. Colour slide film was introduced by Eastman Kodak with Kodachrome in 1935 and Ektachrome in the 1940s. Kodak discontinued slide film production in 2009 following the rise of digital photography.

While the first digital image was produced in 1920, digital photography really began with the development of the charge‑coupled device (CCD) invented at the Bell Laboratory in 1969. A CCD was used to capture images electronically and store the resulting file in computer memory. The CCD provided the archetype for today’s digital camera sensors, which now use active pixel sensors (APS) developed by Olympus. It wasn’t until 1986 that Kodak developed the first megapixel (one million pixel) solid state image sensors, with Nikon leading the innovation.

While CMOS (Complementary Metal Oxide Semiconductor) is the current sensor of choice (in 2026), the future of digital photography may lie in ultra‑high performance ‘gigajot’ QIS (Quanta Image Sensor) able to resolve down to a single photon of light.

Digital photography has led to global democratisation of electronic imagery in the 21^st Century. An example of this is Google Images. It has also been a stimulus to so‑called ‘citizen journalism’ – ordinary individuals reporting news events to a mass audience without being a formal press journalist. Digital images are now the standard form of photographic process in 2026.

There are basically three general forms of professional photography:

Photojournalism – documenting important cultural, political and social stories and events for posterity
Commercial photography – marketable commissioned products for business and private clients
Art photography – translating an artist’s vision and creativity for aesthetic appreciation

There are plenty of sub‑genres of photography, many of which overlap and merge. Familiar examples include: portrait, wedding, landscape, wildlife, macro, abstract, street, travel, lifestyle, product, fashion, advertising, event and scientific photography, amongst many others. These sub‑genres are generally specific and exclude the whole raft of everyday family and holiday snaps. It is the diversity of styles that makes photography such a popular pastime for many people around the globe.

In addition to the professional types, the vast majority of photographs are taken by hobbyist amateurs and are generally for reminiscence and nostalgia, rather than for profitable or artistic ends. CRAVE Guitars photography probably fits in this broad catch‑all category. I do, however, try hard not to produce a multitude of below‑par run‑of‑the‑mill images. Any merit in CRAVE Guitars’ images is for others to judge.

Some of the world’s best spontaneous photographs that capture an ephemeral historical moment require the photographer to be in the right place at the right time with a camera always at the ready. Fortunately, CRAVE Guitars has the benefit of being able to control and choose every step of the process. And I still get to mess up!

“To photograph is to put on the same line of sight the head, the eye and the heart” – Henri Cartier‑Bresson (1908‑2004)

The Good, The Bad and The Ugly

THE GOOD is very easy to determine and I hope blindingly obvious – good subject matter. One thing I love about vintage guitars is that they are (mostly) just gorgeous objects as well as great musical instruments. When the items are amazingly beautiful vintage guitars, it makes things simpler and I strongly believe that the guitars themselves distract from any shortcomings in my ability to photograph them. I am pretty sure that many top photographers will attest to the importance of what is being photographed more than the tools used to capture them or the skill of the person pressing the shutter release. The only saving grace is that I now have some experience behind me, which has improved the outcomes over a considerable period since at least 2002. It is an incremental improvement and not always entirely successful. A ‘good eye’ can only get one so far without needing inspiration allied to technical ability and adequate equipment in order to excel.

A look at any of the relevant magazines and Internet sites shows what can be achieved. Most of what is out there, though, concentrates on showing new guitar gear in its best light (sic!) for marketing use. Vintage guitars, simply by their existence today, show their innate character, their idiosyncrasies and their scars of a lifetime of playing music. They are far from perfect – some seem relatively untouched while others are battered and bruised. To me that variety is part of their attraction.

No two vintage instruments are identical under scrutiny. I am not in the occupation of acquiring museum‑grade, sterile examples that are so valuable that one is too afraid to use them. I love the genuine articles showing their sometimes graceful and sometimes ungraceful, genuine aging (not the modern trend of fake ‘relic’ guitars). I have said it before (many times) and I’ll say it again. I believe in the Japanese concept of wabi sabi, that something can be, ‘perfect because of an object’s imperfections’. It is that quintessence that I’m trying to capture as much as their inherent design characteristics. The guitars themselves may not be able to tell any stories but they sure bear the signs of having lived as part of many stories.

Gallery of Acceptable Images – One for the ‘good’ pile. Just about. Each of these still have issues (note the crease in the American flag!) Sometimes things work out OK and the unadulterated image outcome is, well, OK. If the image ‘pops’ and flatters the guitar, then I’ll let it past quality control. They may still not be perfect (nothing is) but they are generally… OK.

Gallery of Close Up Images – Seeing the whole guitar is one thing and is the main thing that people probably want to see most. However, sometimes, it is nice to pick out a detailed element of a guitar and make it into the main subject of a photograph. Sometimes, the details can prove fascinating and possibly overlooked within the context of the whole instrument.

“For me, the subject of the picture is always more important than the picture” – Diane Arbus (1923‑1971)

THE BAD is also relatively straightforward. Guitars are not the easiest of things to pose without it being blooming obvious that something is being used to position guitars in a way that makes the image capture easier. There are some accepted ways of showing guitars off, such as guitar hangers. These are OK but make a total mess of photographing the neck/headstock area or the instrument as a whole. Guitar stands have the same drawback, particularly getting in the way of guitar bodies. Try positioning most guitars horizontally such that the neck is not out of whack and see how tricky it is, especially so that there is nothing to make it look ‘wrong’. Even when the overall positioning is as good as one can get it, getting the right angles to photograph ‘bits’ of the guitar well can be a minefield. Try sketching a guitar at various angles and you’ll see how difficult it is to get the proportions and perspectives looking ‘right’. I would like to invent some form of contraption that could allow one to position a guitar accurately for photography while also not being visible. If there is a trick to this, I’ve missed it so far.

There are a couple of other considerations here. One is the use of natural light; one has to pick the right ‘quality’ of light. Dull but relatively bright is best to minimise intrusive contrast between highlights and shadows. Non-direct light sources generally scatter visible light photons better. Bright sunshine is too harsh for guitar photography. Too dark and the subtleties are lost. Another consideration is that ordinary shadows produced by things in the environment and/or the camera/photographer can intrude and aren’t always obvious. Sometimes, if there is a similarity of colour or contrast in the setting, the form of the object can be concealed, particularly in the darker areas. Not good when the shape of a guitar is important to the final composition. Sometimes, these things can be foreseen but sometimes it only becomes clear later on in the process. Necessary re‑shoots are a pain but inevitable.

Eagle‑eyed onlookers may spot some vintage dust in some images. I don’t have a problem with showing that these are used, played and, while well‑maintained, and are unashamed to be presented in that way. New guitars are, in my opinion, like new cars, overly pristine (yes, even the heinous ‘reliced’ instruments). “Hold the front page!” CRAVE Guitars are decades old and brandish their wear, tear, scars, flaws and tarnish proudly (even with specks of rust and dust). I’ve put this particular aspect under ‘bad’ for those who may see such blemishes as neglect and abuse. Not so. Such things are all part of their authentic vintage character, ageing naturally. It is also a bit of an intentional middle‑finger to the abhorrent ‘collecterati’ who demand perfection commensurate with their detestable dollar. Heck, people will pay good money for vintage dust!

“To me, photography is an art of observation. It’s about finding something interesting in an ordinary place…I’ve found it has little to do with the things you see and everything to do with the way you see them” – Elliott Erwitt (1928‑2023)

THE UGLY is probably the bane of all photographers attempting to make guitars look their best. Most guitars have glossy finishes or parts that reflect light. Yup, the one major thing that can make an otherwise OK photograph unusable is reflections. Given that I use natural light in an ordinary room using a hand held smart phone camera, reflections are, frankly, a complete pain in the ass. While one can try to minimise reflections (at best – they are hard to eradicate completely) using angles, it isn’t always possible without messing up the composition. Proportions can be thrown totally out – for instance ugly foreshortening or distorted angles/perspectives – all caused by just a small change in angle. Chrome or gold plated pickup covers and control plates can be a nightmare. One can quite easily miss an annoying reflection during a shoot, only to realise how bad it is afterwards. Reflections are generally of two types; one can be the light itself (bright highlights) or it can be other things in the room that get reflected in a finish. Sometimes, given my totally amateur approach, I just have to put up with some light/reflection anomalies. Look close enough at most CRAVE Guitars’ photographs and you can see lighting reflection problems. Most other things are easier to solve compared to this ugly and frustrating phenomenon. Once noticed, one cannot not see it. Non‑reflective and free‑standing gear like effect pedals and amplifiers are far easier to photograph.

Below are some montages brought together to demonstrate some of the things discussed above. As far as the ‘monstrosities’ are concerned, once spotted, one cannot unsee them and they crop up just about everywhere. For two of the examples, I’m showing ‘before’ and ‘after’ versions, so you can view the originals then they’ve been marked up to emphasise the (worst) issues, in true before & after, ‘spot the difference’ fashion.

Gallery of Monstrosities: Light Problems – This definitely falls into the ‘ugly’ category. Light is needed for photographs but light reflections should not encroach onto the subject such that it distracts the eye. I have ringed the problems, as if they aren’t already obvious.

Gallery of Monstrosities – Light Problems Before

Gallery of Monstrosities – Light Problems After

Gallery of Monstrosities: Dark Problems – Also definitely ‘ugly’. This is the close relative of light reflections. This time, it’s not light but objects of any sort, including backgrounds that are reflected and, again, intrude onto the subject and distract the eye. Again, ringed for emphasis.

Gallery of Monstrosities Dark Problems Before

Gallery of Monstrosities Dark Problems After

Gallery of Monstrosities: Contrast Problems – One for the ‘bad’. Sometimes, when trying to accentuate something, one ends up obscuring something else in the process. Over or under exposure can be interesting but it can also be highly irritating.

“My ultimate goal is to try to make the ordinary look extraordinary” – Martin Parr (1952‑2025)

On a Technical Note

As mentioned above, a lot can be achieved with a little. Overcoming the hurdles of the good, the bad and the ugly is one thing. However, so far, everything has been up to the point of ‘pressing the shutter’ and the image is captured by the camera’s sensor. We are in the 21^st Century and despite the enduring nostalgia for genuine film (now the pictorial equivalent of vinyl records), we are generally talking about digital photography here.

One of the huge advantages of digital photography is that one can take unlimited photos and review them instantly, discarding the obviously bad ones and retaining the best. Digital is also cheaper per image than film can ever be. Another big bonus of digital photography is that it makes exposure so much easier than in the old days. Things like automatic shutter speed, aperture, ISO sensitivity, depth‑of‑field, under/over exposure, etc. are less critical than they once were, making it harder for people to take a ‘bad’ photograph, at least as far as exposure goes. In this case electronic automation can be a blessing. It does, though, make it harder to raise the bar, which I endeavour, albeit falteringly, to achieve.

One thing that I have learned is to see (not look at) what needs to be incorporated and what needs to be omitted long before one picks up a camera (phone), which includes not only the objects in the frame (foreground and background) but also what is in the environment that can impact on the result. Once one learns to see and visualise the outcome, then that is the time to pick up the camera.

A great deal is made of camera sensor resolution. In reality, it isn’t just the number of megapixels that matter, it is the quality of the lenses, the way that the circuits process the image including things like focal length, dynamic range, image cropping, focusing, tracking, ‘shutter’ speed, contrast, sensitivity, noise, colour accuracy and compression. Digital zoom is just horrible, a good physical zoom lens is so much better. In old school 35mm photography a standard focal length lens is 50mm. Less than 50mm is wide angle, more than 50mm is telephoto. For guitar photography a slight telephoto focal length equivalent to 70‑80mm is ideal, essentially the same principle as for portrait photography.

Higher pixel count means larger file sizes, which can be an issue for social media and web pages. As things stand in 2026, a 12 megapixel image is more than good enough for general efficiency and efficacy. A 24 megapixel or higher image is better where fine detail and/or large image sizes matter. Unprocessed RAW images (so‑called digital negatives) are not a priority in this context unless one is aiming to produce professional standard results. As a rule, you can’t add in pixels that aren’t there in the first place, so it makes sense to adopt the best sensor resolution possible for the task at hand.

“If your pictures aren’t good enough, you’re not close enough” – Robert Capa (1913‑1954)

Post‑Processing

One unavoidable and essential aspect of the photographic process in the 21^st Century is digitally altering an image after it has been taken. In the olden days, it used to be done in a darkroom with limited facilities for creativity. Digital post‑processing can be a wonderful creative tool. It can also be an image saver if some unforeseen artefact wasn’t picked up in the shoot. However, it can also easily be a potential disaster area in the making. Nowadays, many people snap lazy images and then spend hours using software in an attempt to recover something from a bad photo and, in some cases, they then go on to make it even worse! A central tenet of quality assurance is, ‘get it right first time, every time’ (GIRFTET). Adopting a GIRFTET method makes everything that follows much simpler. Such an approach reduces errors, improves quality and consistency, shortens process time, and enables continuous improvement.

Post‑processing, to me, falls into two broad categories; the first as a functional tool to fix minor errors and correct small artefacts, and the second as a creative tool to effect the whole image intentionally and to change it substantially from the original. One thing to consider, is that it is a very, very good idea to keep the original unaltered image and then work on a copy as, once an image has been bastardised, it can be very difficult to revert back. Keeping an original copy means one can easily start over if need be. Following a step‑by‑step methodology also helps – varying too much in one go is a recipe for a mess.

Once the image has been captured and stored, it can easily be transferred to a laptop and, if necessary, manipulated in photo/graphics software to make it more usable. Once again, I don’t have professional software to manage and/or manipulate digital images of guitars. Popular packages such as Adobe Photoshop or Corel PaintShop Pro are available to those who want to pursue post‑processing seriously. For me, I can’t justify the subscription investment in terms of either funds or training. I use simple ‘free’ graphics software called, Paint.net. It isn’t the most sophisticated toolkit but it does most of the basics well enough.

“It is an illusion that photos are made with the camera… they are made with the eye, heart, and head” – Henri Cartier‑Bresson (1908‑2004)

In the old days of film, darkroom manipulation required a whole extra level of skill, as well as the need for a dedicated darkroom facility along with the equipment, materials and chemicals needed. Image editing software means that a ‘laboratory’ is no longer a prerequisite for image production. Digital editing simplifies, speeds up and reduces the cost of preparing a digital image for sharing electronically. Thankfully, picking up the software skills are only costly in terms of time and tolerance. For an amateur like me, technological progress here has proved to be a wonderful thing.

There is, however, one fundamental issue that I have with the whole idea of digital image post‑processing and that is that it can often be seen and used as a cure‑all for bad photography and a temptation to mess around with an otherwise OK image. I am very firmly of the belief that the basic principle of ‘rubbish in/rubbish out’ applies. Take a good photograph and it should need a lot less manipulation after the fact. Take a bad photograph and no end of messing around with it is likely to improve it to a condition that is acceptable.

“No amount of toying with shades of print or with printing papers will transform a commonplace photograph into anything other than a commonplace photograph” – Bill Brandt (1904‑1983)

With a bit of practice, effective post‑processing can become second nature. At its simplest, this can be judicious cropping an image that is less than ideal in composition. Another learning point… cropping an image to improve composition can be rejected by social media platforms like Instagram, as it doesn’t like non‑standard aspect ratios. Editing can also prove useful in cleaning up tiny blemishes that might have been missed in the original photo shoot (usually cat fur in the CRAVE household!). However, coming back to ‘the ugly’ above, it is almost impossible to eradicate bad reflections effectively. Similarly, dealing with colour imbalance can be a nightmare, having to use software to manage contrast, brightness, hue, saturation, highlights/shadows, exposure, colour temperature, tint, hues, RGB, etc. It is very, very difficult to resolve fundamental issues unless one spends a great deal of time becoming proficient. Like many guitarists, I prefer to be playing guitars rather than fiddling around with the finer points of image editing software (and I have a professional background in IT as well!)

There are a lot of creative tools in image processing software these days. If the intention is not to create accurate images but to produce artistic effects, then image manipulation can be a great deal of fun. Sadly, I don’t have enough time to explore the full range of effects for CRAVE Guitars but there are some series where I push images to be pleasing to the eye rather than a forensic representation of the physical object. For instance, I do this for CRAVE Guitars’ Instagram series of images. I also use them for some close ups. Given the subject matter, creative effects are the exception, rather than the norm. At its simplest, creating a black & white or sepia version of a colour image is easy, as is adding a vignette or some sort of digital filter. It is preferable to do as much ‘in camera’ and as little in image editing as possible. I would like to do more in the way of creative ‘artistic interpretation’ one day.

Gallery of Post‑Processed ‘Creative’ Images – Sometimes it’s nice to play in the sandpit of digital image manipulation to create something that is perhaps more appealing to the eye than it is to catalogue and archive reality. This is where image editing software comes in. It isn’t a priority but it is something I’d like to explore more.

Other things that I would like to experiment with is to create videos of the instruments to allow people to see them from different perspectives. Another thing that I would like to explore at some point is photogrammetry, using overlapping HD images to create a 3D digital model of the guitars. Both of these would add a complementary approach to standard 2D images. One of the drawbacks of making videos or 3D‑modelling is the aforementioned issue of posing the guitar without obstruction. Essentially, though, the sky is the limit, only constrained by practical considerations and lack of creative imagination on my part.

“Photography is a way of feeling, of touching, of loving. What you have caught on film is captured forever” – Aaron Siskind (1903‑1991)

Final Thoughts on Zen and the Art of Vintage Guitar Photography

My main effort as far as photography is concerned is to produce straightforward acceptable images for use on the website and on social media. That is the bulk of my activity. In addition to the stock CRAVE Guitars photographs with the familiar purple satin background I also produce other series of photographs that don’t appear on the website and only selectively on social media (e.g. ‘flag’ and ‘floorboard’ pics).

“If you don’t have anything to say, your photographs are not going to say much” – Gordon Parks (1912‑2006)

One of the reasons for documenting vintage guitar gear is to record them at a point in time for posterity and an attempt to represent the gear in the best way that I can in that moment. There are other benefits, such as security. In the event that something horrible should happen, for instance damage or theft, there will be plenty of detailed evidence of each and every item. It would be difficult to pass off any CRAVE Guitars without them being easy to identify from available proof of ownership.

Only some photographs make it onto the web site, the minority in fact. Many others are used only on social media. Some may only appear in articles such as this one. Plenty more, probably the majority, are never seen by anyone but me. Some are documentary evidence, some are unacceptable but good enough to keep as snaps, and some were just for convenience or experimentation.

As a typical Virgo star sign, I tend towards being a bit (?!) of a pedantic perfectionist. That is probably not a good trait for a documentary photographer, as I can always find fault with the outcome, which is highly infuriating. What others may think is absolutely fine, I see as a train wreck. Anything slightly off drives me crazy. For instance an alignment that is perhaps just a degree off horizontal when it shouldn’t be, a perspective with a vanishing point that is slightly off centre, an overly distorted foreshortening caused by a badly chosen focal length, or a distracting artefact. Out of focus images and/or poor depth of field are also particular bugbears. Ggrr. Argh. For my sanity, sometimes I have to post a photograph that I wouldn’t otherwise accept.

Regular readers will be aware of my long‑standing aspiration to turn the house’s cold, damp, dark cellar into a CRAVE Cave for the vintage gear. Part of that ambition would be a dedicated studio photography area. There are no windows, so no unsightly light aberrations.

So, in an ideal world, what would be my ideal photography set up? Well, I’d start with a decent full frame mirrorless camera with a decent tripod. I would employ professional backdrops on a dedicated frame. I would use a variety of stand‑mounted studio lights from direct lighting, soft boxes, reflectors, ring lights, etc., suitable for static as well as video photography. In addition, some sort of support(s) for positioning/manoeuvring guitars. I would also go for some quality photo/image processing software. Ultimately, though, these are just tools and, being pragmatic, I cannot justify the cost or space. They wouldn’t necessarily make the photographs any better but they could make my life an awful lot easier. As long as it doesn’t distract from the whole point of CRAVE Guitars, of course.

“Photography helps people to see” – Berenice Abbott (1898‑1991)

As seems to be the case, frustratingly, I have ambitions that extend way beyond my ability to realise them. However, that doesn’t prevent me from trying to improve my skills to showcase CRAVE Guitars’ vintage gear. I will continue to display the ‘collection’ to the best of my ability so that I can share with anyone who might have a similar obsession with these wonderful objects made of wood, plastic and metal. As ‘they’ say, ‘beauty, is in the eye of the beholder’ and ‘truth’ is therefore subjective. Oh, and do not believe anyone who suggests that, ‘the camera cannot lie’. It most certainly can.

So far, I have set things out as a technical, linear process without any emotional component. Firstly, I like looking at things, hopefully in a slightly different way from most people. Secondly, I like taking photographs of things that appeal to me; vintage guitars definitely fall into that category. Thirdly, I like sharing my passion with others and images are the primary vehicle that I use for doing so. As the saying goes, ‘A picture is worth a thousand words’ (NB. The origins of the phrase are unclear but can be traced back to several different sources between c.1911 and 1921, probably drawn from earlier, similar sentiments, meaning that complex ideas can be conveyed by an image more effectively than by a lengthy narrative description). I hope that the notion of an emotional attachment comes through not only in the pictures but also in the words that support them. Photography should be an enjoyable experience and the outcomes satisfying. If it isn’t pleasurable, it probably isn’t worth doing.

For once, I have left behind the sounds and playability of vintage guitar gear, at least for this article. That doesn’t mean that playing them and making music with them is of less significance than their looks. The aesthetic appeal is just one aspect of vintage guitar gear and it is the one way in which I can articulate my passion. Visual appeal is therefore quite an important and integral component of vintage guitar heritage. Another point is that this isn’t just about nostalgia or reminiscence, it is about a practical way of keeping these aging relics of a bygone age relevant in the modern world. Images are used to show how vintage guitars are right now, complete with all their untold back stories. They have lived many decades already and they will live many, many more, hopefully. Long after I’ve gone to that darkroom in the sky. CRAVE Guitars is, after all, just a temporary steward in their long journey.

“The camera is an instrument that teaches people how to see without a camera” – Dorothea Lange (1895‑1965)

I am a vintage guitar enthusiast first and foremost, not a photographer. The instruments are my priority. I do not think and do not imply that I am a good photographer from whom something valuable can be gleaned. I make no pretentions or claims to competence and my images, I believe, are testament to that lack of skill. My ability cannot be compared with most professional photographers, yet alone the masters of the trade. My photographs will never be revered as art but that is not what is important. However, it is an essential way for me to look and to see what it is that I am so passionate about and then to use images to tell a bit of their story to others. Ultimately, it is the vintage guitar gear that matters, not my ability or equipment; it is the beauty of the subject that, to my eye, needs to revealed and communicated.

One thing I have learnt more than anything else from feedback is an adaptation of that old adage, ‘you can’t please all the people all the time’. Share photos of the full guitars, people ask for close up images and vice versa. Share photos with some creative post‑processing and people ask for straight images. Share AI images and they want real photos. Share standard photos and they want to see/hear the vintage gear. Share something not on the web site and people say they want images already available. I try to do all of the above and people still find a way to disapprove, often vociferously, such is the toxic nature of unsocial media. Sheesh! One cannot win. It is also one of the reasons that I think social media is a necessary evil to be tolerated, rather than enjoyed. Why can’t people engage harmoniously with a contemporary community of like‑minded individuals? I have now decided to share what I want to post photographically and if people don’t like it, well, they know what they can do! Yup, look elsewhere.

“You can fool of the people all of the time, you can fool all of the people some of the time, but you can’t fool all of the people all of the time” – attributed to various including John Lydgate, Abraham Lincoln and PT Barnum

Just a word on the matter of Artificial Intelligence (AI) which, by all accounts, is the next ‘Big Thing’ that will apparently permeate all parts of our paltry presence. I am reasonably technologically‑minded and I can see both the potential benefits and potential risks of AI. I am no Luddite in that respect. AI will continue to mature in the same way that the Internet did. I think I’m on safe ground in saying that AI will find increasing traction in photography, both in digital camera electronics and in post‑processing image editing software as well as web site creation and social media. I predict that AI will ultimately result in a compromise of both good and bad, as with any other paradigm shift in human technological progress.

Oh, by the way, don’t forget that, in addition to the feature pages, there is a whole menu of picture galleries to be found on the CRAVE Guitars web site by following the link below (opens in a new browser tab):

Link: CRAVE Guitars Picture Galleries

Do I have a favourite CRAVE Guitars photograph? Tricky one that. I would have chosen an image of the stunningly beautiful 1963 Gibson ES‑330 but that had dark reflection aberrations of the sort indicated above. Then I thought of the 1968 Gibson SG Standard, the 1983 Gibson Explorer CMT. Almost there but not quite. There was the 1965 Fender Jaguar, the 1962 National Glenwood 95, the 1962 Gretsch 6120 DC Chet Atkins and the 1972 Fender Mustang Competition, even better. In the end I selected the 1972 Fender Telecaster Thinline ‘floorboard’ image. It is not on the website and I’ve only used it once on social media, so you might have missed it. The Thinline is a beautiful guitar captured in an OK image. A 100% original picture with zero post‑processing. So… here it is for your delectation. Perhaps I could have saved over 8,620 words after all.

OK. How about a least favourite? One image that shows just about every bad thing about a guitar image. There are (sadly) so many examples of rubbish photography but this one (actually on the web site!) is clearly demonstrating a job done badly. Sadly, it is only one of many. Not one’s best moment, I am embarrassed to say. Dear, oh dear.

If I do have any final words of advice about photographing vintage guitars, they would be twofold; a) A good eye is better than good equipment and, b) To produce consistently good images requires a great deal of perseverance, patience and a concentration on the subject matter. Nothing else matters. The following quote is testament to that from someone far wiser than me.

“Your first 10,000 photographs are your worst” – Henri Cartier‑Bresson (1908‑2004)

Photographs in Music

As a bit of a tenuous link to musicology, photographs and photography have appeared in many songs by well‑known artists over the years, including the 20 below, amongst many others (in no particular order):

The Cure – Pictures of You
A Flock Of Seagulls – Wishing (If I Had A Photograph Of You)
Blondie – Picture This
Duran Duran – Girls on Film
R.E.M. – Camera
Depeche Mode – Photographic
J. Geils Band – Centerfold
Neil Young – Distant Camera
Death Cab For Cutie – Photobooth
Wilco – Kamera
Frank Turner – Polaroid Picture
Johnny Cash – Send a Picture Of Mother
Ed Sheeran – Photograph
Taylor Swift – Picture to Burn
Keith Urban – Polaroid
P!nk – Family Portrait
Ringo Star – Photograph
Paul Simon – Kodachrome
Def Leppard – Photograph
Nickelback – Photograph

“Only photograph what you love” – Tim Walker (1970‑)

The CRAVEman as Prehistoric Photographer

As seems to be becoming commonplace these days, The CRAVEman has to get his fearsome Stone Age mug into the show somehow. Here he is trying his best to capture images of his precious prehistoric guitar collection, despite the (hopefully obvious) challenges. He may get the hang of it in a few thousand years’ time!

Useless fact of the month: As a prehistoric individual, The CRAVEman attempts to grapple with the technology of a Victorian bellows camera. He hasn’t yet grasped the concept of flash photography – originally using a carefully measured chemical flash powder comprising a mixture of magnesium and potassium chlorate, placed on a tray and ignited to produce a bright flash. Now we use LED flash guns. Thankfully.

“You don’t take a photograph, you make it” – Ansel Adams (1902‑1984)

CRAVE Guitars’ ‘Album of the Month’

There is no real connection between this month’s article content and this month’s album selection, so there is no point in trying to justify any sort of questionably vague link between the two. This time around, just for the joy of it, I thought I’d go for something a little different. This month’s accolade goes to…

David Bowie – Let’s Dance (1983): Let’s Dance was David Bowie’s 15^th studio album released in April 1983 on the EMI record label. The album was co‑produced by David Bowie and Nile Rodgers. Bowie’s previous album, ‘Scary Monsters (and Super Creeps)’ (1980) was a hard act to follow. Typical of the Thin White Duke, he didn’t regurgitate more of the same. Oh no. A total musical transformation and a new image were well up with the prevailing zeitgeist of the time. The album comprised 8 tracks, coming in at just under 40 minutes. Four of those tracks were released as commercial hit singles, ‘Let’s Dance’, ‘China Girl’, ‘Modern Love’ and ‘Without You’, helped to a significant degree by frequent rotation on MTV’s stylised music video coverage at the time.

Bowie was never one to shy away from an unlikely creative transformation. Let’s Dance (the album) received a mixed reception and many found it difficult to categorise at the time, especially as it was a departure from what people expected from a Bowie album. Musicians included several members from Nile Rodgers’ Chic and guitar work from one Stevie Ray Vaughan. The album was toured globally in 1983 as the Serious Moonlight tour. I was fortunate to attend one such concert at the Milton Keynes Bowl in Buckinghamshire, England in 1983. The massive success of Let’s Dance was followed by a creative anti‑climax in David Bowie’s output for many years and nothing subsequently matched the commercial success of Let’s Dance.

When thinking about the staggering legacy left by the late David Robert Jones (real name, 1947‑2016), ‘Let’s Dance’ may not be amongst many people’s top albums. There are way too many excellent Bowie albums to pick just one to stand head and shoulders above the rest. The rationale for choosing ‘Let’s Dance’ is simply that it is an easy listen and, on the whole, very accessible and emotionally buoyant – making it an enjoyable musical experience. RIP Ziggy Stardust, a.k.a. Mr. David Bowie.

BELIEVE IN MUSIC!

“To photograph truthfully and effectively is to see beneath the surfaces” – Ansel Adams (1902‑1984)

Tailpiece

Well, that was a bit of an epic journey, far longer than I thought it would be. As mentioned at the beginning of this article, I can’t believe that it has taken over 100 blog posts over almost twelve years to get around to the subject of vintage guitar gear photography. When the epiphany occurred, it was a relatively easy topic to cover. I hope that there was something illuminating (sic!) for you to enjoy. I will persevere to improve my photographic skills.

“One should really use the camera as though tomorrow you’d be stricken blind” – Dorothy Lange (1895‑1965)

For once, I already have an idea for the topic(s) for next month. I just have to put finger to keyboard to compose something that will make sense. I hope you’ll return to find out what I’m planning. Let’s hope there is still a habitable world in which such an editorial can be brought to fruition.

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

CRAVE Guitars’ ‘Quote of the Month’: “Music is like essential life blood with the heart providing the rhythm, the brain providing the melody, the blood vessels providing the arrangement and the blood cells providing the individual notes. A perfectly balanced system in synergy, created over aeons”

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30 Mar 2026

March 2026 – CRAVE Island Castaway Part I: Vintage Gear

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

Prelude

A WONDERFULLY WARM WELCOME to springtime great world citizens. Spring is my favourite season of the year. It signifies newness, rejuvenation, growth, freshness and the promise of warmer days and lighter evenings for a few months (at least here in the cool temperate region of the northern hemisphere). Nature is a wonderful thing and something not only to be valued but also marvelled at for its diversity and perpetuity. Without it, we’d be doomed. Talking of which…

Just when you thought the outright insanity of conflicted malevolent states couldn’t get any worse, wholesale recklessness won out and we have even worse devastation, many more dead innocents, instability and incalculable money irrevocably wasted on killing and destruction. I would argue that such precious resources should be used to advance humanity and solve the world’s inequalities. I am beginning to doubt that common sense will prevail any time soon, if ever. Yes, I am angry and, unfortunately, I am powerless to do anything about it. Civilisation needs civilised leaders. Humanity needs humane leaders. Society needs sane leaders. Communities need caring leaders. What we have in 2026 are not leaders, they are monsters; very, very real and very, very dangerous monsters. Take heed before it is too late for us all.

“Never think that war, no matter how necessary, nor how justified, is not a crime” – Ernest Hemmingway (1899‑1961)

This Month at CRAVE Guitars…

This time around, I had to do some simple soul‑searching and reach some sort of selection about what vintage gear I would choose if I only had a limited number of options.

For the record, I don’t like having to divide vintage gear into favourites and not favourites. It’s a bit like having to choose your favourite child. Each CRAVE instrument has been selected for its individual characteristics and each has its merits. Each one also has its detriments. I do not believe that there is a ‘perfect’ guitar. However, I set this challenge simply as a hypothetical exercise and the outcome may well be different tomorrow, next month, next year, etc.

From CRAVE Guitars’ modest vintage guitar gear ‘collection’, there are a few choice picks – guitars, a bass and effects that I keep going back to, enjoy playing, love the sound of, gaze at longingly just because they are beautiful objects and, importantly, ones that I have developed a particular and deep connection with over the years.

This article is a bit of a reprise. Kind of. Way, way back in September 2015, not long after CRAVE Guitars became a virtual as well as a real entity, I published an article, ‘My Top 10 Vintage Guitars (So Far)’. It is that bracketed pair of words that gives an entry point into reviewing that selection and updating it now, over a decade later. Back in 2015, I narrowed guitars down to makes and headline models, not specific variants, for instance Gibson Les Paul or Fender Stratocaster. Here is the link to the original 2015 Article (link opens in new browser tab)…

Article – September 2015 – My Top 10 Vintage Guitars (So Far)

This time, I’m going to be a bit more specific and a bit harsher. Now, the Top 10 covers not just guitars but also vintage guitars, basses, effects and amps. This article represents a narrower selection from a broader assortment. I couldn’t tell you how many items I had back in 2015 (or even now), but the overall totals have probably doubled – give or take – over the last 11 years.

“Make an island of yourself, make yourself your refuge; there is no other refuge. Make truth your island, make truth your refuge; there is no other refuge” – Buddha (Siddhārtha Gautama – c.480‑400BCE)

The Rationale for the Article

I have chosen the ‘marooned on a tropical desert island’ approach here because it provides for a more positive decision‑making process, rather than the desperately negative ‘in a burning building, which one(s) would you save’. The latter, by definition, means that I would have to sacrifice the rest to irrevocable destruction (please forgive the split infinitive on this occasion), which I just couldn’t contemplate.

A tropical desert island may not be an ideal environment for conserving vintage gear, and securing a reliable and consistent electrical supply might prove challenging. This is therefore purely a case of conjecture and an exercise in entertainment. Welcome to CRAVE Island.

I’m sticking to a cap of 10 pieces of kit, simply as an arbitrary number. Choosing less would be overly restrictive, choosing more would basically be a broad reflection of the CRAVE Guitars family. A figure had to be set, so 10 it is.

Assuming that there are no perfect guitars means that all of the ones listed have their idiosyncrasies. So it is personal predilection that promotes the ‘chosen few’ to a considered conclusion. A selective approach may raise the question of whether the rest of CRAVE Guitars could be divested? Nope. I may consider trading up in a few cases because I want to, not because I have to.

Although I didn’t need to, I have used The CRAVEman as a vehicle to emphasise the nonsense of the concept in the first place. Rather than carry out this task at his home community of CRAVE Town in CRAVEland (see the November 2025 article, ‘The CRAVEman Cometh… Back’), The CRAVEman is embarking on a two‑month solo offshore excursion to the remote tropical desert destination of CRAVE Island. Ridiculous? Of course! Delusional? Obviously! C’mon, what did you expect?

As usual AI was used to generate The CRAVEman’s images this month. No AI was used for the narrative and the vintage guitar images are 100% genuine. This month’s ‘quotes of wisdom’ are about desert island life.

“You can’t totally rebel, otherwise you have to go live on your own, on a desert island. It’s as simple as that” – Patrick McGoohan (1928‑2009)

The CRAVEman’s Top Ten Desert Island Vintage Gear

So, with just 10 pieces of gear to pack and transport to the metaphorical paradise of CRAVE Island, it was as difficult job deciding what to take and what to leave behind. However, having determined the criteria, one has to comply with the rules. Without further ado, here are ‘the chosen few’ (in alphabetic order – links open in new browser tab)…

1965 Fender Jaguar – There is something gloriously captivating about Fender’s offsets whether the Jaguar or its sibling the Jazzmaster, and even the Electric XII or Bass VI. Leo got it spot on with this design. It was a very close run between the Jaguar and Jazzmaster. The Jaguar edged ahead because of its more striking aesthetic and, because I have short stubby fingers, the shorter scale just suits my hands better. The Brazilian rosewood fingerboard is sublime. Oh, it feels so good to play and it sounds exquisite, edging out the Jazzmaster for me… just. While I’d love a custom colour, the standard 3‑colour sunburst still looks gorgeous. It is a bit on the heavy side and the vibrato/bridge takes a bit of getting used to but such foibles are easily tolerated.

Feature – 1965 Fender Jaguar

1972 Fender Telecaster Thinline – The original mass produced solid body electric guitar launched in 1951, the Telecaster, is an undoubted and enduring classic. This year is its 75^th anniversary and the archetype remains largely unchanged to this day. The 1970s saw several variants like the Telecaster Deluxe, Custom and the utterly stunning Thinline, my personal favourite. It just looks so ‘right’ with its single f‑hole (it is only part hollowed out), the natural finish, a groovy pearloid pickguard and those amazing wide range Seth Lover‑designed humbucking pickups. The latter really make the Telecaster Thinline sound grown up and fundamentally different from its workhorse progenitor. I prefer rosewood fingerboards but on this guitar, maple works very nicely thank you and it feels just as right as it looks and sounds. It’s light, functional and organic as well as beautiful.

Feature – 1972 Fender Telecaster Thinline

1963 Gibson ES‑330 – Gibson has released several ES (Electric Spanish) guitars over the decades (going back to the original ES‑150 in 1936). However, it was the thinline ES‑335 that really broke the semi‑acoustic into the contemporary mainstream, where it is considered a flexible workhorse suited to most styles. However, for my money, it is the 335’s close relative, the fully hollow ES‑330 that won me over. It is lighter and more resonant than the heavier centre‑block 335 and its pair of wonderful P90 pickups set it apart with its own distinctive voice. OK, so the neck joins the body at the 16^th rather than the 335’s 19^th fret but who cares when the rest of the package is so wonderful. It is a breeze to play. Even the factory Bigsby vibrato suits the image and it stays in tune. It may feedback in high gain, high sound pressure level environments but those don’t really exist anymore. As a result, the ES‑330 is rightly being re‑evaluated. Oh and it looks the part – one of the prettiest guitar designs out there.

Feature – 1963 Gibson ES‑330

1982 Gibson Explorer CMT – I have said on many occasions that the Gibson Explorer is probably my favourite solid body guitar. They are far better than the one‑trick pony image that one might think them to be. Original Explorers from the 1950s and early 1960s are mouth wateringly expensive, so it is the subsequent reissues that make the grade here. CRAVE Guitars has five (!) Explorers and they are all great in their own ways. My choice, though, is the first one I acquired, the stunningly beautiful CMT (not E2, as on the truss rod cover) with its single piece flame maple sunburst top and ebony fingerboard. It is seriously heavy, which is possibly its only notable drawback. It is probably not a go‑to guitar for a function band but for that’s an irrelevancy. Just as well I don’t play in one then. The renowned Gibson ‘Dirty Fingers’ humbucking pickups balance power and finesse spectacularly well. If this were a car, it would be a V8 Ford Mustang.

Feature – 1982 Gibson Explorer CMT

1968 Gibson SG Standard – Back in 2015, I selected CRAVE Guitars’ Gibson SG Junior with its wonderfully gritty single P90 pickup and baseball bat neck. Now, in 2026, the Junior was up against the SG Standard, another guitar that looks so ‘right’ and feels even better. The Standard doesn’t deliver the raw, visceral inspiration of the Junior but what it does bring to the table is more refinement and versatility. The ‘devil horns’ are still evocative and modern looking over 60 years after it was introduced as a Les Paul Model replacement in 1961. Upper fret access is possibly the best of any mainstream Gibson, making the mahogany neck potentially vulnerable. The SG Standard is light, resonant and, while a touch neck heavy, it is a joy to play, sounds fabulous and looks the part with its great cherry finish. For all of that, the Standard edged out the Junior. Just.

Feature – 1968 Gibson SG Standard

1962 National Glenwood 95 – Sometimes a guitar comes along that breaks the rules in more than one way. In the early 1960s, National released a fibreglass (Res‑o‑Glas) hollow body with single coil pickups and a stunning futuristic/retro design, loosely based on the outline of the lower 48 US states. Just look at those ‘butterfly’ fingerboard inlays too. Purists will condemn it for its lack of a tone wood body and ‘classic’ pickups, but they are missing the point. National dared to be different and, in my view, succeeded. It was brazen and radical and all the better for it. Not only does it look superb, it also plays very nicely despite not having an adjustable truss rod. No tone wood. No problem. Not here anyway. Perhaps the pickups can sound a bit lean compared to the best (not great for heavy metal!) but who’s arguing? Stunning.

Feature – 1962 National Glenwood 95

1978 Music Man Stingray Bass – Onto CRAVE Basses. 2026 is the 50^th anniversary of the Music Man Stingray bass. Yep, almost unbelievable. Music Man is what Leo Fender did after he sold the company that bears his name and had fulfilled his contractual obligation not to do anything else for 10 years after selling Fender to CBS. The Stingray may bear some resemblance to the Fender Precision but it is a very different beast with its single humbucking bridge pickup and active on‑board electronics. After a brief period, Leo moved on to G&L and Music Man was bought out by Ernie Ball. The Stingray, however is still going strong today with a solid and enviable reputation amongst professional bass players and enthusiasts alike. It is a great funky bass that still stands out from the crowd and sits head and shoulders above many of its peers. I bought this one from the UK importer before it ever reached retail, so I am still the original owner. Very cool.

Feature – 1978 Music Man Stingray Bass

1977 Electro-Harmonix Big Muff Pi – Moving onto CRAVE Effects, my all‑time favourite effect pedal is probably the EHX Big Muff Pi. I have owned this one from new and its all‑out manic signature fuzz is just insane with massive amounts of awesome personality. There was, and still is, nothing quite like a (vintage) Big Muff. It sounds just superb and suits my weird musical tastes to a tee. Subtle it is not. It sounds even better when it interacts with other effects like a cool (Electro‑Harmonix) flanger and echo (a.k.a. analogue delay – see below). Think of Ernie Isley’s guitar solo from, ‘Summer Breeze’ (1974) by The Isley Brothers and you begin to get the idea. Marvellously mad and crazily kooky from Electro‑Harmonix’s pioneering founder Mike Matthews, based in New York City since 1968.

Feature – 1977 Electro-Harmonix Big Muff Pi

1977 Electro-Harmonix Deluxe Memory Man – Like the EHX Big Muff Pi above, I have owned this superb all‑analogue ‘bucket‑brigade device’ Deluxe Memory Man delay pedal since new. It pairs with the fuzz in an almost symbiotic fashion. This list is limited, otherwise I would also have included the Electro‑Harmonix Electric Mistress flanger. If you want far out psych, organically natural echo or dubby atmospherics, the Memory Man is there for you. It is easily pushed into OTT regeneration. OK, so the delay is limited to around 300‑400ms – short by today’s digital standards. It sounds organic and doesn’t provide pristine digital delay but when it sounds this good, it’s not really an issue. For me, the Deluxe Memory Man is an indispensable creative tool in a hypothetical desert island situation.

Feature – 1977 Electro-Harmonix Deluxe Memory Man

1973 Fender Princeton Reverb – While the diminutive single channel hand‑wired valve amp with its 10” speaker is almost perfect for guitar, it isn’t really robust enough to take on the Music Man Bass. However, as this is a make‑believe scenario, that’s kinda irrelevant. The Fender Princeton has a long history dating back to 1946 and it came with or without reverb. For me, the reverb is a ‘good to have’ facility along with the (rather weak) tremolo (erroneously called vibrato). I don’t care that it has the 1970s’ ‘silverface’ control panel, I really don’t. For me, it is the ideal small amp and only just beats the Music Man 210 Sixty‑Five. It is small, (relatively) light and sounds absolutely fantastic. Pushing a small Fender valve amp into overdrive can sound just as satisfying as a Marshall stack in the right setting and far more portable. It may not be the loudest amp out there but it is an organically dynamic masterpiece.

Feature – 1973 Fender Princeton Reverb

So there you go, a worthy ‘Top 10’ of vintage gear comprising 6 guitars, 1 bass, 2 effects and 1 amp. While I would have preferred to take all of CRAVE Guitars’ vintage gear to CRAVE Island, the selection arguably represents the pinnacle of the ‘collection’, at least at the time of writing. I expect that the selection would be different at a different time and will no doubt be different(‑ish) at some point in the future when this exercise is (possibly) repeated in another decade or so. In the meantime, I’d better start looking for a power socket.

Interestingly, things haven’t changed that much from 2015. Back then, I selected the following 10 guitars:

Gibson SG
Gibson Explorer
Fender Telecaster
Gibson Les Paul
Fender Jazzmaster
Fender Mustang
Gibson Firebird
Fender Stratocaster
Gibson Melody Maker
Gibson ES‑330

A little bit of consistency was probably to be expected and quite notable. This time, it was even harder as there was a smaller number of guitars selected from a much larger number of possible options. Back in 2015, the article was all about guitars and didn’t cover basses, effects or amps. Eleven years ago, there simply wasn’t CRAVE Basses, CRAVE Effects or CRAVE Amps, so things have definitely moved on a bit and for the better.

The ‘top ten’ aren’t the rarest or most valuable CRAVE Guitars. That wasn’t the objective or one of the criteria used. Cool and rare to a point – monetary value simply isn’t important to me, except when buying of course. Many critics might condemn the selection because there isn’t a Fender Stratocaster, Gibson Les Paul or Fender Bass. I’m OK with that – after all, it is my selection. No blasphemy here folks. Make up your own scenarios to satisfy your own predispositions.

“Living in a society, instead of on a desert island, does not relieve a man of the responsibility of supporting his own life” – Ayn Rand (1905‑1982)

Final Thoughts about The CRAVEman’s Top Ten Desert Island Vintage Gear

This article has focused on guitars, basses, effects and amps drawn from CRAVE Guitars’ ‘collection’. This might not reflect what my ‘top ten’ might be if the pool from which the selection was made was much, much larger. What if I could choose any ten items regardless of whether I owned them or not? What would that ‘top ten’ be? How would it differ?

Well, that is speculative and therefore irrelevant to this exercise, so I’m not going there at this point. How could I possibly say what would be my ideal when I don’t have access to the items or have the opportunity to build a working relationship with them? One might have some ideal aspiration, only to find out that there would be no synergy with it. Relying on some sort of unjustified anticipation of what something may be like is no guarantee of anything at all. An ideal might turn out to be a great disappointment, while something seemingly innocuous may turn out to be a complete revelation. That, my good people, is part of the fascination with vintage guitar gear and why I love it as much as I do.

“The heart of a man is very much like the sea, it has its storms, it has its tides, and in its depths, it has its pearls too” – Vincent Van Gogh (1853‑1890)

There are plenty of instruments on CRAVE Guitars’ ‘most wanted’ list but just how essential are those desirables to achieving some sort of nirvana or personal actualisation? I would posture that it is impossible to say definitively. I am very content with what I have and very grateful to be in the fortunate position to possess what I already own. I am humble in the midst of abundance. Any further additions to CRAVE Guitars/Basses/Effects/Amps, I would now regard as ‘icing on the cake’.

Thus, I don’t think I want to enter into any sort of speculation as to what any sort of theoretical ‘top ten’ might be or whether it would be hugely different anyway. I might return to explore the whys and wherefores of some ‘most wanted’ vintage gear at some point in the future.

Just a thought… How did The CRAVEman end up on a desert island in the first place, you may well ask? Why? And how did he get home again? Well, if you’ve seen The CRAVEman in action before, you’ll know that the concept of the Stone Age Rock God requires a significant suspension of disbelief on the part of the onlooker. The foundational basis of The CRAVEman is plainly ridiculous in the first instance, so how could anyone be surprised in the slightest about what el jefe does?

As previously mentioned, the hyper‑fictional escapades of The CRAVEman are presented purely for your amusement, even if the core basis of the article is more serious, factual and impartial. The CRAVEman images may be AI generated and all the errors and inconsistencies within them are part and parcel of his fanciful virtual existence. Just go with the flow and it’s more fun. Please. Everything else is real.

“What a splendid king you’d make of a desert island – you and you alone” – Sophocles (c.497/496‑406/405BCE)

CRAVE Guitars’ ‘Album of the Month’

In Part II of this series, I will be exploring what music The CRAVEman might listen to on his tropical desert island. What I don’t want to do is to pre‑empt that exercise now, so here I shall select an album that exudes the almost‑spiritual and evocative vibes that would be fitting for the confinement and solitude of CRAVE Island. Given that premise, it was quite easy to select some appropriate Jamaican reggae. Desert island music, I believe, needs something upbeat, positive, uplifting and profoundly conscious in its underlying messages. It is a very familiar album for once – I don’t usually go for popular, commercially successful mainstream albums – and still a great one. This month’s accolade goes to…

Bob Marley & The Wailers – Exodus (1977): ‘Exodus’ was the ninth studio album from Robert Nesta Marley (1945‑1981) and his band, released in June 1977 on Island Records. It may not be a perfect studio album but one with so many highpoints that the overall impact is entirely positive. The original album is slight, at just 10 tracks covering 37 minutes. The opening track, ‘Natural Mystic’ provides a sublime entry point, leading into many other gems of faith, political and emotional treasure. The title track closes the first ‘half’ of the album. Marley’s close associates, Peter Tosh and Bunny Wailer had left the band in 1974, leaving Bob Marley as the main focus. Strangely, ‘Exodus’ was not recorded in Kingston, Jamaica but in London, UK, following a failed assassination attempt in 1976 when Marley was shot in a home invasion that forced him to leave his homeland temporarily. It was this album that effectively launched Bob Marley to international stardom, creating a genuine legend in the process.

An atmospheric album that is just right for a balmy desert island beach at dusk after the sun has set and just as the stars begin to blink into visibility, the sky prismatic and incandescent above the horizon of a tranquil moonlight‑reflected sea. Some reggae can be transcendent and that is the case with this month’s masterpiece from a genuine Jamaican icon. The author was lucky enough to visit Jamaica in 2008 and can testify to the idyll, as well as to the day‑to‑day challenges that the Jamaican population face. Irie mon.

BELIEVE IN MUSIC!

“The sea, once it casts its spell, holds one in its net of wonder forever” – Jacques Cousteau (1910‑1997)

Tailpiece

I hope you’ve enjoyed a reflective trip into a fabricated tropical paradise where The CRAVEman passes his time with some of his precious vintage gear for company. Personally, it is a situation that I wouldn’t mind experiencing myself. Seclusion as a lifestyle choice is something to be treasured and protected. I would relish it. The reality of survival on a deserted island in the tropics, as one might expect, is not the heaven‑on‑Earth utopia one might wish for. Thus, it is purely a notional creation for your enjoyment.

“Nature once determined how we survive. Now we determine how nature survives” – David Attenborough (1926‑)

As the title of this article suggests, this is part one of two complementary pieces. While this one looked at vintage guitar gear, used to create music, the next one will take a selection of existing music and use it to compile a desert island playlist for The CRAVEman to enjoy when he isn’t playing his own compositions. We will return to CRAVE Island and I hope you’ll return for part two.

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

CRAVE Guitars’ ‘Quote of the Month’: “And so the wind blows and the rain pours down on the wicked and good alike”

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27 Feb 2026

February 2026 – Recent New ‘Old’ In at CRAVE Guitars

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

Prelude

WELL, A HEARTY HALLOO AND AN AMICABLE AHOY dear readers. I hope 2026 is treating you well so far and is all hunky‑dory in your world. NB. ‘hunky‑dory’ is American reduplicated slang generally meaning ‘safe, satisfactory and pleasant’. It first appeared in print in a collection of minstrel songs, ‘Essence Of Old Kentucky’ (1862) by George Christy. ‘Hunky Dory’ (without the hyphen) is also the fourth studio album by the legendary David Bowie from 1971.

It is almost unbelievable to think that we are already six years since the Covid‑19 outbreak and four years since Russia invaded Ukraine but here we are, racing through 2026 at a rate of knots (NB. A knot is one nautical mile per hour. A nautical mile is about 1.15 land miles).

“With your smiling faces round, ‘Tis then I’m hunkey dorey” – Christy’s Minstrels

After a challenging winter for many, it will soon be time to welcome the refreshing renewal of spring (at least up here in the northern hemisphere). It is a time to be optimistic and enthusiastic about life’s opportunities in the spirit of rejuvenation. If only such a prophecy could be self‑fulfilling.

Going against natural tendency, I will be trying to keep this month’s article short and sweet for a change. Included within that brevity is my message to the insane malefactors creating misery and mayhem is simple; repent from your malevolent ways and make a better world for everyone and everything. It really isn’t difficult.

“I hope that in this year to come, you make mistakes. Because if you are making mistakes…you’re Doing Something” – Neil Gaiman (1960‑)

This Month at CRAVE Guitars…

Believe it or not, there hasn’t been a dedicated article covering ‘what’s new’ at CRAVE Guitars for nearly five years, since, ‘August 2020 – Even More Whazzup at CRAVE Guitars’. How did that happen? That post was immediately prior to ‘the hiatus’ (September 2020 to August 2023).

There was a sub‑section, part of a larger article, called, ‘New’ Old Gear’ at the end of 2023 in the article, ‘December 2023 – CRAVE Guitars: Three Years in Review’ but it was only a snapshot at the time and covered acquisitions over ‘the hiatus’.

While vintage guitar gear is, by definition, the antithesis of ‘new’, this month’s content is all about the anticipation and discovery of finding fascinating ‘new’ old things. The vintage items covered herein may be decades old but they are ‘new’ to CRAVE Guitars and they change the overall dynamic of the ‘collection’. Plenty of images and links this month. No AI at all, anywhere.

“Step through new doors. The majority of the time there’s something fantastic on the other side” – Oprah Winfrey (1954‑)

So… even though vintage guitar gear purchases have slowed down considerably over the last couple of years (as regular readers will know, due to fund and space limitations) it seems long overdue to bring things up‑to‑date.

This month’s ‘quotes of wisdom’ are relevant to the notion of new experiences in life and breaking away from old, possibly restrictive, practices. Bring it on.

“You never know what you can do until you try, and very few try unless they have to” – C.S. Lewis (1898‑1963)

New Members of the CRAVE Guitars Family 2025‑2026 (15)

Included in this article are CRAVE Guitars’ purchases since the start of 2025 to‑date.

Guitars and basses generally cost a lot of money and take up a lot of real estate, so given practical limitations, guitar/bass purchases have been restricted to just two guitars and one bass.

Vintage amplifiers are also space hungry and also tend to cost a lot. Given that CRAVE Amps are a lower priority, none have been acquired recently.

Effect pedals are considerably cheaper and take up little space, so stomp box arrivals have been more abundant. In contrast to other parts of CRAVE Guitars, there has been a significant ‘investment’ in CRAVE Effects over the last 12 months.

For more in‑depth information about each of the instruments and effects, follow the links after each summary to take you to a full feature page on the web site (each opens in a new browser tab).

“I’m always doing things I can’t do. That’s how I get to do them” – Pablo Picasso (1881‑1973)

Vintage Guitars/Basses (3):

Just three vintage guitar and bass acquisitions over the past couple of years. Scant quantity, thankfully, does not equate to compromised quality.

1966 Fender Electric XII (+ case) – This particular guitar was the focus of CRAVE Guitars’ article of June 2025, ‘Challenging Vintage Guitar Snobbery: A Cautionary Tale’. Why? I have tried to avoid refinished guitars but the opportunity to pick up a vintage Fender Electric XII at a price I could afford made me re‑evaluate my view on the practice. It arrived without a case and, because the Electric XII has unique proportions, tracking down a case specifically made to fit it was a nightmare, let alone an original 1966 Fender case. Eventually, I found a dedicated case; not vintage but it provides essential protection. The XII may have been refinished but it is still a very cool guitar.

Article: June 2025 – Challenging Vintage Guitar Snobbery: A Cautionary Tale

Feature – 1966 Fender Electric XII

1966 Fender Electric XII

1984 Guild X‑79 Skyhawk (+ case) – I had been looking for cool Guild guitars for a while now, hoping to find a good S‑300 or S‑100. In 2025, my son and I attended a heavy metal gig. That acted as a catalyst to look for a vintage ‘Made in USA’ Guild Skyhawk and, fortunately, this one came along. It is very characteristic of the ‘extreme’ art of guitar manufacturing during the 1980s. The original case was too far past its sell‑by date, so a similar vintage‑correct case was found to keep it safe (it’s another guitar with unique proportions). The Guild Skyhawk is very distinctive and a very cool under‑the‑radar ‘metal’ axe and a great addition to CRAVE Guitars.

Feature – 1984 Guild X‑79 Skyhawk

1984 Guild X-79 Skyhawk

1983 Kramer ‘The Duke’ Deluxe Bass – I just missed out on a rather sweet Kramer 450B bass with its distinctive aluminium neck and ‘tuning fork’ headstock, so it was while I was searching for Kramer instruments that I came across this interesting instrument, characterising a trend in the 1980s for compact, portable headless basses. At first glance, it might be mistaken for a Steinberger bass but it is actually quite different. The ‘Made in USA’ Kramer The Duke may not be a ‘classic’ but it is a very good vintage bass guitar, very unusual in all respects and quite a relative vintage bargain, which makes it all the better for CRAVE Basses. Cool.

Feature – 1983 Kramer ‘The Duke’ Deluxe Bass

1983 Kramer The Duke Deluxe

“Do one thing every day that scares you” – Eleanor Roosevelt (1884‑1962)

Vintage Effect Pedals (12):

Back in October 2025, the CRAVE article, ‘Vintage Guitar Gear Collections Within a Collection: Part II – CRAVE Effects’ got me thinking about focusing on a brand and its models, rather than the usual diverse way of doing things. Actively creating a ‘collection within a collection’ from scratch is a completely new approach for CRAVE Effects. That is why there are a dozen pedals from only two American brands. To revisit that article, follow the link below (opens in a new browser tab).

Article: October 2025 – Vintage Guitar Gear Collections Within A Collection: Part II – CRAVE Effects

This alternative methodology led directly to buying a number of DOD FX series effect pedals in a buying spree. Previously, CRAVE Effects only had the glorious ‘large box’ DOD Analog Delay 680. DOD was always a reliable budget American brand, releasing large numbers of pedals at realistic prices between 1973 and 1996. Some DOD FX series pedals (1982‑1996) were better than others and this is evident in the initial trawl. I have a feeling that there may be more to come.

1987 DOD FX10 Bi‑Fet Preamp – One of those behind‑the‑scenes pedals that do an awful lot without sounding like it. Originally conceived to boost passive acoustic/electro‑acoustic pickups, the FX10 was widely adopted by guitarists and bass players to boost, balance or buffer pedal boards and/or long cable runs, something it does rather well. While not producing distortion in itself, it can be used to overdrive inputs of other pedals/amplifiers. The FX10 was often used as an always‑on pedal.

Feature – 1987 DOD FX10 Bi‑Fet Preamp

1987 DOD FX10 Bi-Fet Preamp

1991 DOD FX17 Wah-Volume Controller Pedal (+PSU) – Very few people even know of the existence of the FX17. It is nothing like any other DOD pedal or wah‑wah, volume pedal or voltage controller. No pots. No inductors. Clever active electronics. Yup, the FX17 was innovative and, to be honest, it is an exemplary piece of kit that should be more broadly accepted. It can be a bit fiddly to use but it is worth the effort. Its technology hasn’t (to my knowledge) been used since by DOD or anyone else.

Feature – 1991 DOD FX17 Wah-Volume Controller Pedal

1991 DOD FX17 Wah-Volume Controller Pedal

1995 DOD FX25 Envelope Filter – The FX25 is another of DOD’s better pedals. It isn’t necessarily refined but it is effective at producing cool funky, skanky auto‑wah effects. It may also not be the most versatile but its simplicity allows one to focus on playing rather than knob twiddling. It doesn’t shout from the roof tops but neither does it hide its light under a bushel (NB. an idiom from the book of Matthew in the New Testament of the Christian Bible).

Feature – 1995 DOD FX25 Envelope Filter

1995 DOD FX25 Envelope Filter

1990 DOD FX50‑B Overdrive Plus – An overdrive pedal based on its short‑lived predecessors, the DOD Overdrive Preamp 250 and the DOD FX50. While seeming to be a standard overdrive pedal, the ‘Drive’ control features an integral ‘Boost’ function that pushes it clearly into dirty distortion territory, giving it a punchy range of gritty sounds that other overdrive pedals might struggle to achieve. Perhaps it’s not the best overdrive effect out there (Ibanez Tube Screamer?) but some credible crunchy blues/rock tones can be dialled in easily.

Feature – 1995 DOD FX50‑B Overdrive Plus

1990 DOD FX50-B Overdrive Plus

1992 DOD FX52 Classic Fuzz – A relatively understated fuzz pedal from DOD. The intention was to emulate the ‘classic’ fuzzy sounds of British germanium powered effects like the Tone Bender or Fuzz Face. While it doesn’t respond to touch as well as the best, it does produce some nice fuzzy distortion. Not an all‑out mega fuzz fest like the best of the breed (Electro‑Harmonix Big Muff π?) but OK enough, especially with the integral ‘Boost’ on the ‘Fuzz’ control to give it some nicely sustaining bite.

Feature – 1992 DOD FX52 Classic Fuzz

1992 DOD FX52 Classic Fuzz

1991 DOD FX54 Attacker – The name on the box doesn’t tell you what this effect does. It combines a simple compressor with a distortion effect. OK, so it isn’t the most flexible of compressors or the most distinctive of overdrives but the combination of the two is relatively unusual and it does a credible job at sounding different from the offerings of other manufacturers. The FX54 also features the same ‘Boost’ function as some other DOD pedals (see above). Maybe it is not a cultural icon by any means but a good pedal choice for experimental noise rock and out‑there contemporary psych.

Feature – 1991 DOD FX54 Attacker

1991 DOD FX54 Attacker

1988 DOD FX56 American Metal – The FX56 is possibly the best DOD FX series for heavy/hard rock distortion. This is a bit of a brute. Subtlety isn’t its strong point. Unlike other distortion pedals from DOD, it doesn’t feature the ‘Boost’ on the distortion control. Instead, it was the first DOD pedal to feature a ‘Presence’ control to provide treble boost. The FX56 spawned two other distortion variations on a theme, the FX57 Hard Rock Distortion and the FX58 Metal Maniac. Very 1980s MTV ‘hair metal’ and all the better for it. Good one.

Feature – 1988 DOD FX56 American Metal

1988 DOD FX56 American Metal

1988 DOD FX65 Stereo Chorus – Late 1980s and early 1990s recordings were saturated with chorus effects. Chorus was trendy and everywhere. Originally designed to produce a sound akin to a 12‑string from a 6‑sting guitar or to emulate a rotating Leslie speaker cabinet. Chorus works by adding a small delay and a slight detune, making for a distinct shimmery sound that we recognise today as the chorus effect. The FX65 does a reasonable job amongst a sea of other chorus pedals out there but it doesn’t really stand out from a big crowd. Good but not great.

Feature – 1988 DOD FX65 Stereo Chorus

1988 DOD FX65 Stereo Chorus

1988 DOD FX80‑B Compressor Sustainer – In my opinion, the FX80‑B was the real let‑down of the FX Series pedals acquired so far. To my admittedly jaundiced ears, it doesn’t seem to do very much at all compared to competitor compressors like the MXR Dyna Comp. Yes, it boosts the whole signal but it misses the point of boosting a weak signal and limiting a strong signal to even out a guitar’s ADS (Attack, Decay, Sustain) envelope or to provide a blooming lasting sustain trail. I was so disappointed with the first example, thinking that it may be faulty, I bought a second and it was the same. Disappointing DOD. Could and should have done better.

Feature – 1988 DOD FX80 B Compressor Sustainer

1988 DOD FX80-B Compressor Sustainer

This period has also been one of ‘completing the set’ of MXR compact effect pedals. That doesn’t mean it is a comprehensive collection of all the multiple variants. Rather it is representative of the MXR catalogue during the 1970s and 1980s.

1980 MXR Micro Chorus – A diminutive little yellow block with just a single control and a footswitch, following the approach that MXR took with the iconic Phase 45 and Phase 90. Sometimes less is more and MXR proved that point with an effective mono chorus effect in a straightforward package. OK, so it isn’t hugely flexible but there is the large box MXR Stereo Chorus to fulfil that role. In a flooded chorus effect market during the 1980s, the MXR Micro Chorus made a credible and popular contribution.

Feature – 1980 MXR Micro Chorus

1980 MXR Micro Chorus

1975 MXR Noise Gate Line Driver – Another of those behind‑the‑scenes pedals that does its job quietly and effectively but doesn’t make its presence too intrusive. Used last in a signal chain, it is intended to reduce background noise and hum, common in high gain environments. Unusually for a stomp box, it also has a low impedance XLR output for Direct Input (DI) into stage/studio mixing desks. The ‘Threshold’ control is used to eliminate most of the unwanted noise without adversely affecting the musical signal. This example is a very early, rare ‘Bud’ box model, with a hand‑wired circuit and the spidery ‘script logo’.

Feature – 1975 MXR Noise Gate Line Driver

1975 MXR Noise Gate Line Driver

1977 MXR Phase 90 (‘Block Logo’) – A ‘contrast and compare’ pedal for CRAVE Effects. It is a complement to the existing 1977 MXR Phase 90 (‘Script Logo’). Both were made in the same year, both have the same circuitry. The only difference is the cosmetic screen printing on the front of the pedal. Yet, one is more highly in demand and attracts much higher values on the vintage effect pedal market. Why? They are effectively the same great phase pedal with distinctive and discrete aesthetics. You may have seen the ‘script logo’ stomp box before but both are shown here for comparison.

Feature – 1977 MXR Phase 90 (‘Script Logo’)

1977 MXR Phase 90 (‘Script’ Logo)

Feature – 1977 MXR Phase 90 (‘Block Logo’)

1977 MXR Phase 90 (‘Block’ Logo)

There you go. Possibly not the most exciting haul of vintage guitar gear purchases. However, they do help to fill out CRAVE Guitars’ ‘collection’ and to provide a bit more diversity.

“I’m always moving forward and trying new things” – Robert Redford (1936‑2025)

Final Thoughts About Recent New In at CRAVE Guitars

I would much rather have been getting some lovely vintage guitars and basses. Regrettably, I had to miss out on some very appealing vintage instruments over the last two years, as well as a couple of very desirable vintage valve amps. I really do hope to get back to what really matters at some point in the future. I am not downplaying the effect pedals, all of which are an integral part of the vintage guitar gear landscape.

Specifically on effect pedals, the quest goes on. I have a hunch that there are a few more DOD FX series pedals to find while they are affordable and before the ‘collecterati’ discover them and drive the price out of reach of enthusiasts. It’s already starting, so the fuse is already burning.

“Unless you try to do something beyond what you have already mastered, you will never grow” – Ralph Waldo Emerson (1802‑1882)

As mentioned previously, the arbitrary cut off of year of 1989 has been relaxed for effect pedals with the most recent addition dating to 1995. CRAVE Guitars currently has a couple of newer guitars and several effect pedals that date to the 1990s, which may make an appearance in due course if the cut‑off is extended to 1999 – the end of the 20^th Century seems a clear enough ‘vintage’ boundary.

For the first time, the number of effect pedals exceeds the number of vintage guitars/basses. This doesn’t really matter, it isn’t a competition.

“We keep moving forward, opening new doors, and doing new things, because we’re curious and curiosity keeps leading us down new paths” – Walt Disney (1901‑1966)

Strategic Positioning of CRAVE Guitars

Having reflected on things generally, I don’t think that there is anyone else doing anything out there quite like CRAVE Guitars/Basses/Effects/Amps, which is encouraging. So perhaps a discrete niche has been created after all. Yay! Time to build on it.

The first tangible evidence of a slight incremental change is a refreshed CRAVE Guitars’ logo and avatar, featuring a new‑look stylised faded American flag behind the CR ‘body’ of the guitar part of the logo. I haven’t decided yet whether it is a short‑term ‘special edition’ logo or whether it might become permanent. I like it, although it will take some getting used to after a decade of the clean, plain logo. The high‑contrast logos will still be retained for use where it matters. There may be other variants in the future – watch this space.

I remain concerned that CRAVE Guitars is currently in a bit of a limbo (thankfully not purgatory) where it is what it is and there is only so much one can squeeze out of a static showcase. In order to become something exceptional, it needs to be bigger and more diverse. It isn’t a lack of ambition or enthusiasm on my part, just the real world constraints of time, space and money.

Rising price pressures on the classic ‘golden age’ (pre‑1965) are such that any increase in guitar numbers is likely to be focusing on newer vintage guitars, now that late 1960s and early 1970s guitars have also caught the attention of the heinous and rapacious ‘collecterati’, who prioritise financial ‘return on investment’ over musical integrity. For those who have been part of the CRAVE Guitars’ journey, it gives me no pleasure to report that ‘I told you so’. There is plenty of great guitar gear in the 1980s and early 1990s, which may add to the pressure to flex the arbitrary 1989 cut‑off for instruments and amps as well as effect pedals.

“Life is trying things to see if they work” – Ray Bradbury (1920‑2012)

As every guitar player who experiences G.A.S. (Guitar Acquisition Syndrome), CRAVE Guitars has an extensive ‘Most Wanted’ list of guitars, basses, effects and amps. It grows faster than purchases. At what point this obsession becomes excessive, CRAVE Guitars has to determine. I suspect that there will always be ‘more’ stuff to add to the ‘collection’. Hopefully there will be plenty more to come over the next few months/years.

Shifting the focus a bit, I have no current plans to monetize the enterprise, so there will be no advertising (another anathema) to obscure the content. CRAVE Guitars will most likely remain a modest not‑for‑profit showcase (or whatever else it might be). I am a firm believer that, unless there are unavoidable imperatives, organic development and incremental growth are probably the sensible strategy. It isn’t quick or exciting but it makes for a good strategic fit with my personal perspective on life, the universe and everything as well as my unending quest for uncovering the secret of 42 (thanks again to the awesome Mr. Douglas Adams).

“If we cannot find our account in one world we shall in another. It is a great pleasure to see and do new things” – Voltaire (1694‑1778)

CRAVE Guitars’ ‘Album of the Month’

A double (or should that be dubble) dose of dubby electronica trippiness for you this month. In the 2010s, British electronica duo, Alex Paterson and Jimmy Cauty (The Orb), linked up with Jamaican dub reggae legend, Lee “Scratch” Perry to explore what ‘dub’ means from both perspectives. The result was a pair of albums released a year apart. They are two separate albums but I prefer to think about them as a complementary set of tracks.

The Orb – The Orbserver In The Star House (2012) & The Orb – More Tales From The Orbservatory (2013): The best thing to do here, I reckon, is not to approach these albums from a critical listening point of view. That simply spoils the enjoyment to be found in the resulting soundscapes. Also, it is not a good idea to approach these albums purely from either The Orb’s or Lee Perry’s perspective. The blurring of dub electronica reggae tropes is what matters here. There are 22 tracks covering 105 minutes overall. Perry had largely lost his marbles and his vocals are a typical rambling stream of consciousness, so I tend to think of his voice as an instrument supplementing the instrumental backing tracks. Taking the albums as an immersive musical experience allows the chilled out listener to wallow in the laid back downtempo reggae electronic dub vibes. Groovy baby!

The Orb Featuring Lee “Scratch” Perry

OK, so they may not be either The Orb’s or Lee Perry’s best albums. However, that’s kinda not the point. CRAVE Guitars’ ‘Album of the Month’ selections aren’t intended to be ‘the best’ of anything. Rather they are things that I enjoy listening to at the time. I am usually unimpressed by collaborations or albums featuring a plethora of guest artists. On this occasion though, two offbeat artists combining to push the boundaries of what either artist would do on their own has resulted in something interesting (for once). At least that’s my take on the matter. Critics frequently state that both artists were past their sell‑by date by 2012/2013 and the result of such an alliance was unmemorable (true) and nothing special (debateable). That’s their view and they are entitled to it. I disagree, as I’m entitled to.

BELIEVE IN MUSIC!

“Make your heart bleed! Put your soul into that damn thing. And try new things” – Dimebag Darrell (1966‑2004)

Tailpiece

There you go, back to what CRAVE Guitars/Basses/Effects/Amps is really all about. Admittedly, it feels good to focus on factual vintage guitar gear again after a number of recent fictional diversions (‘The Distortion Diaries’ and ‘The CRAVEman’). I hope you enjoyed it. Let’s hope that there is more fascinating vintage gear to come in due course. In the meantime, it’s onto the next article, whatever that might be. Watch this space…

“Well I think any author or musician is anxious to have legitimate sales of their products, partly so they’re rewarded for their success, partly so they can go on and do new things” – Bill Gates (1955‑)

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

CRAVE Guitars’ ‘Quote of the Month’: “Your imagination is infinite, boundless and unconstrained. You’ve just forgotten how to use it”

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30 Jan 2026

January 2026 – CRAVE Guitars Articles: The First 100 and More

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

Prelude

GRACIOUS GREETINGS GENIAL GENTLEFOLK. Here we are again. A warm and wonderful welcome to the shiny new Gregorian year of two thousand and twenty six, albeit almost a month old at the time of writing. I hope the lavish lustre hasn’t been tarnished too soon. The ebullient optimism ignited by the prospect of New Year doesn’t last anywhere near long enough, resulting in the inevitable anti‑climax of the dreaded January blues. One might believe that a new year and a new quarter century should hold a whole host of opportunity and potential. The trick is to find where that opportunity and potential can be tapped into, in order to achieve whatever goals one might set oneself. Simple?! No. Not really. Shame. Don’t you think?

So, what objectives does CRAVE Guitars have in store for the start of 2026. To be honest, given punitive previous experience, it makes sense to be selective within an external environment of prevailing global uncertainty and volatility. There are several personal ‘projects’ from which I have selected four priorities. The first and probably most obvious is to acquire some more cool and rare vintage gear to share with everyone. The second is to publish ‘The Distortion Diaries’ at long last. The third is to develop further the stalwart stories of ‘el jefe’, The CRAVEman. The fourth and least likely to succeed is to make some progress on the much‑needed, much‑delayed CRAVEcave – to convert the house’s cold, dark, damp cellar into a warm, lit and dry CRAVE Guitars emporium of sorts (showcase, not retail). So, that is four declared objectives. I think that three of the priorities are achievable and one is a tad over‑ambitious, so I don’t think they are unreasonable as aspirations for the next eleven months.

This Month at CRAVE Guitars…

The subject matter for the first gleaming, glittery article of 2026 is to celebrate an achievement that will have gone totally unnoticed. The topic this month comprises a cursory retrospective of CRAVE Guitars’ articles (a.k.a. Musings) so far and what that might mean for the future. The rationale underpinning this exemplary epic episode is hitting the milestone of 100 articles published on the web site. Even though CRAVE Guitars has been around in some form or other since 2007, blog articles published on the website only began seven years later in 2014. Even then it wasn’t all smooth sailing, as we shall see.

This month’s ‘quotes of wisdom’ are, perhaps unsurprisingly, about the achievement of life’s milestones. For alliteration aficionados, all perfectly present and passionately precise! Very few images this month I’m afraid, as this is another one for avid list‑o‑philes. As usual, no AI was used in researching or writing this article just Real Stoopid (RS) hooman ‘blood, sweat and tears’ (NB. although widely attributed to Winston Churchill’s speech in 1940, the idiom derives from, “’tis in vaine to dew, or mollifie it with thy teares, or sweat, or blood,” appearing in the poem, ‘First Anniversary: An Anatomy Of The World’ (1611) by John Donne (1571‑1631)).

The First 100 Articles

I am sure that it wasn’t at all obvious to readers that CRAVE Guitars’ December 2025 Musing was the 100^th article published on the web site but it was.

It all started so very innocent and naïve, way back in November 2014, eleven years and two months ago at the time of typing. The embryonic web site had just gone live and the first blog was just two introductory paragraphs and a paltry 186 words. December 2014 wasn’t much stronger, still two paragraphs and just 263 words. At that time, I had no idea where this was going, if anywhere. The catalyst for writing blogs was simply a result of the IT platform used – WordPress – which began as a blogging tool before it also became a web site design tool. WordPress required a ‘blog’ post page at the time. One thing that was clear right from the start was that I couldn’t blog continuously, like many others do. In 2014, I was in full time paid employment, as well as an unpaid carer; I simply could not commit to the pressures of a blogger’s traditional online presence.

“Life isn’t a matter of milestones, but of moments” – Rose Kennedy (1890‑1995)

Over the years, the length and complexity of articles grew significantly. There were multi‑part articles, like ‘A Potted History of the Guitar’ (9 parts – March 2018 to November 2018) and the even more ambitious ‘The Story of Modern Music in 1,500+ Facts’ (14 parts – March 2019 to May 2020) – the longest series so far. Both of these series have unfortunately since suffered from the imposed retroactive removal of illustrative images (see ‘Things I Have Learned’ below for more on that).

Some while later, came CRAVE Guitars’ shortest blog in September 2020, the ‘Hiatus’, a heart‑breaking statement at just one paragraph and 62 words. I only intended for there to be a short break but it lasted three years (!) until August 2023 when abnormal service was resumed with, perhaps my favourite article so far, ‘Dub Reggae Revelation’.

As a result of the hiatus, it has taken much longer to reach the 100 mark than originally intended. Since the hiatus, I have kept up the discipline of publishing monthly articles covering a diverse range of subject matter. I have tried very hard to vary the material over the years to keep things fresh and interesting.

“Optimism is the faith that leads to achievement. Nothing can be done without hope and confidence” – Helen Keller (1880‑1968)

I haven’t regretted anything I’ve written so far, whether agreeable or not. That is, I think, called integrity. I am certain that I could have done things better but that benefit results from hindsight, evolution and learning (see below). I have enjoyed some articles more than others. I’ve already mentioned, ‘Dub Reggae Revelation’ as the zenith and the extremely short, ‘Hiatus’ (also aforementioned) as the nadir.

Up to now, there has been no comprehensive list of CRAVE Guitars’ articles in one place. The only other way to catalogue them is to wade through nine pages of Musings. In order to correct that particular shortcoming, here – without further ado – is ‘The First 100 Articles List’ (each link opens in a new tab)…

2014 (articles 1-2)

November	Welcome to CRAVE Guitars
December	Hi Everybody

2015 (articles 3-14)

January	Old Versus New Guitars
February	CRAVE Guitars Web Site Launch
March	Last and Next
April	New in at CRAVE Guitars
May	More ‘new in’ at CRAVE Guitars
June	From then to now (and back again)
July	Designs for Life
August	Vintage Guitar Supply and Demand
September	My Top 10 Vintage Guitars (So Far)
October	What’s New at CRAVE Guitars
November	What’s New at CRAVE Guitars (again)
December	What’s New at CRAVE Guitars (yet again)

2016 (articles 15-26)

January	The Guitarist’s Friends: Amplifiers and Effects
February	Why Do You Play Guitar?
March	A Temporary Change of Direction
April	A Matter of Personal Taste
May	New Stuff at CRAVE Guitars
June	What Does the (Digital) Future Hold?
July	Personal Top 20 Most Influential Guitar Albums
August	Guitars are Everywhere
September	Sitting in a Field Listening to Music
October	The South of England Guitar Show 2016
November	Where to Start with Vintage Guitars
December	A Year of Gains, Change, Losses and Optimism

2017 (articles 27-38)

January	Why music affects us in the way it does
February	Favourite Guitarists and Why
March	A Time of Change
April	How Much Music Theory Do You Need To Play Guitar?
May	50 Albums of the Last Half-Century(-ish)
June	At Last… New in at CRAVE Guitars
July	Happy Birthday: 10 Years of CRAVE Guitars
August	A Peak into the Pandora’s Box of Guitars
September	A Map Leads to Some Hidden Gems
October	What Qualifies as a CRAVE Guitar?
November	New In: Underdog Vintage Guitars
December	That Time for Guitar Lists and Stuff

2018 (articles 39-50)

January	The State of the Village
February	Dear Editor
March	A Potted History of the Guitar Part I
April	A Potted History of the Guitar Part II
May	A Potted History of the Guitar Part III
June	A Potted History of the Guitar Part IV
July	A Potted History of the Guitar Part V
August	A Potted History of the Guitar Part VI
September	A Potted History of the Guitar Part VII
October	A Potted History of the Guitar Part VIII
November	A Potted History of the Guitar: Epilogue
December	What A [Deleted] Year That Was

2019 (articles 51-62)

January	Old and New In at CRAVE Guitars
February	A General Update
March	The Story of Modern Music in 1,500+ Facts – Part I
April	The Story of Modern Music in 1,500+ Facts – Part II
May	The Story of Modern Music in 1,500+ Facts – Part III
June	The Story of Modern Music in 1,500+ Facts – Part IV
July	The Story of Modern Music in 1,500+ Facts – Part V
August	The Story of Modern Music in 1,500+ Facts – Part VI
September	The Story of Modern Music in 1,500+ Facts – Part VII
October	The Story of Modern Music in 1,500+ Facts – Part VIII
November	The Story of Modern Music in 1,500+ Facts – Part IX
December	Out With the Old, In With the Old

2020 (articles 63-71)

January	The Story of Modern Music in 1,500+ Facts – Part X
February	The Story of Modern Music in 1,500+ Facts – Part XI
March	The Story of Modern Music in 1,500+ Facts – Part XII
April	The Story of Modern Music in 1,500+ Facts – Part XIII
May	The Story of Modern Music in 1,500+ Facts – Part XIV
June	Whazzup at CRAVE Guitars
July	More Whazzup at CRAVE Guitars
August	Even More Whazzup at CRAVE Guitars
September	Hiatus

The Hiatus – There were no articles published between October 2020 and July 2023 inclusive.

2023 (articles 72-76)

August	Dub Reggae Revelation
September	Adventures in Ambient: Music of Another Dimension
October	Return to and from Obscurity
November	Musical Machinations
December	CRAVE Guitars: Three Years in Review

2024 (articles 77-88)

January	A Brief History of the Bass Guitar
February	Zen and the Art of CRAVE Guitars Design
March	Artificial Intelligence takes on Vintage Guitars: Part I
April	Artificial Intelligence takes on Vintage Guitars: Part II
May	Artificial Intelligence takes on Vintage Guitars: Part III
June	Heavy Metal: A Periodic Table
July	The Fender Stratocaster at 70 and Counting: An Alternative Perspective
August	Get Up and Dance to the Music! Part I
September	Get Up and Dance to the Music! Part II
October	CRAVE Guitars Writing: An Introspective Inquiry
November	A Virtual Decade of CRAVE Guitars
December	CRAVE Guitars 2024 In Review

2025 (articles 89-100)

January	10 Things I Love and Hate about Vintage Guitars
February	Ikigai and Vintage Guitars
March	Eastern Concepts and Vintage Guitars
April	An A‑Z of Vintage Guitar Gear: in 150 Snippets
May	The Compulsion to Collect Vintage Guitars
June	Challenging Vintage Guitar Snobbery: A Cautionary Tale
July	The CRAVEman Cometh
August	‘The Distortion Diaries’: A Teaser Trailer
September	Vintage Guitar Gear Collections Within A Collection: Part I – CRAVE Guitars & CRAVE Basses
October	Vintage Guitar Gear Collections Within A Collection: Part II – CRAVE Effects
November	The CRAVEman Cometh… Back
December	It’s That Time of Year Again: CRAVE Guitars 2025 in Review

This ‘directory’ will probably re‑appear in due course under the CRAVE Guitars’ web site’s ‘Resources’ pages as an easy reference.

“Remember to celebrate milestones as you prepare for the road ahead” – Nelson Mandela (1918‑2023)

Things I Have Learned

After 11 years and 100 articles (and goodness knows how many tens of thousands of words), you’d think I should have learned something, right? I also would hope that my skills as an author should have improved somewhat over last decade or so. Whether my abilities have indeed improved or not, I have no idea. Sometimes, though, it can be productive to take a step back, review, assess, reflect, learn and develop. The general rule is that incremental improvement is better than radical change.

The length and complexity of articles varies considerably. I have learned that more doesn’t always mean more and that brevity is something that I should seek to improve. However, I just can’t help my naïve, inexpert verbosity and tendency for pretentious flowery prose. Sorry.

“It’s when ordinary people rise above the expectations and seize the opportunity that milestones truly are reached” – Mike Huckabee (1955‑)

The content does need to have its prime focus on vintage guitars, although I have learned that focusing more and more forensically can be a rabbit hole down which it is difficult to retain objectivity and interest. There is only so much geekiness in nerd city that one can write about vintage gear before it becomes, well, dull and boring. American philosopher Nicholas Butler (1862‑1947) once said, “An expert is one who knows more and more about less and less until he knows absolutely everything about nothing”. I have regarded that as sage advice, so I try to nurture a broad intellect as a result. The mix of subject matter, I hope, counteracts the risk of dry factual content and inevitable repetitiveness. Did I mention repetitiveness? LoL. Variety also makes things a bit more interesting for me as well.

CRAVE Guitars’ approach has been, and still is, to publish one in‑depth article per month. Many bloggers publish much shorter excerpts far more frequently. My methodology is a personal preference and, therefore, a conscious choice. It is the way I work… and it is serious work as far as I am concerned, albeit unpaid. It is not a trivial hobby and it is not an idle pastime. I would, however, struggle to do anything more prolific.

For high frequency posts, CRAVE Guitars is active on social media, with at least one relevant post every day (except during the 3‑year hiatus). CRAVE Guitars’ social media presence kicked off in December 2014, shortly after the web site went live.

“Nothing behind me, everything ahead of me, as it is ever so on the road” – Jack Kerouac (1922‑1969)

The multi‑part series approach is one way to present a large volume of material in a digestible format. However, it also takes up a huge amount of time and energy to research, corroborate and write. Internet resources are – surprise, surprise – notoriously unreliable and inaccurate. Sometimes it is easier (but not necessarily better) to write a lot and to split it into a series. The problem with brevity for its own sake is that some potentially interesting material has to be omitted. Balance is therefore important. Duh! Splitting material over several articles is a matter of pragmatism as well as a concern for readers’ patience… and my own sanity.

I much prefer to use images in my articles. It breaks up the narrative and looks far more inviting to prospective readers. However, one component of the perfect storm that resulted in the hiatus was the aftermath of using images from Google Images to illustrate articles, only to fall foul of using copyrighted material. As a result, all non‑CRAVE produced images were removed from the web site and, retrospectively, from all CRAVE articles. This is not ideal but it is a harsh reality of 21^st Century litigatory culture and a key learning point. As ‘they’ say, ‘once bitten, twice shy’. (NB. A phrase that first appeared in the novel, ‘The History of Miss Betsy Thoughtless’ (1751) by Eliza Haywood (1693‑1756))

“Life isn’t about finding yourself. It’s about creating yourself” – George Bernard Shaw

Regular readers will know that I also like to use credible quotes from wise people to help illustrate the narrative. I think this works well and adds some colour to an otherwise monochrome palate. Contrary to what you might think, it isn’t just an immature tacky expedient.

Regular readers will also know that each article ends with a CRAVE ‘Quote of the Month’. These are my own original pontifications on life, the universe and everything (thank you Douglas Adams). The first CRAVE quote appeared in November 2015 and one quote has been present in every article since (making 89 in total including this month – another 11 to go before that particular list also gets to 100). I hope that the quality of these amateur observations has also improved over the years. I particularly like this month’s quote btw. Some snippets may be controversial but, then again, aren’t the most insightful observations about the human condition often provocative and potentially divisive? I will continue to poke ‘the hornet’s nest’ (NB. A term first documented in ‘A Compleat History of Europe’ (1705) by David Jones) when I believe that a positive prod is needed.

“It is amazing what you can accomplish if you do not care who gets the credit” – Harry S. Truman (1884‑1972)

Arguably, one of my most irritating tendencies is probably my peculiar penchant for pathetically puerile alliteration. It is one of my go‑to literary techniques and I will continue to be childish and silly. Sorry again.

Possibly also irritating are my frequent nota bene (NB. Latin, literally meaning ‘note well’) references, often relating to obscure European literature. I find words and their etymological derivations fascinating, so I try to litter articles with random interesting non sequiturs (NB. from the Latin, ‘it doesn’t follow’). Sic! (NB. from the Latin adverb, ‘so’ and meaning in English ‘intentionally so written’, dating from c.1856). There ya go.

“Learning never exhausts the mind” – Leonardo da Vinci (1452‑1519)

Another irritating tendency for readers is probably my very robust opinions about the need to improve civilisation, society and our environment, which I strongly believe is essential for the longevity and prosperity of mankind and our dependency on the planet’s finite and fragile natural ecosystems. When will humanity come to its senses and establish a civilisation with a strong future that is peaceful, just and sustainable? I cannot come to terms with the utter insanity of destructive global geopolitics at the start of 2026 and, sadly, I can’t see it getting better any time soon. If there is one thing in this irrational world that I could possibly influence, that would be it.

Back to writing; some general structural, presentational and consistency needs improving, such as title capitalisation, blog format and grammatical style. These have evolved over time and are much better than they used to be. Probably best described as work‑in‑progress. My late wife (her passing was another contributor to the hiatus) used to proof read articles before publication. Sadly, that last‑minute check & balance is no longer available to me, so errors may well be present.

“Your time is limited, don’t waste it living someone else’s life” – Steve Jobs (1955‑2011)

I hope that one thing comes through loud and proud is my unwavering passion for music – playing it (badly!), listening to it, amassing music CDs and attending live music events. The vintage guitar gear collection manifested directly from these cravings (sic!). While my main hankering for music collecting is roots and dub reggae, my contemporary musical listening tastes are very diverse.

One thing is for sure, I have learned a great deal from all the in‑depth investigation that goes into compiling content for the articles. That includes the process as well as the outcome. So, even if no‑one else reads anything, I now have a much better understanding of many things that are of interest to me and hopefully to readers. It has also made me think quite profoundly and fundamentally about a wide range of things. The result is that I have become a bit of a ‘jack of all trades’ (NB. an expression dating from the 16^th Century, regarded as a negative abbreviation of the more balanced ‘jack of all trades, master of none but oftentimes better than master of one’, suggesting a more versatile and adaptable skillset – the origin dates back at least to 1592 and Robert Greene referring to William Shakespeare as a ‘Johannes factotum’). I regard ‘generalist’ and ‘expert’ as opposing ends of a continuum and, arguably, the ideal position being at some point along the continuum depending on context – they are not mutually exclusive.

“The best way to predict the future is to create it” – Peter Drucker (1909‑2005)

AI will undoubtedly impact on all forms of creative industry in the future, including writing, music and art, either directly or indirectly, whether we like it or not. I covered the implications of the evolving technology in the 3‑part series, ‘Artificial Intelligence Takes on Vintage Guitars’ (March to May 2024). That is the only occasion where I have used AI narrative to prove a point – AI doesn’t give a flying fig what the subject matter is – it is a process tool but nothing more at the moment. AI, for instance, has no idea and doesn’t care what a vintage guitar is, what it is used for, why it is valued or its relevance to anything else. AI algorithms can manipulate data but it has no real insight – it does not have original ideas about anything at all – it can harvest data and output information but it cannot provide knowledge. All other CRAVE articles are the hard work of my inadequate, fallible, spongy hooman brainium.

I have, however, used AI for images, particularly for The CRAVEman articles, as this is the only way that I can bring him to artificial ‘life’ and produce artwork about him, even with all its inconsistencies and errors. Also, copyright currently resides with the end‑user (‘the creator’) inputting prompts that are then interpreted by AI algorithms (‘processing’) to produce static images, video, text, audio, etc. (‘output’). So, for the time being at least, I am on safe ground copyright‑wise. Once again, I have learned that judicious balance is the key here.

While on the subject of The CRAVEman; he has become the outward looking face of CRAVE Guitars while the author’s identity remains private and intentionally enigmatic. Who I am matters not. No‑one wants or needs or cares to know who I am.

Wow! That is quite a lot of learning. I hope, though, it gives a bit of an understanding into the process of bringing content to the customer. So, will these learning points change CRAVE Guitars’ articles going forward? Probably not a great deal because of the inescapable, finite, common constant and constraint – the human element, i.e. me. That, I am afraid, you are stuck with, like it or not. Apologies again.

“Sometimes milestones are not measured by the accomplishments of society, but by those of integrity” – Tamara Ecclestone (1984‑)

The Next 100 Articles

When it comes to future articles, I usually try to work on ideas about three months in advance, if possible. I also try to get around to drafting at least one article ahead of schedule while still editing the imminent article to be published. This takes a lot of the deadline pressure off writing. Sometimes, I run into a blank and have to come up with something I wasn’t expecting, often at short notice, which can actually prove to be quite satisfying. Sometimes, the material prescribes an agenda, for instance, the aforementioned 14‑part ‘Story of Modern Music’, which effectively dictated subject matter for more than a whole year.

One of the problems of not buying much in the way of ‘new’ vintage guitar gear recently is that I don’t have a great deal of topical vintage gear acquisitions to write about at the moment, which is a shame. Writing a web site feature is one thing. However, it tends to take things out of context and sometimes it is nice to write about vintage gear within a broader canvas.

“The only limit to our realization of tomorrow will be our doubts of today” – Franklin D. Roosevelt (1882‑1945)

I have stated on many occasions that the work involved in writing comprehensive articles means that I do not have sufficient time to write/edit, ‘The Distortion Diaries’. I still haven’t been able to balance the workload to enable both in a way that I feel comfortable about. The pressure of deadlines mean that monthly articles tend to get priority over the novel, which is very, very, very frustrating. I must try to simplify and streamline article writing, so I can finally publish the fictional novel. Unfortunately, temporal manipulation (time travel) isn’t within my skill set to affect.

Some regular thematic content will prevail, such as alliteration, quotes, campaigning for a better world, musicology, etc. Some subject matter will prevail, such as The CRAVEman adventures and annual end‑of‑year reviews. When there is some vintage guitar gear to write about, that will take absolute top priority.

“Every accomplishment starts with the decision to try” – John F. Kennedy (1917‑1963)

I still have a question, which I kinda covered in my October 2024 article, ‘CRAVE Guitars Writing: An Introspective Inquiry’, so apologies for the reprise. Does anyone read the articles and are they worth doing? Now that is a very difficult pair of questions to answer. As far as stats go, it seems as though the volume of readership is very, very small. So, if the audience is so tiny, why bother? Ultimately, I do it because I want to write about these things, not because I want other people to read them (believe it or not) – there is a distinction, honest. As for the perceived intellectual or entertainment value deriving from the process, that is really not up to me to judge. I am self‑critical and I set myself very high standards but that doesn’t mean that what I write has any merit. Fundamentally, whether the content is ‘good’ or ‘bad’ has absolutely nothing to do with numbers reading something and, ultimately, valuing it. I don’t believe that there is an undeniable correlation.

Article writing is not ‘fun’ and it requires a substantial amount of work for zero return but, for some unknown reason, I feel compelled to do it anyway. I have tried over and over again to fathom where that compulsion comes from and, so far, I have failed to quantify the subjective cost/benefit attributes of doing it. I view writing in all its forms as work, regardless of whether the output is woefully under‑appreciated (Ed: a bit like paid work then!).

Will I run out of material? Yes, I will. Eventually. At which time, I will admit scraping an empty barrel (and mixing metaphors), accept it, and stop writing, rather than labour the point with disappointingly diminishing returns. Until then, it is business‑as‑usual. Whether the famine of inspiration dries up before article 200, we’ll just have to wait and see. At the current rate of one article per month, 100 articles takes 8 years, 4 months. That equates to mid‑2034 for article 200 ceteris paribus, so you might have to wait awhile to be certain. Having just passed one milestone, it is time to move onto the next goal; the journey starts here folks, with article (not room) #101 (NB. Room 101 was the torture chamber within Oceania’s Ministry of Love in which a prisoner’s worst fear was manifested, as described in the classic dystopian novel, ‘1984’ (1949) by George Orwell).

“Without a plan, even the most brilliant business can get lost. You need to have goals, create milestones and have a strategy in place to set yourself up for success” – Yogi Berra (1925‑2015)

Final Thoughts on the First 100 Articles

I want to stress at this point that I am not in any way an ‘influencer’ and I do not want to be whatever one of those is. I am not trying to be clever or to influence anyone and have zero ambition to be thus labelled. Unlike many is such a role, I do not have the right to preach. Just to be clear.

So then, one might ask, what am I? Just a regular nerdy old dude is the answer. Oh, and with the hurly‑burly The CRAVEman as my alter ego, guitar god and all round superhero. Duh! (NB. Hurly‑burly is an English ‘reduplicated phrase’ originating in the 16^th Century, as in the translation from Latin of, ‘The Despisyng of the Worlde’ (1532) by Christian theologian, Erasmus (1466‑1536)).

I believe I have two fundamental contrasting outputs. One is diligently researched factual objectivity regarding vintage guitars, basses, effects and amps, as well as a passion for contemporary musicology. The other is subjective flights of fanciful fictional escapism. ‘The CRAVEman’ and ‘The Distortion Diaries’ both fall into the latter category.

“The journey of a thousand miles begins with one step” – Laozi (6^th Century BCE)

The writing process varies considerably depending on what is being covered. Frequent short social media posts, infrequent long monthly blog articles, feature pages for vintage gear on the website and, of course, the long-gestating fictional novel. I strive very hard to be adequately competent at all four, which can be quite challenging while also attempting to eke out an everyday existence in this inexplicably irrational world. Ever the idealist.

Some of this I’ve mentioned before; so please forgive the repetition. So, what is my motivation? Why do I work SO hard at CRAVE Guitars et al? It certainly isn’t for pecuniary reward – there is none. Nada. Zilch. Rien. Nichts. Well, I’d like to be remembered for something, in terms of a lasting legacy. Such a legacy, however, requires sufficient numbers of people to recognise something to differentiate someone from all the other someones, who are possibly seeking similar somethings (if you get my intentionally convoluted drift!).

Will CRAVE Guitars ever realise some recognisable measure of success? I’m not getting into a definition of ‘success’ here. It hasn’t yet. Nothing happens overnight, right? Well CRAVE Guitars has been around for nineteen years and online for twelve. I don’t think it’s going to take off now, so I am resigned to a modest profile, which is OK, as I don’t actually sell anything. I am ambitious but I also recognise when something has reached its practicable equilibrium. Ever the optimist.

“We are what we do. Excellence, therefore, is not an act but a habit” – Aristotle (384‑322BCE)

I am, sadly, not privileged with an abundance of wealth, which is something that so many worthless people rely on to make themselves visible (and vacuous). It is SO hard to be good at something different, as there is SO little original thought or action these days. Hard work does ≠ appreciable success. I do not seek fame and the idea of ‘celebrity’ status is a total anathema to me. It would be nice, though, if there is some hard‑earned recognition for my efforts. I certainly do not want to be like everyone else and I am content with my harmless and unique misanthropic deviance from societal norms. However, all that is simply not enough in 2026, with nearly 9 billion souls on the planet, all wanting ‘more’ of everything. Greed and avarice are repugnant traits of innumerable immoral individuals. Ever the humblest.

One thing is for sure, I have every intention to carry on writing articles until the time comes when I can no longer do so, for whatever reason. I hope you’ll find that encouraging. I would like to understand what readers would like to see in terms of content. If anyone wishes to suggest relevant material, I would welcome it and, perhaps, even see whether I can do a good job at it, as a challenge.

I don’t usually believe in coincidences but publishing the 100^th article just happened to coincide with publishing the 200^th page on the web site.

“Listing your personal milestones is like storing a pocketful of sunshine for a rainy day. Sometimes our best is simply not enough…. We have to do what is required” – Winston Churchill (1874‑1965)

A Short Update on ‘The Distortion Diaries’

Reflecting on the past decade of article writing for CRAVE Guitars got me thinking again about my work‑in‑progress side project. With ‘The Distortion Diaries’, (TDD for short – not the International Airport Code for Trinidad), I have only latterly come to realise just why the novel is dissimilar from my other writing and why it has become so important to me. It may be blooming obvious but it simply hadn’t occurred to me.

“Nature does not hurry, yet everything is accomplished” – Laozi (6^th Century BCE)

Until now, excepting all my past writing as part of my paid profession, my unpaid amateur writing over the past decade or so has been available entirely via Internet‑based channels, such as web site features, blog articles and social media. Surprise, surprise, they are all digital media, only accessible on that thar hinterwebby thingummy. Thus far, nothing actually tangible.

‘The Distortion Diaries’ is, I believe, different. I want TDD to be read (primarily) in traditional physical book form, something palpable for people to hold, printed with ink on paper, one of mankind’s oldest means of widely sharing ideas, imagination and knowledge. TDD has the potential to become an expression of my creative spirit. Somehow, more ‘real’, genuine and authentic simply because of its physicality. Perhaps, this explains why I do not want TDD to become just another random record of an online opus made up entirely of binary ‘1’s and ‘0’s. How very ‘old school’ (NB. The term, ‘old school’ may originate from a pamphlet, ‘The Reply of the Country Gentleman to the Answer of His Military Arguments’ (1758) by Thomas Potter).

“The goal, and the ultimate achievement, is to make people feel as well as think” – Saul Bass (1920‑1996)

I desperately hope that someone, somewhere may (eventually) get to read The Distortion Diaries and it may even have the power to change their life, just a tiny little bit. This is an earnest wish. This epiphany is very recent and quite illuminating (and possibly a touch conceited). Apologies (again) for the soul bearing.

As final editing of TDD edges closer, any external assistance guiding me through the self‑publishing process that results in an actual physical book would be very gratefully received. A production run will be very low numbers, at least initially.

“What lies behind us and what lies before us are tiny matters compared to what lies within us” – Ralph Waldo Emerson (1803‑1882)

CRAVE Guitars’ ‘Album of the Month’

Much has been said in CRAVE Guitars articles about my predilection for reggae, particularly roots and dub reggae. Most of the genre derived from the small Caribbean island of Jamaica during the 1970s. However, the ‘Windrush Generation’ (NB. named after the passenger ship HMT Empire Windrush in 1948) resulted in immigrants from the West Indies arriving in the UK from the 1940s to the 1970s. This influx meant that a significant Caribbean influence was present in the communities of major British cities such as London, Birmingham and Bristol. This vibrant culture led to a surge in British reggae built on the back of Jamaican popularity and the global phenomenon that was Bob Marley. Often overlooked, British reggae at its best was on a par with reggae from further afield. Consequentially, this month’s accolade goes to…

Pablo Gad – Trafalgar Square (1979):

Pablo Gad was born in Jamaica (date not known) and moved to the United Kingdom in 1974. He toured regularly with the London‑based reggae band Black Slate, becoming one of the most socially conscious and often outspoken UK‑based roots reggae singers. In 1979, he released his debut solo studio album, ‘Trafalgar Square’. The current CD release of the album on Secret Records comprises 11 tracks over 50 minutes including his most well‑known track, ‘Blood Suckers’ in both vocal and dub versions. It’s not a challenging listen and it may not be an exemplar of the genre but it stands out to my ears.

Pablo Gad may not be a familiar name to those whose interest lies mainly in mainstream pop reggae. However, ‘Trafalgar Square’ is, in my opinion, a hidden gem of the effervescent British reggae movement in the 1970s and 1980s. There are plenty of UK reggae artists and bands to discover, should you be so inclined. There is a growing interest in conserving the important musical heritage of that period with several homespun record labels dedicated to the task. Great stuff, worth checking out as complementary to the wealth of authentic Jamaican reggae.

BELIEVE IN MUSIC!

“The future belongs to those who believe in the beauty of their dreams” – Eleanor Roosevelt (1884‑1962)

Tailpiece

Well, that’s the first article of 2026 done and dusted. For next month, I think I will be returning to a back‑to‑basics article. That will rely on some preparatory work to be done before I can confirm. I hope you’ll come back to visit at the end of February to find out what’s in prospect. In the meantime, the nagging ‘call of stuff’ beckons.

“The moon is the first milestone on the road to the stars” – Arthur C. Clarke (1917‑2008)

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

CRAVE Guitars’ ‘Quote of the Month’: “I don’t pray for a miracle. I pray that we become wise enough that we do not need miracles”

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31 Dec 2025

December 2025 – It’s That Time of Year Again: CRAVE Guitars 2025 in Review

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

Prelude

FESTIVE FELICITATIONS FINE FAIR FOLK. Maybe it is just a little too late to celebrate Christmas (or alternative) and just a little too early to celebrate New Year but generous greetings nevertheless. To be honest, I don’t like winter and I’m definitely in the humbuggian camp (NB. “Bah! Humbug!”, an exclamation uttered by the character Ebenezer Scrooge in Charles Dickens’ novella, ‘A Christmas Carol’ (1843)). A brief lull in activity at the end of an arduous calendar year (atrociously called ‘Twixmas’ by some) is, though, an opportunity to take a temporary time out from seasonal periodic pecuniary profligacy and reflect on things that really matter.

So, you may ask, what really matters? The answer to that thorny little question is probably different for every soul on the planet. For me, it is a determined attempt to improve our shared communities and to reject all that is wrong with our society. We all have a duty to sustain the good and to dispel the bad. We must not abrogate our responsibilities by assuming that it is up to others to benefit us. Humanity definitely needs better humans and it is the duty of all (well, most) of us to realise that hope. How long will good people look on and do nothing?

I also cannot let this article or this year slip into history without the usual earnest plea to work relentlessly for a better world. We should look after our ecological environment by respecting nature in all its precious diversity. It’s the only one we’ve got. We should look after our crumbling civilisation through renewed integrity, honesty and by securing a determined path to peace, security and harmony. You may think these ‘big picture’ aspirations are pretentious hogwash or maybe not. They are, though, what I believe. Didactic sermonising over… for now.

All the quotes (bar the usual CRAVE quote at the end) this month are all drawn from the vast well of wisdom that is the teachings of the Buddha (Siddhārtha Gautama – c.480‑400BCE). After more than two millennia, there is still a great deal that we can learn from the Buddha to help us cope with the modern world. NB. Buddha literally means “the awakened one”. The quotes used are some of those that resonate with my personal cultural frame of reference and which suit the tone of the article. These words are not about religion or faith; they are messages of wisdom and truth.

Buddha (Siddhartha Gautama c.480-400BCE)

“I do not believe in a fate that falls on men however they act; but I do believe in a fate that falls on them unless they act” – Buddha

I know it’s predictable at this time of year and some may see it as an easy article to publish. However, it still takes a fair amount of time and effort to produce. As with previous years, the format of the article remains relatively static. If it ain’t broke ‘n’ all that. This is probably one for the list‑o‑philes out there. No AI was used in researching or writing this article. AI was, however, used to prepare The CRAVEman images – it is the only way I can bring him to an audience.

As the shutters of 2025 draw to a close, the door of 2026 is opening. Our friendly neighbourhood guitar god, The CRAVEman recognises that this is a time for change with, “The End (of the Year) is Nigh. Grunt!”

“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

Some of those that left the building in 2025 (41):

It is that part of the annual review that is always a sobering and melancholy section. My goodness what a shockingly bad year 2025 has been for those departing this mortal coil. A horrendous amount of loss. Not only the sheer number of souls but also the immense contribution they made to our culture and society while alive and rocking.

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

The inevitable obituary list comprises too many artists that have provided humanity with some truly great music over many decades. They were all with us at the start of the year and are sadly no longer with us at the year’s end. Our thanks, respect and admiration go to the following, may you Rock In Peace (RIP).

Date Died	Name	Of…	Born	Age
1 January	Wayne Osmond	Osmond Brothers	1951	73
10 January	Sam Moore	Sam & Dave	1935	89
15 January	David Lynch	Film director and composer	1946	78
30 January	Marianne Faithfull	Singer and actress	1946	78
24 February	Roberta Flack	Singer and pianist	1937	88
28 February	David Johansen	New York Dolls	1950	75
11 March	Cocoa Tea (a.k.a. Calvin Scott)	Dancehall reggae singer	1959	65
5 April	Dave Allen	Gang Of Four	1955	69
6 April	Clem Burke	Blondie	1954	70
11 April	Max Romeo (a.k.a. Maxwell Livingston Smith)	Reggae singer	1944	80
15 May	Junior Byles (a.k.a. Kenneth Byles Jr.)	Reggae singer	1948	77
26 May	Rick Derringer	Guitarist The McCoys	1947	77
9 June	Sly Stone (a.k.a. Sylvester Stewart)	Sly & The Family Stone	1943	82
11 June	Brian Wilson	The Beach Boys	1942	82
20 June	Patrick Walden	Babyshambles	1978	46
23 June	Mick Ralphs	Mott The Hoople/Bad Company	1944	81
26 June	Lalo Schiffrin	Film & TV composer	1932	93
11 July	Vic Savage (a.k.a. David Kaff)	Spinal Tap	1946	79
13 July	David Cousins (a.k.a. David Hinson)	The Strawbs	1940	85
16 July	Connie Francis	Pop singer	1937	87
22 July	Ozzy Osbourne (a.k.a. John Michael Osbourne)	Black Sabbath/solo	1948	76
24 July	Cleo Laine (a.k.a. Clementine Bullock)	Singer and actress	1927	97
20 August	Brent Hinds	Mastodon	1974	51
6 September	Rick Davies	Supertramp	1944	81
8 September	Allen Blickle	Baroness	1983	42
16 September	Tomas Lindberg	At The Gates	1972	52
23 September	Danny Thompson	Richard Thompson/John Martyn	1939	86
25 September	Chris Dreja	Yardbirds	1945	79
28 September	Steve Whalley	Slade/Sad Café	1950	75
10 October	John Lodge	Moody Blues	1943	82
16 October	Ace Frehley	KISS	1951	74
18 October	Sam Rivers	Limp Bizkit	1977	48
22 October	Dave Ball	Soft Cell/The Grid	1959	66
20 November	Gary ‘Mani’ Mounfield	Stone Roses/Primal Scream	1962	63
24 November	Jimmy Cliff (a.k.a. James Chambers)	Singer and actor	1944	81
3 December	Steve Cropper	Booker T. & The M.G.’s	1941	84
15 December	Joe Ely	Country singer/songwriter	1947	78
19 December	Mick Abrahams	Jethro Tull/Blodwyn Pig	1943	82
22 December	Chris Rea	Pop/blues singer/songwriter and guitarist	1951	74
24 December	Perry Bamonte	The Cure	1960	65

Also, notorious convicted paedophile Ian Watkins, former member of Lost Prophets, b.1977, was murdered on 11 October while in prison, aged 48.

These are just a few of the more famous/familiar names. There have been many other deaths in the music industry, far too many to mention. CRAVE Gutiars’ thoughts go out to all who have been affected by loss during 2025.

“Life is uncertain; death is certain” – Buddha

CRAVE Guitars Vintage Gear purchased in 2025 (11)

It hasn’t been a great year for CRAVE Guitars’ acquisitions. The cause was partly threefold. The first was a general lack of funds in a challenging economic climate. I think most readers will have been negatively impacted to some extent by the on‑going economic ‘cost of living crisis’, low growth, high inflation/interest rates, etc. The second was simply a lack of space at home in which to keep the extended family of guitars, basses, effects and amps. The third is a limited supply of interesting candidates keen to obtain the CRAVE Guitars badge of honour.

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

However, there was a modicum of ‘new’ old gear to celebrate in 2025 (with links to existing features where applicable at the time of writing – each opens a new tab).

Guitars & Bass:
1966 Fender Electric XII
1984 Guild X‑79 Skyhawk
1983 Kramer ‘The Duke’ Deluxe Bass

Effect Pedals:
1990 DOD FX50‑B Overdrive Plus
1992 DOD FX52 Classic Fuzz
1991 DOD FX54 Attacker (compression/distortion)
1988 DOD FX65 Stereo Chorus
1988 DOD FX80‑B Compressor Sustainer
1980 MXR Micro Chorus
1975 MXR Noise Gate Line Driver
1977 MXR Phase 90 (‘Block Logo’)

Plus:
Non‑vintage guitar case for the 1966 Fender Electric XII
Vintage guitar case for the Guild X‑79 Skyhawk

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

The keen sighted among you may notice that there are three additions to the CRAVE Effects family that date from 1990‑1992. This prima facie undermines one of CRAVE Guitars’ ‘rules of attraction’ that has, to‑date, relied on an arbitrary cut‑off of 1989 as ‘vintage’ for many years. This ‘rule’ is basd on the manufacturing techniques used for guitars, basses and amps, as well as to effect pedals. Automation introduced increased levels of consistency and accuracy that tended to dilute all the quirks and idiosyncrasies that make vintage gear so fascinating and desirable. In some ways, the ‘1989 rule’ has already been broken by many of the modern guitar cases that protect genuine vintage guitars in the absence of original hard shell cases.

However, as we move into 2026, I feel more and more inclined to re‑assess and stretch that 1989 rule, starting with the effects listed above. The ‘1989 rule’ still applies to guitars, basses and amps, although I anticipate that the rule may well be relaxed there too in due course. I certainly have some gear from the 1990s that feel ‘vintage’ to me. If one takes the 25‑year baseline for describing ‘vintage’, then everything from the 1990s could now be included. However, if one takes a 30‑year baseline, it would include gear from the first half of the 1990s but exclude the latter half of the decade. Both baselines are widely publicised as a means of determining what is or isn’t ‘vintage’. Irritatingly, there really is no definitive answer and this isn’t the place to resurrect that particular debate (yet again).

I think the answer to this particular conundrum is for CRAVE Guitars to evaluate the validity of ‘vintage’ gear on a case‑by‑case basis. This means that there will be no absolute ‘1989 rule’ going forward but it is way too premature to introduce a ‘1999 rule’. Personally, I detest such a lack of clarity, however one also has to be pragmatic and realistic. Let’s see how things go in 2026. I think that passing the milestone into the second quarter of the 21^st Century is an appropriate time to test CRAVE Guitars’ fundamental operating principles.

In the meantime, the feature articles accompanying the five DOD FX series effect pedals mentioned above aren’t on the website… yet. The features should appear under the CRAVE Effects part of the website early in 2026 when all the content has been prepared. Only some links to follow at the moment (see above). Keep an eye on the website in due course.

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

2025 album releases purchased (6):

There seems to be a trend to this article. Too many passed away, too little vintage gear and it continues with too few 2025 album releases purchased.

One of the weird outcomes from COVID‑19 (2020‑) is that there was a surge in creativity that seemed at odds with the pandemic’s effect on social and cultural affairs. That inspirational ingenuity lasted until last year, give or take a few months. This year, though, seems to have been the trough after the peak. Either that or I’m missing something important. The tangible result is that I only bought six 2025 albums. Of those, one was a remix album and another was a compilation of tracks from c.1970.

“Thousands of candles can be lighted from a single candle, and the life of the candle will not be shortened. Happiness never decreases by being shared” – Buddha

I keep looking for new music but this year, that search has been a bit of a thankless task. Perhaps you’ve fared better. I hope so. Anyhoo… the measly six were:

The Cure – Mixes Of A Lost World Deluxe
Cymande – Renascence
Dub Spencer & Trance Hill – Synchronous
The Mighty Rootsmen – The Mighty Rootsmen
Omar Perry – Channelling Lee “Scratch” Perry
Various Artists – Lee “Scratch” Perry & Friends – Land Of Kinks: The Jamaican Upsetter Singles 1970

Of course, quantity does not necessarily equate to quality. However, a healthy equilibrium is undoubtedly a preferred state of affairs, I think you’ll agree. I sincerely hope that 2026 is a more productive and fruitful year for new recorded music.

“Fashion your life as a garland of beautiful deeds” – Buddha

2025 Gigs (2)

Well, this is getting tediously repetitive. It was also a bad year for attending concerts with only two notable gigs in 2025. Like many, I enjoy live music and it is generally being regarded as the saviour of creative music amid the blandness of corporate commercial crap put out by ‘the industry’. The choice of artist was largely down to my son, a die‑hard metalhead. I am always open to new music and new experiences so I happily went with the flow.

Cattle Decapitation (support: Shadow Of Intent, Revocation, Vulvodynia) January 2025
The Birthday Massacre (support: Lesbian Bed Death, Diamond Black) November 2025

The sentiment about new recorded music is reiterated here about live music in 2025. It is such an important component of the vitality and vibrancy that underpins the musical landscape. We need to support it, as well as enjoy it.

KEEP MUSIC LIVE!

“Through zeal, knowledge is gotten; through lack of zeal, knowledge is lost” – Buddha

CRAVE Guitars’ Web Site

During 2025, there have been many changes to the web site. The visual aesthetic has not changed and I think the look remains fresh and stylish. The overall structure also hasn’t really changed either. However, the content is continually updated or new material is added when there is something new to include, improve or amend. Many visitors may not notice the changes but they are there. More to come in 2026.

CRAVE (Cool & Rare American Vintage Electric) Guitars

“Work out your own salvation. Do not depend on others” – Buddha

I have been pushing CRAVE Guitars relatively hard for a part‑time amateur and that shows in the web site statistics. Visitors struggled to show an increase in traffic over the previous year (2024) but this year (2025) has shown a significant increase in visitors. I am not certain why this may be. I don’t think it is down to the many minor changes or new content on the site. I don’t think it’s because of the monthly articles, as they haven’t changed in frequency. I don’t think it’s because of social media activity, although that has been consistent and focused over the last 12 months.

“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

The total number of visitors (at the time of writing) in 2025 was 70,333, while in 2024 it was 43,176, an increase of 27,157 (38.6%). The number of visitors hasn’t changed significantly year‑on‑year but the number of views has. From my perspective, I don’t know if this is good or bad – it is just a number without comparable context. While 70,333 seems high to me, it only equates to just over 192 visits per day. I am, however, encouraged by the growth of interest in CRAVE Guitars as a ‘thing’ and what it stands for. I am also encouraged by unsolicited feedback, for which I am extremely grateful. One thing is certain, 2025’s achievements will be very hard to beat in 2026, especially without a lot more content and different ways of looking at it.

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

CRAVE Guitars’ Social Media

As mentioned above, social media output has been consistent across most platforms (Facebook, X, Instagram, LinkedIn, Pinterest, Bluesky Social and Flickr). I vehemently refuse to use TikTok on political security principles. I post content most days with at least one each day. The exception is that I haven’t posted much on Tumblr during the year. Due to issues over copyright that arose in 2020, I now only post my own material and nothing off Google Images as others do. This is limiting but manageable.

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

The newbie in CRAVE Guitars’ social media output is Bluesky Social, chosen as an alternative and competitor to X. I still post to X despite my anathema for its owner, simply because that is where CRAVE Guitars has its largest following. That following on X has remained largely static or even declining slightly, hovering at just over 6,500 all year, which suggests that social media interest isn’t growing in the same way as the website and there is little or no interdependence between the two. Bluesky Social, on the other hand is building followers from scratch on a relatively under‑used platform at the time of writing – CRAVE has less than 100 followers at year’s end (88 to be exact). There is also not a great deal of vintage guitar content generally on Bluesky Social as at the end of 2025, something that I’m working to improve.

CRAVE Guitars Blue Sky Social

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

Contact Update

The web site e‑mail address is constantly inundated with innumerable prospective messages from all sorts of ‘businesses’ offering the world. My blanket policy is never, ever to respond to such egregious unsolicited communications, even if I wanted such services – which I don’t! Their e‑mails are usually lazy and amateur at best. Even worse, they keep contacting me back, seemingly somewhat surprised and querying why they haven’t heard from me. Then, they start chasing me, like I owe them something. What the…?

The ‘contact’ page on the website is absolutely clear about my position…
“Please note that I will not respond at all to any unwanted spam or unsolicited messages from web design, SEO, sales or job speculators. While I am tolerant, I will not be taken in by such a crude and blatant lack of professionalism and respect. I won’t hassle you and waste your time, so please don’t do it to me.”

Judging by site stats, CRAVE Guitars seems to be doing very nicely without their questionable ‘expertise’. If they took just a few seconds to check my website (which they often suggest has been thoroughly evaluated and audited), they would be aware that I will not give them the time of day. If they can be bothered to get my e‑mail address, my contemptuous silence should be expected without question. To each and every one of these abhorrent time wasters, RTFM (of sorts) and [deleted] off!!! Genuine contact only, people.

“Three things cannot be long hidden: the sun, the moon, and the truth” – Buddha

The Distortion Diaries Update

There has been little material progress since the August article. Follow the link below for the most recent published update (opens in a new tab).

August 2025 – ‘The Distortion Diaries’: A Teaser Trailer

Having said that, there is certainly a very strong determination to bring Terry Wilder’s story to the world, as well as that of his band, The Imaginary Transtemporal Affair (TITA) and the Women in his gravitational field. Terry really wants to jump off the page and meet y’all.

Work on the book’s narrative is on‑going, not necessarily as a coherent approach. I write notes every day for possible inclusion in the final version. I am certainly not short of ideas or material. It just needs sustained intense focus, which is not very easy fitting in on a day‑to‑day living basis. However, I am resolute to undertake a major edit/rewrite of The Distortion Diaries in 2026 and, hopefully, get it out there for everyone to judge. All two of you! Lol! Still, the point is that I must try harder.

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

State of the Music Industry and the Vintage Guitar Market

Commensurate with other observations concerning 2025, I am sad to report that there appears to be a continual and irrevocable decline overall. Well‑known retailers in the UK have gone to the wall and the outlook for those that remain looks bleak. Almost every week, some relevant business goes to the wall. Many sellers seem to have abandoned physical outlets and have retreated to the Internet for sales in order to cut the operational costs of bricks and mortar retail property. This trend is deeply disappointing and potentially terminal for many businesses trying hard to eke out a living. Tragically, the best one might hope for in 2026 might well be a low plateau of stagnation. Not a good place to be.

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

One recent stark example: Long‑standing guitar manufacturers are not immune to the harsh times. Sadly, the German company Höfner recently filed for bankruptcy. Höfner was founded in 1887 by German luthier Karl Höfner in what is now the Czech Republic. Unfortunately, longevity doesn’t ward off inevitable decline. Sigh.

In the UK, names like Professional Music Technology (PMT), Guitar Amp & Keyboard Centre (GAK) and Black Dog Music all went out of business in 2025 and that’s just the tip of the very precipitous iceberg.

“Everything changes, nothing remains without change” – Buddha

The state of the vintage guitar market remains unpredictably volatile. Over the last decade, there has been very little in the way of supply and what there is attracts undeservedly high prices – the unfortunate consequence of economic supply and demand. Collector interest seems staunchly conservative with the safe ‘classics’ attracting constant value (and therefore investment) increases, while the rest (i.e. the ones in which CRAVE Guitars is most interested) vary significantly with quality and values all over the place. It looks like 2026 is going to be another unpredictable year.

It isn’t just vintage guitars affected, the impact also covers vintage basses, effects and amps, as well as for parts and accessories. Not only have I been forced to buy less due to funding constraints but also there is less good quality product available at a reasonable price to tempt buying activity. I cannot see this changing any time soon.

“Those who are free of resentful thoughts surely find peace” – Buddha

The UK market has shrunk into insular isolation. Disastrous Brexit consequences have pretty much prohibited purchasing anything from the EU. Trade uncertainty and restrictions (yes, you, USA) mean that transatlantic purchasing is simply no longer economic. So the story goes onward. If the negative effects impact CRAVE Guitars, it is far, far worse for businesses trying to make a living.

As mentioned above, the recording and performance side of the industry seems to be going through a patch of post‑COVID creative doldrums. No‑one wants another pandemic.

Clearly a ‘perfect storm’ of global trade instability, pointlessly destructive military conflict, political mayhem, social insecurity and cultural conservatism are just some of the interweaving impactful influences going on here.

Strategically, businesses will face a very challenging operating environment as we move into 2026. Moreover, it is going to be difficult to evaluate and implement options for a successful medium‑long‑term future strategically, tactically and operationally. I know that sounds depressingly negative. I don’t want it to be. However, it is hard to see much in the way of light at the end of the current tunnel.

“Change is never painful, only the resistance to change is painful” – Buddha

Seasonal Greetings from The CRAVEman

The CRAVEman wishes all readers a belated Merry Christmas and a premature Happy New Year. The CRAVEman has issued two portraits for you to end the year, one for each seasonal celebration. Grunt!

“Teach this triple truth to all: a generous heart, kind speech, and a life of service and compassion are the things that renew humanity” – Buddha

Final Thoughts on 2025 and Looking Forward to 2026

While many of my layman observations seem negative, it is with deluded confidence that one has to look forward to the New Year and the potential opportunities it provides. If only irrational optimism and positivity was a self‑fulfilling prophecy, then we’d all be in a much better place. Hope springs eternal (NB. An idiom that derives from the poem, ‘An Essay on Man’ (1733) by Alexander Pope (1688‑1744)).

I would like to take this opportunity to say a big “Thank You” to everyone who has had anything to do with CRAVE Guitars over the last 12 months. If it wasn’t for y’all, there wouldn’t be a CRAVE Guitars, there’d be no point. So, it seems, we must now welcome in the New Year. We can’t avoid it, so we might as well go with the flow and take 2026 as it comes. As American poet Ogden Nash (1902‑1971) once said, “Duck! Here comes another year!”

Given the tonal balance that this yearly review has set out, I shall not make things any worse by continuing with the negativity. Nuff said then. Bring on 2026!

“Have compassion for all beings, rich and poor alike; each has their suffering. Some suffer too much, others too little” – Buddha

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

Last year, CRAVE Guitars’ ‘Album of the Month’ was also the ‘Album of the Year’. Despite the paucity of material from which to draw, I am going for the ‘sequel’ to last year’s pick. This year’s Blue Riband award (NB. An accolade given to the passenger liner that achieved the fastest recorded crossing of the Atlantic Ocean from Europe to America – held by the SS United States (1952). Now a term more widely used to signify distinction and excellence) goes to…

The Cure – Mixes of a Lost World: After far too long without a studio album, 2024 saw the long‑awaited release of ‘Songs of a Lost World’. While it wasn’t quite up with ‘Pornography’ (1982) or my favourite all‑time studio album, ‘Disintegration’ (1989), it was a monumental achievement for Robert Smith and the band.

While many decry ‘remix’ albums, I actually appreciate the best of them, albeit being a mixed bag overall. The 3‑CD deluxe edition of ‘Mixes of a Lost World’, released in June 2025 on Universal, comprises 24 remixes of tracks covering 148 minutes. The original album tracks have been remixed by a wide variety of credible artists including Four Tet, Paul Oakenfold, Orbital, Daniel Avery, Craven Faults, 65daysofstatic, The Twilight Sad, Mogwai and many others. Some of these are traditional variations on a theme, while several take a more radical approach of genre‑shifting immersive soundscapes. To be honest, it was a far better album that it could have been, so kudos to The Cure for being bold and not resting on well‑earned laurels.

In addition, all royalties from the sale of the album, go to War Child, a charity supporting children directly affected by war and conflict. They also challenge the unethical and unscrupulous tactics of ‘dynamic pricing’ for live concert tickets and despicably immoral scalping outlets. Thank goodness there are still some sincere philanthropic artists in the industry. Well done The Cure.

There is also a live version, ‘Songs of a Live World’ and a cinematic version of the live concert, ‘Show Of A Live World’. The album goes to prove that The Cure is a band still innovating, challenging preconceptions and delivering the goods. Thanks Robert.

BELIEVE IN MUSIC!

“The world indeed is like a dream and the treasures of the world are an alluring mirage like the apparent distances in a picture. Things have no reality in themselves but are like heat haze” – Buddha

Tailpiece

Well, I think we can all probably agree that 2025 was generally a mix of ups and downs for everyone, so let us bid adieu to it. It seems that the worst of the Covid‑19 pandemic is behind us; largely gone but not forgotten. Hopefully, though there has been an opportunity to value and appreciate the good fortunes that we are able to enjoy. We should not underestimate just what the benefits of peacetime and freedom mean in our culture.

“Better than a thousand hollow words, is one word that brings peace” – Buddha

Let us look forward to 2026 and make it the best 2026 that we can achieve. To build a safe, secure and prosperous civilisation, we have to unite to eradicate hatred, conflict and division. Nobody is saying it is easy but it is worth it and good only comes from unwavering endeavour. For me, I’m already thinking about CRAVE Guitars’ article content for next year. No peace for the wicked (NB. A phrase derived and adapted from the Book of Isiah in the Christian Bible). Rock on 2026!

“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

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

CRAVE Guitars’ ‘Quote of the Month’: “Great music cleanses one’s spirit, washes away one’s pain and removes the dirt that obscures one’s harmony with the universe”

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30 Nov 2025

November 2025 – The CRAVEman Cometh… Back

by CRAVEGuitars | posted in: Fiction | 0

SENSATIONAL SEASONAL SALUTATIONS AND SANGUINE SIMPLICITY this month. A simple salute from a simple somebody with a simple suggestion and a simple story to share. The simple salute is to welcome you once again to the weird and sometimes whacky world of CRAVE Vintage Guitars (or CVG – a new acronym for short! NB. Nothing to do with the 3‑letter Airport Code for Cincinnati/Northern Kentucky International Airport). The simple suggestion is an urgent restatement to respect and protect our shared home planet as well as to inject some much‑needed humanity into our fracturing civilisation. The simple story, which will unfold in due course, is a return to a realm of familiar fanciful fun and further fabricated frivolity (with just a simple soupçon of audaciously absurd alliteration, always).

Prelude

So, without further ado, we shall progress on to the simple story. There is not a lot about vintage guitars this month. Instead, the subject matter will return to focus on the simple founder, frontman and heralded hero of CRAVE Guitars. You have met him before and now he’s back for more. I am talking about the one and only The CRAVEman. He may be a simple soul but he has a keen sense of integrity, humility, morals, ethics, valour and an unfailing commitment to nurturing his nascent cherished community. What a guy! Perhaps this article should be called ‘The Awesome Adventures of The CRAVEman’. Seriously though, what’s not to like?

However, I do recognise that this sort of fictional fable may not be to everyone’s taste, so no grudges will be sustained should you wish to defer allocating your intellect to other matters this month and come back when there is something a little more, well, factual and grounded. Not much in the way of tortuous narrative this month; but lots of images for your diligent delectation.

“I cannot say who, precisely, came up with the idea of a Stone Age family” – Joseph Barbera (1911‑2006)

Previously on ‘The CRAVEman Cometh’

You may recall, back in July 2025, that ‘el jefe’ and nom de guerre of CRAVE Guitars was revealed to world in ‘The CRAVEman Cometh’ If you want to revisit his introduction and early exploits, follow the link below (opens in a new tab).

July 2025 – The CRAVEman Cometh

Due to popular demand (well, predominantly my own tbh), I have decided that The CRAVEman deserved a second outing to build on the mythology and to expand on the CRAVEworld (it doesn’t warrant a CRAVEverse yet because, well, he’s a stone age relic isn’t he?). It is here that he strives to eke out an existence within his small semi‑nomadic group while, at the same time, seeking to advance his musical aspirations. I hope you enjoy spending some light‑hearted time with the laudable leader and Rock Guitar God of his prehistoric people.

Full disclosure, the original images for this article were produced using AI and edited (I won’t claim ‘enhanced’) by me. There are a lot of inconsistencies and visual errors that have been left intentionally untouched. The reason for this is twofold. The first is to highlight that AI still has a very long way to go before its outputs can be regarded as genuinely credible. The second is that the faults actually add some fun ‘spot the mistakes’ and continuity flops (as well as, arguably, some peculiar, anomalous charm) to the ridiculous falsity of the whole product. What I will say is that, if creative AI tools weren’t available as a means to an end, there would be no adventures of the The CRAVEman.

Regular readers will know about my observations and opinions on the evolution and utility of AI, highlighting the potential benefits and significant risks of the fledgling technology. This is not the place to reiterate those views. Let’s face it, The CRAVEman is about as artificial as can be, so what’s the harm in representing him artificially through a bit of reflexive irony and satire? Given the evidence presented below, I recommend that you make up your own mind about the divisive worth of AI, past, present and future.

As ever, though, the words are 100% human with no AI intervention whatsoever. I still need to control something. As with the previous prehistoric expedition, a substantial suspension of disbelief is an absolute prerequisite for your investment to be repaid. I must stress that this tawdry tale and imaginary interlude is for entertainment purposes only. There are no serious real‑world insights whatsoever, just rampant ridiculous unreality. Do not try this at home, folks!

“The latest refinements of science are linked with the cruelties of the Stone Age” – Winston Churchill (1874‑1965)

Welcome to CRAVEland (Geography of The CRAVEman’s Domain)

Last time around, we followed The CRAVEman on his adventures in his tribe’s territory. This month, it is time to explore quite what that territory is and why it is so important to his community’s social culture and wellbeing. The clan is essentially a co‑operative with only informal leadership and followers providing any sort of class structure. You may recognise some of the characteristics from The CRAVEman’s previous adventures.

The CRAVEman’s world is located in a Stone Age cool temperate climate generally characterised by warm summers and mild winters with moderate rainfall throughout the year. Temperate regions are found between the tropics and the polar regions. Depending on how far north (or south) one goes, temperate climates are divided into warm temperate and cool temperate regions.

The CRAVEman, along with his compatriots live in a small commune unsurprisingly called CRAVE Town in a region known as CRAVEland. CRAVE Town comprises a group of humble caves situated at the foot of a small but significant mountain range. His hunting grounds include not only the mountains but also the forest, grassland, rivers and sea. All in all, CRAVE Town is a great place for a tribal community to settle, survive and thrive with many natural resources close at hand, such as shelter, security and access to abundant food and water.

There are few serious dangers to impact on the tribe’s wellbeing and prosperity. Wild animals and competing neighbouring tribes from the other side of the mountain range result in occasional risks to their livelihood but, on the whole, peace prevails.

To all intents and purposes, the extent of The CRAVEman’s realm is as far as his tribe can travel and return home safely, resulting in a natural boundary to his domain. Being a simple chap, he doesn’t spend too much time pondering on what might lie beyond the edge of his realm or even further afield.

“Stone Age. Bronze Age. Iron Age. We define entire epics of humanity by the technology they use” – Reed Hastings (1960‑)

The Latest ‘Adventures’ of The CRAVEman

Like last time, there is some sort of story behind the images. Like last time, I’m not going to spoon feed you with any sort of plot. Like last time, I’ll give a hint about his adventures through short captions for each image. You can take that as it comes or you can create your own storyboard and use your imagination to craft your own version of The CRAVEman’s cracking capers. It’s much more fun that way.

I grew up with comic books, manga, comic strips and cartoon stories – everything from Krazy Kat, Peanuts, Garfield, Calvin & Hobbes, Tin Tin, Asterix The Gaul, The early X‑Men, Thor, The Fantastic Four, Spider‑Man, Captain America, Hulk, Dr. Strange, Vampirella, Watchmen, Judge Dredd, V For Vendetta, Maus, Wonder Woman, Superman and my personal favourite, Batman (the darker the better), amongst many others. The diversity of content fired my imagination and inspired my alternative view of the world, albeit somewhat fantastical and a sanctuary from the cruel reality of everyday human existence. It is in that spirit of conjuring fanciful flights of fantasy that I’m alluding to when suggesting that it’s up to you to put your own slant on proceedings. Take it where you want and immerse yourself in his latest experiences.

Guitar Maintenance Time – The CRAVEman giving one of his CRAVE Guitars some essential TLC before it is put to some serious band use with rehearsals and gigs coming up.

Cave Wall Painting – The CRAVEman trying to document and preserved the images of prehistoric CRAVE Guitars for future generations. It is kinda his guitar collection database.

Stone Age Graffiti – The CRAVEman viewing some local graffiti done by some local yoofs on a rock face near CRAVE Town. While not showing outward approval, he kinda digs that his influence is having an effect on the next generation.

CRAVE Guitars Exhibition Time – One of The CRAVEman’s close friends acting as an exhibition curator, showing off some CRAVE Guitars in the hope of inspiring others to take up the cause.

Band Song Writing – The CRAVEman doesn’t rest on his laurels or past hits. He needs to get down and concentrate hard on some serious new song writing for his band and solo projects.

Shopping for New CRAVE Guitars – The CRAVEman suffers from G.A.S. (Gear Acquisition Syndrome) just like his modern counterparts. He travels far and wide to nearby markets to look for new guitars to add to his collection. A prehistoric guitar shop, if you will.

Stone Age Social Media – The CRAVEman needs to promote and market his band’s image, so he sets about some prehistoric ‘social media’ posts. He has to use a clay tablet so that he can spread the word and follow the band.

Pre-Gig Arrangements – The CRAVEman has a drink at the CRAVEpub before his band plays a big gig at the venue. The barman is also a friend and part‑time band manager, event organiser, as well as venue owner, so it’s an important meeting.

Pre-Gig Chat Up – The CRAVEman meeting a couple of CRAVEgirls at the CRAVEpub, getting to know some of his fans and potential future groupies. Times haven’t changed much over the millennia.

The BIG CRAVE Gig – The CRAVEman’s band – The CRAVEband (what else?) – plays a big rock gig at the CRAVEpub in front of many fans, not just his tribe but also from neighbouring friendly ones.

The Gig After Party – In order to capitalise on the big rock gig, the pub landlord also arranged a post-gig music club after party with lots of frivolity and fun for his customers and to celebrate a successful performance by The CRAVEband.

Solo Rehearsal – Not only does The CRAVEman play with The CRAVEband, he likes to rehearse some solo material and engage in a bit of rock music head banging, just for fun and to let his hair down.

Battle of the Stone Age Rock Bands – The CRAVEband isn’t the only rock band in CRAVEland. There are several up‑and‑coming competitors. The landlord of the CRAVEpub organised a ‘Battle of the Bands’ event to celebrate local music talent.

Guitar Lessons – The CRAVEman knows that the future of rock music relies on the next generations taking up his passion. So The CRAVEman also takes time to teach the local CRAVEkids how to play guitar and keep the vibrant scene going.

Family Rock Jam Time – The CRAVEman’s old man drops into the CRAVEcave for a jam session with his son, proving that The CRAVEman is a chip off the old rock.

Chillout Time – After all the community fun playing with The CRAVEband at the CRAVEpub, the after party and the battle of the Stone Age rock bands, The CRAVEman needs some reflection time with his loyal canine buddy, The CRAVEdog, while noodling on his guitar for relaxation.

Outdoor Guitar Practice – On fair days, The CRAVEman likes to sit outside his CRAVEcave and enjoy the clement weather while also taking the opportunity to engage in a bit of idle guitar practice to lift his spirits.

Admiring The CRAVEman’s Guitar Collection – Also on good days, he likes to get his impressive collection of CRAVE Guitars out, set them up outside his CRAVEcave and admire them for what they are, great prehistoric rock guitars. He’s also thinking about what his next CRAVE Guitar might be.

Prayers at the Altar of Rock Guitars – Before retiring for the night, The CRAVEman knows just how privileged he is in his community role and feels obliged to pray to the venerable Rock Gods for his own and his tribe’s good fortune and prosperity.

Time to Settle Down – Coming up to The CRAVEman’s bedtime, he relaxes with his CRAVEdog and does a bit of noodling before retiring at the end of the day to snooze and dream of Rock Godness.

“Ordinary language embodies the metaphysics of the Stone Age” – J.L. Austin (1911‑1960)

Final Thoughts on the Latest Adventures of The CRAVEman

Well, that’s it for now. The CRAVEman has exited stage right and is taking a well‑deserved rest after his latest escapades. Given the season, it is time for his annual hibernation until springtime. However, when I interviewed me, my alter‑ego confided in me (Ed: that’s a disturbing internal dialogue) that he would like to return. As Arnold Schwarzenegger (1947‑) as the T800 cyborg assassin stated in the film, ‘The Terminator’ (1984), “I’ll be back”. Keep your precious peepers peeled for the possibility of further exploits of your favourite Stone Age Rock God! What a non‑living legend!

There is no protracted pretentious pontification for a welcome change this month. No opinion, just a momentary pause in proceedings to reflect on the puerile panoply of prehistoric pictograms.

Finally, The CRAVEman wishes everyone a great start to the Happy Holidays season from Thanksgiving through Christmas to New Year. Have an exceptional time everyone. Here’s The CRAVEman’s Thanksgiving celebration portrait…

“Welcome out of the cave, my friend. It’s a bit colder out here, but the stars are just beautiful” – Plato (c.427‑347BCE)

CRAVE Guitars’ ‘Album of the Month’

Sticking with the Stone Age Rock theme of this month’s article, I’m going back a bit to the heyday of British rock. Appropriately, this month’s accolade goes to…

Deep Purple – Deep Purple In Rock (1970): ‘In Rock’ (for short) was English rock band Deep Purple’s 4^th studio album released in June 1970 on the Harvest record label, comprising only seven tracks covering just 44 minutes. The band’s line up at the time was the classic ‘mark II’ membership (Ian Gillan, Ritchie Blackmore, Roger Glover, Jon Lord and Ian Paice). Classic tracks on the album include, ‘Speed King’ and ‘Child In Time’. At the same time as the album, Deep Purple released their complementary classic breakout hit single, ‘Black Knight’ (1970), even though it didn’t appear on the original LP track list.

Deep Purple were on a roll in the early 1970s with subsequent albums such as, ‘Fireball’ (1971), ‘Machine Head’ (1972) and ‘Burn’ (1974). I don’t want to get into the heated debate about what genre this album represents. Some call it heavy metal (it isn’t), some call it classic rock (only in retrospect; at the time it was just rock), some call it hard rock (ditto) or perhaps it is just… rock (probably most apposite). Ultimately, it doesn’t matter, it was great pioneering rock produced during a prolific and innovative period in British and American music. It’s not my personal favourite Deep Purple album; that would be ‘Made In Japan’ (1972). However, ‘In Rock’ is a great album by a massively influential band at the time and it fits the bill for this particular article very nicely. It also showcases the band members’ prodigious musical talents, not least the guitar pyrotechnics of Ritchie Blackmore.

BELIEVE IN MUSIC!

“Maybe when all was said and done, the imagination was the most powerful of all weapons. It was the imagination of the human race that had allowed it to dream of a life beyond cold caves and of a possible future in the stars” – Dean Koontz (1945‑)

Tailpiece

So, my veritable virtual visitors, the time has come for The CRAVEman (and me, in my multiple personality disorder duties) to bid you a flippant fond farewell, at least for the time being. I have a funny feeling that the modern world has not seen the last of The CRAVEman. Watch this space.

Next month’s outpouring is very likely to be a predictable end‑of‑year‑review article, so not too demanding on the real stupidity (as opposed to artificial intelligence) front. Fare thee well from the newly titled CVG, fine friends.

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

CRAVE Guitars’ ‘Quote of the Month’: “What you will know tomorrow is an accumulation of what you’ve known every day before”

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Crave Vintage Guitars (CVG)

Prelude

This Month at CRAVE Guitars…

The Rationale for the Article

The Origins, History and Spread of Graffiti

Basic Types of Graffiti

Films and Documentaries about Graffiti

Music about Graffiti

CRAVE Guitars’ Graffiti Gallery

Final Thoughts on ‘CRAVE Guitars AI Graffiti Style Gallery’

The CRAVEman at Work and Play

CRAVE Guitars’ ‘Album of the Month’

Tailpiece

Prelude

This Month at CRAVE Guitars…

The Rationale for the Article

The United States of America at 250 and Counting

Fender at 80 and Counting

The Fender Telecaster at 75 and Counting

The Fender Precision at 75 and Counting

The Music Man Stingray Bass at 50 and counting

Final Thoughts on ‘A Year of Notable Anniversaries’

Other Notable Anniversaries in 2026

The CRAVEman Celebrating Anniversaries

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

Tailpiece

Prelude

This Month at CRAVE Guitars…

The Rationale for the Article

Some Basic Photographic Underpinnings

The Good, The Bad and The Ugly

On a Technical Note

Post‑Processing

Final Thoughts on Zen and the Art of Vintage Guitar Photography

Photographs in Music

The CRAVEman as Prehistoric Photographer

CRAVE Guitars’ ‘Album of the Month’

Tailpiece

Prelude

This Month at CRAVE Guitars…

New Members of the CRAVE Guitars Family 2025‑2026 (15)

Final Thoughts About Recent New In at CRAVE Guitars

Strategic Positioning of CRAVE Guitars

CRAVE Guitars’ ‘Album of the Month’

Tailpiece

Prelude

This Month at CRAVE Guitars…

The First 100 Articles

Things I Have Learned

The Next 100 Articles

Final Thoughts on the First 100 Articles

A Short Update on ‘The Distortion Diaries’

CRAVE Guitars’ ‘Album of the Month’

Tailpiece

Prelude

Some of those that left the building in 2025 (41):

CRAVE Guitars Vintage Gear purchased in 2025 (11)

2025 album releases purchased (6):

2025 Gigs (2)

CRAVE Guitars’ Web Site

CRAVE Guitars’ Social Media

Contact Update

The Distortion Diaries Update

State of the Music Industry and the Vintage Guitar Market

Seasonal Greetings from The CRAVEman

Final Thoughts on 2025 and Looking Forward to 2026

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

Tailpiece

Prelude

Previously on ‘The CRAVEman Cometh’

Welcome to CRAVEland (Geography of The CRAVEman’s Domain)

The Latest ‘Adventures’ of The CRAVEman

Final Thoughts on the Latest Adventures of The CRAVEman

CRAVE Guitars’ ‘Album of the Month’

Tailpiece