30 Sep 2025

September 2025 – Vintage Guitar Gear Collections Within A Collection: Part I – CRAVE Guitars & CRAVE Basses

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

Prelude

AHOY THERE MULTITUDINOUS MERRY MATIES! Welcome back to the wild world of CRAVE (Cool & Rare American Vintage Electric) Guitars. I trust that all is well with your part of the world. After a slight summer sabbatical from writing about vintage guitars, you may be pleased to know that we are suitably refreshed, refuelled, and redeployed on what matters this month. The trusty telescope of titular topics is fairly and squarely focused not just on vintage guitars but on CRAVE Vintage Guitars.

At this point, I often spout polemic on the sorry state of ‘humanity’ and the global Anthropocene tragedy entirely of our own making irrevocably unfolding in front of us. Well, I think I’ve made my point often enough for regular visitors. So this month, I will just point you towards the CRAVE Guitars’ ‘Quote of the Month’ at the end of this article which, in my view, sums up the whole sorry mess in one short sentence (for a change).

Hopefully, not too many words and lots of images this month. If you are interested, the underlying theme of this month’s quotes is about perception. As always, no AI was used in the writing of this article.

“It all depends on how we look at things, and not how they are in themselves” – Carl Jung (1875‑1961)

Collecting and Collections Revisited

Going back to May 2025, CRAVE Guitars published an article about, ‘The Compulsion to Collect Vintage Guitars’. That article kicked off thoughts not solely about collecting but also about what constitutes a collection and how we might think about things slightly differently. If you wish to go back to the previous article on CRAVE Guitars’ collecting and collections, follow the link below (opens in a new tab).
May 2025 – The Compulsion to Collect Vintage Guitars

Like most other sources, whether retail, curatorial or showcase, CRAVE Guitars tends to group vintage guitars by brand (e.g. Fender, Gibson, etc.), then by model in (e.g. Stratocaster, Telecaster, Les Paul, SG, etc.) both in alphabetic order and by date (e.g. 1965, 1972, 1984, etc.). Fundamentally, brand, model and date tends to be the standard methodology for categorising vintage guitars, at least on a broad level. The same catalogue system also applies to basses, effects and amps. CRAVE Guitars is no different. Take a look at the feature or gallery pages on the web site and that is exactly how vintage gear is listed. It makes sense and is widely accepted. It is also how I search for vintage gear in which I might be interested. Take a look at other web sites or library resources and it’s the same. For instance, check out, ‘Gruhn’s Guide to Vintage Guitars’ (1999) or the annual, ‘The Official Vintage Guitar Magazine Price Guide’ and it is the primary method of presentation.

“All that we see or seem is but a dream within a dream” – Edgar Allan Poe (1809‑1849)

Collections within a Collection

So far, so good. However, it isn’t the only way of looking at things. Back in June and July this year (2025), I posted a series of CRAVE Guitar (and CRAVE Basses) montages on social media, which I described at the time as ‘collections within a collection’. Some of these selections were very obvious, others less so. One approach was to look at variations in a particular model over the years. Another was to look at similar types of model (but different name). It became the entry point into alternative perspectives that formed the catalyst for this month’s article. As a quick reminder, here is the entire, small but perfectly formed, CRAVE Guitars’ ‘collection’ as of 2025.

The permutations shown in this article do include some repetition because models may appear in more than one grouping. Fair enough. Go with the flow and I hope it will make sense. I have stuck fairly and squarely to CRAVE Guitars – it would be more coherent to stray into non‑CRAVE Guitars but that approach attracts many other issues, such as copyright and a significant broadening of scope.

I could go on, pontificating about the whys and wherefores, but that almost seems redundant, as the best way of explaining it is with the images themselves. That’s also good for me in that I can spare some time for writing other things.

“There are things known and there are things unknown, and in between are the doors of perception” – Aldous Huxley (1894‑1963)

Mini Collections

So, what constitutes a mini‑collection? More than one of something. Simple. There are probably innumerable permutations of mini collections within the overall total. CRAVE Guitars, at the time of writing, has a number of guitars, basses, effects and amps (don’t ask, I don’t keep track). Most of those are vintage (ditto), depending on how one might define ‘vintage’. However, that particular conundrum is not the subject of this article.

Social media is where this idea started and it will unfold here as a sequence of steps. It isn’t practical to wade back through hundreds/thousands of social media posts, so this makes all that previous effort more accessible and in one place. So, without further ado, time to get pictorial with twenty four ‘collections within a collection’. I hope you enjoy the show…

“No man has the right to dictate what other men should perceive, create or produce, but all should be encouraged to reveal themselves, their perceptions and emotions, and to build confidence in the creative spirit” – Ansel Adams (1902‑1984)

Fender Brand Mini Collections

Some of you might know my predilection for student guitars and also single pickup guitars. The relevant Fender model names don’t help with coherency, so I found a way of bringing them together. By the early 1980s, Fender had replaced its core ‘student’ guitars (first generation) with other budget models (second generation). Not a popular move with enthusiasts or collectors. These are sometimes labelled, the ‘forgotten Fenders’.

CRAVE Guitars’ Vintage Fender Student Guitars (First Generation) (4) – Top‑bottom: 1959 Fender Musicmaster, 1965 Fender Duo‑Sonic II, 1965 Fender Mustang, 1971 Fender Bronco

CRAVE Guitars’ Vintage Fender Student Guitars (Second Generation) (3) – Top‑bottom: 1981 Fender Bullet, 1982 Fender Bullet H2, 1981 Fender Lead I

That initial notion led onto collating a brace of Fender’s wonderful high‑end offset guitars (currently oh‑so popular with indie and alternative guitarists) and then Fender’s often‑overlooked (criminally so, in my view), semi‑acoustic electrics. NB. Yes, I know that some Fender student guitars (see above) are also offsets but there is enough to differentiate them for this article.

CRAVE Guitars’ Vintage Fender Offset Guitars (3) – Top‑bottom: 1966 Fender Electric XII, 1965 Fender Jaguar, 1965 Fender Jazzmaster

CRAVE Guitars’ Vintage Fender Semi‑Acoustic Electric Guitars (3) – Top‑bottom: 1966 Fender Coronado II, 1975 Fender Starcaster, 1972 Fender Telecaster Thinline

Going back to Fender’s student guitars, there are some more obvious model groupings that demonstrate evolution of the instruments over time.

CRAVE Guitars’ Vintage Fender Musicmaster Guitars and Bass (4) – Top‑bottom: 1959 Fender Musicmaster, 1965 Fender Musicmaster II, 1978 Fender Musicmaster, 1978 Fender Musicmaster Bass

CRAVE Guitars’ Vintage Fender Mustang Guitars (3) – Top‑bottom: 1965 Fender Mustang, 1972 Fender Mustang Competition, 1978 Fender Mustang

Then, I strayed into Fender’s core ‘pro‑level’ guitar models – Stratocasters and Telecasters, which also demonstrate evolution of the instruments over time.

CRAVE Guitars’ Vintage Fender Stratocaster Guitars (4) – Top‑bottom: 1977 Fender Stratocaster, 1979 Fender Stratocaster Anniversary, 1983 Fender Stratocaster ‘Dan Smith’, 1983 Fender Stratocaster Elite

CRAVE Guitars’ Vintage Fender Telecaster Guitars (5) – Top‑bottom: 1972 Fender Telecaster Thinline, 1973 Fender Telecaster Deluxe, 1974 Fender Telecaster Custom, 1983 Fender Telecaster Elite, 1988 Fender Telecaster American Standard

Not wishing to leave out CRAVE Basses, there is only one collection‑within‑a‑collection.

CRAVE Guitars’ Vintage Fender Bass Guitars (3) – Top‑bottom: 1989 Fender Jazz Bass American Standard Longhorn, 1978 Fender Musicmaster Bass, 1977 Fender Precision Fretless Bass

“Everything we hear is an opinion, not a fact. Everything we see is a perspective, not the truth” – Marcus Aurelius (121‑180)

Gibson Brand Mini Collections

Having pretty much covered most of the Fender variations, I turned my sights onto Gibson guitars, starting off, again, with their underrated student guitars that, once more demonstrate evolution of the instruments over time.

CRAVE Guitars’ Vintage Gibson Melody Maker Guitars – Top‑bottom: 1961 Gibson Melody Maker D, 1964 Gibson Melody Maker, 1965 Gibson Melody Maker, 1967 Gibson Melody Maker SG

Gibson’s long history started off with acoustic and then semi‑acoustic guitars categorised by the company as Gibson’s ES (Electric Spanish) models. Over the years, the ES lines evolved.

CRAVE Guitars’ Vintage Gibson ES Guitars (3) – Top‑bottom: 1947 Gibson ES‑150, 1963 Gibson ES‑330 TDC, 1985 Gibson ES‑335 Dot

Gibson’s entry into solid body electrics started with the Les Paul Model, so here are CRAVE Guitars’ Gibson Les Pauls. In addition, there were also several Gibson models that used the Les Paul outline but weren’t actual LPs.

CRAVE Guitars’ Vintage Gibson Les Paul Guitars (4) – Top‑bottom: 1975 Gibson Les Paul Standard, 1977 Gibson Les Paul Deluxe Gold Top, 1989 Gibson Les Paul Standard, 1989 Gibson Les Paul Custom

CRAVE Guitars’ Vintage Gibson Les Paul‑shaped but non‑Les Paul Guitars (3) – Top‑bottom: 1961 Gibson Melody Maker D, 1977 Gibson L6‑S Deluxe, 1981 Gibson Sonex‑180 Deluxe

In the early 1960s, Gibson replaced the Les Paul with the devilishly pointy‑horned SG (Solid Guitar).

CRAVE Guitars’ Vintage Gibson SG Guitars (3) – Top‑bottom: 1965 Gibson SG Junior, 1968 Gibson SG Standard, 1967 Gibson Melody Maker SG

From the late 1950s, Gibson went through a highly creative phase, including their innovative alternative ranges, including Flying Vs, Explorers and Firebirds…

CRAVE Guitars’ Vintage Gibson Flying V Guitars (2) – Top‑bottom: 1980 Gibson Flying V2, 1984 Gibson Flying V Designer Series

CRAVE Guitars’ Vintage Gibson Explorer Guitars (5) – Top‑bottom: 1979 Gibson Explorer E2, 1982 Gibson Explorer CMT, 1983 Gibson Explorer 83, 1984 Gibson Explorer Custom Shop, 1984 Gibson Explorer Designer Series ‘Union Jack’

CRAVE Guitars’ Vintage Gibson Firebird Guitars (2) – Top‑bottom: 1966 Gibson Firebird III, 1976 Gibson Firebird Bicentennial

Through the years, Gibson also strayed into other creatively designed models, some more radical and aesthetically pleasing than others.

CRAVE Guitars’ Vintage Gibson ‘Oddity’ Guitars (4) – Top‑bottom: 1983 Gibson Corvus II, 1982 Gibson Moderne Korina Heritage, 1981 Gibson RD Artist, 1983 Gibson USA Map

“Blessed are they who see beautiful things in humble places where other people see nothing” – Camille Pissarro (1830‑1903)

Other Brand Mini Collections

Having covered the main two major competitors, there are some of the other well‑known vintage guitar brands. For instance, during the 1950s and 1960s, Danelectro made guitars under their own name as well as for Sears, Roebuck & Co, under the Silvertone brand name.

CRAVE Guitars’ Vintage Danelectro‑built Danelectro and Silvertone Guitars (3) – Top‑bottom: 1963 Danelectro Pro 1, 1959 Silvertone 1304, 1964 Silvertone 1449 ‘Amp In Case’

CRAVE Guitars’ Vintage Gretsch Guitars (2) – Top‑bottom: 1962 Gretsch 6120 Double Cutaway Chet Akins Hollowbody, 1965 Gretsch 6135 Corvette

CRAVE Guitars’ Vintage Music Man Stingrays: Guitar and Bass (2) – Top‑bottom: 1976 Music Man Stingray I, 1978 Music Man Stingray Bass

CRAVE Guitars’ Vintage Paul Reed Smith (PRS) (2) – Top‑bottom: 1989 Paul Reed Smith Classic Electric (CE), 1988 Paul Reed Smith Standard

“What we see depends mainly on what we look for” – John Lubbock (1834‑1913)

Other – Best of the Rest Mini Collections

Finally, all CRAVE Guitars are Made‑in‑USA, it only makes sense that some manufacturers would want to promote their country of origin in guitar form. CRAVE Guitars is fortunate enough to have not just one but two vintage guitars made in the outline of the lower 48 United States (sorry Alaska and Hawaii).

CRAVE Guitars’ Vintage USA‑shaped Guitars (2) ‑ Top‑bottom: 1983 Gibson USA Map, 1962 National Glenwood 95

That leaves some other CRAVE Guitars not easily grouped, e.g. Epiphone, Guild, Kramer, Ovation, Peavey and Rickenbacker. Kudos to these great vintage guitars. However, for the sake of completeness, here are what was left over from the initial concept. A non‑collection‑within‑a‑collection if you will.

CRAVE Guitars’ Vintage ‘Best of the Rest’ Guitars (6) ‑ Top‑bottom: 1966 Epiphone Olympic, 1984 Guild X‑79 Skyhawk, 1974 Ovation Breadwinner 1251, 1979 Peavey T‑60, 1974 Rickenbacker 480, 1983 Kramer ‘The Duke’ Deluxe Bass

Wow! That is pretty much it for this article. I am certain that you may be able to think of other ways in which these great guitars can be viewed. I think you will agree that this perspective goes to demonstrate and showcase a wide range from the classic conventional and traditional to the freaky, weird and wonderful, celebrating the novel diversity of CRAVE Guitars.

“One moment the world is as it is. The next, it is something entirely different. Something it has never been before” – Anne Rice (1941‑2021)

Final Thoughts on Vintage Guitar Collections within A Collection

My main comment at this point is that CRAVE Guitars’ total collection probably isn’t large enough to make this a really interesting topic, for which I apologise. The capacity of The CRAVEcave is severely limited, so the collection has reached its maximum size for the time being (The CRAVEcap). This isn’t through lack of ambition on my part, simply the inevitable practical constraints of space and funds. Darn it.

Looking at things in this way, it confirms that I have a particular penchant for Fender Telecasters and Gibson Explorers, of which there are five each. These were followed by Fender Stratocasters, Gibson Les Pauls and Gibson Melody Makers of which there are four each. Unsurprisingly, that fits pretty well with my own feelings about favourite guitars. I would (obviously?) like a few more ‘obscure’ American guitars. Who wouldn’t? Every guitar addict needs that irresistible next fix. So many gaps to fill, so, so many! Sadly though, any expansion of brands and/or models is going to have to wait for a while.

As a reminder, there are full features on the web site for each of the CRAVE Guitars and CRAVE Basses featured here. Also on the web site are separate features on all the brands featured here. There are simply too many links to list in an article, so you’ll have to do a bit of work for yourself if you want to delve deeper into the brands and/or the models.

“There are no facts, only interpretations” – Friedrich Nietzsche (1844‑1900)

The groupings featured in this article are just a few permutations of how collections can be viewed. There are many more ways of doing it. For instance, they could be grouped by:

Decade – 1960s, 1970s, 1980s, etc.
Model type – Custom, Standard, Junior, Special, Deluxe, etc.
Tone wood – Mahogany, maple, alder, ash, composite, etc.
Fingerboard type – rosewood, ebony, maple, composite, etc.
Pickup type – single coil, humbucker, other, etc.
Colour – sunburst, blue, red, gold, white, black, natural, etc.
Provenance – guitars with known owners

As far as CRAVE Guitars wider reach and influence goes, there are also themed image series based around photographic style, including:

Instagram vignettes (x2 series)
Floorboard guitars (1x series)
US flag guitars (x2 series)
Close up guitars (x2 series)

I tend to use these alternative image series on social media as a counterpoint to the web site images. They don’t appear on the web site (just to mix things up a bit). All these different perspectives supplement and complement the standard ‘signature’ purple background guitars used for consistency of presentation on the CRAVE Guitars’ web site. The collections within collections featured in this article also don’t appear on web site pages.

In conclusion, there many different ways of looking at the same instruments, way too many to cover without going full nerd. Given the small scale and scope of CRAVE Guitars, to do all that would become highly repetitive and dull, so I know when it’s time to stop.

The same approach can be taken for CRAVE Effects and that will form the basis of Part II of this mini‑series next month. As far as CRAVE Amps go, there are simply too few to make something from it (at the moment).

“To change ourselves effectively, we first had to change our perceptions” – Stephen R. Covey (1932‑2012)

CRAVE Guitars’ ‘Album of the Month’

Regular readers will know that over many years, I have become increasingly enamoured with reggae and, particularly dub and roots reggae. While these genres peaked in the mid‑1970s, they are still alive and well in the 21^st Century. I covered the musical history of reggae in my August 2023 article, ‘Dub Reggae Revelation’ for those who might be interested in exploring reggae and its context on the global stage. This month’s accolade is from the mainstream of reggae and remains readily available…

Johnny Clarke – ‘Rockers Time Now’ (1976): ‘Rockers Time Now’ was the 8^th studio album released in 1976 by the Jamaican singer and musician Johnny Clarke (1955‑). While a lot of Clarke’s material during the 1970s flirted dangerously close to the scourge of pop reggae, rather than deeper dread or conscious roots, ‘Rockers Time Now’ has an abundance of great reggae tracks that have stood the test of time. I am not going to apologise for appreciating this album and it gets regular repeat listening. Clarke often gets dismissed by reggae snobs, unjustifiably so in my opinion. I admit that there is some ‘easy listening’ filler amongst the great Rastafarian reggae tracks. I hope history re‑appraises Johnny Clarke at his best. Great music for summer chilling and worth tracking down.

It may not be the greatest reggae album of all time but it’s one that helped me get through the summer of 2025. Equally interesting is another Johnny Clarke studio album from the same year, ‘Authorized Version’ (1976). There are several reggae artists that I include in this particular domain, including the late, great Keith Hudson (1946‑1984) – a personal favourite. While Johnny Clarke will often be associated with other popular reggae artists such as Dennis Brown, Freddie McGregor and Gregory Isaacs (all three a lot better than their popular chart hits might suggest), he does stand out for his material.

I have found that reggae music in all its diverse forms is a great genre to have playing in the background while thinking and writing. This is probably the last reggae ‘album of the month’ for this year as we head into cooler, darker times, although I believe it can raise the spirits at any time.

BELIEVE IN MUSIC!

“Between the optimist and the pessimist, the difference is droll. The optimist sees the doughnut; the pessimist the hole!” – Oscar Wilde (1854‑1900) NB. Often incorrectly attributed to Florence McLandburgh.

Tailpiece

There you go, back to vintage guitars, at least for this month. I hope you enjoyed this particular cabinet of curious CRAVE Guitars, which you’ve seen before but not perhaps in this format. Next time, we’ll return to the overall theme of this article but with the focus on CRAVE Effects. I hope you’ll come back for the floor‑based sequel.

Without further ado, it is time to move onto other things, nothing more to see here. For now. Have a great October 2025 folks, as the autumn season sets in for this year (at least up here in the northern hemisphere).

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’: “The only obliteration justified by war is the obliteration of war itself”

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29 Dec 2023

December 2023 – CRAVE Guitars: Three Years in Review

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

Prelude

GOOD DAY’S SALUTATIONS and seasonal best wishes to all you good folks out there in music land. Welcome to vintage gear aficionados and greetings to the conclusion of the year, two thousand and twenty three. There is no point in, and no good will come from, re‑hashing the journey over CRAVE Guitars’ 3‑year hiatus once again, so it is now officially behind us and a thing of the past. Gone. However, there may be merit in looking briefly at what CRAVE Guitars actually got up to behind the scenes during that time. It is the end of the year, so it’s kinda traditional for review anyway, as has been the practice in years past. This review, though, isn’t a single year but three years in retrospect. As it transpires, less has happened in those three years than would normally have occurred in one year prior to 2020’s global meltdown. Perhaps that is just as well. If the previous trend had continued unabated, CRAVE Guitars would have run out of space and funds a long time ago. I guess that there are silver linings at the end of the tunnel after all (I really must stop playing with mixed metaphors! Bad CRAVE!).

Well, there is no point in perpetuating petty procrastination, so let’s proceed with some prosaic pontification (nothing like a bit of CRAVE’s addictive affinity for asinine alliteration, again!). All text and images copyright of CRAVE Guitars. No AI used here.

‘New’ old gear over the past 3 years

The volume of acquisitions may not be great but the choices, I believe aren’t too shabby. I aim for variety and novelty in my quest for something a wee bit different to the norm, at least as far as the guitars are concerned. Here, there are two are from the 1960s, two from the 1970s and one from the 1980s. The effects are slightly more numerous and there is a little bit of gap‑filling going on here but variety is again a factor. Only 3 out of the 11 stomp boxes are ‘Made in USA’. Interesting. Right, here is the short shortlist…

Guitars and basses (5):

1963 Danelectro Pro 1
1989 Fender Jazz Bass American Standard Longhorn
1978 Fender Musicmaster Bass
1979 Gibson Explorer E2
1964 National Glenwood 95

Effect pedals (11):

1985 BOSS HM-2 Heavy Metal (distortion)
1984 BOSS SD-1 Super Over Drive
1979 BOSS SG-1 Slow Gear (auto swell)
1974 Colorsound Supa Tone Bender (fuzz)
1970s Colorsound Supa Wah-Swell
1970s DOD Analog Delay 680 (echo)
1980s Dunlop Original Cry Baby GCB-95 Wah
1970s Electro-Harmonix Switch Blade Channel Selector (A‑B switch)
1981 Ibanez CP-835 Compressor II
1984 Ibanez SM9 Super Metal (distortion)
1989 Marshall The Guv’nor (overdrive/distortion)

Over the last three years, there haven’t been any ‘new’ vintage valve amps. This is mainly due to space restrictions and the responsibility for maintaining these delicate electrical artefacts. They weren’t delicate when originally manufactured, they were built to go on the road and put up with punishment. However, after 60 or 70 years, they tend to get a bit temperamental. A bit like humans in fact. The last amp that joined the family was the fantastic little 1973 Fender Princeton Reverb ‘silverface’. Possibly my favourite amp.

There has been one notable departure from the CRAVE Guitars family. I was looking around for a Gibson Explorer E2 to partner the Gibson Flying V2. However, I couldn’t really justify yet another Explorer. Then, someone contacted me out of the blue enquiring about the black 1984 Gibson Explorer. If there was one guitar that I would let go to trade up, that was the one. It can be really strange how opportunity can present itself as coincidence. Eventually, deals were agreed and one came in while one went out. Serendipity and status quo. Result! I hope the 1984 Explorer is in a happy place.

Let’s take a closer look at the ‘new’ guitars – all of them exhibiting unusual construction and specification, making them exceptionally cool and rare (in my opinion). Right, here is the long shortlist…

1963 Danelectro Pro 1 – I first saw one of these a few years ago and was struck by its utter simplicity and quirky charm. Nothing fancy going on here. It is diminutive, dinky and hyper cute. It is, however not very practical. It has a short scale and upper fret access is awkward and only one pickup will limit it for some. However, it has all the usual Danelectro traits, including the unique construction and that classic lipstick pickup. It is definitely not everyone’s cup of tea but, for me, that’s a good reason to dig it. It is a genuinely unique instrument and SO cool that it hurts. It’s great fun to play too.

Feature: 1963 Danelectro Pro 1

1989 Fender Jazz Bass American Standard Longhorn – I have long wanted a Fender Jazz Bass. The new CRAVE Basses has allowed me to indulge that luxury. However, this isn’t a Jazz Bass as you know it and definitely not in the long tradition of the J‑Bass. This lovely beast is a Longhorn, only made for five years, this one from the first year of production. The deep cutaways and 22 fret neck make it look, feel, play and sound different from a ‘normal’ Jazz Bass. The Longhorn nickname gained it an altogether humorously crude moniker of the ‘boner’ bass. Now this one lives with me, I actually now prefer the look of this unusual instrument over the one that defined the icon.

Feature: 1989 Fender Jazz Bass American Standard Longhorn

1978 Fender Musicmaster Bass – Another oddity and one of the ‘lost Fenders’. After the success of the Mustang Bass, Fender went on to release an even simpler budget model. The Musicmaster has the Mustang’s short scale but the pickup is actually a 6‑pole Mustang guitar pickup. The overall design and specification certainly alienated a whole bunch of players but that kind of misses the point. Snobs. Take the bass purely on face value and it’s actually a decent ‘student’ bass with great build quality and that offset body look that is currently very popular. Not one for the traditionalist. Note: Since the feature and photos were published, the original 2‑saddle bridge has been reinstated.

Feature: 1978 Fender Musicmaster Bass

1979 Gibson Explorer E2 – Some people hate the Gibson Flying V2 and Explorer E2. I love them because of their unusual multi‑layered construction. As mentioned above, finding an E2 was a mission. Moreover, this one belonged to the lead singer of the band Go West, Peter Cox. Kudos and thanks Peter. I don’t usually go for provenance but in this case, it adds something significant to the guitar’s backstory. It’s the walnut‑faced model (some are maple‑faced) and in wonderful near‑original condition. While it’s not quite as whacky as the admittedly peculiar V2, it has plenty of character and charisma. The Gibson Explorer, I think, remains my overall favourite guitar model.

Feature: 1979 Gibson Explorer E2

1964 National Glenwood 95 – Here’s a glorious instrument with another unusual type of construction. The body is moulded fibreglass, what the makers, Valco, called Res‑O‑Glas. I was expecting the material to be thin and plasticky. Instead, it is quite thick and solid. The two halves are screwed together leaving the interior hollow. It is very unique and an awesome entry in vintage guitar history. Not only is it well built, it is visually striking in just about every way. Whatever part you look at or whatever angle it is viewed from, it is a startlingly beautiful creation. Neither is it a case of style over substance, it plays very well and with an inimitable sound. I could go on and on but I’ll let it speak for itself.

Feature: 1964 National Glenwood 95

… and, now moving on to the ‘new’ vintage effect pedals:

1985 BOSS HM-2 Heavy Metal – A pedal renowned for creating a whole heavy metal sub‑genre thanks to Swedish death metal band Entombed and their debut studio album, ‘Left Hand Path’ (1990). Not many stomp boxes can claim that distinction. It is a monster. This one also comes with its original box and documentation. Very cool.

Feature: 1985 BOSS HM-2 Heavy Metal

1984 BOSS SD-1 Super Over Drive – Considered by many as a classic in the BOSS overdrive tradition. The SD‑1 adds a Tone control to the existing BOSS OD‑1 Over Drive to give it more flexibility and to help BOSS compete with other brands’ overdrive pedals. The SD‑1 has been seen on pedalboards all over the world for decades, earning it its enviable reputation.

Feature: 1984 BOSS SD-1 Super Over Drive

1979 BOSS SG-1 Slow Gear – This is one of the rarest, most collectable and misunderstood BOSS stomp boxes. The name gives nothing away. It acts a bit like a noise gate in reverse, the filter creating an auto swell effect. It is quite unique. After much experimentation, there is really only one sweet spot so, to be honest, sadly, it is a bit of a one‑trick pony, albeit an exclusive one.

Feature: 1979 BOSS SG-1 Slow Gear

1974 Colorsound Supa Tone Bender – The Supa Tone Bender is basically just a big box version of the original Colorsound fuzz. There is no room in this article to dive into the nerd zone and cover its origins or its similarities/differences to other models. The numerous gear obsessives out there will tell you at great length about all the geeky differences. Basically, it’s a great 1970s fuzz pedal. What more do you need to know?

Feature: 1974 Colorsound Supa Tone Bender

1970s Colorsound Supa Wah-Swell – Another over‑sized ‘Supa’ version of a standard combination wah‑wah and swell pedal with a footswitch to go from one mode to the other. There’s very little on the inside other than empty space, indicating that the old marketing ploys of ‘more is more’ and ‘bigger is better’ played a part here. 1970s pedalboards weren’t as crowded as they are today, so pedals like this gained bragging rights. I can’t date this one accurately.

Feature: 1970s Colorsound Supa Wah-Swell

1970s DOD Analog Delay 680 – Here is a truly wonderful 1970s American echo pedal. It’s not quite up with the benchmark Electro‑Harmonix Deluxe Memory Man but it is still authentic and very musical. I love these old analogue delays. It’s great fun to use and sounds great. It may not be in great cosmetic condition on the outside but few are because they were well used, an indication of what really matters to working musicians.

Feature: 1970s DOD Analog Delay 680

1980s Dunlop Original Cry Baby GCB-95 Wah – Probably one of the most iconic wah‑wah pedals of all time. This one is a straightforward model from the 1980s. As classic as they come, you know exactly what you are going to get. The model has probably been used by most of the great guitarists at some point during their careers. The pot is a bit scratchy but I can’t bear to replace it, so it’s still original.

Feature: 1980s Dunlop Original Cry Baby GCB-95 Wah

1970s Electro-Harmonix Switch Blade Channel Selector – Strictly this is not an effect, just an A‑B switch. Another ‘no bones’ pedal with nothing much inside the box. It has one input and two outputs (or vice versa if you wish). Not massively useful or flexible but it does what it needs to do in a simple set up. Typical 1970s EHX styling to boot.

Feature: 1970s Electro-Harmonix Switch Blade Channel Selector

1981 Ibanez CP-835 Compressor II – A pedal in the classic ‘square switch’ ‘0’‑series Ibanez effect pedal series (as is the most desirable TS‑808 Tube Screamer). The CD‑835 (catchy name, that. Not) is a perfectly capable pedalboard compressor. I still prefer the basic MXR Dyna Comp but this one will appeal to others. This one comes with its original box and documentation.

Feature: 1981 Ibanez CP-835 Compressor II

1984 Ibanez SM9 Super Metal – Part of Ibanez’s ‘9’‑series, the SM9 is a massively beefed up Ibanez TS9 Tube Screamer but without the reputation of the latter, so it is a bit of a dark horse. Much more flexible and with a greater range of sounds available. It is a bit fiddly to recreate just the right tone but it is worth the effort involved in getting it tuned in. How far do you want to go? Pretty colour too.

Feature: 1984 Ibanez SM9 Super Metal

1989 Marshall The Guv’nor – Way, way before the current fad of putting a guitar pre‑amp on a pedal board, Marshall basically came up with the idea back in the 1980s. For those wanting classic Marshall tones without a 100W head and two 4×12 cabs stacked as they should be, there is The Guv’nor. For a large box full of transistors, rather than baking hot valves, it does an impressive job. Not necessarily accurate but great distortion on tap nevertheless. This is the original ‘Made in England’ version, complete with its box.

Feature: 1989 Marshall The Guv’nor

There you have it, a brief rundown of 3 years’ collecting cool and rare vintage guitar gear in the background. Not a great deal to show for 36 months in terms of quantity but a nice range of quality. I am completely out of both storage space and funds, so any progress will be slow and steady for a while.

CRAVE Guitars’ website

The superficial sheen of the website hasn’t really changed much at all. However, there are technical changes beneath the surface that will hopefully keep it up‑to‑date and relevant. I’m no techno whizz, so CRAVE Guitars doesn’t appear on the prized ‘first page of Google’. Still, seeing as it is not a commercial enterprise, I’m not overly bothered. Overall viewing figures though have continued to increase year‑on‑year over the last seven years, even through the hiatus, which is a promising sign.

The web site’s beneath‑the‑radar positioning hasn’t stopped all the typical spammers inundating CRAVE’s e‑mail box with the usual promotional BS. It is absolutely clear that they don’t do their research, so every single one them gets summarily blocked and deleted without exception. I do, however, welcome genuine communications via the website, so long as they are sincere.

The biggest ‘news’ on the website is the addition of the all‑new CRAVE Basses pages. The web site originally started out just as CRAVE Guitars almost a decade ago now. Then it expanded to include CRAVE Effects and CRAVE Amps a few years ago, so CRAVE Basses is a logical extension. Even though I’m primarily a guitarist, I like the occasional dabble with the lower frequencies. The new sections of the website include features on CRAVE’s four vintage basses, as well as additions to the galleries.

The two ‘new’ CRAVE Basses covered above join a pair of existing vintage basses that I’ve owned since the 1970s…

1977 Fender Precision Fretless

Feature: 1977 Fender Precision Fretless

1978 Music Man Stingray Bass

Feature: 1978 Music Man Stingray Bass

Before Covid, the number of visitors to the site was steadily increasing and reaching peaks that I could only have dreamt about when I started. During Covid, things slowed dramatically, indicating that people, rightfully, had other things on their minds. This slow‑down was mirrored by consumer’s overall demand in the music equipment industry. Even after Covid, things have been slow. The so‑called cost‑of‑living‑crisis (thanks Putin et al), especially in the UK has hit most people (including me) hard and visits dropped right down to pre‑2020 levels. Other priorities rightly prevailed once again. Despite being generally subdued, visits seem to be gradually increasing again but it is way too early to call it a trend.

I actually have quite a bit more content already written for the site that I will get around to publishing at some point. It’s not super critical but it seems a shame not to use it.

CRAVE Guitars’ (un)social media

I really don’t have the resilience to return to social media to the same level as in the past. However, CRAVE Guitars is posting things irregularly on Musky old X (ex‑Twatter), Facebook and LinkedIn. I can’t respond to messages but I do review them every so often. That will have to do for now. My engagement with social media is not negotiable for now.

CRAVE Guitars’ database

There is not really a great deal to say about this other than I use it to catalogue all of CRAVE’s vintage guitars in some detail. In the case of catastrophe such as fire, flood, theft, cat, etc., at least the information should be safe and sound. A copy is saved in the cloud just in case the laptop goes the same way.

Brand augmentation

No, I’m not getting bigger brands for all you fetishists out there. CRAVE Guitars has been around since 2007. The short name is OK but it isn’t specific enough to identify that vintage guitars are the focus of the ‘brand’. The full name of CRAVE (Cool & Rare American Vintage Electric) Guitars is certainly specific enough although it is a bit of a mouthful when it comes to everyday use. Internet SEO (Search Engine Optimisation) also has some difficulty placing the CRAVE Guitars brand in the vintage guitar category. Type ‘CRAVE guitars’ into a search engine and the site appears straight away. Type in ‘vintage guitars’ and the site may eventually appear plenty of pages down.

So… In addition to the established short and full names used above, I will also be using the name CRAVE Vintage Guitars to help searchers and visitors to get a better understanding of what this strange entity is all about. It is a small but important change. It will take search engines a while to pick up on it but it might help people find the site. Future CRAVE Guitars merchandise is also likely to carry the updated branding as and when needed. As ‘they’ say, it does what it says on the tin (apart from the amps, effects and basses of course. Doh!).

Musical history update

It’s a while since the 14‑part CRAVE Guitars’ series of articles, ‘The Story of Modern Music in 1,500+ Facts’, culminated in May 2020. Sadly, we have lost far too many great music people since I published the last of the ‘Facts’ just 2½ years ago.

The inevitability of life is that it ends. RIP great men and women. This list picks up from where that last article on the subject left off. Here are just a few of them.

Day	Month	Year	Music Fact
4	June	2020	English bass guitarist, singer and founding member of glam pop/rock band The Sweet, Steve Priest died at the age of 72.
18	June	2020	English singer, songwriter and entertainer, nicknamed ‘The Forces’ Sweetheart’ during WWII, Dame Vera Lynn died at the age of 103.
6	July	2020	Italian composer, conductor and musician, who wrote hundreds of cinema and television scores, Ennio Morricone died of complications after breaking a leg in Rome at the age of 91.
13	January	2021	American guitarist with rock band New York Dolls, Sylvain Sylvain, died after a two-and-a-half year battle with cancer in Nashville, Tennessee at the age of 69.
17	February	2021	Jamaican vocalist and pioneer of reggae ‘toasting’ U‑Roy (Ewart Beckford) died from complications following surgery in Kingston, Jamaica at the age of 78.
2	March	2021	Jamaican singer, songwriter, percussionist and original member of The Wailers alongside Bob Marley and Peter Tosh, Bunny Wailer died from complications following a stroke in Kingston, Jamaica at the age of 73.
28	July	2021	American bass guitarist and long-term member of southern blues/rock band ZZ Top, Dusty Hill died at his home in Houston, Texas, at the age of 72.
13	August	2021	Celebrated American folk singer, guitarist, and songwriter Nanci Griffith died in Nashville, Tennessee at the age of 68.
24	August	2021	English drummer with rock band the Rolling Stones for over five decades, Charlie Watts died in hospital in London at the age of 80.
29	August	2021	Legendary Jamaican reggae and dub producer and recording artist, Lee “Scratch” Perry died of an undisclosed illness in hospital in Lucea, Jamaica at the age of 85.
26	September	2021	English bass guitarist and founding member of pop/rock band Status Quo from 1967-1985, Alan Lancaster died from complications of multiple sclerosis in Sydney, Australia at the age of 72.
8	December	2021	Jamaican bass guitarist and record producer, Robbie Shakespeare, best known as half of the reggae duo Sly & Robbie, died following kidney surgery in Miami, Florida at the age of 68.
10	December	2021	American singer, guitarist and songwriter with TV pop band, the Monkees, Michael Nesmith died from heart failure at his home in Carmel Valley, California at the age of 78.
7	January	2022	Canadian musician, singer, songwriter, and producer for Motown Records, R. Dean Taylor died at his home having contracted COVID‑19 (coronavirus) at the age of 82.
9	January	2022	American jazz and R&B musician, songwriter, producer, and radio personality James Mtume died in South Orange, New Jersey at the age of 76.
12	January	2022	American singer, co-founder and member the Ronettes, nicknamed the ‘bad girl of rock and roll’, Ronnie Spector died from cancer in Danbury, Connecticut at the age of 78.
20	January	2022	American singer and actor Michael Lee Aday, better known as Meat Loaf, died from Wolff–Parkinson–White syndrome in Nashville at the age of 74.
19	February	2022	English singer/songwriter, keyboard player and founder of the rock band Procol Harum, Gary Brooker MBE died from cancer at his home in Surrey at the age of 76.
22	February	2022	American singer/songwriter who worked with Isobel Campbell and Queens Of The Stone Age, in addition to a lengthy solo career, Mark Lanegan died at his home in Killarney, Kerry, Ireland at the age of 57.
25	March	2022	American rock drummer of the Foo Fighters, Taylor Hawkins died of heart failure probably caused by a drug overdose in a hotel in Bogota, Colombia at the age of 50.
4	April	2022	American guitarist and member of Motown Records’ in‑house studio band, the Funk Brothers, Joe Messina died from kidney disease in Northville, Michigan at the age of 93.
26	April	2022	German electronic music innovator, producer, composer and former member of krautrock band Tangerine Dream, as well as solo artist, Klaus Schulze died following a long illness at the age of 74.
17	May	2022	Academy Award-winning Greek musician, composer and producer Evángelos Odysséas Papathanassíou, better known as Vangelis died of heart failure in Paris at the age of 79.
26	May	2022	English keyboard player, DJ and founding member of electronica band Depeche Mode, Andrew Fletcher died of an aortic dissection at his home at the age of 60.
9	June	2022	American singer known for her collaborations with film director David Lynch, Julee Cruise committed suicide in Pittsfield, Massachusetts at the age of 65.
8	August	2022	British Australian singer and actress Olivia Newton-John died from breast cancer in Santa Ynez Valley, California at the age of 73.
28	September	2022	American rapper Artis Leon Ivey Jr., a.k.a. Coolio died from a heart attack caused by a drug overdose in Los Angeles, California at the age of 59.
4	October	2022	Highly acclaimed American country music singer and songwriter Loretta Lynn died from natural causes in Hurricane Mills, Tennessee at the age of 90.
28	October	2022	American rock ‘n’ roll pianist singer and songwriter, Jerry Lee Lewis died from natural causes in DeSoto County, Mississippi at the age of 87.
10	November	2022	English musician and key member of space rock band Hawkwind, Nik Turner died from unknown causes at the age of 82.
21	November	2022	English guitarist, singer, songwriter and one‑time member of pub rock band Dr. Feelgood, Wilko Johnson died from pancreatic cancer in Southend‑on‑Sea, England at the age of 75.
30	November	2022	English musician, singer and member of Fleetwood Mac, Christine McVie died of Ischemic stroke and metastatic cancer in London, England at the age of 79.
4	December	2022	German musician, composer, member of Ash Ra Tempel and solo artist, Manuel Göttsching died from natural causes in Berlin at the age of 70.
11	December	2022	Acclaimed American composer of film and TV scores, Angelo Badalamenti died from natural causes in Lincoln Park, New Jersey at the age of 85.
18	December	2022	English musician, singer and member of The Specials and Fun Boy Three, Terry Hall died from pancreatic cancer at the age of 63.
23	December	2022	British musician, rapper, singer, songwriter and DJ, front man of electronic band Faithless, Maxi Jazz (Maxwell Fraser) died from undisclosed causes in London England at the age of 65.
10	January	2023	English virtuoso guitarist and former member of the Yardbirds, Jeff Beck died from bacterial meningitis in East Sussex, England at the age of 78.
18	January	2023	Legendary American guitarist and singer, member of The Byrds and CSNY, David Crosby died from COVID-19 (coronavirus) in Santa Ynez, California at the age of 81.
28	January	2023	American singer, songwriter and guitarist with alternative rock band Television, Tom Verlaine died from prostate cancer in Manhattan, NYC at the age of 73.
8	March	2023	Legendary American composer, songwriter, producer and pianist, Burt Bacharach died from natural causes in Los Angeles, California at the age of 94,
5	March	2023	American guitarist and founding member of southern rock band Lynyrd Skynyrd, Gary Rossington died from undisclosed causes in Milton, Georgia, USA, at the age of 71.
12	April	2023	Influential Jamaican dub reggae sound system and record label owner, renowned for his work in London, Jah Shaka died at the age of 75.
1	May	2023	Canadian singer, songwriter and guitarist Gordon Lightfoot died from natural causes in Toronto at the age of 84.
24	May	2023	English bass player and member of post‑punk alternative rock band The Smiths, Andy Rourke died from pancreatic cancer in New York City at the age of 59.
25	May	2023	The Queen of Rock ‘n’ Roll, American singer, songwriter and actress Tina Turner died after a long illness in Küsnacht, Switzerland at the age of 83.
6	June	2023	English guitarist, singer and founder of blues/rock band Groundhogs, Tony McPhee died from complications after a fall and a stroke at the age of 79.
20	June	2023	English guitarist with rock group The Pop Group, John Waddington died from undisclosed causes at the age of 63.
21	July	2023	Legendary American jazz and popular music crooner Tony Bennett died from Alzheimer’s disease in New York City at the age of 96.
26	July	2023	American musician, singer, songwriter, and founding member of the Eagles, Randy Meisner died from COPD in Los Angeles, California at the age of 77.
26	July	2023	Irish singer, songwriter and activist Sinéad O’Connor died from unknown causes in London, England at the age of 56.
9	August	2023	Canadian musician and guitarist for Bob Dylan and The Band, Robbie Robertson died from prostate cancer in Los Angeles, California at the age of 80.
24	August	2023	Renowned English rock guitarist with Whitesnake and UFO, Bernie Marsden died from bacterial meningitis at the age of 72.
27	August	2023	American musician best known for being one half of electronica duo Stars Of The Lid, Brian McBride died from undisclosed causes at the age of 53.
13	September	2023	British singer, songwriter and musician Roger Whittaker died from a stroke in France at the age of 87.
30	November	2023	British‑born Irish singer, songwriter, musician and frontman with Celtic punk rock band the Pogues, Shane MacGowan died from pneumonia and encephalitis in Dublin, Ireland at the age of 65.
5	December	2023	English guitarist and founding member of The Moody Blues and Wings, Denny Laine died from lung disease at the age of 79.

Music industry opinion

A lot has (or rather hasn’t) happened in the music industry over the 3 years since CRAVE Guitars suspended its main activities. First, there was the hangover from global economic recession/depression, then the coronageddon, then the cataclysmic geopolitical conflicts adversely affecting far too many innocent peoples around the globe. At best, the music industry at all levels could only hope to hold its own.

In reality, it has been a tumultuous few years, to say the least. Everyone from equipment manufacturers (including their supply chains), venues, artists, music recording and distribution, publicity and management have been hit hard. Every conceivable facet of the market has been decimated. While I haven’t been able to keep up with events in the industry as I normally would have done, it is clear that things are only now just beginning to get back to 2019 levels.

Who would have predicted three years ago, for instance, that British amp stalwart Marshall would have been acquired by the Swedish digital music company, Zound Industries. A sign of the times, I guess.

Strategically, it has been a nightmare where even the best scenario planning has failed to predict wildly off kilter outcomes. Vintage guitar prices seem to have kept up as the super‑rich collectors are basically unaffected by economic blips that are savage to the rest of us. I know that I am paying more now than I would have done in 2019 for the same thing. While I am not economically motivated and CRAVE Vintage Guitars is a non‑profit enterprise, it is a relief that the 3‑year hiatus hasn’t totally wiped out the value of CRAVE Guitars’ precious artefacts.

It will take a long time for things to settle down and start to grow again. It will be a challenge for everyone involved for some time to come. The last three years haven’t signalled the death throes of the guitar music community. Yet. It has, however been badly wounded, let us hope not mortally so.

The guitar book

A while back, I was contacted out of the blue by a book publisher wanting to use one of CRAVE Guitars’ vintage guitars in their author’s new book on the subject. After a bit of formal toing‑and‑froing, it all went ahead and the book was published earlier this year. I was happy to do this for no commercial gain and the only reward was a shiny copy of the final print version and a credit in the acknowledgement section. While it won’t make CRAVE Guitars famous, I am quite proud of this minor morsel of exposure and recognition.

The book in question is, ‘Guitar: The Shape Of Sound – 100 Iconic Designs’ by author Ultan Guilfoyle, published by Phaidon Press (ISBN: 978 183866 558 6) (2023).

Link: ‘Guitar: The Shape Of Sound – 100 Iconic Designs’

Phaidon – Guitar The Shape Of Sound (2023)

The vintage guitar that was featured in the book is my lovely 1974 Ovation Breadwinner 1251 (see page 204‑205).

The pulp novel

As you may know, I have been writing on and off for some time, going back to the dim dark origins of CRAVE Guitars back in 2007. The main examples of this are the web site features and monthly articles on the CRAVE Guitars website over the last 9‑10 years or so, as well as the usual social media activity.

Very recently, I felt an irresistible urge to write a fiction novel. Its status is currently work‑in‑progress. It will be called, ‘The Distortion Diaries’ (remember, you read it here first). It started out as an amateur musician’s journal but the early content was clichéd, derivative and, frankly, very dull. It also wouldn’t fill a novel. So, I expanded the story to include a broader variety of situations and characters. The result will be, believe this or not, an eroti‑rom‑com with PARENTAL ADVISORY for Explicit Content. Even then, it isn’t at all what you might think or expect. Heck, how it turned out surprised me too! I don’t know if anyone will ever get to read it. It doesn’t matter. It is something creative that I had to do for myself. It isn’t good enough for a publisher to pick up and I have absolutely nil experience of self‑publishing, so it might never see the light of day. I have considered serialising it through the CRAVE Musings (i.e. the monthly blog articles) but I’m not sure the public is ready for some lovey‑dovey smut‑ridden muso pulp on a vintage guitar website though. The novel may end up just an aborted, ill‑advised, folly of an average superego’s gratuitous self‑indulgence. Thoughts on a postcard please.

Whether anything comes of this probably pointless fictional venture, I have no idea but it’s been addictive and fun to come up with something non‑factual for a change. And, no, it isn’t autobiographical, just in case you were wondering. Nor is it aspirational. Sadly, seeing as the protagonist has a ‘good time’ on the whole. Lucky git.

In truth, I would actually like to try and self‑publish the novel but I have no idea whatsoever about how to go about such an endeavour, so it will probably languish in long‑lasting literary limbo (stop it with the alliteration, already!).

New 2023 albums

As it’s the time of year for lists, here is a breakdown of 2023 album releases acquired during the year. As usual, these aren’t the only albums bought and neither will they be the only 2023 albums over time. Here are this year’s 33 purchases:

100 gecs – 10,000 gecs
Alborosie – Shengen Dub/Embryonic Dub
Caroline Polachek – Desire, I Want To Turn Into You
The Chemical Brothers – For That Beautiful Feeling
Creation Rebel – Hostile Environment
The Cure – Black Sessions: Maison De La Radio Paris 2004 (live broadcast)
Depeche Mode – Memento Mori
Don Letts – Outta Sync
Dub Pistols – Frontline
Everything But The Girl – Fuse
Fred Again.. & Brian Eno – Secret Life
Gentleman’s Dub Club – On A Mission…
Hollie Cook – Happy Hour In Dub
James Holden – Imagine This Is A High Dimensional Space Of All Possibilities
King Krule – Space Heavy
King Tubby & The Observer All Stars – Dubbing With The Observer
Kurt Vile – Back To Moon Beach
Lana Del Rey – Did You Know That There’s A Tunnel Under Ocean Blvd
Laurel Halo – Atlas
Mitski – The Land Is Inhospitable And So Are We
The Murder Capital – Gigi’s Recovery
The Orb – Metallic Spheres In Colour (Feat. David Gilmour)
The Orb – Prism
Orbital – Optical Delusion
Pigs Pigs Pigs Pigs Pigs Pigs Pigs – Land Of Sleeper
Queens Of The Stone Age – In Times New Roman…
Rolling Stones – Hackney Diamonds
Skindred – Smile
Sleaford Mods – UK GRIM
Slowdive – Everything Is Alive
Steve Hillage – LA Forum 31.1.77 (live)
X‑Press 2 – Thee
Yeule – Softscars

Is there a favourite 2023 album out of that lot? Well, I keep coming back to British alternative/indie shoegaze/dream pop band, Slowdive and ‘Everything Is Alive’ more than once, so that’s a fair choice at the time of writing. The big disappointment was Don Letts’ ‘Outta Sync’. Sadly. It comprises many well-crafted pop songs but very little of what I, and I think many others, hoped for in the way of heavy dub reggae tracks.

An even bigger disappointment for me was what didn’t appear. The Cure had hinted that their first studio album since 2008’s ‘4:13 Dream’, heralded as, ‘Songs Of A Lost World’ would be released in 2022. It was notable by its absence and many enthusiasts were hoping that it would finally see the light of day in 2023. The band tempted fans by playing several of the new tracks during their live concerts during the year. However, still nothing tangible has appeared on record store shelves. Let’s hope Robert Smith & co. get around to letting us hear it in 2024. Sixteen years is a long time to wait for new material. C’mon Bob, don’t keep us waiting any longer.

Note: I haven’t gone back to cover 2020, 2021 and 2022 lists of those year’s album releases, as this article would become just a loooooong list.

Whazzup for CRAVE Guitars in 2024?

Before Covid, I used to include at the end of the ‘review of the year’, a shortlist of vintage guitar gear that I might try to acquire in the subsequent 12‑month period. Rarely were the predictions spot on, or even close. Given CRAVE Guitars’ limited activity, space and funds, there is little point in speculating other than in very broad terms.

While there is always a long list of ‘most wanted’ guitars, it’s unlikely to expand significantly in 2024. I am actually generally relatively content with my lot. For now. I am sure that GAS (Gear Acquisition Syndrome) will strike again at some point.

Having launched CRAVE Basses in 2023, there are only four vintage bass guitars in the ‘collection’ thus far. There are a few I might be interested in looking for and which may improve diversity in this area.

There are no intentions for ‘new’ CRAVE Amps at the moment. But that can change, depending on opportunity.

I am also keeping an eye open for some interesting vintage stomp boxes for CRAVE Effects but it really depends on whether anything crops up at a reasonable market price.

The overall result is that there are no specific ambitions for 2024. Next year’s annual review will probably be very short and very dull! I have learned from past experience that predictions aren’t a good idea. Not only are they over‑ambitious but also they end up way wide of the mark. So, I will take things as they come and await any surprises with great anticipation. That sounds like it might be a bit more fun than reporting on yet another failed plan.

CRAVE Guitars ‘Record(s) of the Month’

It seems that this might become a regular feature. I listen to a lot of music (see last month’s article, ‘Music Machinations’ – November 2023). There are some albums that tend to stand out from the rest. There is no rhyme or reason why they do, they just do. Over the last month, I just can’t split two albums, which I’ve been enjoying amongst all the other great material out there. They both come under the general genre category of instrumental ‘stoner rock’ but that downplays their appeal. So, on account of there being SO much great music to discover, I’m going for the plural of ‘Record’ for December 2023. Let’s just call that extra little ‘(s)’ a Christmas/New Year treat for y’all. Enjoy

Eternal Tapestry – Beyond The 4th Door (2011) – First up is this strange thing of beauty. Eternal Tapestry is an American psych rock band based in Portland, Oregon. It may not be regarded by some as their best but it was their first ‘proper’ record label release, after several previous albums. It isn’t heavy. It sounds like a group of friends getting together for a jam session. To get that right is a LOT harder than people think. It is atmospheric, dreamy and so far out of this world that it leaves the sordid real world truly out of sight. Good. laid back, hypnotic, immersive, psychedelic and otherworldly experience.

My Sleeping Karma – Soma (2012) – Not the same as Eternal Tapestry but not too far off either. My Sleeping Karma is a German psych rock band from Aschaffenburg, Bayern and ‘Soma’ is their 4^th studio album. The tracks are long, intentionally repetitive and with a gentle groove. It’s not quite an impromptu jam session but it has a distinctive psychedelic undercurrent that can be great for zoning out. I prefer this to other MSK studio albums, as it has a bit more variety within the confines of its moody origins. Emotional krautrock. Who’da thought?

Tailpiece

Good riddance to 2023. Funny (not) how I seem destined to repeat that same dreary sentiment every year. Ever hopeful and optimistically deluded, I have to remain confident that 2024 will be a bit better. Any improvement will be eagerly grasped. A new year, new opportunities.

My naïve wish and hope for 2024? Listen up all humans! Stop destroying our planet and stop killing each other. Then put all that wasted money to good use making a peaceful, sustainable civilisation, fare and just for all. A pipe dream, maybe, but one has to dream.

As far as articles for 2024 are concerned, I have a couple of ideas gestating, although nothing firmed up at this stage, Watch this space folks. Tune in, same time, same channel, next month. In the meantime, I wish you all a Happy New Year. Be good.

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

CRAVE Guitars’ ‘Quote of the Month’: “The best thing in life is freedom”

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