30 Mar 2026

March 2026 – CRAVE Island Castaway Part I: Vintage Gear

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

Prelude

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

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

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

This Month at CRAVE Guitars…

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

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

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

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

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

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

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

The Rationale for the Article

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

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

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

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

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

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

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

The CRAVEman’s Top Ten Desert Island Vintage Gear

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

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

Feature – 1965 Fender Jaguar

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

Feature – 1972 Fender Telecaster Thinline

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

Feature – 1963 Gibson ES‑330

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

Feature – 1982 Gibson Explorer CMT

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

Feature – 1968 Gibson SG Standard

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

Feature – 1962 National Glenwood 95

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

Feature – 1978 Music Man Stingray Bass

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

Feature – 1977 Electro-Harmonix Big Muff Pi

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

Feature – 1977 Electro-Harmonix Deluxe Memory Man

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

Feature – 1973 Fender Princeton Reverb

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

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

  1. Gibson SG
  2. Gibson Explorer
  3. Fender Telecaster
  4. Gibson Les Paul
  5. Fender Jazzmaster
  6. Fender Mustang
  7. Gibson Firebird
  8. Fender Stratocaster
  9. Gibson Melody Maker
  10. Gibson ES‑330

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

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

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

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

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

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

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

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

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

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

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

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

CRAVE Guitars’ ‘Album of the Month’

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

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

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

BELIEVE IN MUSIC!

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

Tailpiece

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

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

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

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

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

© 2026 CRAVE Guitars – Love Vintage Guitars.

 

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27 Dec 2017

December 2017 – That Time for Guitar Lists and Stuff

by | posted in: Observations, Opinion | 0

So, yet another infernal year draws to a close. Why infernal? Well, I was never going to like 2017 on principle, as 2,017 is a prime number. My dislike of prime numbers is one of my weird traits – I have no idea why – at least I’m not primonumerophobic, i.e. fearful of the darned things. At least the next prime year is 2027, which is a whole decade away yet. Fun Trivia: while many people fear the prime number 13 (triskaidekaphobia), many primonumerophobes fear the number 2, it being the only even prime number.

Anyhoo… I digress, as is my wont. In tried and tested (and predictable) fashion, it is time to reflect on the year now departing from platform 2017, re-assess the way things are now, as well as to look forward to new opportunities in the year ahead. One cannot change the past but one may be able to influence both the here and now as well as the future, so it’s a time to take a deep breath, muster up one’s energy and be both positive and forward thinking.

2017 in retrospect

Well, 2017 was certainly a year of major change, that’s for sure, with events during 2017 definitely impacting on CRAVE Guitars.

At the equivalent point last year, the relocation was looming and structural works were underway to make the ‘new’ (90‑year old) place safe, if not fully habitable. The move has now taken place but that is just the start. The structure still needs considerable work before even the basic works can be described as complete. At the time of writing, it is even now only barely habitable with little in the way of what many people expect of basic ‘home’ comforts. Carpets? Nah. Curtains? Nah. Heck, we’ve only just got heating and hot water after 7 months. Getting trustworthy, cost-effective workmen is proving aggravatingly difficult.

However, something about the ‘old’ life had to change and along with that realisation came major risks. After weighing up the cons and the even bigger cons, we embarked on the new venture with our eyes wide open. The two main drivers for change comprised basic economics and quality of life due to family health issues, so it had to be done, as the alternatives were simply unsustainable. So here we are in the south west of the UK.

As a direct result of the relocation, the major part of the vintage guitar ‘collection’ is currently in temporary storage until I can create safe and secure accommodation for them in the new location. This is why I haven’t been able to update all the photos on the web site. I am very, very concerned about the far from ideal environmental conditions at both the old and new places, so there is no easy answer. However, beggars can’t be choosers and, as ‘they’ say, needs must. The precious (to me) guitars will just have to endure their enforced incarceration for a while longer. I can only hope and pray that they aren’t unduly compromised by the interlude. Until they can be retrieved and re-homed, I just won’t know for sure what condition they are in. They are a couple of hundred miles away and I now have to be at this end, so all I can do is hope for the best. At least I have a few modest vintage guitars available here to pluck in the meantime, whenever I get a few rare moments to spare.

CRAVE Guitars – Cases

Also back in December 2016, I declared my hand and stated an ambition to secure two specific vintage instruments during 2017 – a 1970s Fender Starcaster and a 1950s Gibson ES-150. How did that turn out? Regrettably, I have to report that I failed dismally on both counts. In context, it really doesn’t matter a jot. I possibly could have achieved what I set out to do but circumstances and timing didn’t align to make it possible. Now, in the absence of sufficient lucre, I need to reassess and reprioritise my aspirations.

At the start of 2017, I was about to embark on a culling of the (guitar) herd to strengthen the focus on vintage gear. As a consequence of the clear out, I had the rare opportunity to reinvest some of the proceeds in a small number of ‘cheap’ and unusual vintage guitars (see below). I prefer the term ‘cool and rare’ but let’s be honest, there have been some peculiar budget vintage axes that have crossed my path this year. I wanted to use the funds to invest in maybe 1 or 2 great guitars, as mentioned above, but ‘best laid plans’ and all that.

The year hasn’t been without many other significant difficulties, particularly around significantly deteriorating family health. I’m afraid that’s the way our cookies tend to crumble. Don’t expect details; this article is supposed to be about guitars and music!

Still, stepping back and looking at the bigger picture, at least there remains a way forward on a few fronts, albeit experiencing very slow and frustrating progress.

CRAVE Guitars acquisitions in 2017…

On a more positive note, there has been more instruments than I expected to be inducted into the CRAVE Guitars family over these past 12 months. I had anticipated that 2017 was going to be quite a barren year guitar-wise, especially with everything else going on.

There were some interesting acquisitions that were intentionally offbeat and not at all what one might have predicted 365 days ago. This unorthodox approach is now kinda becoming CRAVE Guitars’ raison d’être. As it turned out, there were no ‘classic’ models at all, probably because – to be honest – they would have represented ‘more of the same’. If you have followed these monthly articles, you’ll have picked up the conscious rationale for venturing off the beaten track. I must admit that, on reflection, even I have been surprised by the way things have panned out, which was actually a nice surprise. 2017 purchases included…

Guitars (7):

CRAVE Guitars – 2017 Guitars

Given that seven non-vintage guitars left the fold during 2017, there was a net increase of… zero guitars overall. It also represents more than double the number of vintage guitars purchased in 2016 (only 3).

Amps(1):

1979 Fender Musicmaster Bass

That is an overall net reduction of one (non-vintage) amp on this time last year.

Effects (6):

CRAVE Guitars – 2017 Effect Pedals

This represents an overall reduction of seven effects in the year. Just 6 purchases in 2017 compares to 17 vintage effects bought in 2016. Admittedly, I was on a mission last year and limited funds meant that expenditure tended towards effects rather than guitars.

All in all, I think that is not bad going under circumstances.

Guitarists that departed us in 2017 (9):

As is inevitable, all things come to pass and this year, like every other before it, has seen the demise of some truly inspirational musicians. At this time of year it is customary to take a few moments to contemplate those guitarists that we have lost in 2017 and recall what musical treasures they have left us. Their talents will be sorely missed and it is sad to think that there will be no more distinctive music from these guys (no gals). Rest in Peace ineffable rock dudes and forever rock the big gig in the sky. Sad losses include:

  • Deke Leonard (Man) on 31st January, aged 72
  • Larry Coryell on 19th February, aged 73
  • Chuck Berry on 18th March, aged 90
  • Allan Holdsworth on 15th April, aged 70
  • Gregg Allman (The Allman Brothers Band) on 27th May, aged 69
  • Glen Campbell on 8th August, aged 81
  • Walter Becker (Steely Dan) on 3rd September, aged 67
  • Tom Petty on 2nd October, aged 66
  • Malcolm Young (AC/DC) on 18th November, aged 64

New recorded music in 2017 (18):

One of the things I learnt from the late, great British DJ John Peel is to appreciate fresh new music as well as the respected classics. I had expected that access to new releases would have been a bit limited in 2017 but it seems to have been roughly on a par with previous years. There seems to have been a wealth of good music released this year from both established and new artists covering a broad range of genres. 2017 new music album purchases include (in artist alphabetical order):

  • !!! – Shake the Shudder
  • Bonobo – Migration
  • Cats In Space – Scarecrow
  • The Correspondents – Foolishman
  • Dub Pistols – Crazy Diamonds
  • Eric Gales – Middle Of The Road
  • Hurray For The Riff Raff – The Navigator
  • The Jesus And Mary Chain – Damage And Joy
  • Kasabian – For Crying Out Loud
  • King Creature – Volume One
  • LCD Soundsystem – American Dream
  • London Grammar – Truth Is A Beautiful Thing
  • Imelda May – Life Love Flesh Blood
  • Prophets Of Rage – Prophets Of Rage
  • Royal Blood – How Did We Get So Dark?
  • The War On Drugs – A Deeper Understanding
  • The xx – I See You
  • Neil Young – Hitchhiker

I don’t think that I have a single ‘album of the year’ from this modest but diverse bunch, as my tastes change with mood. One wonders if any of these releases will be considered timeless classics in years to come.

Live Music in 2017 (2)

As you may know, I am also a big fan of live music of all kinds from street entertainers through pub gigs and concerts of all types and sizes, right up to minor and major festivals featuring a broad range of interesting musical experiences. One great thing about live music is that there is always something new and surprising to discover. I am also regularly amazed at the quality of musicianship exhibited across the board, including by artists that one may never hear of again. The talent out there is phenomenal and sadly puts my playing abilities to shame.

Due to constraints imposed by family health, live music attendance has had to be very limited in 2017 with just one major concert (Black Sabbath’s amazing ‘The End’ tour in January) and one boutique festival (Looe Music Festival in September/October, punching well above its weight). Now we are located in the south west of the UK, getting to major music venues is proving more challenging than in previous years.

Social Media

There were a couple of minor achievements during 2017. CRAVE Guitars more than doubled the number of followers it has on Twitter, now standing at over 2,700. The number of followers also now consistently exceeds the number followed, another small landmark. A heck of a lot of hard work went into cultivating this social media audience. Although it earns diddley-squat at precisely £0, it is, I hope, an investment in the brand, at least in terms of time and diligence. Along the way, I have learnt quite a lot, so there is a modicum of knowledge gain. It’s a shame that other social media platforms have proved less successful, so the proportion of effort has to be targeted at Twitter.

2018 in Prospect

Looking forward, it looks like 2018 is going to be a really, really tough year. The family health situation that partly precipitated the move is likely to be life changing and VERY challenging during the year ahead. It is all very sad and the inevitable outcome is beyond my (or anyone else’s) ability to change.

At least there is not another relocation to manage on top of increasing caring duties. It also looks like the renovation works are likely to take most of the year and all my patience, as well as resources. Of course, it isn’t possible to predict what will actually happen and experience suggests that the unexpected is likely to do its best to derail any reasonable plans. It is therefore best to approach the next 12 months with trepidation and no fixed expectations.

As a result of the uncertainties, the operating status of CRAVE Guitars’ is resolutely in ‘ticking over’ mode and I suspect that it is likely to stay that way for the foreseeable future. I intend to maintain a modicum of incremental improvement and will endeavour to keep foundation‑building in the background while I can. The hope is that the venture should be ready to fly, given half a chance.

So… being a bit more specific, what music gear tops CRAVE Guitars’ affordable vintage ‘most wanted’ list for 2018? I have relinquished any hope of acquiring last year’s ambition for a Fender Starcaster and/or Gibson ES-150. This coming year, I will have to set my sights at an altogether different level and go for something on a more realistic budget. I am casting the net a bit wider and shallower this time. If I can get just one guitar, one amp and one effect from the following list this coming year, I’ll be content:

Guitars:

  • 1960s Danelectro (no specific model)
  • 1970s Fender Bronco
  • 1960s Gibson Melody Maker (type 3)
  • 1970s Guild (perhaps a S-100 or S-300D)
  • 1970s Peavey T-60

Amps:

  • 1970s ‘silverface’ Princeton (with or without reverb)
  • 1970s ‘silverface’ Fender Champ

Effect pedals:

  • 1980s BOSS CE-2 Chorus
  • 1970s Electro Harmonix Zipper (envelope follower)
  • 1980s Ibanez PT9 Phaser
  • 1970s MXR Micro Chorus

In order to achieve even 2018’s moderate ambition (just 3 items over 12 months), a lot of penny pinching is still likely to be required. I also don’t have much leeway to ‘trade up’ existing models. For instance, I wouldn’t mind some selective substitution, i.e. replacing a couple of later-year instruments with examples from earlier years, or to swap out a couple of current guitars for ones that are in better condition or are more original. The intention is really not to grow the ‘collection’ but to consolidate and improve it. All this needs funding of course. I also have to keep options open for those unforeseen, unmissable opportunities that might arise from time to time during the year, i.e. when the dreaded irresistible temptation strikes! We’ll just have to wait and see what transpires.

Hopefully, despite constant building setbacks on the residence, I want to try and create a safe home for the majority of the guitar ‘collection’. Currently, while this is top of my personal priorities, it isn’t top priority overall (grrr, argh). The necessity for very basic habitability and adaptation must come first. Finances are either completely used up or committed and now that I’m a full‑time carer, there is no other income on which I can rely, so I really hope there are no (further) unforeseen expensive catastrophes to contend with.

Frustratingly, I actually have the physical space earmarked for on-site guitar storage. Unfortunately, in its present‑day state, it is far from suitable. The space currently comprises a small, dark, dank and musty cellar suitable only for severely vertically challenged troglodytes and the occasional adventurous spelunker. Basically, the cellar is mostly underground (built into a solid rock cliff face) and is pretty much as it was when the house was built 90 years ago (single‑skinned concrete block walls with no damp‑proofing), so it needs some pretty extensive work(!).

The first step is for the walls and floor to be ‘tanked’ and drained to reduce rampant damp. Once dry, insulation, heating and ventilation are needed to keep the relative humidity and temperature within acceptable parameters for storing vintage musical instruments. Due to the adverse environment conditions, it may also require active de‑humidification. In addition, there needs to be suitable interior access to the cellar so all the guitars can be swapped around regularly but this has implications for the rest of the ground floor. The list goes on and on… lighting and power are essential to provide basic utility. Finally, reasonable security is required to keep pesky scoundrels and ne’er‑do‑wells out. I’m not too bothered about prettying it up to make it presentable; it is far more important that it is functional and fit‑for‑purpose. That’s all!!!!!

CRAVE Guitars – Cellar

Considering the current condition of the cellar and what needs to be done to make it usable, this is one heck of a project to take on, especially on a shoestring budget with everything else that needs doing. The trouble is that the works can’t really be broken down into smaller, more manageable chunks – it currently looks like an all‑or‑nothing exercise. If the project could be phased over a longer period, it would certainly help, although it would extend the current storage compromise – it is something worth exploring though. Despite the obstacles, it is an exciting proposition and something I would really like to take on if I can. If nothing else, it would be a welcome distraction from some of the other difficulties.

Even then, because of the adaptations required, it will never be ideal, particularly the limited accessibility and very low headroom. I can only work with what I’ve got. For instance, it isn’t possible to excavate into solid rock and underpin the existing (poor) structure. Financially, it won’t be an investment. If I am going to be making a long‑term success of CRAVE Guitars, it has to be able to work under one roof. It is essentially the only feasible option I have and there is no ‘Plan B’. If I can’t do it, I will have to think again about the viability of CRAVE Guitars and/or its location. If I can embark on this ‘exciting’ venture, I will try to log progress through these regular articles. Wish me luck.

If I can liberate all the stored guitars from their enforced confinement, I am pretty sure that I will need to find a local luthier/guitar tech to work through any conservation work that needs to be done to get/keep them in as good a condition as can be expected after their prolonged period of internment. Most of the remedial work is likely to comprise setups and tweaks but I suspect that a few guitars may require some expert intervention. For instance, a couple could have potential truss rod issues, which may or may not turn out to be complicated, and there are probably also some electrical issues that need investigating (scratchy pots, intermittent switches, dodgy sockets, etc.). There may also be some finish or corrosion problems.

I have to be honest here – I am not one of those tinkerer types; I hate changing guitar strings, let alone anything more involved. I am wise enough to understand that I should leave anything complex to the specialists, especially if it involves a soldering iron! I am pretty certain that, by attempting to do any serious guitar work myself, I would probably make any problems worse. Where vintage guitars are concerned, a cautious approach makes a lot of common sense – leave it to the experts every time.

Changing the subject matter a little bit. Strange as it may seem after 40 years of playing, I would actually like to take some guitar lessons. I am not sure that tuition could do much to improve my technical or theoretical skills (see previous articles) but it might be able to inspire me to make better noises than I do now. It might also motivate me to play with others again and maybe, just maybe, encourage me to play live with a band again. I’m not committing to anything and it looks unlikely that 2018 will be the year that it happens. I’m running out of years though, so perhaps I’d better get a move on if I’m to achieve that particular bucket list item. Even if learning is purely a recreational exercise, my playing could definitely do with significant improvement. Like many musical types, I suffer crippling self‑doubt, so I’d hope that my confidence would benefit greatly as well. If I don’t enjoy the fruits of such hard work, it isn’t worth doing, so I’m a bit dubious. Acquiring skill is as much in the mind as it is in the physical dexterity. The trouble is that I’m very much a loner in my old age and I’m not sure I could collaborate easily with others. I would, however, also like to record some of my guitar music, if only for personal gratification and, perhaps, posterity.

At this particular juncture, it really isn’t possible, or advisable, to look any further forward or to speculate more strategically about what may happen either more generally or to CRAVE Guitars. So, it is probably best to let 2018 play out as it sees fit. I must trust that good things will happen and let fate take its course. They say you make your own luck, so I will try my hardest to influence good fortune. Let’s face it, despite my best endeavours, luck hasn’t been on my side for many years but I persevere and try to do the right thing to the best of my abilities and hope that things will work out alright in the end.

What else is in store for 2018? Well that depends on many other things. If possible, I would like to improve the CRAVE Guitars web site and enhance the social media content on platforms other than Twitter, Google+ and LinkedIn. I would also like to spend a little more time researching and writing seriously about my obsession with guitars and contemporary music. However, being brutally realistic, 2018 will simply be just keeping things going on the back burner. I would dearly like to say that it will be a year of exciting new developments but I think I’d be raising expectations beyond what I’ll physically be able to deliver.

In terms of recorded music, I have to admit that I am a Luddite as far as streaming and download services are concerned. I like to go into retail stores and purchase a tangible product that I can take home and appreciate visually as well as aurally. My tastes are not stuck in any particular period and I am a big fan of both old and new music alike. Who knows what new recorded music will be released in 2018 but I look forward to finding out.

I also don’t think that there is much likelihood of attending many live music events in 2018. However, all other things being equal one of my all‑time favourite bands is playing live in 2018 and tickets are already booked. Indie rock legends Robert Smith and The Cure are celebrating their 40th anniversary by playing London Hyde Park BST concert in July. I also hope to repeat Looe Music Festival in September if I can.

A message of hope for 2018 and the future

Fundamentally, I don’t like to plan things out in great detail for two principal reasons: a) things never seem to work out for me and I would only get downcast when things don’t go as intended and, b) no-one really knows what is going to happen and prescribing a set of immutable circumstances in advance inhibits the potential for the sort of spontaneous opportunity that may make life really worth living (one can hope!).

One thing experience has taught me is that life is too short to get hung up on trivial things and maintaining a positive mental attitude is the only way to deal with life’s harsh realities. Perhaps it is the juddering realisation of one’s mortality that hangs over us all (but some more than others) like the proverbial sword of Damocles that makes me so philosophical. One cannot afford to be laid back about life otherwise precious time will be squandered in the pursuit of idle mundanity. So, I will take one day at a time, aim to do the best one can in every situation, make the most of every moment, and see what transpires. If I can be more profound and fundamental, I shall attempt to do so. I hope that I’ll still be here waffling on interminably this time next year (December 2018).

I am not a religious person. However, the Buddhist philosophy tends to resonate with my own outlook on life, so I will share the following quotes ascribed to Buddha. I reflect on these (and other) words of wisdom from time to time in an attempt to find internal solace, particularly during difficult times. Perhaps, through sharing, they may make a difference for others too:

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

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

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

“To be idle is a short road to death and to be diligent is a way of life; foolish people are idle, wise people are diligent.”

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

What does all this have to do with vintage guitars, you may well ask? Well, if I can get everything else turning out positively, it may increase the likelihood that CRAVE Guitars could prove to become a success. It is, at least, something on which I can focus. Call me crazy but I remain determined to make something of CRAVE Guitars sooner or later, preferably sooner. It may not become a reality in 2018, but, as long as I can keep things moving forward in the right direction, however slowly, it may just happen… eventually. The following quotes are others that seem appropriate…

 “If you can’t fly, then run. If you can’t run, then walk. If you can’t walk, then crawl. But whatever you do, you have to keep moving forward” – Martin Luther King Jr (1929-1968)

“Great things are not accomplished by those who yield to trends and fads and popular opinion” – Jack Kerouac (1922-1969)

I don’t have any great words of comfort, grace or insight to impart either in retrospect or prospect, other than the obligatory monthly CRAVE quote (see below). Praying for world peace, an end to suffering and justice for all seems trite, given the current poor state of world affairs. So, perhaps, a simple personal message of “I hope that 2018 will be good for you” to all guitar aficionados out there will suffice.

That’s it for now. The holiday season should be a time to sit back and plink one’s plank(s), so I’m off to pick up a geetar (or two). Play on. Until next time (and next year)…

CRAVE Guitars ‘Quote of the Month’: “Inspiration is everywhere around. Think deeply about what you experience every day and then act on what matters to change some things for the better.”

© 2017 CRAVE Guitars – Love Vintage Guitars.

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