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”

Like it? Why not share it?

29 Apr 2026

April 2026 – CRAVE Island Castaway Part II: Music Playlist

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

Prelude

HEY UP PEEPS. HOW DO? SUP? WHAT’S COOKIN’? HOWDY PARTNERS. Super salutations! I come in peace. It seems unbelievable but we are already one third of the way through 2026 already. I trust you enjoyed the Easter celebration early in April as a harbinger of spring with lighter evenings and warmer days. Despite all the media‑fuelled doom and gloom, there is still plenty to look forward to in 2026. Let’s make this year better than its predecessors. There is no better time than the present. If one thinks about it, the present is all we have. The future we can hope for. As Nike say, ‘Just Do It’ (NB. From the company’s advertising campaign 1988‑1998).

“My childhood did not prepare me for the fact that the world is full of cruel and bitter things” – Julius Robert Oppenheimer (1904‑1967)

Regular readers will know my unwavering calls for comprehensive concord. I cannot emphasise enough that peace should be a profound ambition for everyone on this one and only planet of ours. Peace is not optional. Without it, humanity will ultimately be doomed. With it, we may just stand a chance. Personally, I hope we stand a chance but that requires significant change. We have to change. Peace matters, probably more than anything else for civilisation’s survival and advancement. This is not political, religious or even humanitarian, it is just plain old common sense.

“When the power of love overcomes the love of power, the world will know peace” – Jimi Hendrix (1942‑1970)

This Month at CRAVE Guitars…

Back to more prosaic matters. I haven’t written much on musicology recently, so I thought I’d return to the subject this month. As this isn’t my first rodeo, I thought a quick recap on what has gone before might be in order. I compiled a, ‘Personal Top 20 Most Influential Guitar Albums’ way back in 2016 and ‘50 Albums of the Last Half‑Century(‑ish)’ in 2017. I also covered ‘The Story of Modern Music…’ in 14 parts from March 2019 to May 2020 (bar December 2019). In addition, there have been four major CRAVE Guitars genre articles (‘Dub Reggae Revelation’, ‘Adventures in Ambient’, ‘Heavy Metal’ and ‘Get Up and Dance to the Music!’) in 2023 and 2024. Last but not least, there was the article, ‘Musical Machinations’ in 2023 about access to music, so there is already a great deal of foundation to work from for this particular article. Time to take an alternative perspective.

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

This month’s piece is definitely another one for the list‑o‑philes out there. I must re‑stress as usual that this is entirely for entertainment purposes only and has no intrinsic value beyond mild amusement for both author and reader. As usual, no AI has been used in researching and writing this article, just hard brain work. The CRAVEman images, however, are AI generated out of necessity. This month’s quotes are a relevant mix of islandic observations and musical wisdom.

“We live on an island surrounded by a sea of ignorance. As our island of knowledge grows, so does the shore of our ignorance” – John Archibald Wheeler (1911‑2008)

The Rationale for the Article

Last month, in Part I of this two‑parter, I looked at what 10 pieces of vintage guitar gear that I might like to take with me to CRAVE Island. This month, I contemplate as to what playlist of music tracks one might like to listen to, when not playing vintage guitars, on the very same secluded idyll of CRAVE Island. As last month, The CRAVEman has been used to introduce and present this month’s line‑up. If you want serious vintage guitar topics, why not head off to the web site proper or watch this space for the next non‑fiction article.

IF you want to (re‑)visit Part I of this CRAVE Island extravaganza, follow the link below (opens a new browser tab)…

March 2026 – CRAVE Island Castaway Part I: Vintage Gear

For readers who may not be familiar with the concept, the format used here is loosely based on the long‑running BBC Radio 4 programme, ‘Desert Island Discs’. Guests on the show select eight audio recordings (usually music), one book and one luxury item that they would have with them if they were to become a castaway, stranded on the metaphorical desert island. The BBC radio programme was first broadcast in January 1942 (that is 84 years ago in 2026!) and there have subsequently been nearly 3,500 episodes and counting. I depart from the archetype but retain the spirit of the original programme.

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

Now, here’s a thing… I started off this idea thinking about what might constitute a ‘perfect’ pop song, in the knowledge that there is no such thing. The two exemplars that immediately sprang to mind and started this whole shebang were, ‘Blur – Song 2’ and ‘Blondie – Hanging on the Telephone’. Then it sort of ran away from me at that point, and here we are now.

How far does one go? Top 10, top 20, top 30, top 50, top 100 and so forth. What to include, what to leave out? Does one go by merit or popularity? Does one go with sales or star status? Does one go by genre or gender? Does one go with vocals or instrumentals, groups or solo artists? Does one go with guitar‑‑centric or electronic? Does one go pure pop or not? Does one go with singles or album tracks? Does one go with personal preference or industry reputation? Does one go with British/American or global? My‑oh‑my, I had started something that was just gonna blow my brain or at least make it hurt a bit. What a conundrum. What a dilemma. How on Earth does one go about manoeuvring safely through this massive musical minefield?

Selecting such a small sample of just eight tracks of music to play on a desert island simply wouldn’t be enough for The CRAVEman. Even 100 would be cutting it thin but a ceiling has to be set somewhere. Despite the immense volume of available music (running into hundreds of millions on streaming platforms!), I’m always searching for ‘new’ music to listen to, so this was a challenging task. One presumes, at least for this exercise, that The CRAVEman doesn’t have access to Apple Music (or an alternative) while on CRAVE Island.

“I’ve been asked over the years to compile a list of desert–‑island discs. I couldn’t do that. If I was trapped on a desert island, I don’t think I’d want 10 songs to bring with me” – John Lydon (1956‑)

Defining the Selection Process

So, initially, one has to determine scale and scope. First – put an absolute limit on the list. Easily sorted, 100 it is. Second – come up with a set of ten sensible criteria through which one can select/eliminate a whole bunch of stuff (see below). Third – work on my own fallible subjectivity – it is my wish list after all. I abhor the idea of people including things just because they are ‘worthy’, rather than pleasurable (Oscar, take note!). Fourth – present it in a way that makes sense without being too arbitrary or confusing. That, on the surface, seems a sensible approach. Let’s see what the process came up with.

I decided from the start not to utilise any sort of ranking; selecting is one thing, ranking is a nightmare. I am 100% certain that readers will disagree with both the process and the outcome. However, it’s my article, so you can make up your own rules/lists to compensate for my perceived shortcomings and omissions.

“And those who were seen dancing, were thought to be insane, by those who could not hear the music” – Friedrich Nietzsche (1844‑1900)

In order to generate a diverse playlist, the main criteria used were:

Only one track per artist
A wide spread of genres
A wide spread of decades/years
A mix of singles and album tracks
No dependence on commercial sales numbers
No reliance on industry structure, record labels or marketing
Not just the BIG names or celebrity status
Ignore others’ opinions of ‘best’, ‘essential’ or ‘quality’
No geographical restrictions
No ‘novelty’ songs

“Let’s hope I never end up on a deserted island, because I could never make a decision on which three CDs to take with me” – Willem Dafoe (1955‑)

As it worked out, the date range covered the 1960s to the 2010s inclusive. Six decades seems a helpful bracket for evaluating contemporary music and one that has been used before. The most frequent decades were the 1970s to the 1990s inclusive. This is perhaps because I was too young to appreciate fully the rock & roll (and earlier) era(s) and because I am too old (!?) to appreciate the most recent musical trends… or perhaps these were the peak decades for creative modern music.

“Music is a moral law. It gives soul to the universe, wings to the mind, flight to the imagination, and charm and gaiety to life and to everything” – Plato (c.428‑348BCE)

Now… 100 songs seems almost too easy and not in the real spirit of a ‘Desert Island Disc’ playlist, especially as last month the ‘Desert Island Vintage Guitar Gear’ was limited to just 10 items. In order to placate and pre‑empt that easy criticism, I have emboldened a ‘top 10’. If I was forced to choose, those are the ones I could most easily live with in the spirit of the article. It isn’t enough, of course, but this is just a hypothetical exercise after all. I also assume that the music is available on physical media, as Internet connection may prove particularly problematic on CRAVE Island.

Alternatively, if I could take anything with me to CRAVE Island, it would be my entire collection of reggae music but that now comprises at least a couple of thousand albums, so I don’t think it will be allowed to make the trip. Why reggae? The genre is so rich and diverse that there is always something different to appreciate, depending on mood. There, that is my underlying bias declared for your scrutiny. Oh, and reggae suits the hypothetical location well.

“A bird, music and food – desert island items” – Michael Johnson (1967‑)

To avoid the debatable value of ranking, I’ve gone for a chronological approach. Where there is more than one song from a year, they are presented in alphabetic order. Time for the waffle to end, let’s dive straight in and take a retrospective musical swim…

The CRAVEman’s ‘Top 100/10’ CRAVE Island Playlist

The 1960s (7):

Ben E. King	Stand by Me	1961
Del Shannon	Runaway	1961
Louis Armstrong	What a Wonderful World	1967
Velvet Underground	Venus in Furs	1967
Captain Beefheart And His Magic Band	Dropout Boogie	1967
Jimi Hendrix	All Along the Watchtower	1968
Fleetwood Mac	Albatross	1969

The 1970s (30):

Black Sabbath	Paranoid	1970
James Brown	Get Up (I Feel Like Being A) Sex Machine	1970
Neil Young	After the Gold Rush	1970
The Doors	Riders on the Storm	1971
Pink Floyd	Echoes	1971
Johnny Nash	I Can See Clearly Now	1972
T.Rex	20^th Century Boy	1973
The Isley Brothers	Summer Breeze	1974
Rolling Stones	It’s Only Rock ‘n Roll (But I Like It)	1974
Bob Dylan	Hurricane	1974
Bob Marley & the Wailers	No Woman, No Cry (full live version)	1975
Roberta Flack	The First Time Ever I Saw Your Face	1975
Max Romeo	War Ina Babylon	1976
David Bowie	Heroes	1977
John Martyn	Small Hours	1977
Patti Smith	Because the Night	1977
Sex Pistols	Pretty Vacant	1977
The Stranglers	Peaches	1977
The Undertones	Teenage Kicks	1977
Blondie	Hanging on the Telephone	1978
Buzzcocks	Ever Fallen in Love (With Someone You Shouldn’t’ve)	1978
Dire Straits	Sultans of Swing	1978
Funkadelic	One Nation Under a Groove	1978
Kraftwerk	The Model	1978
Lee “Scratch” Perry	Roast Fish & Cornbread	1978
Steel Pulse	Klu Klux Klan	1978
Bauhaus	Bela Lugosi’s Dead	1979
The Clash	London Calling	1979
Joy Division	She’s Lost Control	1979
The Ruts	Babylon’s Burning	1979

The 1980s (22):

The Brothers Johnson	Stomp!	1980
Motörhead	Ace of Spades	1980
Orchestral Manoeuvres in the Dark (OMD)	Enola Gay	1980
Talking Heads	Listening Wind	1980
The Specials	Too Much Too Young	1980
Siouxsie And The Banshees	Spellbound	1981
The Teardrop Explodes	Reward	1981
George Thorogood	Bad to the Bone	1982
Gregory Isaacs	Night Nurse	1982
Robert Wyatt	Shipbuilding	1982
Rockers Revenge	Walking on Sunshine	1982
New Order	Blue Monday	1983
Public Image Ltd	This Is Not a Love Song	1983
ZZ Top	Bad Girl	1983
Pet Shop Boys	West End Girls	1984
Echo & The Bunnymen	People Are Strange	1988
Happy Mondays	W.F.L. (Wrote For Luck)	1988
Cowboy Junkies	Blue Moon Revisited (Song for Elvis)	1988
Transvision Vamp	I Want Your Love	1988
The Beloved	The Sun Rising	1989
The Cure	Love Song	1989
Stone Roses	Fool’s Gold	1989

The 1990s (26):

Depeche Mode	Enjoy the Silence	1990
Orbital	Satan	1990
DJ Jazzy Jeff & The Fresh Prince	Summertime	1991
Nirvana	Smells Like Teen Spirit	1991
U2	Until the End of the World	1991
Radiohead	Creep	1992
Rage Against The Machine	Killing in the Name	1992
Stereo MC’s	Connected	1992
Cypress Hill	Insane in the Brain	1993
Portishead	Wandering Star	1994
Edwin Collins	A Girl Like You	1995
Everything But The Girl	Missing	1995
Garbage	Only Happy When It Rains	1995
Massive Attack	Karmacoma	1995
Pavement	Range Life	1995
The Prodigy	Breathe	1996
Blur	Song 2	1997
Nick Cave & The Bad Seeds	Into My Arms	1997
PJ Harvey	The Wind	1998
Placebo	Pure Morning	1998
Stardust	Music Sounds Better With You	1998
Chemical Brothers	Hey Boy Hey Girl	1999
Eminem	My Name Is	1999
Moby	Natural Blues	1999
Moloko	Sing it Back	1999
Suede	Electricity	1999

The 2000s (12):

Spiller	Groovejet (If This Ain’t Love)	2000
Afroman	Because I Got High	2001
Four Tet	No More Mosquitoes	2001
Kylie Minogue	Can’t Get You Out of My Head	2001
Roger Sanchez	Another Chance	2001
Beck	Lost Cause	2002
X‑‑Press 2	Lazy	2002
Kasabian	Club Foot	2004
LCD Soundsystem	Daft Punk is Playing at My House	2005
Hot Chip	Ready for the Floor	2008
The Low Anthem	Charlie Darwin	2008
The xx	VCR	2009

The 2010s (3):

Warpaint	Undertow	2010
The Kills	Satellite	2011
Kurt Vile	Baby’s Arms	2011

“The only truth is music” – Jack Kerouac (1922‑1969)

That, my friends, is one heck of a varied mixtape, whether you agree with it or not. No doubt there are many obvious inclusions but also a few surprises. Everyone will have a different upbringing and, therefore, a different soundtrack to their lives. That is just as it should be. I don’t have any music heroes, so there is no artist veneration going on here. This is not purely a nostalgic exercise, it is also about the timelessness of great music that can still evoke emotions regardless of when it was created, who created it or when/where it is experienced. Music is inextricably linked with social change and is an integral part of human progress over the years. This article is but one miniscule attempt to document modern western culture through a selection of musical signposts.

You may well ask, “What, no Elvis Presley, The Beatles, The Who, Bruce Springsteen, Michael Jackson, Madonna, Prince, Fleetwood Mac, Queen or R.E.M.?” or, “What, no Tom Petty, Oasis, Coldplay, Taylor Swift, Adele or Ed Sheeran?” Heresy! I hear you shriek indignantly! Nope. Not for this exercise. I am unrepentant. I will acknowledge that I’m in a minority and that the omissions mentioned are very highly renowned popular and commercial artists. They just didn’t make my final cut. Apologies for your irate infuriation but I’m afraid that’s your issue, not mine.

So, so many fantastic tracks didn’t make the final 100. Great tracks from artists like, Led Zeppelin, Genesis, Marvin Gaye, Beastie Boys, Killers, and many, many more came in and out again, right up to the last minute before publication. It was almost an impossible task to represent a selection that I could live with in total isolation on an unidentified tropical island for an unknown period of time.

“Without music, life would be a mistake” – Friedrich Nietzsche (1844‑1900)

To be totally honest, even 100 tracks wouldn’t satisfy a prolonged period of personal reflection on CRAVE Island. My passion for music isn’t just about repeating the past; it is also about discovering great new music from whatever period and looking to the future. Maybe a lot of that music won’t stand the test of time but it is great for ephemeral escapism. If that’s the case, how many tracks would be enough? Who knows? I don’t.

Even restricting the selection to a ‘top 10’ doesn’t bring the 21^st Century into much of a focus. No tracks from the last 15 years in fact. Sorry millennial musicians, you can’t quite make the grade. It doesn’t mean that there isn’t great music being made in the 2000s‑‑2020s, just that there is such strong competition from the last half of the 20^th Century.

“How I wish that somewhere there existed an island for those who are wise and of good will” – Albert Einstein (1879‑1955)

Final Thoughts on the ‘Top 100/10 CRAVE Island Playlist’

As mentioned up front, this particular ‘Top 100’ and its ‘Top 10’ subset is entirely my own creation and constantly changing in the real world, so best regarded as a ‘moment in time’ snapshot. I don’t expect anyone to approve it and I’m not trying to influence anyone based on it. It is just a bit of harmless fun to bring some cathartic levity to a dangerously scary world.

One interesting observation is the proportion of songs that are guitar‑centric. Now that may not be surprising given my predilection for vintage guitars. However, it isn’t quite that simple. Much of the 1980s synth pop boom, the 1990s sampled hip‑hop explosion and the 1990s‑2000s EDM tsunami featured large in my own personal musical evolution but had little contribution from the humble guitar. Another observation is the low proportion of Jamaican reggae on the list, given my overt preference for the genre more generally. The aim here was for variety.

“One good thing about music, when it hits you, you feel no pain” – Bob Marley (1945‑1981)

The 2010s and 2020s are woefully unrepresented in this list. Perhaps this is my age or perhaps it is just a reflection on the banal sterility of much modern music in the 21^st Century. Probably a bit of both. Time, as ‘they’ say, will tell.

Going back to the spirit of ‘Desert Island Discs’, it only seems fair to contemplate what book and what luxury item one would also take. I guess I have to exclude anything to do with CRAVE Guitars and ‘The Distortion Diaries’, as that would be too easy and too contrived. So, what are the two things that one might pack for that hypothetical trip to CRAVE Island?

The CRAVE Island Book – The CRAVEman doesn’t have written language, so I’ll have to substitute. No pretention here. In a senseless, cruel world, I will return to the pure innocence and naiveté of childhood when adult failures had not yet corrupted one’s life experience. I am neither embarrassed nor ashamed to suggest a children’s book. There were several children’s books about which I can reminisce fondly, including the Moomin novels by Tove Jansson. On this occasion, I’m going with, ‘Gobbolino the Witch’s Cat’ (1942) by Ursula Moray Williams – the original version with illustrations by the author, not modern adaptations that have diluted the impact of the story. It is a simple tale of a witch’s cat that longs to be an ordinary kitchen cat. There is a lot that adults can learn from the moral lessons within this story, if we open our minds to accept them. I am a voracious reader of fiction and there are many examples of pretentious ‘worthy’ literature as well as entertaining popular novels that could be chosen. However, we all had to start that halcyon passage to open the doors of adult imagination somewhere. Simplicity epitomised.

“There are two means of refuge from the miseries of life: music and cats” – Albert Schweitzer (1875‑1965)

The CRAVE Island Luxury Item – Seeing as The CRAVEman already has his vintage guitar gear with him, he needs something on which to listen to his selected playlist. Music is useless unless there is something on which to store, replay and listen to it. Remember the venerable Apple iPod (2001‑2022)? The iPod was the spiritual successor to the iconic Sony Walkman. Seeing as there must be an electrical supply for vintage guitar gear, I am assuming that it is possible to recharge said portable music listening device. I was tempted to use the same principle to justify a fully–loaded laptop that would provide music replay, as well as all the other things that a laptop can be used for, such as write my own books, record my own music, etc. The fundamental notion here is about going back‑‑to‑‑basics so, if I can’t have the multi‑purpose computing device, a humble iPod (with earbuds of course!) would be invaluable. I wish Apple would reissue the iPod for a new generation with a decent amount of storage.

“Music expresses that which cannot be said and on which it is impossible to be silent” – Victor Hugo (1802‑1885)

A quick reflection on the idea of a solitary existence while contemplating being castaway on a deserted island. Some people cannot exist without other people and some cannot function without the external validation by others. Some people manipulate others or are manipulated by them. For some, other people are the means to establish and impose their status and material wealth. Some seek control and power over others. Some seek an audience, some are just desperate for attention and emotional attachment. I cannot abide competition or conflict (I am profoundly non‑confrontational). I abhor political mind games and trivial time wasters. In which case, I (and The CRAVEman) are the antithesis of all these things. I don’t care for social structures, I don’t seek tangible wealth or human companionship. To me, the desert island castaway way of life would be blissful seclusion, away from the wants, needs, demands, responsibilities and obligations of others. Whilst not quite exhibiting the severity of hikikomori, I am very content in the absence of other humans, in fact, I would prefer it. I believe in something bigger than myself, expressed by the infinity of the universe. Who needs people? Besides, I don’t like people very much. Seriously, I would sincerely be satisfied in serene solitude on my own isolated island. Bring it on.

Time for The CRAVEman to pack up his vintage gear as well as his CRAVE Island playlist gear and get back on the CRAVE Airlines plane back to ‘civilisation’ and CRAVE Town.

“No man is an island, entire of itself; every man is a piece of the continent, a part of the main” – John Donne (1571‑1631)

CRAVE Guitars’ ‘Album of the Month’

As The CRAVEman is still cast away on a tropical desert island this month, it seems apt to stick with a recording that evokes a sense of music that originated on a real tropical island. It also doesn’t feature in the list above. OK, so this example was actually by a UK band recorded in Belgium but it’s the music that really matters. This month’s accolade goes to…

Misty In Roots – Live At The Counter Eurovision 79 (1979): Misty In Roots is a British roots reggae band formed in 1975 in London, England. The live album was the band’s debut release and comprises seven tracks covering 37 minutes. It was recorded during the ’Counter Eurovision’ event, which was intended as a creative alternative to the popular mainstream Eurovision Song Contest (NB. hosted and won by Israel). The Counter Eurovision event took place in Brussels, Belgium on 31 March and 1 April, 1979. The album is widely regarded as one of the best live reggae albums of all time (up there with Bob Marley & The Wailers, ‘Live!’ (1975)). In 2025, a special edition was released to commemorate the album’s 50^th anniversary, followed by the band’s 50^th anniversary tour in 2026.

I have to admit that this particular album was played frequently after it was released and it remains a firm favourite today. I don’t believe that Misty In Roots has made a better album since, sadly. The production of subsequent studio albums couldn’t capture the raw passion of the band giving 100% on stage. It may not be strictly authentic Jamaican roots but it’s a darned fine reggae album nevertheless. Well worth tracking down.

BELIEVE IN MUSIC!

“The wise man makes an island of himself that no flood can overwhelm” – Buddha (Siddhārtha Gautama – c.480‑400BCE)

Tailpiece

Another month, another article. I hope you found something in there to entertain you, just a little bit. We all need something to motivate us, to make us get up every morning, to keep going day after day in this brutal, fractured perverse world. If music has the power to heal, to evoke emotions and help to maintain our mental health, wellbeing and resilience, then it is something we all need right now, more than ever.

Once again, I have absolutely no idea what’s coming up next month. I guess we’ll all have to check in to find out, me included.

“Every island to a child is a treasure island” – P.D. James (1920‑2014)

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’: “Hope is based on progress, resulting in a future that will be better than both the past and the present. Faith is that we will do it well”

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28 Nov 2023

November 2023 – Musical Machinations

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

Prelude

WELCOME ONCE MORE to CRAVE Guitars’ unhurried cruise through the planet’s turbulent waters this November 2023. While there has been much to protest about in the rapid disintegration of the prevailing ‘world order’ during the 2020s thus far, one has to grasp onto any positive prospects that may present themselves. Arising from the debris and carnage of grinding attrition, the poppies of opportunity are optimistic symbols for hope and prosperity, albeit fleeting. That’s basically all flowery language for carpe diem (from Roman lyric poet, Horace’s work, ‘Odes’ in 23 BCE – literal meaning ‘pluck the day’, commonly interpreted as ‘seize the day’).

“While we speak, envious time will have fled: seize the day, to the least extent possible trusting in the next one.” Quintus Horatius Flaccus (Horace, 65-8 BCE)

I recognise that there has been little in the way of exciting news on CRAVE Guitars core ‘business’ for many reasons outlined in the previous article (October 2023). It has been slow but it hasn’t been a total wipe‑out though and I’ll come back to that on another occasion. Here, I’m focussing purely on recorded music and principally a persistent quest to unearth something a little bit different.

Once again, no AI was used to research or write this article, only the author’s meagre cranial capacity and a bit of old school pre‑AI technology.

Context

The one upside of recent times has been an opportunity to embark on an intentional journey to explore off‑the‑beaten‑track modern music. As in physics, the musical micro‑universe is continuously expanding. The challenge is that the musical catalogue since the 1950s is absolutely massive and, with each passing day, becomes even bigger – far too much to begin with, let alone keep up with. While, on the basis that one’s knowledge is inherently extremely limited, it means that any adventure has plenty of scope for discovery, even if it is only vainly scratching the surface of the iceberg’s tip (there I go mixing metaphors again!).

“I know nothing except the fact of my ignorance.” Greek philosopher Socrates (c.470-399 BCE)

On this particular excursion into the unknown, music discovery means expanding the author’s knowledge and appreciation across many aspects of contemporary music. The exercise is about not only consolidating existing music but also about travelling lands un‑trod for new music, which may mean older music that is new to me as well as recently released music that is new to everyone.

Fortunately, 21^st Century explorations are sedate experiences. No longer do we have to fear ‘hic sunt dracones’ in ‘Terra incognita’ (here be dragons in unknown land). Note: The former derives from the Hunt‑Lenox Globe (1504), the latter from Ptolemy’s Geography (c.150).

Over far too many years than I would care to contemplate, I have been buying and listening to music. Nothing unusual about that. For many reasons (space, funds, etc.), music was largely revolved around established genre preferences. Fair enough; isn’t that what it’s all about, buy what you like and don’t bother with everything else? However, such an exercise becomes largely self‑perpetuating and insular. This I was aware of and felt that there was much more to be revealed. Where to start?

During CRAVE Guitars’ 3‑year hiatus (see last month’s article, ‘Return to and from Obscurity’), I became fascinated by exposure to ‘new’ music, rather than the habitual repetitive listening to a small repertoire of familiar choons. This is no new epiphany. When much younger, I made a point of listening to BBC Radio 1 DJ John Peel (1939‑2004) and valued his nonconformist approach towards exciting new bands and their music, especially but not solely during the punk rock era. The late John Peel may not be familiar to readers outside the UK. It was because of John Peel that I bought my very first LP album – ‘Meddle’ by Pink Floyd (1971), after he debuted it in its entirety on his late night radio show.

While so many other things were getting in my way, I consciously elected to spread my musical wings again, mainly because it is something I had wanted to do and it was actually eminently do‑able, especially economically (at first!). I engaged in the hobby of ‘crate digging’ or simply ‘digging’ in the Internet age, i.e. searching anywhere for content, online suppliers and auction sites, charity shops, second hand record shops, brick‑and‑mortar retailers, etc. Buying used albums makes the exercise much more economic, fun and sustainable.

“Music is an important part of our culture and record stores play a vital part in keeping the power of music alive.” Chuck Berry (1926-2017)

Alternative sources include ‘recommendations’ from other music aficionados and using the Shazam app on a smart phone to identify something unfamiliar and interesting that pops up wherever one might be at the time.

One of the first steps was to identify what I had and where there were obvious gaps. I had already created a Microsoft Access database so that I could scrupulously catalogue the albums, EPs and singles in my possession. That soon ran into the application’s upper limit of 2 GB per database, so had to be split into multiple databases. Now that I readily know what I have (little), what I haven’t (massive). It also enabled me to log what I might want (a continuously growing ‘most wanted’ list). The systematic categorisation was reinforced by importing everything I had from source onto Apple iTunes. Between these two key resources, it became relatively straightforward to keep track of things. Then, it was on to, thankfully dragon‑free, pastures new.

My investigations are basically limited to modern contemporary music from the early‑mid 1950s – basically from the emergence of rock ‘n’ roll – to the current day. It also includes going back further into the history of some long‑standing top‑tier genres such as blues, country and jazz that were direct predecessors to, and influences on, everything from rock ‘n’ roll onwards, as well as continuing to evolve in their own right.

There have to be boundaries or I would go insane just collecting for collecting’s sake, which is not only unrealistic but also pointless. American rapper and entrepreneur Dr. Dre once stated that he accumulated 80,000 albums and kept them in storage, before realising just that basic error. I’m sure that somewhere out there is a comprehensive British Library‑esque collection of music releases over the last 100 or so years, catalogued for historical posterity. That would be one heck of a monumental task. My endeavours are, unsurprisingly, much, much more modest.

One has to enjoy, as well as feel that an avocation is worthwhile, or there is no worth in doing it. It is for this reason that I have to exclude classical music. For some reason, classical music leaves me stone cold dead. Always has done. I’ve tried repeatedly to get into it but to no avail. However, in contemporary music, there are styles of modern classical and minimalist music that blend, fuse or crossover into contemporary electronic sensibilities with classical instrumentation that I can grasp but I’m afraid that’s it. The likes of Max Richter, Tim Hecker, Philip Glass, Jóhann Jóhannsson, Walter/Wendy Carlos and Isao Tomita I can engage with, otherwise, meh. I genuinely apologise to classical music fans. I’m sure it’s fabulous n’all but it just doesn’t do anything for me and going down that particular rabbit hole is an experience I don’t want to pursue… so I won’t. My choice.

Here are just a few figures relevant to the 3‑year hiatus to bandy about. During that period, I’ve purchased circa 3,000 albums along with a (large) handful of EPs and the odd single. That equates to around 90 per month (averaging c.3‑ish per day). I dread to think of the gross expense but at least it is little and often, unlike buying vintage guitars. It’s also relatively quick and easy to do, filling those occasional idle moments. The last 3 years has basically doubled the hoard. The ‘most wanted’ (for want of a better term) list hovers around 1,500‑2,000 depending on timing and motivation. The ‘find out more’ about list of artists is, by comparison, relatively short at around 200‑250. The conclusion is that there is plenty of scope for improvement. Additions to the hoard cover about 100 genres with the largest proportions being mainstream ones.

I haven’t ventured into the realms of rare music collection – most albums I have been looking for are relatively available with patience and digging. Indeed, many have been from bargain bins. I can’t justify or afford two expensive artefact hobbies! Neither has this mission been to create any sort of ‘standout albums of the last 75 years’ or so. I don’t think anyone could possibly agree on what that might comprise.

Right, let’s get down to the business at hand; colouring in the sketch of the musical landscape, so to speak.

“Though this be madness, yet there is method in’t.” From ‘Hamlet’ (c.1600) by English playwright William Shakespeare (1564‑1616)

Genre gap‑filling

Like most people, one has favourite genres, so‑so ones, and disliked ones. However, to rule music out just because it belongs to a hitherto underappreciated genre tends to limit one’s exposure to some highly regarded music. As an example, I was never very keen on country music. Then I watched an 8‑part documentary called, unsurprisingly, ‘Country Music’ which first aired on American TV channel PBS in 2019. I was struck by a whole bunch of music that I was completely unaware of and had summarily discounted out‑of‑hand because of what it was labelled. I was fascinated by the documentary and what it portrayed. PBS also produced another documentary series called ‘Jazz’ from 2001 that opened my eyes to what that genre also had to offer. Both PBS series were directed by Ken Burns. Actually, finding out more about the cultural history that surrounded the genres provided a context that enhanced the experience of the music greatly. This observation reinforces the (perhaps) blindingly obvious fact that societal change and musical development are both interdependent and co‑dependent. Having fired my imagination, I extrapolated the concept to other genres as well. Sometimes, ‘various artists’ genre compilations can provide a suitable entrée to a musical world less wandered.

Are there any contemporary genres that are considered out of bounds? On the whole, other than aforementioned classical, generally no. I am up for pretty much anything, while still retaining my core preferences, which include reggae/dub, IDM/EDM, ambient electronica, downtempo/chillout, dreampunk/vaporwave, indie, alternative, heavy metal, gothic, dream pop, drone, rap/hip‑hop, shoegaze, grunge, punk, garage, funk/disco, deep house, blues, rock and neo‑psychedelia. That’s a pretty broad spectrum.

My two recent articles on ‘Dub Reggae Revelation’ and ‘Adventures in Ambient’ (August and September 2023 respectively) I think adequately demonstrate the potential of genre gap‑filling. That was just breaking down two genres.

One ‘genre’ that sits outside the normal categories is the Original Soundtrack (OST). Film and TV soundtracks tend to fall into two types, one camp compiles existing music brought together to accompany what happens on screen, while the other camp employs music composed (scored) specifically for the medium. Both camps can be helpful when discovering new music.

“I’m a big collector of vinyl – I have a record room in my house – and I’ve always had a huge soundtrack album collection.” Quentin Tarantino (1963‑)

There are only so many genres (my database lists over 140 of them!) but when you consider the bewildering multiplicity of sub‑genres and micro‑genres within the umbrella of, say, heavy metal, dance or electronica, there seems no end to what can be achieved. One great thing about music is that there is always something out there somewhere to match one’s prevailing mood. Genre gap‑filling actively opens doorways into finding a whole raft of ‘new’ artists, and the next task of filling in some of the blanks was added to the ‘to‑do’ list. One simple example was a brief dalliance with Cajun and zydeco music. These originated from the 20^th Century intermixing of French Canadian Acadian immigrants, native American peoples, African slaves, and freemen in Louisiana in the deep south of the USA. Fascinating. And, thus, the search goes on.

Artist gap‑filling

There were, as you might expect, quite a few artists already covered, while there were many more that I knew about or was curious enough about to complement existing artists with ones that I hadn’t previously coveted. Some of these artists work could best be exposed by buying ‘best of’ or compilation albums, especially when I wasn’t prepared to go all out and get multiple original albums. This worked well for some artists that I wasn’t overly keen on. The relative randomness of the ‘digging’ process led to many new artist discoveries, simply through browsing and taking a gamble on something that looked intriguing. ‘Digging’ is easier in brick‑and‑mortar shops than online. Although the latter works, it is definitely much less enjoyable. We need to support our mainstream and independent record shops or they will be lost forever (as in the case of Virgin Megastores, Tower Records and many others). We almost lost the HMV chain in the UK, which would have been disastrous for high street music retail. Artist gap‑filling is a never ending expedition with untold treasures to be uncovered beyond the famous big names. Along with the household headliners, there is a multitude of lesser and unknown artists producing some fantastic music. An open mind unlocks entire vistas begging to be perused.

I soon realised that my personal favourite artists are actually few and far between, many of which have had long, consistent careers. During any artist’s long‑term output, there would inevitably be good, average and poor albums. Picking out the wheat from the chaff became an integral part of my newfound preoccupation.

Surprisingly, there are some very famous artists that simply do not resonate with me, including (believe it or not) respected giants like The Beatles and The Who. Yup. Heretical I know. I have tried over and over to get into them but without success.

There are many lesser known artists that I really like at the moment and only time will tell whether they create any sort of lasting legacy. I came across many great artists that I hadn’t even heard of, many with surprisingly extensive back catalogues. They are all out there, just waiting to be found. I realised that artist gap‑filling was the simplest way to stretch one’s listening goal posts. And, thus, the search goes on.

“For me, to turn people on to new music, on to things that are going on in the world, is important.” Nikki Sixx of Mötley Crüe (1958‑)

Release gap-filling

One logical method was to fill obvious gaps in some of the existing artists’ back catalogues or the solo careers by members of established bands. I would have some releases but not others, generally through an essentially arbitrary process, rather than any sort of systematic approach. Some additions were credible releases, while with others, there turned out to be an obvious reason why they weren’t there in the first place. Oops. Other avenues to explore in addition to studio albums include live albums, EPs, singles, compilations, dubs, remixes and various artist DJ mixes. This process wasn’t intended to be comprehensive – some releases simply weren’t/aren’t available, some have been long discontinued while others were obviously a waste of space anyway. Some albums were originally on limited release and have subsequently become rare and valuable. I know that there are plenty of collectors out there prepared to pay vast sums for some of these one‑offs. I’m not in that game and can’t afford to be. There are still plenty of missing pieces but broadly speaking the main bases have (possibly) been covered.

It would be all too easy to fall into the trap of ‘completism’, i.e. getting absolutely everything released by an artist. Given how prolific some artists are, completism would be a venture all unto itself. Frank Zappa has released over 50 studio albums, Brian Eno over 65, Johnny Cash over 75, Lee Perry over 80, Tangerine Dream over 100, and Willie Nelson over 130, not including live albums, EPs, singles, compilations, videos and bootlegs. From now on, release gap‑filling will be a case of diminishing returns, as the gaps decrease along with the overall quality of content.

One notable trend during the coronavirus pandemic was a proliferation of live music releases. Artists couldn’t get out on tour and many couldn’t access recording studios, so record labels scoured existing unreleased resources as a pragmatic stop gap during the lockdowns. Some of these live concert recordings are OK and many would normally be regarded as superfluous under ordinary circumstances. However, when needs must. One silver lining to arise out of the so‑called ‘Chinese Virus’ plague has been the rate and quality of subsequent studio releases once the ‘new normal’ was established. And, thus, the search goes on.

“I look forward to the future – and going into the studio to make new music.” Diana Ross (1944‑)

Record label gap‑filling

Some collectors also go for label gap‑filling but that’s a step too far for me, although there are some great independent labels worth giving a shout out to, such as Ninja Tune, Italians Do It Better, PIAS, Sub‑Pop, XL‑Recording, Jamaican Recordings, 4AD, Bella Union, Pressure Sounds, On‑U Sound, Ariwa Sounds and Hyperdub Records. Beyond the major corporations, there are thousands of record labels out there, so chasing artists and releases starting with a record label is neither quick nor easy. If it wasn’t for the small independent labels, though, we would be subject to commercially driven mainstream mediocrity. However, the method of looking at artists belonging to a certain label can prove promising for finding ‘new’ artists, which can then lead directly onto gap‑filling of their previous works.

“John Peel made his reputation with his radio show and his record label, Dandelion, by championing the underdog.” Jimmy Page (1944‑)

Musical discovery

There is much to be said for and against ‘taking a punt’ on something with which one is unfamiliar. Sometimes it works, sometimes it doesn’t but there is always some sense of eager anticipation involved in lucky dips. This intentionally random exercise can lead onto other artists, and so on, basically ad infinitum. Due to the finite number of listening hours in any given day, week, month, year, this means that some music can only be listened to once or twice, while others warrant repeated auditions. Buying one‑off listens is not really very productive but it happens. One day, they can be re‑used by going to someone who might appreciate them more than I do. Often, genuine appreciation or enjoyment can only be gained by listening multiple times, especially with more experimental, leftfield or avant‑garde music.

“What motivates us is always new music.” Nuno Bettencourt (1966‑)

While physical media has been a main source of content for at least the last 40 years, this is rapidly changing. According to Spotify in 2021, over 60,000 tracks are uploaded to their platform every day. One, perhaps, might wonder about the depth of quality behind such figures. I know I do but then again, I’m a sceptic. There is no shortage of music to discover and no hope of listening to even a tiny fraction of it all. Spotify is also the platform that boasts the most effective method of curated music discovery. Even so, there is still a lot of inherent chance to finding something that will stay with you over the years. One might think that genuinely new discoveries would be infrequent, especially as time goes on. Far from it in practice.

Just one example, I recently came across late Canadian composer, Mort Garson (1924‑2008), renowned for his album, ‘Mother Earth’s Plantasia’ (1976), tag lined, ‘warm earth music for plants… and the people who love them’. When looking more into him and his music, I felt that, somehow, I should have been more aware of him before now. There is plenty of info on him on the hinterwebby thingummy but our meandering paths had not crossed before now. This sort of experience, which many readers who are familiar with Garson will probably snicker at my evident naivety. Such experiences are annoyingly common.

“I actually spend as much time listening to new music as to old. Probably more. I just try to get something out of it all.” Mark Knopfler (1949‑)

So, after all that preparatory exposition, you might well be wondering, just who the heck has been ‘discovered’? Here are just a few artists that I came across during the last 3 years. Some of which readers may know, some not. I might, though, challenge anyone to tick them all off so as to expose, pour scorn and ridicule my raw ignorance for what it is, sheer witlessness. Time to position the currency where my oral cavity is (lol!). The following list covers any genre and is in alphabetical‑ish order (Note: These are indicative only and should not be regarded as recommendations)…

*Shels, 100 Gecs, 2814, 9 Lazy 9, A.M.P. Studio, A Winged Victory for the Sullen, Agnes Obel, AK/DK, Aggrolites, The Airborne Toxic Event, The Album Leaf, Arms And Sleepers, Atoms For Peace, Autechre, Be, Benis Cletin, Bent, Big Thief, Blue In Tokio, The Burning Of Rome, Burnt Friedman, Cave In, Chezidek, Clark, Cloud Control, Craven Faults, Creation Rebel, Deadbeat, Deptford Goth, Desire, Devics, Dirty Loops, Divination, Dubkasm, Dynamic Syncopation, Ekoplekz, Ethel Cain, Fink, Flanger, Fragile State, Gallows, George Faith, Girls In Synthesis, Glass Candy, Goblin Cock, Helium, Hint, How To Dress Well, Hybrid, I. Benjahman, The Irresistible Force, Ital Tek, King Creosote, Konx‑Om‑Pax, Labradford, Laurel Halo, Lemonade, Lindsheaven Virtual Plaza, Loop Guru, LoveTrio, Machinedrum, Male Bonding, Man With No Name, Martyn, Midnight Juggernauts, My Sleeping Karma, ott, Plastikman, PreCog, Pretty Girls Make Graves, Psychonauts, Pure Bathing Culture, Purity Ring, The Qemists, Rakoon, Red House Painters, Rhombus, RJD2, Romare, Scrapper Blackwell, SkyTwoHigh, Sleep Token, The Slew, Sentre, Some Girls, Sparklehorse, StarOfAsh, Steve Roach, Suckle, Sunda Arc, Sundara Karma, Sunmonx, Swayzak, Symmetry, The Syncope Threshold, T e l e p a t h, Temu, Trembling Blue Stars, The Vacant Lots, Vessels, Wooden Shjips, Yellowcard and Yppah.

… plus many, many, many more. Phew! Some amazing, some good, some interesting, a few less so, etc. One may wonder how many of these artists – regardless of how ‘good’ they are – may attain the superstar status of, say, another Rolling Stones or The Beatles from the ‘good old days’. Not many, I’ll wager. And, thus, the search goes on.

“The times, they are a‑changin’” Bob Dylan (1941‑).

Physical media

From the beginning of recording and playback in 1877 (although there were earlier experiments dating back to 1857), with Thomas Edison’s phonogram, first through wax cylinders and then shellac discs, followed by vinyl discs with the advent of the gramophone, people have been collecting music. For decades, vinyl was really the only practical medium for collectors. Collecting became more popular by the late 1970s with magazines dedicated to the hobby and suggesting values for some rarer releases. Magnetic recording technology added to, rather than replaced, vinyl and became popular with reel‑to‑reel, eight track (remember that?) and audio cassettes.

Portable music was made possible for the masses by the Sony Walkman (TPS‑L2), introduced in 1979, using the then‑ubiquitous analogue compact cassette. Perhaps the most significant portent for the demise of physical media was the introduction of the Apple iPod way back in 2001, sadly now no longer made, which led into the convenient access to music on the go, now with today’s smart phones.

Digital music, mainly through the introduction of digital music Compact Discs (CDs) in 1982 led to a revolution in collecting. CD sales peaked in 2000 at over 2.5 billion worldwide accounting for 91% of the market. By 2020 sales had fallen 95% and accounted for only 5% of global sales. However, CD sales increased again in 2021, although it is too early to predict a revival. The introduction of downloads and streaming has significantly impacted CD sales, precipitating a dramatic decline in physical album sales, as more and more consumers switched to digital streaming services.

Some alternative digital formats arrived in the wake of CD but didn’t survive for long, including Sony’s Mini Disc and DAT (Digital Audio Tape), as well as Philips’ DCC (Digital Compact Cassette). HDCD (High Definition Compatible Digital) and SACD (Super Audio CD) were promising but ultimately failed to supersede CD.

By the 1990s, I had disposed of my collection of then‑seemingly redundant vinyl LPs and singles (and my turntable) and embarked on collecting CDs, starting off with replacing what I had on vinyl and then adding new content over time. Ditching vinyl was something I might have regretted, but don’t. Vinyl represents nostalgia to me and I’m not going back. It is neither practical, desirable nor possible to embark on such a regressive approach now. At the time of writing, my music hoard of CDs comprises well over 6,000 releases by over 2,500 artists. This conglomeration has recently been organised into over 50 crates packed to the gills with the little silver discs. That equates to around 85,000 tracks on iTunes and counting. I don’t know whether this is a lot or not, with all things being relative. Currently, CD remains my main medium of choice. I predict that CDs will not become totally extinct and will experience a resurgance at some point.

The advent of CD was a catalyst to the long‑running analogue versus digital debate. For what it’s worth, my view is the debate is not about encoding, it’s about something far more subjective. Vinyl reproduction flatters music in a way that digital doesn’t and that appeals to us. Digital is technically superior but not as warm and cuddly as vinyl. Simples. Fans of analogue still swear that digital is a poor representation of real music. Fans of digital swear that analogue (and even digital CD) is outmoded and obsolete. That’s a lot of swearing. Streaming has added further fuel for opposing viewpoints with the compressed versus lossless argument. The truth is, does it really matter? As long as we enjoy the music, that’s what counts, isn’t it? Focus on the content, not the carrier. If we have a preference, make the most of it. I do think that the audiophile press is somewhat hypocritical in only going along with the latest tech after having criticised it before it became commercially established. That way, we all keep buying new kit. That is a personal opinion. Ain’t hindsight great?

“The digital world is so convenient and nice, but just playing back a vinyl record is a much warmer, hotter, more present feeling.” Steve Miller (1943‑)

Music streaming

A brief recap of developments may be in order, so a short diversion first. Let us rush past the short‑lived phenomenon of downloads, which have largely been superseded by streaming (which includes off‑line listening). The storage problem associated with physical media has led to the next revolution in listening, which is to dispense with physical media altogether and access music on remote servers held in huge data centres somewhere. This marks a watershed where the listener no longer owns a tangible product but only purchases the right to listen to it. You cannot easily donate tracks to charity or sell purchased music on to other people. Mixtapes? A thing of the past. How unromantic. All this is, to me, a major drawback. I like having something tangible that I can pick up, look at, read the liner notes, view the artwork and so on. Somehow, the old‑school ownership of a physical item is something I value. Streaming just seems like an ephemeral audition of someone else’s music, rather than something personal, bestowed by genuine ownership. Is this simply a transitional symptom? Probably, maybe.

Although streaming was introduced in the early 1990s, it wasn’t until the launch of Napster in 1999, using the new compressed MP3 digital format and exploiting new Internet‑based Broadband services, that downloads and streaming became widely popular. The licensed subscription music service Spotify was launched in 2008, rising from the ashes of the flirtatious fleeting dalliance with illegal downloads. Once again, the industry ‘big boys’ have found a way to re‑assert their dominance over us. Digital streaming now accounts for more than 80% of global music industry revenues.

The Internet and the major music streaming platforms (Spotify, Apple Music, Tidal, Deezer, Qobuz, Amazon Music, YouTube Music, etc.) have facilitated exploratory listening greatly while, at the same time, enabling artists to gain exposure in a way that they couldn’t previously through the traditional studio/record label system. Streaming generally can be on demand, through curated playlists or via Internet radio stations. All are valuable resources for the curious listener. The streaming platforms often state that they have 100,000,000 (100m) or more tracks available to customers. In practice, this is both a mind‑boggling and meaningless figure. There is such a thing as too much choice. It also gives some sense of scale, although it may call into question the balance between volume and quality. Suddenly, my meagre 85,000 tracks seems somewhat miniscule in comparison. I do, however, find it a sign of progress when more than 50 crates of CDs can be stored on an SSD (Solid State Disc) that’s less than half the size of a cigarette packet (remember those too?).

“I can’t understand why people are frightened of new ideas. I’m frightened of the old ones.” John Cage (1912‑1992)

Another problem exposed by streaming is that there is now plenty of material that is not distributed or sold on physical media at all and is only available via the Internet. Streaming‑only releases are essentially simpler and cheaper than managing traditional physical distribution channels. It also pushes new customers towards expensive streaming subscriptions whereby they earn money whether they are used or not. Talk about milking a cash cow! This online‑only approach affects some genres more than others but it means that, in order to continue with this ambitious side project of mine, streaming has become a necessary additional resource. In effect, physical and virtual music has to co‑exist; being an ‘and’ rather than an ‘either/or’ approach. For info, after much deliberation, CRAVE Guitars subscribes to Apple Music.

Some streaming services provide high definition listening, such as Tidal, and they charge a premium for it. Others, such as Spotify are content to go for volume at low definition. The lesson to take from this is that streaming services are not all alike despite peddling similar wares to punters.

“You pays your money and take your choice” A British lexicographic irregular that first appeared in print in Punch magazine in 1846

Does streamed high definition music (i.e. better than CD quality) make a difference to most listeners? Big question. Well, apparently, not really. The evidence suggests that most average (i.e. non‑industry) people cannot tell the difference in blind listening tests conducted under ‘normal’ conditions. Trained listeners can, allegedly, differentiate formats but “If there’s any discernible difference, it’s so subtle and so slight, you’d have to be somebody who’s been in the business for decades like me to hear it.” (recording and mixing engineer, Prince Charles Alexander, Berklee Online study, 2019). A case of fidelity vs artistry vs money, always good for an argument. Why on Earth spoil music listening by teaching people to identify comparative digital encoding anomalies when they are so small as to be meaningless? Spotify’s strategic positioning seems to agree, while Tidal doesn’t. People who go down the high definition route are, perhaps, hedging their bets. If they have the best, it doesn’t matter whether they can hear a difference or not. No doubt there is some audiophile snobbery lurking in there too. For the sake of throwing my two penny worth into the ring, I can neither tell the difference nor can I be bothered to waste my time trying to spoil the enjoyment that music brings by attempting to do so. Time for some good ol’ fashioned snake oil to leech the contents from your bank account?

Does streaming stop me ‘digging’ for used CDs? NO. Does it stop me buying new CDs? NO. Does it encourage me to buy more CDs? Actually, YES. I still prefer to purchase and store music on CD, while recognising the inevitability of embracing the dark side of streaming culture. On the basis that vinyl and cassette have seen a popular resurgence, CD is not going away anytime soon. In practice, and probably being totally hypocritical in doing so, I tend to rip music from CD on iTunes and then stream (or rather cast) it to my music system. I know that this practice probably makes little sense but, for me, it is the best of both worlds, I have the physical media and the convenience of digital storage. Which leads neatly onto…

CRAVE Guitars’ ‘music room’

If you read my October 2023 article, ‘Return to and from Obscurity’, you will know of the sad loss of ‘mi media naranja’ (my better half) due to the vile and relentless ravages of cancer. Initially crestfallen, once accepting the loss, I set about repurposing the small ‘dining room’ which had been my wife’s bedroom into a dedicated ‘music room’, used for noodling on vintage guitars and listening to recorded music. NO TV or clock allowed! Having previously lost our home and the vast majority of our belongings (another story altogether!), I had to rebuild a hi‑fi from scratch which, in itself, was quite an exciting experience, along with uniquely decorating the room to provide a suitable listening/playing environment. It took a year of painful sacrifices involving the sale of some beloved A/V gear (I’m also a film & TV buff) to raise funds and some lengthy (re)searching for used ‘bargains’. I fully acknowledge that this indulgence seems an excess of a luxury, given everything else but other things had to be compromised to enable it. My choice.

The ‘music room’ is used every day for music listening. For those who are interested in the techy side of things, the main hi‑fi system comprises:

Naim Uniti Core music server with 2TB SSD storage
Naim ND5 XS2 music streamer
Naim CD5 Si CD player
Bryston BP17 pre-amplifier
Bryston 4BSST power amplifier
PMC Twenty.24 floor standing speakers

While this is neither a high‑end system nor a budget system, it has been carefully selected to meet the need for critical and enjoyable listening of both physical and streamed music (and within budget). My 500 or so most preferred CDs are immediately to hand in the room, as well as being stored in lossless digital form on the music server, thereby also making them available throughout the house via Wi-Fi (in due course). It’s certainly more than good enough for my tired, aging ears. Being pragmatic, the electronics are, after all, only a means to an end, which is to stimulate an emotional response through music.

At this point, you may be wondering whether I actually listen to all that music. Fair question. Well, yes, is the answer. There wouldn’t be much point in writing about it if I didn’t experience the results of my labours. While I try very hard, there may be the odd track here or there that gets shunted down a listening list but I would hope that’s the exception, rather than the rule. Heck, it’s a tough job but someone’s got to do it!

“Don’t tell me baby you gotta go, I got the hifi high and the lights down low” from, ‘I Need Your Love Tonight‘ (1959) by Elvis Presley (1935‑1977)

Personal top 20 ‘desert island’ albums

Depending on mood, I do go back to long‑term favourites, simply for the comfort and familiarity of a ‘known quantity’. Like chatting with an old friend. At the outset, I said this wasn’t about compiling any sort of ‘best albums of the last 75 years’. That doesn’t mean that there aren’t some albums for which I hold a special affection and which have been part of the hoard for many years (so not ‘new’). Here are 20 of them, all pretty well known mainstream releases, and which I feel have stood the test of time. Regular readers will see no surprises here. This is very much a personal list, chosen at the time of writing – it would undoubtedly be different on different days/weeks/months. Some entries hold special meaning and are therefore highly evocative.

I call this my ‘desert island’ security list. That is, if I could only have 20 albums as a castaway, what would they be? Perhaps, more accurately, it could also be called ‘top 20 memories’ or ’20 comfort classics’. Now how’s all that for wistful nostalgia? For what it’s worth, here is today’s list:

The Cure – Disintegration (1989)
Black Sabbath – Black Sabbath (1970)
The Doors – L.A. Woman (1971)
Pink Floyd – Meddle (1971)
John Martyn – Solid Air (1973)
Steve Hillage – L (1976)
Talking Heads – Remain In Light (1980)
Lee “Scratch” Perry – Roast Fish, Collie Weed & Corn Bread (1977)
Rage Against The Machine – Rage Against The Machine (1992)
Burning Spear – Garvey’s Ghost (1976)
Bob Marley & The Wailers – Live! (live) (1975)
Deep Purple – Made In Japan (live) (1972)
Nick Cave & The Bad Seeds – Push The Sky Away (2013)
Depeche Mode – Violator (1990)
Massive Attack – 100^th Window (2003)
David Bowie – Let’s Dance (1983)
Burial – Untrue (2007)
Tangerine Dream – Rubycon (1975)
John Lee Hooker – Boom Boom (1993)
Beck – Sea Change (2002)

“Music is the one incorporeal entrance into the higher world of knowledge which comprehends mankind but which mankind cannot comprehend.” Ludwig van Beethoven (1770-1827)

The future

OK, that’s the past, so now let’s take a brief, casual look at what may happen into the near future. While vinyl is doing remarkably well and CD is showing possible signs of life, it is clear that streaming is the future until something better comes along. It is certainly in the interests of the music industry to retain tight control over their valuable assets, although many artists say that the practice is detrimental to their income. However, this actually means little to the consumer. Better returns for the companies and artists simply mean higher prices for the public who have no say in the matter. The reality is that the few rich get much richer and the many poor get much poorer; sadly the dysfunctional norm of the modern capitalist world.

The commercial interests of multinational companies like Sony BMG, Universal, EMI and Warner Brothers rule their respective roosts. Interestingly, the major corporations don’t own the streaming companies, unlike in the parallel dimension of film and TV where the studios control all levels of vertical integration.

Mega‑artists with mega‑egos to match like Taylor Swift, Madonna, Adele, Jay‑Z/Beyoncé, U2, KISS, Dr. Dre, Timberlake and Ed Sheeran, along with many other big names in the lofty reaches of the higher socioeconomic hierarchy are laughing hysterically all the way to their already mega‑well‑stocked tax‑free offshore bank accounts. The industry ‘big four’ major record labels and powerful business artists together make up a resilient ‘pyramid of power’, that will continue to dominate the economics of the music biz for many years to come. Sadly, your ordinary talented hard working musicians don’t attract such filthy lucre. When push comes to shove, it’s all about the money. T’was ever thus, or more accurately…

“Oh! Ever thus from childhood’s hour” from the poem, ‘The Fire Worshippers’ (1817) by Irish writer and poet, Thomas Moore (1779‑1852)

Perhaps more worrying for creative artists and for many music enthusiasts is that the focus is clearly moving away from coherent album releases and more towards the production of single tracks out of context of other material by the same artist. By that statement, I don’t mean a rejuvenation of chart singles, which have long ceased to mean anything. The evidence shows that people are streaming individual songs, rather than a collection of tracks that would historically have made up a cohesive LP. Just look at the streaming stats of albums on any digital online platform and the predominance of maybe one or two tracks over the rest is unmistakeable. There is a feedback loop that encourages artists to change the way they make music and which goes on to influence curated playlists, radio coverage and, ultimately, sales, then repeat. The modern equivalent of the old‑fashioned radio playlist.

In 2016, it was reported that album releases were plummeting while EPs and single tracks were skyrocketing. Will we ever see (or, rather, hear) any more all‑time classic albums like ‘Sgt Pepper’s Lonely Hearts Club Band’, ‘Dark Side Of The Moon’, ‘Rumours’ or ‘Thriller’? Only time will tell. Will the way that music is created, distributed and accessed mark the death knell of the ‘album’ as we know it? Highly likely, but not just yet. The album may, like many things, see a revival. We’ll just have to wait and see (if we live long enough). Personally, I grew up with the antiquated concept of the album or LP, so it retains a certain sensibility but, then again, I am destined for premature oblivion myself, so what the heck do I know?

The topical buzz around Artificial Intelligence (AI) will inevitably play its part in music creation with virtual artists and AI composed tracks. It’s already here and can only evolve from here on. AI isn’t new, its roots go back to 1956 and the American Dartmouth College in New Hampshire. AI generative music goes back to the mid‑1990s. Is AI a threat? The jury is currently out. Thankfully, if AI is used for music, literature and art, it won’t be used to annihilate mankind (except, perhaps, through technological mediocrity). The ultimate demise of humans is up to humans, directly or indirectly, at least for now. Who needs doomsday generative AI when we all have to endure the antics of egregious corrupt despots like Putin, Xi, Kim and too many others of their insane immoral ilk? Don’t you just love mankind’s determined destiny of denial and doom? I digress (again).

“If we don’t end the war, war will end us.” H.G. Wells (1866‑1946)

One certainty is that music will survive in its manifold forms. One hopes that tired and clichéd genres like the current vapid world of commercial pop and dance music since the new millennium will rejuvenate into something more interesting at some point. Conversely, let us also hope that the more dynamic genres don’t descend to the deplorable depths of hideous homogeneity.

Musicians will proliferate. Music will proliferate. The way we access music will change. Whatever happens, change is inevitable and it will be fascinating to see how it evolves and how we adapt. Music as an essential component of the human condition will prevail in one form or another as long as humans exist. Music is, after all, a phenomenon unique to the human race. Thank goodness for that. And, thus, the search goes on.

“When I hear music that parents hate, or older musicians hate, I know that’s the new music. When I hear older people saying, ‘I hate rap or techno’ I rush to it.” George Clinton (1941‑)

Amateur musicology?

I do not pretend to be some sort of self‑appointed authority on contemporary music. My main obsession is still vintage guitars and vintage guitar gear. Perhaps, though, my passion for music predated my addiction to guitars. Over the decades my love of modern music does, I believe, provide a reasonable insight into the science as well as art of music, with a little alchemy thrown in for good measure.

Strictly speaking, musicology is the analysis and study of music. Musicology belongs to the humanities and social sciences, although some music research also belongs to the fields of psychology, sociology, acoustics, neurology, anthropology and computer science.

Musicology covers three general disciplines; music history, new musicology (the cultural study of music) and ethnomusicology (the study of music in its cultural context). For the life of me, I can’t really (be bothered to) differentiate between the last two of those.

Clearly, I cannot compete with professional experts in the field and my research methods are hardly scholarly. I am, however, happy to be an amateur sleuth, as it allows for significant enjoyment. Music should be overwhelmingly pleasurable, rather than playing second fiddle to methodical and clinical academic enquiry. Again, my choice.

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

In addition, and hopefully obviously to readers by now, I also play music (very badly it must sadly be said). I wouldn’t hoard vintage guitars unless I could actually conjure up something vaguely creative and emotional out of them. Perhaps interestingly, I don’t play other people’s music; I much prefer to ‘do my own thing’ for better or worse. Usually the latter.

I am incessantly amazed at what I don’t know. I know that shouldn’t be the case, but society tends to prejudge ignorance as a weakness and expertise as a virtue. What others regard as the blatantly obvious is utterly oblivious to me until I encounter it. However, isn’t that what exploration and discovery is all about?

If we accept that “Music is the universal language of mankind” Henry Wadsworth Longfellow (1807-1882), one can only trust that exploration is the means by which we enhance and articulate our own individual musical linguistic skills.

Musicology may not be quite the right word for my approach towards modern music but I sure can’t think of a better one. Musicology Lite perhaps? Deluded dilettante? Possibly. Biased? Definitely. We all have our own opinions, right? And, thus, the search goes on.

“Music is the strongest form of magic.” Marilyn Manson (1969‑)

Sex, Drugs & Rock ‘n’ Roll

Musicology suggests an interest in music psychology, which is how music affects the cognitive functions of the human system. Building on some of my opinionated comments last month, here’s a thought for the day. Let us remember that music carries with it enormous power to improve our mental health and wellbeing. Music can boost serotonin, dopamine, endorphin and oxytocin levels that work on the pleasure receptors of the brain. Put simply, these magic substances can act as effective natural anti‑depressants and can help to improve both mood and behaviour. All in all, mostly good stuff then. As we all know, music, can also irritate the heck out of us sometimes, so remember to love what you love.

Now here’s an interesting diversion into music cultural history. All three human activities, sex, drugs and music directly affect the pleasure centres of the brain, so there is something scientific behind the old rockers’ adage, ‘Sex, Drugs and Rock ‘n’ Roll’ after all. While some suggest the phrase came from Ian Dury’s 1977 single, its roots derive from a much earlier hendiatris, ‘wine, women and song’, emanating from Germany in the 1770s, although there is some debate as to who actually coined it. Many scholars attribute its origins date back even further to theologian, Martin Luther.

“Wer nicht liebt Wein, Weib und Gesang, der bleibt ein Narr sein Leben lang. (Who not loves not wine, women and song, remains a fool his whole life long).” Martin Luther (1483‑1546)

The first modern use of the phrase was printed in a LIFE magazine article that dates from 1969, “The counter culture has its sacraments in sex, drugs and rock.” In 1971, The Spectator magazine printed, “Not for nothing is the youth culture characterised by sex, drugs and rock ‘n’ roll.” Ian Dury certainly made the most of it.

CRAVE Guitars ‘Record of the Month’

Once again, as this is a bit of an outlier in the overall scheme of CRAVE Guitars’ articles, I cannot leave without at least mentioning one of those albums that warrants repeat listening (for me). While last month, I was clinging onto sultry summer with dub reggae, this month, with the rapid decline into grim winter, I’m going for something a little more contentedly contemplative.

Biosphere – Microgravity (2015 reissue of the 1991 studio album with additional tracks). Biosphere is electronica artist, Geir Jenssen (1962‑) from Tromsø, Troms, Norway. The 16 tracks fall broadly into the ambient, ambient techno, ambient house, field recording and progressive electronica genres. Microgravity was Biosphere’s debut studio album. Laidback ambient grooves are a wonderful way to escape and transport one’s consciousness into an otherworldly, serene dimension, great for relaxation, stress relief and focus. It is also great for testing the hi‑fi.

“If music be the food of love, play on, give me excess of it; that surfeiting, the appetite may sicken, and so die” from the play, ‘Twelfth Night’ (c.1601/1602) by William Shakespeare (1564-1616)

Tailpiece

Well that’s another monthly article done and dusted. Number 75 to be precise since I started writing CRAVE Guitars’ articles way back in November 2014. It’s come a long way.

I am genuinely grateful to be in the position whereby I am able freely to undertake such projects as this one. The author is acutely aware of the extreme difficulties faced by innocents around the globe.

The pursuit of new stuff is unlikely to abate now that it has begun in earnest. Is there anything I regret uncovering? Nope. I try hard not to regret anything; I would rather use any missteps along the way as a learning experience. Are there any guilty pleasures that have been adopted? Probably, but now isn’t the time or place for shaming my deviant musical proclivities! Surprises? Plenty. Pleasure? A mixed bag. Top tips? A few. Anticipation? Always.

What is most encouraging is that there is an almost unlimited wealth of awesome, incredible music out there waiting to be discovered if you want to look hard enough. Enjoy!

The plan is to get back to more CRAVE Guitars core raison d’être for the next article. However, we all know what happens to “the best laid schemes o’ mice an’ men” from the poem, ‘To a Mouse’ (1785) by Scottish poet Robert Burns (1759‑1796), so no promises. OK? Thanks for reading.

Peace, love, truth and guitar music be with you always. Until next time…

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

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28 Feb 2020

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

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

Introduction

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

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

The Story of Modern Music Part XI 2010-2019

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

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

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

Historical Context 2010-2019

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

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

Musical Genre Development 2010-2019

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

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

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

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

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

Musical Facts 2010-2019

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

Tailpiece

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

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

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

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

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

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29 Nov 2019

November 2019 – The Story of Modern Music in 1,500+ Facts – Part IX

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

Introduction

Welcome to the end of the 20^th Century. Not actually, of course, that was 20 years ago now. I mean, in the ‘Story of Modern Music’, having covered almost 350 years so far, welcomes you to the very end of the century that really transformed mankind’s potential and bestowed opportunities hitherto unforeseen and unthought‑of, including musically.

If you would like to (re)visit any of the first eight chapters of the story to‑date, you can do so here (each link opens a new browser tab):

I did think of trying to compress the last three decades into a single article and then thought better of it on the grounds that doing so might diminish the impact of the period within the overall picture. So, just for now, the millennial years will have to wait. The result is that the 1990s will have its own dedicated article, although it will be a slightly more diminutive read compared to the previous five decades/articles.

The Story of Modern Music Part IX 1990-1999

It is quite tricky to pinpoint exactly what the ‘90s meant to music devotees. It seemed to depend where you lived, your age and, perhaps, what socio‑economic ‘class’ you belonged to. Whether it was grunge, alternative, Britpop or dance music that floated your boat, there was a new and exciting scene to associate with and belong to. The psychological attachment to a musical style was important to many, especially young people who were looking for some structure to life while the old order of social and political systems seemed to be disintegrating around them. Although not quite as disobedient and defiant as previous musical archetypes, there was still an underlying seething resentment of ‘the man’, which various groups saw as attempting to control their chosen form of exuberant self‑expression. In a sense, they were tapping into the anger of the marginalised.

With previous decades, it was notable that births of familiar artists outnumbered deaths, while the ‘90s saw that trend beginning to reverse. Many future artists that may well achieve sustained fame may have been born in the ‘90s but not yet discovered, while the stars of previous eras are getting, let’s be honest, a bit long in the tooth.

Similarly, it is becoming difficult to distinguish what definitive musical gems will rise from the seeming homogeneity of releases to become revered as ‘classic’ in years to come. Arguably, the 1990s marked the last vestiges of milestone singles and albums. From then on, listening habits began to change fundamentally and that, in turn, changed the way we regard significance, at least through the traditional lens of sales figures.

Historical Context 1990-1999

Some commentators called the 1990s as the ‘best decade’, although that clearly depended on your circumstances and point of view! The dawn of the 1990s experienced widespread international political restructuring, especially in Eastern Europe following the end of the Cold War and the fracturing of the communist Eastern Bloc. The 1990s also saw the growth in environmental consciousness based on dire scientific predictions about global warming and climate change. Ironically, scaremongering about ‘greenhouse gases’ led to an expansion of ‘green’ industries in developed countries. Similarly, many commentators observed signs of societal dysfunctionality, leading to prescient dystopian novels such as ‘Generation X’ by Douglas Coupland (1991), ‘Random Acts Of Senseless Violence’ by Jack Womack (1992), and ‘Prozac Nation’ by Elizabeth Wurtzel (1994). The wealth gap between the haves and have‑nots was striking; a morally unjustifiable trend that would only worsen from the 1990s onwards. The increase in the pace of technological change in post‑industrial countries fuelled the migration towards ‘digitocracies’ and resulted in manufacturing being outsourced to low‑cost developing countries on a massive scale. A period of unprecedented growth in the use of the Internet fuelled unsustainable speculation in the value of high‑tech companies, known broadly as the ‘dot‑com bubble’, a phenomenon that was bound to burst, which it ultimately did. Many companies that had become reliant on IT during the decade were fearful of the impact of Y2K on computer systems that were not prepared for the turn of the millennium.

Year	Global Events
1990	Following the fall of the Berlin Wall and the collapse of soviet communism, East and West Germany were reunited as the Federal Republic of Germany. Political internee and equal rights campaigner, Nelson Mandela was released from prison after serving 27 years. His return to freedom effectively marked the end of apartheid in South Africa. The ground breaking American cult TV series Twin Peaks burst onto screens. Created by David Lynch and Mark Frost, and starring Kyle MacLachlan. It is considered a landmark in television drama. NASA’s Hubble Space Telescope, named after American astronomer Edwin Hubble, was launched into low Earth orbit. The telescope was designed to look into deep space. The first Middle East Gulf War started after Iraq invaded and annexed neighbouring Kuwait. A U.S.‑led coalition of 35 countries responded with Operation Desert Storm resulting in a coalition victory.
1991	Communist rule of the soviet USSR ended, resulting in a break up into a number of separate countries. The dismantling of the communist state effectively ended the 45‑year old Cold War between Russia and America. British computer scientist and engineer, Tim Berners-Lee posted a short summary of the World Wide Web project, effectively launching the Internet, initially to research institutions and then to the general public.
1992	The infamous Los Angeles riots took place after 4 LAPD officers were acquitted of using excessive force in the arrest of African-American Rodney King the previous year. The incident had been videotaped and broadcast widely on TV, sparking renewed civil rights activism. Founded in 1918, Central European country Yugoslavia descended into bitter civil war in Bosnia and Herzegovina, a devastating military conflict that lasted until 1995.
1993	Democrat politician Bill Clinton became the 42^nd president of the U.S.A. Another massive American cult TV series, The X-Files was first broadcast, created by Chris Carter and starring David Duchovny and Gillian Anderson. The European Union (EU) succeeded the European Economic Community (EEC) when 12 countries signed the Maastricht Treaty, signalling a process of closer political and economic union.
1994	The trilateral North American Free Trade Agreement (NAFTA) between the U.S.A., Canada and Mexico came into effect. Anti-apartheid revolutionary and politician Nelson Mandela was elected as president of South Africa. He was the country’s first black head of state and the first to be elected in a fully representative democratic election. The Provisional Irish Republican Army (IRA) declared a cease fire in Northern Ireland, paving the way for de‑armament and the subsequent peace process. The 38Km (23.5mile) Channel Tunnel rail link beneath the English Channel from Folkestone in England to Calais in France was opened for business.
1995	The phenomenally successful multi‑national online auction and e‑commerce website eBay was launched, founded by entrepreneur Pierre Omidyar and based in San Jose, California. Former professional American footballer O.J. Simpson was found not guilty of the double murder of former wife Nicole Simpson and her friend, Ronald Goldman. The criminal trial, held in Los Angeles, was widely broadcast on TV.
1996	Dolly the sheep became the first mammal to be cloned from an adult cell by using nuclear transfer in Scotland, UK. Dolly died in 2003 at the age of 6. Heir to the British throne, Prince Charles was formally divorced from Diana, Princess of Wales in London.
1997	The British crown colony of Hong Kong was returned to Chinese sovereignty as a Special Administrative Region of the People’s Republic of China after 156 years of British rule. Diana, Princess of Wales, was killed in a car crash in the Pont de l’Alma tunnel in Paris, France at the age of 36. Her lover, Egyptian socialite Dodi Fayed, was also killed in the crash, sparking many conspiracy theories. Albanian-Indian Roman Catholic nun and humanitarian missionary Mother Teresa died of a heart attack in Rome at the age of 87. The Pacific Rim countries were hit by the major Asian Financial Crisis, starting in Thailand and spreading rapidly across east and southeast Asia, resulting in an international financial contagion that threatened a severe worldwide economic meltdown.
1998	The male virility drug Sildenafil, commonly known as Viagra, became available for use in America. It was originally discovered by pharmaceutical company Pfizer as a treatment for heart‑related chest pain. The Internet search engine Google Search was launched. It is the most widely used search engine on the World Wide Web, with over 90% market share in 2019, handling more than 5 billion searches per day. Multinational technology giant, Apple Inc. launched the highly successful iMac computer. The multilateral Good Friday Agreement was signed in Belfast by the Republic of Ireland and Britain as part of the on-going Northern Ireland peace process. The first module of the International Space Station (ISS) was launched into low Earth orbit. The ISS has served as a multinational microgravity research laboratory.
1999	The Euro became the official single currency for the majority of European Union (EU) countries, known commonly as the Eurozone. The security of the Euro is overseen by the European Central Bank in Frankfurt, Germany. Politician, Vladimir Putin became President of Russian Federation, succeeding former president, Boris Yeltsin.

Musical Genre Development 1990-1999

The 1990s was a decade of sometimes dysfunctional music set against a background of major political change and social polarisation/alienation.

One phenomenon of the 1990s that isn’t genre‑specific but which built on the perennial success of pop music was the ‘boy band’ and its all‑girl equivalent. Artists included Backstreet Boys, Boyz II Men, *NSYNC, Take That, Westlife, All Saints, S Club 7, Spice Girls and Destiny’s Child. The record company ‘manufactured’ bands didn’t have it all their own way; solo pop music artists were also highly successful during the 1990s, including Britney Spears, Christina Aguilera, Justin Timberlake, Jessica Simpson, and Mandy Moore.

American heavy metal saw a resurgence including bands like Metallica, Megadeth, Slayer and Pantera achieving massive popularity. Meanwhile, British heavy metal was also prospering with NWOBHM bands such as Def Leppard, Judas Priest and Iron Maiden.

Hip‑hop became increasingly divisive, inciting gang warfare, gun violence and drug use, fuelling rivalry between east and west coast artists, and resulting in a number of high profile deaths including Tupac Shakur and the Notorious B.I.G.

The English ‘Manchester movement’ (or ‘Madchester’ as it was often called) was strong in the late 1980s and early ‘90s. The scene centred on venues like the Haçienda nightclub in Manchester, run by post‑punk band New Order and led by local bands such as Stone Roses, Happy Mondays and The Charlatans, although the latter were actually based in the west midlands. The music isn’t necessarily a genre per se, it was more of a loose social and cultural grouping that also encompassed fashion, art and media. The OTT craziness of the Manchester scene was faithfully represented in the film ’24 Hour Party People’, made in 2002, directed by Michael Winterbottom. Other artists associated with the vital hotpot based around the UK’s North West were The Verve, Inspiral Carpets and James, as well as Scottish band Primal Scream. The Manchester ‘baggy’ zeitgeist would be important in the growth of the drug‑fuelled rave scene later in the decade.

A fusing of genres led to the emergence of trip hop as a discrete genre that grew from its roots in Bristol, UK and was pioneered by artists like Massive Attack, Tricky, Portishead, Morcheeba and Sneaker Pimps. Sometimes referred to as ‘downtempo’, it is typified by taking electronica, hip‑hop, house, funk, dub, soul and psychedelia and creating something altogether different and fresh. While its roots were clearly experimental and atmospheric, trip hop was influential in that it led to other popular mainstream forms that became subsumed in the electronic dance craze (see below) of the 1990s and early 2000s, including breakbeat, bigbeat, drum ‘n’ bass, IDM, dubstep and acid jazz. Like the Manchester movement, trip hop was very much a UK‑led genre, which had little mainstream success in the U.S.

Like punk before it, alternative rock and its counterpart, experimental noise rock, is a musical genre that railed against the major record corporations that ran the music business and the mainstream pop and rock products they marketed. Independent producers and record labels that existed outside the studio system were very much part of an active underground movement, particularly in America, and this is where a number of bands came to public attention at the start of the 1990s. Compared to the mainstream, alternative artists found it relatively difficult to garner wide audience appeal, so word of mouth, radio and record releases were the way that the message got out. The alternative moniker is more of an umbrella term relating to artists’ status in the system, rather than having definitive identifiable genre characteristics. Notable alternative artists include Sonic Youth, Dinosaur Jr., Nine Inch Nails, Beck, Jane’s Addiction, Smashing Pumpkins and Pixies. Before they signed to a major label, R.E.M. were seen as alternative and this started a broadening of the definition that included other major artists such as Rage Against the Machine, Red Hot Chili Peppers, Foo Fighters, Queens Of The Stone Age, Radiohead and Nick Cave & The Bad Seeds. The start of the new millennium saw other alternative rock artists emerge including The Strokes, Interpol and The Rapture, extending and ensuring alternative rock’s destiny into the 21^st Century.

Grunge is a specific genre of music that developed in the Pacific North West of the United States and more specifically its epicentre in and around Seattle in Washington State. Like alternative/noise rock, grunge was an underground movement centred on an independent record label, in this case, Sub Pop records based in Seattle. Grunge is influenced by punk, metal and alternative styles resulting in something altogether different from all of them. Grunge is characterised by slow, raw arrangements and a distinctly distorted lo‑fi sound. Compositions often followed a quiet‑loud‑quiet structure. Lyrics tended to be downbeat, melancholic, anti‑consumerist and often depraved with a focus on cultural alienation and social isolation. While all of the following rejected the term ‘grunge’ as defining their music, especially after signing to major labels, the early pioneers of Seattle’s grunge scene included Nirvana, Soundgarden, Pearl Jam, Mudhoney and Alice In Chains. The core grunge scene had largely fizzled out and diversified by the end of the 20^th Century. A revival of the grunge ethic evolved in the 2010s to include artists like Courtney Barnett, Wolf Alice and Yuck.

Britpop was essentially an upbeat and positive British reaction to the dark and depressing American grunge scene. The music and its cultural background (nicknamed ‘Cool Britannia’) lasted approximately from 1993‑1997 before fizzling out. The major bands of the Britpop period included the ‘big four’; Oasis, Blur, Pulp and Suede. Collectively they expanded popularity to include other artists such as Supergrass, Cast, The Lightning Seeds, Sleeper and Elastica. The so‑called ‘Battle of Britpop’ between Oasis and Blur around 1995 was a media‑fuelled highlight catching the public’s imagination at the time. Britpop was important for influencing many quintessentially British bands that came along for the ride including Coldplay, Travis, Feeder, Stereophonics, Elbow, Snow Patrol and Keane. Further influences included Kaiser Chiefs and Arctic Monkeys in the 2000s.

Dance music (in this context, Electronic Dance Music – EDM) was a phenomenon that had its roots in the late 1980s but exploded in the early 1990s and lasted well into the 2000s. Dance music comprises largely electronically produced progressive dance music intended for use at nightclubs, festivals and (often illegal) raves by DJs who mixed and re‑mixed heavy beats through loud PA systems to audience rapture. In fact, many record labels and DJs became far more celebrated than the musical artists they played in their DJ sets. The predominant sub‑genres of dance music include house, techno, trance, drum ‘n’ bass and dubstep, although these only represent the tip of the dance sub‑genre iceberg. Dance beats generally comprise programmed synthesizers, samplers and drum machines to produce buoyant, insistent 4/4 dance rhythms. Dance music also became synonymous with recreational drug use such as ecstasy (MDMA) as well as party holiday destinations such as Ibiza and Mykonos islands in the Mediterranean Sea. Some of the famous artists of the dance scene include The Chemical Brothers, The Prodigy, Underworld, Orbital, KLF, The Shamen, The Future Sound of London, 808 State, Groove Armada, Aphex Twin, Basement Jaxx and Daft Punk. Later artists built on the foundation, include Pendulum, SBTRKT and Skream. DJs became pivotal in promoting the dance craze and became famous in their own right, including Carl Cox, Fatboy Slim, Pete Tong, Paul Van Dyk and Armin van Buuren. There are many sub‑genres of dance including acid house, IDM (Intelligent Dance Music), ambient, breakbeat, downtempo, jungle and UK garage, all ensuring that dance music remains up‑to‑date and relevant in the 21^st Century.

Musical Facts 1990-1999

Day	Month	Year	Music Fact
23	January	1990	American guitarist and co-founder of southern rock band Lynyrd Skynyrd, Allen Collins died from pneumonia in Jacksonville, Florida at the age of 37.
8	February	1990	American country and rock & roll singer and songwriter, Del Shannon committed suicide as a result of depression at his home in California at the age of 55.
18	February	1990	English singer Freddie Mercury made his final public appearance with other members of pop/rock band Queen at the Brit Awards ceremony, held in London.
20	March	1990	English electronic/alternative rock band Depeche Mode released their career-defining classic 7^th studio album, ‘Violator’ in the UK.
26	March	1990	Northern Irish blues/rock guitarist, Gary Moore released his classic studio album, ‘Still Got The Blues’.
3	April	1990	Highly acclaimed Grammy award winning American jazz singer Sarah Vaughan died from cancer at her home in Hidden Hills, California at the age of 66.
10	April	1990	American East Coast rappers Public Enemy released their politically charged 3rd studio album, ‘Fear of a Black Planet’.
16	April	1990	Indie rock giants, Nick Cave & The Bad Seeds released their 6^th studio album, ‘The Good Son’.
26	June	1990	Prolific American alternative rock band Sonic Youth released their successful and significant 6^th studio album, ‘Goo’.
24	July	1990	American heavy metal rock band Pantera released their classic 5^th studio album ‘Cowboys From Hell’.
21	August	1990	Legendary American blues guitarist and singer B.B. King received a star on the Hollywood Walk of Fame at 6771 Hollywood Boulevard.
27	August	1990	American blues guitarist, singer and songwriter, Stevie Ray Vaughan and four others died tragically in a helicopter crash in East Troy, Wisconsin at the age of 35.
31	August	1990	The funeral service of American blues/rock guitarist Stevie Ray Vaughan took place at Laurel Land Cemetery in Dallas, Texas.
3	September	1990	English heavy metal rock band Judas Priest released their 12^th studio album, ‘Painkiller’.
21	September	1990	American thrash metal rock band Megadeth released their superb classic 4^th studio album, ‘Rust In Peace’.
6	October	1990	American Heavy metal band Metallica began recording their massive studio album ‘Metallica’ (aka the ‘black album’) in Los Angeles, California.
9	October	1990	American thrash metal band, Slayer, released their mega 5^th studio album, ‘Seasons In The Abyss’.
29	October	1990	Legendary award-winning American blues guitarist, singer and songwriter John Lee Hooker was inducted into the Rock and Roll Hall of Fame.
8	January	1991	English guitarist and songwriter, Steve Clark of hard rock band Def Leppard died of alcohol poisoning at his home in London, at the age of 30.
15	February	1991	Successful English pop singer, songwriter, guitarist, record producer, and actor Ed Sheeran was born in Halifax, West Yorkshire.
21	March	1991	Legendary American inventor and founder of Fender Electric Instrument Manufacturing Company, Leo Fender died from Parkinson’s disease in Fullerton, California at the age of 81.
8	April	1991	English trip-hop pioneers, Massive Attack, released their successful debut studio album, ‘Blue Lines’ in the UK, including the dance anthem, ‘Unfinished Sympathy’.
20	April	1991	English guitarist and front man of rock bands Small Faces and Humble Pie, Steve Marriott died in a house fire at his home in Essex at the age of 44.
23	April	1991	American guitarist, singer and songwriter with New York Dolls, Jonny Thunders died in mysterious circumstances in a hotel room in New Orleans, Louisiana at the age of 38.
30	July	1991	American heavy metal rock band Metallica released their massively successful single ‘Enter Sandman’.
12	August	1991	American heavy metal band Metallica released their career-defining 5^th studio album, ‘Metallica’, often referred to as ‘the black album’.
27	August	1991	American alternative rock band from Seattle, the home of grunge rock pioneers, Pearl Jam burst onto the scene with the release of their astonishing platinum-selling debut studio album, ‘Ten’.
10	September	1991	American grunge rock pioneers Nirvana released their ‘90s anthem for disaffected youth, the near perfect hit single ‘Smells Like Teen Spirit’.
17	September	1991	American hard rock band, Guns n’ Roses, released their 3^rd and 4^th studio albums ‘Use Your Illusion’ parts I & II on the same day in the U.S.
23	September	1991	Scottish alternative rock band, Primal Scream released their massive 3^rd studio album, ‘Screamadelica’.
24	September	1991	American grunge rock pioneers Nirvana released their career-defining classic 2^nd studio album ‘Never Mind’ in the U.S. Well over 30 million copies have been sold so far.
24	September	1991	American alternative rock band Red Hot Chili Peppers released their 5^th studio album, ‘Blood Sugar Sex Magik’, produced by Rick Rubin.
28	September	1991	American jazz trumpeter, Miles Davis died of complications from a stroke, pneumonia, and respiratory failure in a hospital in Santa Monica, California at the age of 65.
14	November	1991	Legendary American guitarist and singer Jimi Hendrix received a posthumous star on the Hollywood Walk of Fame at 6627 Hollywood Boulevard.
18	November	1991	Massive Irish rock band, U2, released their storming 7^th studio album, ‘Achtung Baby’ in the UK.
24	November	1991	English singer with pop/rock band Queen, Freddie Mercury died of pneumonia resulting from AIDS at his home in London at the age of 45.
15	January	1992	Rock band, The Jimi Hendrix Experience and country music legend, Johnny Cash were both inducted into the American Rock and Roll Hall of Fame.
29	January	1992	Influential American blues singer, songwriter, upright bass player and guitarist, Willie Dixon died of heart failure in Burbank, California at the age of 76.
21	February	1992	American heavy metal rock band Pantera released their classic 6^th studio album ‘Vulgar Display Of Power’.
31	March	1992	English heavy metal rock band Def Leppard released their classic 5^th studio album, ‘Adrenalize’.
20	April	1992	English indie rock icons, The Cure released their upbeat, commercial 10^th studio album, ‘Wish’.
21	April	1992	American rap rockers, Beastie Boys, released their 3^rd studio album, ‘Check Your Head’.
27	April	1992	Indie rock giants, Nick Cave & The Bad Seeds released their great 7^th album, ‘Henry’s Dream’.
9	May	1992	American guitarist, singer and songwriter Bruce Springsteen made his live American TV network debut on ‘Saturday Night Live’ with show host Tom Hanks.
21	July	1992	American alternative rock band Sonic Youth released their cult, cool, classic 8^th studio album, ‘Dirty’.
29	September	1992	American alternative rock band Alice In Chains released their sophomore studio album, ‘Dirt’.
6	October	1992	American rock band R.E.M. released their classic top‑selling studio album, ‘Automatic For The People’.
3	November	1992	American rock band Bon Jovi released their classic 5^th studio album, ‘Keep The Faith’.
10	November	1992	American rock band Rage Against The Machine released their outstanding and career defining eponymous debut album ‘Rage Against The Machine’.
9	December	1992	Although not officially announced until January 1993, English bass guitarist Bill Wyman left The Rolling Stones.
21	December	1992	Legendary American blues guitarist, Albert King died from a heart attack at his home in Memphis Tennessee at the age of 69, just 2 days after his last concert.
6	January	1993	English bass guitarist Bill Wyman officially announced that he was leaving The Rolling Stones after more than 3 decades with the band.
23	March	1993	English alternative/electronic rock band Depeche Mode released their 8^th studio album, ‘Songs Of Faith And Devotion’ in the UK.
20	April	1993	Emerging English alternative rock band Radiohead released their debut album, ‘Pablo Honey’ in the UK.
29	April	1993	English session guitarist, songwriter and producer who played extensively with David Bowie’s Spiders From Mars among others, Mick Ronson died from liver cancer in London at the age of 46.
23	August	1993	English new romantic band Duran Duran received a star on the Hollywood Walk of Fame at 1770 Vine Street.
21	September	1993	American alternative grunge rock band, Nirvana released their 3^rd and final studio album, ‘In Utero’.
19	October	1993	American rock band Pearl Jam released their major 2^nd studio album, ‘Vs.’.
9	November	1993	American East Coast rappers Wu-Tang Clan released their incendiary debut studio album, ‘Enter the Wu-Tang (36 Chambers)’.
19	November	1993	American grunge rock band Nirvana recorded their classic live acoustic concert and album, ‘MTV Unplugged In New York’ at Sony Music Studios.
23	November	1993	American rock band, Guns N’ Roses, released their 5^th studio album, ‘The Spaghetti Incident?’
24	November	1993	Legendary American blues/rock guitarist, nicknamed The ‘Master of the Telecaster’ and ‘The Ice Man’, Albert Collins died from lung cancer at his home in Las Vegas, Nevada at the age of 61.
4	December	1993	Non-conformist American guitarist and composer extraordinaire, Frank Zappa died of prostate cancer at his home in Los Angeles at the age of 52.
1	February	1994	American pop punk rock band Green Day released their breakthrough 3^rd studio album, ‘Dookie’.
1	March	1994	American grunge band Nirvana played their last ever live concert, interrupted by a power cut, in Munich, Germany.
1	March	1994	American alternative rock artist, Beck released his 3^rd studio album, ‘Mellow Gold’.
8	March	1994	American alternative rock band, Nine Inch Nails released their career-peak 2^nd studio album, ‘The Downward Spiral’.
5	April	1994	American singer, songwriter, guitarist and member of grunge rock band Nirvana, Kurt Cobain died from a self‑inflicted shotgun wound in Seattle, Washington at the age of 27.
19	April	1994	Alternative rock band Nick Cave & The Bad Seeds released their classic, career-defining 8^th studio album, ‘Let Love In’.
26	April	1994	American country music legend Johnny Cash embarked on a whole new period of his career with the release of his classic studio album, ‘American Recordings’.
27	April	1994	The famous San Francisco music venue the Fillmore reopened its doors at 1805 Geary Boulevard. It had been closed since 1989 after being damaged in an earthquake.
23	May	1994	Influential American virtuoso jazz guitarist, Joe Pass died from liver cancer in Los Angeles, California at the age 65.
24	May	1994	American rappers, Beastie Boys, released their classic 4^th studio album, ‘Ill Communication’ in the U.S.
14	July	1994	English rave band The Prodigy released their breakout 2^nd studio album ‘Music for the Jilted Generation’.
22	August	1994	Pioneering English trip-hop band, Portishead released their ground breaking debut studio album, ‘Dummy’.
23	August	1994	Acclaimed American singer, songwriter and guitarist Jeff Buckley released his first and only studio album, ‘Grace’. A modern classic.
26	September	1994	English trip-hop outfit, Massive Attack, released their great sophomore studio album, ‘Protection’ in the UK.
4	October	1994	Versatile American ‘redneck jazz’ guitarist Danny Gatton died from self-inflicted gunshot wounds at his home in Newburg, Maryland at the age of 49.
1	November	1994	American grunge band Nirvana released their impressive award-winning live album, ‘MTV Unplugged in New York’, 6 months after Kurt Cobain’s death.
5	December	1994	English indie rock group The Stone Roses released their sophomore studio album, ‘Second Coming’.
13	March	1995	English alternative rock band Radiohead released their breakout 2^nd studio album, ‘The Bends’ in the UK.
13	June	1995	Canadian singer, songwriter, musician and producer Alanis Morissette released her classic 3^rd studio album, ‘Jagged Little Pill’.
14	June	1995	Renowned Irish blues/rock guitarist Rory Gallagher died of MRSA following liver failure caused by medication and alcohol in London at the age of 47.
9	August	1995	American guitarist Jerry Garcia of psychedelic rock band Grateful Dead died from a heart attack while at a rehabilitation centre in California at the age of 53.
2	September	1995	12 years after it was founded, America’s homage to contemporary music, the Rock And Roll Hall of Fame Museum opened on the shore of Lake Erie in Cleveland, Ohio and was celebrated with an all-star concert.
26	September	1995	American alternative rock band Sonic Youth released their great 10^th studio album, ‘Washing Machine’.
2	October	1995	Australian artists, Nick Cave and Kylie Minogue released the haunting and elegiac duet single ‘Where the Wild Roses Grow’.
7	November	1995	American alternative rock band Alice In Chains released their eponymous 3^rd studio album, ‘Alice In Chains’.
21	November	1995	American rock legend, Bruce Springsteen released his 11^th studio album, ‘The Ghost of Tom Joad’.
17	January	1996	Music greats, David Bowie, Pink Floyd and Velvet Underground were all inducted into the American Rock and Roll Hall of Fame.
5	February	1996	Australian alternative rockers, Nick Cave & The Bad Seeds released their dark 9^th studio album, ‘Murder Ballads’.
16	April	1996	American alternative rock group Rage Against The Machine released their sophomore studio album, ‘Evil Empire’.
17	May	1996	American blues, soul and funk singer, songwriter and guitarist, Johnny ‘Guitar’ Watson died of a heart attack after collapsing on stage in Yokohama, Japan at the age of 61.
15	June	1996	Legendary American jazz singer Ella Fitzgerald died of complications from diabetes in Beverley Hills, California, at the age of 79.
18	June	1996	American alternative rock artist, Beck, released his classic, top-selling 5^th studio album, ‘Odelay’.
17	July	1996	English bass guitarist with R&B band The Animals and Jimi Hendrix’s manager, Chas Chandler died of an aneurism in Newcastle, at the age of 57.
10	September	1996	American alt-rock group R.E.M. released their classic 10^th studio album, ‘New Adventures In Hi-Fi’.
13	September	1996	American rapper Tupac Shakur died of gunshot wounds following a drive-by shooting in Las Vegas, Nevada at the age of 25.
19	September	1996	American jazz guitarist George Benson received a star on the Hollywood Walk of Fame at 7055 Hollywood Boulevard.
31	October	1996	English/American guitarist Slash announced that he was leaving rock band Guns N’ Roses after a relationship breakdown with the group’s lead singer Axl Rose.
2	November	1996	Sublime American singer and guitarist, known as ‘the songbird’, Eva Cassidy died from cancer in Bowie, Maryland at the age of 33.
10	January	1997	American soul legend James Brown received a star on the Hollywood Walk of Fame at 1501 Vine Street.
12	February	1997	English singer and songwriter David Bowie received a star on the Hollywood Walk of Fame at 7021 Hollywood Boulevard.
4	March	1997	Alternative rock band, Nick Cave & The Bad Seeds released their classic 10^th studio album, ‘The Boatman’s Call’.
9	March	1997	American rapper Christopher Wallace (a.k.a. The Notorious B.I.G.) was shot and killed in Los Angeles, California at the age of 24.
11	March	1997	English former member of The Beatles, Paul McCartney was knighted by Her Majesty Queen Elizabeth II at Buckingham Palace, London.
7	April	1997	British dance/electronica/big beat duo, The Chemical Brothers, released their massive studio album, ‘Dig Your Own Hole’ in the UK.
14	April	1997	English electronic/alternative rock band Depeche Mode released their classic 9^th studio album, ‘Ultra’ in the UK.
29	May	1997	Renowned American singer, songwriter and guitarist Jeff Buckley died tragically from accidental drowning in Wolf River Harbor, Memphis, Tennessee at the age of 30.
4	June	1997	English bass guitarist and founder of rock band Small Faces, Ronnie Lane died from pneumonia resulting from multiple sclerosis in Trinidad, Colorado at the age of 51.
16	June	1997	English alternative rock band Radiohead released their top-selling 3^rd studio album, ‘OK Computer’ in the UK.
30	June	1997	British rave band, Prodigy, released their massive zeitgeist‑defining 3^rd studio album, ‘The Fat Of The Land’ in the UK.
22	August	1997	German industrial metal rock band Rammstein released their massive 2^nd studio album, ‘Sensucht’ (translated crudely as ‘Desire’).
11	September	1997	American blues legend John Lee Hooker received a star on the Hollywood Walk of Fame at 7080 Hollywood Boulevard.
30	September	1997	English trip-hop band, Portishead released their eponymous sophomore album, ‘Portishead’ in the UK.
12	October	1997	American folk singer, songwriter and guitarist John Denver died tragically in plane crash in Monterey Bay, California, at the age of 53.
19	October	1997	American guitarist, best known for his work with Alice Cooper, Glen Buxton, died of complications from pneumonia in a hospital in Mason City, Iowa at the age of 49.
10	November	1997	Highly-regarded American session guitarist and one of the most recorded musicians in popular music history, Tommy Tedesco died of lung cancer in Northridge, California at the age of 67.
22	November	1997	Australian singer and front man of the rock band INXS, Michael Hutchence committed suicide in Sydney, Australia at the age of 37.
19	January	1998	American singer, songwriter and guitarist, Carl Perkins died from throat cancer in Jackson-Madison County Hospital, Tennessee, at the age of 65.
30	January	1998	English pop singer and songwriter Sir Elton John received his knighthood from Her Majesty The Queen.
19	February	1998	Legendary American jazz trumpeter Miles Davis received a posthumous star on the Hollywood Walk of Fame at 7060 Hollywood Boulevard.
20	April	1998	English trip-hop outfit, Massive Attack, released their classic 3^rd studio album, ‘Mezzanine’ in the UK.
14	May	1998	American singer and actor, Frank Sinatra died from a heart attack at the Cedars-Sinai Medical Center in Los Angeles, California at the age of 82.
6	July	1998	Legendary American singer, guitarist and actor, nicknamed the ‘King of the Cowboys’, Roy Rogers died of heart failure in Apple Valley, California at the age of 86.
25	July	1998	American virtuoso jazz guitarist, Tal Farlow died of oesophageal cancer in New York City at the age of 77.
17	August	1998	Mexican-American guitar legend Carlos Santana received a star on the Hollywood Walk of Fame at 7080 Hollywood Boulevard.
15	September	1998	American heavy metal rock artist, Marilyn Manson released his massively successful classic 3^rd studio album, ‘Mechanical Animals’.
24	September	1998	American icon and rock ‘n’ roll legend Elvis Presley was inducted into the Country Music Hall of Fame.
1	October	1998	American guitarist, singer and songwriter and founder of rock band Creedence Clearwater Revival, John Fogerty received a star on the Hollywood Walk of Fame at 7000 Hollywood Boulevard.
2	October	1998	American country & western ‘singing cowboy’ Gene Autry died of lymphoma at his home in Studio City, California at the age of 91.
6	October	1998	American rock band Queens Of The Stone Age (QOTSA) released their self-titled debut album, ‘Queens Of The Stone Age’.
13	October	1998	The Crossroads Centre in Antigua, founded by English blues/rock guitarist and singer Eric Clapton, opened its doors to help clients with drug and alcohol rehabilitation.
3	November	1998	American alternative rock singer, songwriter, musician and producer, Beck, released his 6^th studio album, ‘Mutations’, the follow up to the massive ‘Odelay’.
29	November	1998	American jazz pioneer of the 7-string guitar, George Van Eps, died of pneumonia in Newport Beach, California at the age of 85.
25	December	1998	English pop/rock band, The Beatles, received a star on the Hollywood Walk Of Fame at 7080 Hollywood Boulevard.
30	December	1998	American surf rock band The Beach Boys received a star on the Hollywood Walk of Fame at 1500 Vine Street.
15	March	1999	Legendary American singer and songwriter Bruce Springsteen was inducted into the American Rock and Roll Hall of Fame.
28	April	1999	American rock band Tom Petty & The Heartbreakers received a star on the Hollywood Walk of Fame at 7018 Hollywood Boulevard.
17	May	1999	Award-winning American singer, songwriter, guitarist, electronica musician and producer Moby released his mega-successful 5^th studio album, ‘Play’.
15	June	1999	After a long break, American Latin rock band Santana released their highly successful 17^th studio album, ‘Supernatural’.
16	June	1999	English rock singer, drummer and member of progressive rock band Genesis, Phil Collins received a star on the Hollywood Walk of Fame at 6834 Hollywood Boulevard.
24	June	1999	English blues/rock guitarist, Eric Clapton auctioned many of his guitars in New York City. The proceeds were used in support of the Crossroads Centre he founded in Antigua as a residential treatment centre for alcohol and chemical dependencies.
11	August	1999	American rock band KISS received a star on the Hollywood Walk Of Fame at 7080 Hollywood Boulevard.
7	September	1999	American virtuoso guitarist, singer, songwriter and producer Steve Vai released his astonishing 5^th studio album, ‘The Ultra Zone’.
2	November	1999	American alternative rock band Rage Against The Machine released their 3^rd studio album, ‘The Battle Of Los Angeles’ in the UK.
23	November	1999	American alternative rock artist, Beck, released his adventurous 7^th studio album, ‘Midnite Vultures’.
17	December	1999	American smooth jazz, funk and soul saxophonist, Grover Washington Jr. died of a heart attack in New York City at the age of 56.
26	December	1999	Highly acclaimed American soul singer, songwriter, guitarist and producer, Curtis Mayfield, died from complications of diabetes in a hospital in Roswell, Georgia at the age of 57.

Tailpiece

The 1990s was certainly a strange decade both musically and culturally, notably as a segue to the 21^st Century. While it seems very recent, it is actually receding into long‑term memory, thereby affecting our perceptions of what it meant to us at the time. Still to come, the new millennium is temptingly beckoning and it will prove as frustrating as it was liberating.

Now… we have a minor problemo. I was hoping to conclude this series of articles conveniently in December at the very end of the current decade. However, there are still one, two or maybe even three articles still to write before we are done. December 2019’s article will therefore, ceteris paribus, interrupt the sequence in that it will cover a summary of 2019 through the eyes of CRAVE Guitars, meaning that the ‘History of Modern Music’ will resume early in 2020, all being well. This series has been a gargantuan task thus far, so perhaps a short break in proceedings won’t do any harm. Heaven knows what will follow after it has been concluded though. Looking into the crystal ball of the future is largely futile, so I’ll have to start thinking hard about the ‘next big thing’ very soon. However, that can wait for next year/decade. Until next time…

CRAVE Guitars’ ‘Quote of the Month’: “It is a moral travesty that, if you have got everything, you think you can get away with anything.”

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