27 Feb 2026

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

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

Prelude

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

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

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

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

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

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

This Month at CRAVE Guitars…

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Vintage Guitars/Basses (3):

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

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

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

Feature – 1966 Fender Electric XII

1966 Fender Electric XII

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

Feature – 1984 Guild X‑79 Skyhawk

1984 Guild X-79 Skyhawk

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

Feature – 1983 Kramer ‘The Duke’ Deluxe Bass

1983 Kramer The Duke Deluxe

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

Vintage Effect Pedals (12):

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

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

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

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

Feature – 1987 DOD FX10 Bi‑Fet Preamp

1987 DOD FX10 Bi-Fet Preamp

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

Feature – 1991 DOD FX17 Wah-Volume Controller Pedal

1991 DOD FX17 Wah-Volume Controller Pedal

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

Feature – 1995 DOD FX25 Envelope Filter

1995 DOD FX25 Envelope Filter

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

Feature – 1995 DOD FX50‑B Overdrive Plus

1990 DOD FX50-B Overdrive Plus

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

Feature – 1992 DOD FX52 Classic Fuzz

1992 DOD FX52 Classic Fuzz

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

Feature – 1991 DOD FX54 Attacker

1991 DOD FX54 Attacker

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

Feature – 1988 DOD FX56 American Metal

1988 DOD FX56 American Metal

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

Feature – 1988 DOD FX65 Stereo Chorus

1988 DOD FX65 Stereo Chorus

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

Feature – 1988 DOD FX80 B Compressor Sustainer

1988 DOD FX80-B Compressor Sustainer

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

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

Feature – 1980 MXR Micro Chorus

1980 MXR Micro Chorus

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

Feature – 1975 MXR Noise Gate Line Driver

1975 MXR Noise Gate Line Driver

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

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

1977 MXR Phase 90 (‘Script’ Logo)

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

1977 MXR Phase 90 (‘Block’ Logo)

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

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

Final Thoughts About Recent New In at CRAVE Guitars

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

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

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

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

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

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

Strategic Positioning of CRAVE Guitars

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

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

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

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

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

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

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

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

CRAVE Guitars’ ‘Album of the Month’

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

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

The Orb Featuring Lee “Scratch” Perry

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

BELIEVE IN MUSIC!

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

Tailpiece

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

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

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

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

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31 Dec 2025

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

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

Prelude

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

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

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

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

Buddha (Siddhartha Gautama c.480-400BCE)

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

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

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

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

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

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

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

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

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

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

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

“Life is uncertain; death is certain” – Buddha

CRAVE Guitars Vintage Gear purchased in 2025 (11)

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

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

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

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

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

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

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

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

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

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

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

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

2025 album releases purchased (6):

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

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

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

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

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

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

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

2025 Gigs (2)

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

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

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

KEEP MUSIC LIVE!

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

CRAVE Guitars’ Web Site

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

CRAVE (Cool & Rare American Vintage Electric) Guitars

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

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

“In the sky, there is no distinction between east and west; people create distinctions out of their own minds and then believe them to be true” – Buddha

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

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

CRAVE Guitars’ Social Media

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

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

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

CRAVE Guitars Blue Sky Social

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

Contact Update

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

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

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

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

The Distortion Diaries Update

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

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

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

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

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

State of the Music Industry and the Vintage Guitar Market

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

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

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

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

“Everything changes, nothing remains without change” – Buddha

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

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

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

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

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

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

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

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

Seasonal Greetings from The CRAVEman

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

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

Final Thoughts on 2025 and Looking Forward to 2026

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

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

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

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

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

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

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

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

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

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

BELIEVE IN MUSIC!

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

Tailpiece

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

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

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

“What we are today comes from our thoughts of yesterday, and our present thoughts build our life of tomorrow: our life is the creation of our mind” – Buddha

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

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

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30 Sep 2025

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

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

Prelude

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

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

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

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

Collecting and Collections Revisited

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

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

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

Collections within a Collection

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

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

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

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

Mini Collections

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

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

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

Fender Brand Mini Collections

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Gibson Brand Mini Collections

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Other Brand Mini Collections

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

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

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

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

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

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

Other – Best of the Rest Mini Collections

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

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

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

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

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

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

Final Thoughts on Vintage Guitar Collections within A Collection

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

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

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

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

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

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

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

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

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

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

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

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

CRAVE Guitars’ ‘Album of the Month’

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

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

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

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

BELIEVE IN MUSIC!

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

Tailpiece

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

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

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

CRAVE Guitars’ ‘Quote of the Month’: “The only obliteration justified by war is the obliteration of war itself”

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