Prelude

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

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

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

---

This Month at CRAVE Guitars…

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

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

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

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

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

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

---

The Rationale for the Article

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

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

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

---

The United States of America at 250 and Counting

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

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

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

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

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

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

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

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

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

Historically, 1776 has become widely regarded as the birth of the United States of America, founded on the principles of liberty, equality and rule of law. While independence was declared in 1776, the process to establish a stable federal government, with its fundamental structures and ideology took another 15 years. That foundation has evolved and continues to the current day, 250 years later.

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

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

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

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

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

Feature – 1976 Gibson Firebird Bicentennial

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

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

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

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

---

Fender at 80 and Counting

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

---

The Fender Telecaster at 75 and Counting

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

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

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

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

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

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

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

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

Fender FMIC Telecaster History

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

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

… Among many, many others

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

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

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

---

The Fender Precision at 75 and Counting

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

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

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

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

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

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

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

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

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

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

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

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

Feature – 1977 Fender Precision Fretless Bass

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

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

---

The Music Man Stingray Bass at 50 and counting

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

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

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

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

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

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

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

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

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

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

Feature – 1978 Music Man Stingray Bass

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

---

Final Thoughts on ‘A Year of Notable Anniversaries’

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

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

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

Other Notable Anniversaries in 2026

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

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

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

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

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

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

---

The CRAVEman Celebrating Anniversaries

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

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

---

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

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

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

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

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

BELIEVE IN MUSIC!

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

---

Tailpiece

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

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

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

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

© 2026 CRAVE Guitars – Love Vintage Guitars.

---