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’.
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.
Then, I strayed into Fender’s core ‘pro‑level’ guitar models – Stratocasters and Telecasters, which also demonstrate evolution of the instruments over time.
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.
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.
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).
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’
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 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.
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 21st 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 8th 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”
GOOD TO ‘SEE’ YOU HERE AGAIN DEAR READERS and thank you for popping in. Well, obviously, I can’t actually ‘see’ you but you hopefully get the spirit of the idiom. So, half of the year two thousand and twenty five according to the calendar of Pope Gregory XIII (1502‑1585). One criticism about his modifications to the preceding Julian calendar from 46BCE (thanks Gaius Julius Caesar 100‑44BCE) is that the pope didn’t ‘fix’ the date of Easter. It would have been easy to pick a suitably theological date and stick to it. Staying on topic, the world welcomes the new Pope Leo XIV (1955‑) to the head of the Catholic Church. However, I don’t think that the date on which Easter falls each year is a core part of his doctrinal manifesto. He probably has just a few other things to deal with. A missed opportunity, maybe. It does make a refreshing change to pass comment on religion instead of politics. I am certain that Pope Leo will add his influential voice to the masses praying for peace across our sadly savagely scarred planet.
Vintage Guitar Snobbery
This month’s subject is a pervasive and distasteful trait amongst the vintage guitar community, the ornery subject of snobbery. Few will admit to being a vintage guitar snob; they put their opinions down to years of experience and therefore their rhetoric is valid and credible while, at the same time, putting others down for their ignorant inexperience either directly or indirectly. Now, whether intended to be ironic or not that, to me, is a prime example of snobbery. How to spot a vintage guitar snob…
It may be straightforward snobbery, i.e. “mine’s bigger than yours”, “mine’s worth more than yours”, or “is that all you’ve got?” Other clear examples are the sweeping generalisations such as, “anything made after 1965 is total crap”, claiming that the only guitars worth bothering with are pre‑CBS Fenders or pre‑Norlin Gibsons, thereby dismissing everyone who can’t compete in their elevated circles as hoi polloi (NB. Greek meaning ‘the many’) scum. Mention a 1980s Gibson Sonex‑180 to one of these self‑proclaimed elitists and you will not be taken seriously. Ever. These ultra‑competitive, and usually ultra‑rich, snobs won’t accept anything other than a museum‑grade 1958 Gibson Explorer as worthy of their precious attention. Snobs want to stop someone else having something as much as they want something no‑one else can have. Whatever.
Alternatively, there is the case for inverse snobbery, a simple and dogmatic repudiation of the classic guitars hailed by the ordinary ‘pro‑snobs’ (see above), stating that anything that pristine, that rare and costing that much must, by default, be overrated and unattainable – instruments way too exclusive for a mere mortal to pick up and play, so must be imprisoned in a climate controlled vault. These so‑called ‘anti‑snobs’ are likely to reject the big American brands and proclaim that there is nothing better than a U.S.S.R.‑made ‘Ordjonikidze Tonika EGS-65’ from the late 1960s. To them, the accepted mainstream is no‑go zone. These snobs like playing in their own little sandpits, looking over at the big boys with bitter, resentful distaste. Whatever.
I realise fully that the last two paragraphs may provide prima facie proof that I am also a vintage guitar snob, even though I don’t fit neatly into either description. I have to confess that, unintentionally, I fall foul of vintage guitar snobbery from time to time but please don’t tell anyone about our dirty little secret. That in a (large) nutshell, dear friends, is what I’ll be exploring this month. Right. To work.
“There is simply no limit to the tyrannical snobbery that otherwise decent people can descend into when it comes to music” – Stephen Fry (1957‑)
Let’s get a simple definition out of the way first. A snob is a person with an exaggerated respect for elevated social position or overstated wealth who seeks to associate with social superiors and who rejects or looks down on those regarded as socially inferior or less wealthy. A snob is someone who believes that their opinions and tastes in a particular area are superior to those of other people. Snobbery, put quite simply, is what snobs do.
“We must never confuse elegance with snobbery” – Yves Saint Laurent (1936‑2008)
With the complicated world of vintage guitars, there are the musicians, enthusiasts, the ‘collecterati’, dealers, investors, onlookers, tyre‑kickers, etc. Each of these sub‑categories have their fair share of pro‑ and anti‑snobs. If one assumes that the ‘snobbery scale’ (Ed: good one) is a continuum from an absolute snob at one end to a genuine guitarist with integrity at the other, we are all somewhere along the scale, which, if plotted on a chart, the numbers would probably follow a standard deviation bell curve (a.k.a. a normal distribution).
It is all too easy to start off with a rational objective view about vintage guitars and then slip and slide imperceptibly down the slippery slope of snide snobbery (Ed: love the alliteration… for once). For those of us self‑aware enough to recognise the risk, we occasionally need a short, sharp reality check to bring us to our senses and restore our sense of perspective.
Well, recently, I undertook such a quick self‑examination. Then, after I did that, I did a quick check to see where I might be on the vintage guitar ‘snobbery scale’ (heehee). I am sad to say that recently I may have succumbed to one aspect of vintage guitar snobbery. That realisation brought my failings into rapid focus. Darn it!
“England is the most class-ridden country under the sun. It is a land of snobbery and privilege, ruled largely by the old and silly” – George Orwell (1903‑1950)
Is it OK to be a snob and keep it a hidden away? Well, yes and no. Psychologically, humans are inclined to believe that we are far better and far more sensible than we actually are. Basically, we are all biased and prejudiced to some degree, however slight. With pride (the bad sort) and self‑righteous indignation, we might well argue that we aren’t skewed. But we are. All these examples are in themselves a characteristic of a snob. None of us would stoop that low… would we? C’mon, be honest.
So, in an act of rampant redemption, I am confessing to the sin of falling into a trap of self‑denial. How on Earth did that happen and why did I not pick up on it sooner? The answer is that we don’t want to admit our own shady shortcomings, however small, to ourselves, let alone to anyone else. As I’m not a Catholic, so I don’t know how many ‘hail Marys’ to which I will now be condemned.
“It’s the people who transcend their backgrounds who are interesting to me. I have got a bit of inverted snobbery” – Viv Albertine (1954‑)
Where is all this leading you might well ask? Be patient, I’m just setting the scene in front of which the arch playwright’s tragedy will ultimately unfold. Aeschylus, Sophocles and Euripides would be proud. So, what are the capital vices of which I speak? You have a choice of seven (NB. lust, gluttony, greed, sloth, wrath, envy and pride – a.k.a. the Catholic Church’s seven cardinal sins). Well, recently, I faced a moral dilemma, a quandary and a predicament when considering a vintage guitar purchase. That conundrum exposed my own vintage guitar snobbery which, after considerable soul‑searching, resulted in having to make an economic decision. How well did I listen to the devil on one shoulder and the angel on the other? Which persuasive ‘voice’ did I eventually succumb to, and which side of the fence did I eventually fall off? Time to find out…
“Ah, beware of snobbery; it is the unwelcome recognition of one’s own past failings” – Cary Grant (1904‑1986)
Vintage Guitar Refinishing
Before we get to the specifics, what do I mean by a refinish? It may seem obvious but it is worth a quick clarification. At its simplest, a refinish means to apply a new surface covering to an object. The application may mean over‑spraying an underlying finish, for instance to obscure or protect the original surface. Alternatively, it may mean removing the entire original surface coating and replacing it with a new one. A finish may be ‘natural’, for instance a transparent lacquer to show the underlying wood grain, or painted in any colour – translucent or opaque. The superficial material used to refinish most guitars may be nitrocellulose lacquer, polyester or, more rarely, wax/oil finishes (usually only on bare wood). A refinish may attempt to mimic an original finish or it may be used to alter its appearance completely. A refinish may be purely cosmetic or it may be used to cover up damage or evidence of a previous repair.
For vintage guitars, a refinish may be on the body only (common with bolt‑on neck guitars), neck only (ditto) or a complete body and neck refinish (more common on set‑neck guitars). While the intention may be to restore or improve an object’s condition, it generally results in a reduction of the object’s value (for instance antique furniture). For many collectors, a refinish is therefore of economic as well as historical significance.
This article is essentially a story of three vintage guitars, all of which have been part of the CRAVE Guitars family over the years. As you might have guessed by now, the theme connecting these three instruments is the thorny subject of ‘refinishing’. The examples below comprise two full refinishes and one body‑only refinish. In each example the decision‑making process about whether to refinish or not was different, thereby giving a different perspective for each one. Convenient, eh?
Example Number One: 1975 Gibson Les Paul Standard – Regular readers will probably be aware that CRAVE’s 1975 Gibson Les Paul Standard was originally tobacco sunburst. When I bought it second hand c.1978 it had extensive buckle rash and I wasn’t over keen on the tobacco sunburst, so I had it refinished in natural nitrocellulose. Years later, being dissatisfied with how the natural finish was aging, I had it refinished again to its current dark cherry sunburst. At the time, it wasn’t an issue because it was still relatively new and I had no intention of keeping the guitar. I now cherish that refinished 1975 Les Paul, even though its value is probably between 30% and 60% of what it would be worth if it still had its original finish. In fact, it has become CRAVE Guitars’ chosen signature instrument despite its history.
1975 Gibson Les Paul Standard (Refinish)
In retrospect, had I been aware of how things would turn out, I probably wouldn’t have had it refinished. Mind you, its original condition would have deteriorated further over time. I’ve also kinda come around to tobacco sunburst, although I won’t have it refinished for a third time. Hindsight is a wonderful thing and I now know that once it had been done, it is permanent.
So it was that, with the creation of CRAVE Guitars as a serious concern, I vowed that I would avoid purchasing refinished instruments, regardless of whether there were justifiable and defensible reasons for doing so. I also vowed that I would not be guilty of refinishing any instruments while in my care. Until now, that 1975 Les Paul has been the only refinished guitar belonging to CRAVE Guitars.
For this example, the decision to refinish the Les Paul was mine to make. Regrettably, I took the decision to refinish and did it (twice!). Doh!
“Snobs are people who look down on other people, but that does not justify our looking down on them” – Frederick Buechner (1926‑2022
Example Number Two: 1984 Gibson Explorer – This tale starts off with what may seem a fairly straightforward question. What would I say now to someone now who wanted to refinish a vintage guitar? The immediate reaction would be to say, “don’t do it”. Simple? Nah. Shades of grey, as usual. As it turns out, this isn’t just a hypothetical situation. Such a circumstance actually occurred only a couple of years ago.
1984 Gibson Explorer (Original Finish)
I reluctantly sold a black 1984 Gibson Explorer to fund another. The buyer was a Metallica fan and he wanted a ‘cheap’ 1984 Explorer which he said he was going to refurbish and refinish to match James Hetfield’s cream one. The original black finish was in reasonable condition with a lot of nitro crazing. As it wasn’t pristine, I sold it at less than it was worth (I’m not a dealer). A refinish was not an imperative and everything else was 100% original (including the case). I mentioned to the buyer that a refinish would be irreversible and it would significantly reduce its value on the vintage market. Originality wasn’t his priority, so he went ahead and did it anyway. It wasn’t my place either to tell someone what (not) to do or to refuse to sell it on those grounds. Once it was his, he was free to do whatever he wanted with it. I’d done my bit by giving him the information and he could use it (or not) to make an informed decision. The refinish was done well and he was pleased with it. Personally I wouldn’t have done it but, as Mark Twain said, “You pays your money and you takes your choice!” (from, ‘Huckleberry Finn’, 1885).
Unlike example number one, the decision to refinish the Explorer was not mine to make. The person who bought it took the decision to refinish and did it.
Example Number Three: 1966 Fender Electric XII – Now… rolling the clocks forward, in February 2025, I was confronted by a vintage guitar opportunity, which put me in an awkward decision‑making situation. It is also the example that prompted this article.
1966 Fender Electric XII (Refinish)
I purchased a 1966 Fender Electric XII. With my hyper‑modest income and lack of disposable capital, the only way I could afford this uber‑cool and rare item was to purchase a refinished example at between a third and a half the price of a similar model with an original finish. The vast majority of Fender Electric XIIs were in sunburst finish and the one I bought was a very fetching faded Olympic White. At first, I thought it might be original and a bargain, as it wasn’t advertised as a refinish. Once I had ascertained that it had been refinished, I found myself in a bit of a Catch‑22 because, in principle, I would not buy a refinished instrument (see above). It is an old refinish and the quality of the work is (just about) adequate. Although it might benefit from it, I am not tempted to refinish it again. Generally speaking, I appreciate a guitar’s originality and believe that instruments are better for proudly showing the scars of their trade. A refinish, arguably obscures its visible journey through time but that just starts a new period of its existence.
“Snobbishness is the desire for what divides men and the inability to value what unites them” – Joseph Epstein (1937‑)
So… I accepted that, if I wanted to own a vintage Electric XII, this was the only way I could realistically do it and I would have to revoke my own long‑held prejudicial principle. The dilemma was resolved and the Electric XII is now part of the CRAVE Guitars family. Having taken the plunge, I felt that I needed to challenge previously held bigotries and attempt to justify the refinished Fender Electric XII’s addition to CRAVE Guitars. It is only the body of the Electric XII that has been refinished. The neck retains its original natural finish.
I realised that these internal machinations might possibly make for an interesting debate in the public domain, hence this article. Would I reaffirm my dogma (NB. called confirmation bias) or would I be pragmatic, contest my own predisposition and come to terms with, and accept, the outcome? Furthermore, would I be content with the Electric XII despite it being abundantly obvious that it is not all‑original?
“You must not judge hastily or vulgarly of snobs: to do so shows that you are yourself a snob” – William Makepeace Thackeray (1811‑1863)
Beneath the surface (sic!) there is no doubt that the Electric XII is a fascinating and innovative guitar for its time and is experiencing a renascence in the 21st Century. Its heritage is not in doubt, even though it was not a great success once the 12‑string craze ended in the late 1960s. Therefore, if one accepts that it is a legitimate guitar and the only difference between this and an all‑original Electric XII is the thin layer on the surface. Does it really matter? Should a paint job be the deciding factor? It also made for the crunch question of why a refinish devalues a guitar by c.50%.
I don’t usually talk about filthy lucre but it may help in this instance. To put it in absolute terms, my 1966 Fender Electric XII cost me £3,000GBP. Converting $ to £ is approximately 1:1 once exchange rates, fees, custom charges and taxes are taken into consideration. The ‘The Official Vintage Guitar Magazine Price Guide 2025’ (a bible for vintage guitar owners) values an original example at $8,500‑$12,000USD for an original common colour (i.e. not sunburst but also not a rare custom colour). Original sunburst examples are valued at $6,000‑$7,500USD. A guide, however, is only that, a guide, despite the level of research involved.
To compare market prices on Reverb, eBay and specialist vintage guitar retailers, equivalent Electric XIIs with original sunburst finish vary from £5,000‑£8,000GBP and rare custom colours up to c.£12,000GBP.
So, on the face of it, £3,000GBP is still a bargain, even with its refinish. I have long stated that monetary value is not a prime motivator for CRAVE Guitars and that remains true. However, such an ‘investment’ is still a considerable commitment for a single instrument, given my low fixed income, so purchase price is a relevant economic factor in this situation. Recognising that I would have to forgo other important things to get this one, the sacrifice was duly made.
“It’s a kind of spiritual snobbery that makes people think they can be happy without money” – Albert Camus (1913‑1960)
There are a couple of other factors affecting the price of this particular example. The tuners are replacements, the 4‑way Daka Ware pickup selector switch knob is not original and old ones are very hard to source (NB. Daka Ware is a type of compression moulded phenolic material and trade name for Davies Moulding in the 1960s). It also doesn’t have an original hard shell case, which is a shame, as they are unique (and therefore pricey) because of their odd size. However, £3,000GBP still seems worth it prima facie – I was getting a great guitar at a good price – what’s not to like?
My excitement about getting my grubby mitts on a cool and rare vintage Electric XII was tinged with apprehension about how I would connect with it, given my (warranted or not) judgemental predisposition about refinishes.
You can probably tell from this lengthy preamble that the issue is still galling me and, perhaps by openly articulating it, I can reconcile the polarising perspectives and achieve some peace of mind. This is clearly a first world problem. If that is all I have to worry about, then things can’t be too bad, eh? Time to apply some rational objectivity and criteria to test the issue.
Unlike either of the previous two examples, the decision to refinish the Electric XII was taken by someone else long before the guitar came into my possession.
“It is impossible, in our condition of Society, not to be sometimes a Snob” – William Makepeace Thackeray (1811‑1863)
Analysis
Given the trilogy of examples, it seemed to make sense to look at what difference a refinish really makes to a vintage guitar. For this section, I am using only the Fender Electric XII as the example. However, many of the observations against each of the five criteria may well apply equally to all three guitars covered here.
Functionality – Not affected. This Electric XII has been a working guitar, belonging to the owner of a London recording studio. It has had to earn its place, so it has been looked after. The Electric XII has always been more popular in the studio than on stage or TV. Given its primary role, it was vitally important that it was able to perform effectively whenever called upon. Less of a priority were its looks or originality. I have long said that vintage instruments should be played and this one clearly fulfils that particular criterion. Why it was refinished, I do not know but it certainly wouldn’t have affected its use as a pro‑grade guitar in a working environment. Its studio role may well explain the tuner replacement too, although it isn’t clear when it was done. In the 1970s and 1980s, it was common practice to ‘upgrade’ tuners for supposed tuning accuracy and stability. The same might also go for the original pickup selection lever.
Working professional instruments are often modified to ensure they are fit for purpose. Many ‘celebrity’ owned guitars that go to auction and reach six figures are often heavily modified to suit the owner’s demanding requirements. Those high profile mods don’t seem to affect provenance values, so why isn’t it the same for everyday workhorse vintage guitars? My predetermined principles may be crumbling under my fingertips. Does the refinish relegate a ‘collectable’ guitar to a ‘player‑grade’ by default? It seems so. In conclusion, the refinish does not negatively impact functionality.
Playability – Not affected. The guitar plays well for an almost 60‑year old 12-string electric. Such an instrument has compromises, although those compromises are more acceptable for a 12‑string Electric XII than, say, for a Rickenbacker of the same age. The maple neck is solid and the original frets are in very good shape (suggesting that it hasn’t been abused or over‑used). Nuts can be a problem accommodating 12 strings and, while this one has been well cut, strings can jump from slots if subjected to heavy‑handed use. That isn’t unique to this example, so we can discount that as an issue. The 4‑way selector switch can be a bit confusing but one just uses one’s ears (as one should). The shape of the selector switch helps with positioning.
Before Leo Fender sold his company to CBS in 1965, he had designed the Electric XII from the ground up, including its unique 12 saddle bridge and its equally unique split coil pickups reminiscent of a Fender Precision bass. So, in conclusion, the refinish does not negatively impact playability.
Tone – Not affected. The signal chain from the fingers, through the strings to the the tuners & bridge, neck & body, and ultimately to the pickups, selector switch, volume & tone controls and the output jack are completely original. Now there are many vintage guitar snobs who will tell you that the finish affects tone. They profess that a thin nitrocellulose finish is far superior to, say Fender’s 1970s’ polyester finish. In practical day‑to‑day terms for a professional working guitar, I believe that to be hogwash and there are plenty of other factors that affect tone more than the type or age of finish on the body, so I am proclaiming an element of ‘emperor’s new clothes’ in this instance. So, in conclusion, the refinish does not negatively impact tone.
Looks – Varies depending on taste. There are probably only two main reasons for refinishing a guitar. One is to cover up something egregious and the other is to improve its looks. Going back to the Les Paul in c.1978, it was to improve its looks. While I have no insight into why the body (only) of the Electric XII was refinished, I can only assume it was for a similar reason. There does not appear to be any damage or ill‑advised irreversible modifications being obscured. Everything else (bar tuners and switch knob) are original, so it appears to have been done for aesthetic reasons. Whether it is better or worse than the original finish (I don’t know what colour it was) is moot – it is what it is. It has been done. It can’t go back. The finish isn’t wonderful; it was clearly stripped, painted and lacquered but not to a thick shiny flat surface. It looks pretty old and well‑faded. The studio owner had the guitar for 30 years and it was done before he got it, so it makes sense that it is an old refinish. Because of this, I don’t want to double down on the ‘issue’ by refinishing it again. Its refinish is part of this guitar’s story and it should stay that way.
I don’t know what you think but I reckon it is best left alone. However, as it doesn’t affect other aspects of the guitar, so the refinish can best be described as cosmetic only. Whether the aesthetic negatively impacts looks is up to each individual to decide. In conclusion, the refinish does fundamentally affect the physical appearance of the guitar body (and thereby, the whole instrument).
Value – Disastrous. As mentioned earlier in the article, a refinished 1966 Fender Electric XII in a non‑sunburst colour has significantly devalued the instrument for the purist collector. However, as you may have gathered over the years, I am not your conventional ‘collector’. Where I struggle at this point is, if the refinish is purely cosmetic and doesn’t affect functionality, playability or tone, why is so much value lost.
Looking at a different category altogether, classic cars and motorcycles, while an original finish may be rare and important to some, many vehicle collectors place a high value well‑restored vehicles, so why not guitars? I can understand why a guitar refinish may be considered less preferable but it doesn’t make a guitar less than half as good, just because of a thin coat of paint. In many ways, it could be argued that it might improve a guitar (but I can’t say that because it is heretical and potentially seditious). Now, I cannot do anything about the entire vintage guitar collector market, so I have to accept that CRAVE’s 1966 Fender Electric XII has been corrupted irreversibly. I have to conclude that the refinish substantially affects value.
“Inverted snobbery is just as dangerous as snobbery itself, you know – that pride in having nothing” – Pete Doherty (1979‑)
A Famous Example: Jeff Beck’s ‘Oxblood’ Gibson Les Paul
Heck, if Jeff Beck can live with a refinished guitar, who am I to be snobbish about it? Beck’s famous Gibson Les Paul was originally a 1954 Les Paul Model Gold Top. According to legend, the original owner of the guitar had it modified by replacing the original P90 pickups with humbuckers, re‑profiling the neck and swapping the nickel metal parts with gold plated bits. It was also refinished in a ‘deep red’ (‘oxblood’) opaque colour to help hide repairs and modifications. The guy who commissioned the changes apparently didn’t like it, so it went up for sale. Beck was apparently unfazed by the changes and bought it in Memphis, TN in 1972. The guitar became a principal guitar for Beck, featuring on many recordings and touring with him. The modifications certainly did not appear to affect Beck’s ability to make great sounds from it. In addition, the guitar was featured on the album cover of Jeff Beck’s album, ‘Blow By Blow’ (1975) – see below.
As a testament to the fact that refinishing may actually add some mystique (and value) to an otherwise standard Les Paul Gold Top, Jeff Beck’s original ‘Oxblood’ sold at Christie’s auction on 22 January 2025 for a record‑setting $1.3m. OK, so it was refinished and modified but that didn’t stop it making its mark and positioning it as an iconic part of vintage guitar and rock music heritage.
Jeff Beck’s ‘Oxblood’ guitar has since been re‑issued as signature Epiphone, Gibson and Gibson Custom (2009 limited edition of 50) models. Coincidentally, Fender issued a press release on 25 June 2025, just a few days before this article was published announcing. “His heavily modified 1954 Les Paul, known to millions as the Oxblood due to its unique chocolate brown/oxblood finish… Now, Epiphone, in collaboration with the Jeff Beck Estate and Gibson Custom, is very proud to introduce the Jeff Beck Oxblood 1954 Les Paul, based on his iconic 1954 Les Paul”. How’s that for timing?
“Laughter would be bereaved if snobbery died” – Peter Ustinov (1921‑2004)
Another Famous Example: Neil Young’s ‘Old Black’ Gibson Les Paul
Neil Young’s famous ‘Old Black’ is another icon of rock music. It was originally a 1953 Gibson Les Paul Gold Top, which had been refinished (before Young got it) and has been extensively modified over the decades. Apart from the refinish, ‘Old Black’ was fitted with a Bigsby vibrato, a Gibson Firebird bridge mini‑humbucking pickup, ABR‑1 bridge, a bypass selector switch, Schaller tuners, aluminium parts and a maple ‘pin‑stripe’ to the back of the neck. Neil Young acquired the Les Paul in c.1968 from Jim Messina of Buffalo Springfield in exchange for a 1958 Gretsch 6120. ‘Old Black’ has long been Young’s go-to guitar up to the present day. Neil Young’s headlining set at Glastonbury 2025 featured ‘Old Black’ along with other guitars. This guitar is so well known it even has its own Wikipedia page.
In 2005, Gibson wanted to release a Neil Young ‘Old Black’ signature model. Neil Young refused permission for an official replica. However that didn’t stop Gibson. Although not officially acknowledged, Gibson released a limited number of tribute guitars commissioned by Japanese Gibson dealer Yamano, with certificates describing it as an ‘Aged Historic Reissue’ and a checklist showing ‘LP Neil Young’. The short run was stopped after Neil Young’s lawyers sent a ‘cease and desist’ letter to Gibson. There is plenty of evidence though that a small number of ‘Old Black’ replica models (strangely based on a 1956 Les Paul) reached the market, with an even smaller number of guitars expertly aged by Tom Murphy. These very rare unofficial replica ‘refinished’ instruments have now become highly collectable.
“The educated elite is not without their own actual snobbery. And I kind of an anti‑elitist in that regard” – Neil deGrasse Tyson (1958‑)
Final thoughts on Vintage Guitar Refinishing
As a naïve teenager getting my hands on my first non‑vintage Fender Strat and Gibson Les Paul, did I ever think that some five decades later that I would still have those two now‑vintage guitars and I would still be besotted with the instrument? Nope. Neither did I think that by refinishing the Les Paul, I would be arguing the pros and cons of the practice five decades later. Nowadays, I wouldn’t dream of doing any modifications that aren’t 100% reversible unless it was absolutely unavoidable (e.g. a refret).
The do‑or‑don’t‑do dichotomy has certainly caused a disproportionate level of reflection and analysis. Fundamentally, I have to say that this 1966 Fender Electric XII genuinely remains a wonderful vintage guitar. I like the look of it, although it is a shame that it has been refinished. I like the sound of it, I like the playability of it (for a 12‑string) and it is perfectly functional, so it isn’t all a ‘bad thing’.
A refinish may reduce the value of a vintage guitar by 50% (or more) of what it would be worth if it was all‑original. As mentioned, for two of the three examples, I could not have afforded an all‑original guitar, so a refinish was my only means to acquire them. Yes, a refinish undoubtedly affects resale value but, as I do not intend to dispose of the remaining two refinished CRAVE Guitars any time soon, their value now becomes irrelevant. I did not buy them as an investment looking for profit, so I can live with that aspect. The Electric XII deserves to be cared for as much as any other vintage guitar.
Regular readers will know that I also have an anathema for modern finishes, including faux finishes and distressing (a.k.a. relicing) an otherwise unblemished finish. While it may give a passing impression of being ‘old’, it is not authentic and doesn’t have a genuine patina of having been played for decades. In short, they lack real ‘mojo’. Now that is a clear admission of snobbery. Guilty as charged.
As I was in the process of writing this article, Gibson Custom Select (i.e. the Gibson Custom Shop), announced a series of “painted over” guitar finishes. Essentially, this a base gold top finish followed by solid colour (either Pelham Blue or Ebony) finish applied over the gold, then ‘aged’ (i.e. reliced) by (Tom) Murphy Lab. Gibson are charging a stonkingly high premium price for artificially aged, refinished ‘new’ guitars. Gibson actually stress (sic!) that the main feature of these instruments is “guitar refinishing” (an actual quote from the Gibson press release). Now that is ironic! It is also impeccable timing. Perhaps this fundamental turnaround will provide a precedent for increasing the value of refinished guitars! Hhmm. What do you think?
Just four days earlier than the Gibson press release, Fender actively promoted “The Benefits Of Modifying Your Guitar”, which could open up another whole can of worms about guitar snobbery. As mentioned, the Electric XII has non‑original after‑market tuners, which only adds to its devaluation now it is a vintage guitar. I acknowledge that there are plenty of people out there who delight in modifying guitars, regardless of the long‑term ramifications of doing so. My stance on that is like refinishing, i.e. don’t do it (unless totally reversible). Don’t worry folks, I’m not going to repeat this article focusing on the snobbery towards modifications rather than refinishing. Once again, though, I hope you get the underlying pattern here without me having to be explicit.
NB. Yes, I know that ‘relic’ is a noun and not a verb, as used in the previous paragraphs. Yes, it annoys me too. However, that is symptomatic of the English language being bastardised by marketing departments of the major guitar manufacturers. Please don’t blame me for others’ grammatical transgressions. You can, though, criticise me for reiterating the odious blaspheme.
As mentioned above, the Fender Electric XII may be the ‘newest’ refinished CRAVE Guitar but it isn’t the first and may well not be the last. The Explorer has gone and is now out of my purview. Where does this leave the refinished 1975 Gibson Les Paul Standard? It changes nothing at all; my feelings about the LP remain the same.
Will this period of reflection change my views about refinishes for future CRAVE Guitars acquisitions? Well, it’s made me think very hard about the issues with a more open mind. The conclusion reached is that judgements aren’t as black and white as I had previously considered, meaning that, from now on, I will have to assess each one carefully on a case‑by‑case basis, balancing priority, availability, originality and, of course, cost.
Ultimately, though, vintage guitar snobbery undermined one of my own criteria for selecting a CRAVE Guitar. By doing so, I have had to challenge my preconceptions and have arrived at a state of mind that says, “so what?” It doesn’t affect anyone else, so that’s not an issue. Can I accept it, live with it and enjoy it for what it is? Yep. Is the recently‑acquired Fender Electric XII less than half of a decent guitar because of its non‑original paint job? Nope. Where it really matters, I would say it is 85%‑90% of a great guitar. Perhaps vintage enthusiasts might do well to re‑evaluate such factors and dispense with some of that hyped up judgemental vintage guitar snobbery we so easily fall into. It goes to show that we can always keep learning and it is hubris to think otherwise.
I actually feel a little sad for the Electric XII. Through no fault of its own, it has been irrevocably relegated to a lowly status from which it can never recover, simply because of a thoughtlessly applied refinish years ago. It is now up to me to care for it as best I can while I’m still here. The same goes for the Les Paul.
By sharing this internal debate with the wider public, I will now lay myself open to scrutiny, prejudice, bias, dogma, derision and… yes… vintage guitar snobbery. Others may well look down upon me and scorn me for my misfortune and/or stupidity. That’s their prerogative, even if I may disagree with it.
While I can expose the degree to which snobbery affects vintage guitars, I do not think that it is up to me to place myself within the definition of a snob, as defined at the start of this article. The little bit of me that is a vintage guitar snob might wish that it was an all‑original example but that was never going to happen.
What I can say with some certainty is that vintage guitar snobbery is not a good thing and we should be cautious of falling into its divisive dogmatism. It is tempting and easy to become snobbish. No big surprise there. Personally, I have learned a valuable lesson and have been subject to a timely and appropriate reality check. Am I a hypocrite? It seems that I may well be. Hey, no‑one can be perfect all the time, right? I throw myself on the mercy of the court m’lud. Case closed. For now.
“Hypocrisy is the essence of snobbery, but all snobbery is about the problem of belonging” – Alexander Theroux (1939‑)
In Other News
Amidst uncertain and volatile operating environments, two bits of sad news from the UK music retail industry. The first is the closure of Play Music Today (PMT). All physical UK stores and the online store have been shut down with redundancies after all other options to find a rescue plan failed. All stock was sold to rival chain Gear4Music for just £2.4m. Also, Brighton’s iconic south coast retail store GAK (The Guitar Amp & Keyboard Centre) was also sold to Gear4Music, also for £2.4m. GAK was one of the UK’s largest independent guitar retailers (and frequented often by me). If a guitar shop cannot be viable in a creative music city like ‘Be Right On’ of all places, it is clearly a bad situation.
Can retailers like Gear4Music in the UK compete with the massive online sellers like Sweetwater in the US and Thomann in Europe? Are these recent high street closures one‑offs or further signs of the worrying trend in the decline of bricks and mortar guitar shops located within local communities? I don’t believe in coincidence. Note to all: use them or lose them.
Finally ‘in other news’, a hopefully positive move. The online marketplace Reverb has been sold by American e‑commerce company Etsy to two investment firms in April 2025. Reverb was owned by Etsy for six years between 2019 and 2025. Reverb, originally founded in 2013, is now once again a privately owned, independently operated business. One of the investors, Servco Pacific, is the majority shareholder of Fender Musical Instruments Corporation (FMIC), while the other, Creator Partners, is a minority Fender shareholder.
CRAVE Guitars’ ‘Album of the Month’
Given that one of the world’s most recognisable modified guitars is Jeff Beck’s ‘oxblood’ 1954 Gibson Les Paul (see above), it makes sense for this article to give pride of place to a specific ground breaking album by a ground breaking guitarist. Beck’s famous Les Paul is even featured on the album’s front and rear cover art. Cool.
Jeff Beck – ‘Blow By Blow’ (1975): Blow By Blow was the debut solo studio album by the late English guitarist Jeff Beck (1944‑1923), recorded at AIR Studios in London and released in March 1975 on Epic Records. The instrumental album comprises 9 tracks covering 45 minutes. The album was produced by the legendary George Martin. The album includes one of Beck’s most memorable tracks, ‘Cause We’ve Ended As Lovers’ (5 mins 41 secs). The platinum certified album (in the US) reached Number 4 on the American Billboard 200 – not bad for a milestone instrumental rock album by a British musician.
Jeff Beck – Blow By Blow (1975)
‘Blow By Blow’ may, however, not be my favourite Beck album, that probably goes to ‘Jeff Beck’s Guitar Shop’ (1989) but that has a Strat on the cover. Jeff Beck was a one‑of‑a‑kind guitarist and history will probably regard him as a guitarist’s guitarist. He was a genuinely authentic guitar hero for many aspiring guitarists. His exceptional talent is greatly missed and we may never see his like again. RIP Jeff.
“Just ’cause something’s popular, it can still be good. In fact, if more people are buying it, then you must be doing something right. People look down on stuff that sells. What do you call that? Downward snobbery, I guess” – Lemmy Kilmister (1945‑2015)
BELIEVE IN MUSIC!
Tailpiece
Well, that’s another article and the first half of 2025 put to bed. I hope you enjoyed it and it provided a few minutes of distraction from the insanity of real life. Sometimes something that seems so black & white ends up being anything but.
It is now time to move onto another subject and another demanding schedule to get it published by the end of July. For its subject matter, well, you’ll just have to wait and see, won’t ya?
Once I had completed this article, I did have a whimsical moment of reflection. I wondered what would happen if I deleted these c.7,000 words and started over again from scratch, effectively ‘refinishing’ this article. Thankfully, the thought didn’t last long and I am happy to say that this is the original finish. Heehee.
Truth, peace, love, and guitar music be with you always. Until next time…
CRAVE Guitars’ ‘Quote of the Month’: “If yesterday was tomorrow, what would you do differently?”
WELL, HERE WE ARE ONCE AGAIN VALUED VINTAGE GUITAR AFICIONADOS. If you are here, I am assuming that you have a passing interest in the subject matter. My hope is that I can help to stimulate that interest in a variety of ways. This month, I am investigating the topic of compulsion and collecting in relation to vintage guitars. This introspective investigation involves a soupçon of self‑examination and a chunk of challenge (Ed: enough with the alliteration, already!). Is this my means to justify my irrational need for the pursuit of the unattainable? Is it to feed my insatiable need to own ever more vintage gear? Is it to fuel my humongous but precipitously fragile superego and overcome my innermost feelings of inadequacy and insecurity? Yes, Yes and Yes. Sussed!
As for the recent Victory in Europe (VE) Day (8 May 2025), it struck me that, perhaps, rather than celebrate victory (for some), humanity should be commemorating Peace (for all). Such a change of emphasis does not diminish the evils of war or the sacrifice of so many to secure freedom but it would symbolise a more positive approach towards a more peaceful civilisation. The fact that we have learnt NOTHING over the last 80 years is desperately disappointing and despicably deplorable. A simple message that things HAVE to change to the imperialist kleptocratic oligarchs in Trumpland, Xiland, Kimland, Netanyahuland et al. Stop now!
I tried to think of a single country that forgoes military spending, for something wholly more altruistic and philanthropic, more beneficial to humankind as whole, rather than its own ends. I came up with a big fat zero. There is something wrong about there being no nation advocating for a more humane global society. I don’t mean this as some wishy‑washy liberalistic fancy. I am ‘super serial’ (NB. from the 145th episode of the animated TV series South Park, ‘ManBearPig’ S10:E6 (2006)). Human does not equate to humane. It should. Enough paltry partisan political polemic (Ed: second warning!), that’s not what we are here for.
The American author Dean Koontz sums up my feelings far better than I can about the heinous failings of the human race over the last century or so:
“This world, which has the potential to be Eden, is instead the hell before Hell. In our arrogance, we have made it so” – Dean Koontz (1945‑)
Another snippet of news is that, after over a year in stasis, work has once again begun on book formatting and editing of, ‘The Distortion Diaries’, the author’s first vanity project of pure fiction. More news on that to come in due course. Making time and space for the novel is a priority for me. Something that I have been less than disciplined about. For that reason, this article has just a little bit less research depth and rigour than it probably deserved (and I would have preferred). However, the assumptions made at various points might make it just a bit of a lighter read.
As always, the caveat applies that this is not a comprehensive academic investigation, just a piece of entertaining conjecture. Also, as always, no AI has (knowingly) been used in the research and writing of this article. You may or may not be pleased that scattered relevant quotes are back this month.
Enough idle distractions, time to get to the point…
To Collect or Not to Collect
This article may well have been subtitled, “The mania of owning things”. That’s what concerted collecting is, a mania. Mania is defined as, ‘an excessive enthusiasm or desire; an obsession’ or, ‘a mental illness marked by periods of great excitement or euphoria, delusions, and over‑activity’. A compulsion is ‘an irresistible urge to behave in a certain way, especially against one’s conscious wishes’.
What constitutes a ‘collection’? Obviously (perhaps), a collection is something that results from the art of collecting (duh!). A collection in this regard is ‘a group of objects or an amount of material assembled or accumulated in one location, especially for some purpose or as a result of some process’.
OK. Clear? So, that’s settled then. Time to put one’s feet up and indulge in a refreshing cup of tea.
Well, hang on just a mo’. That can’t be it. I started this month’s article specifically to investigate why vintage guitar collecting is a thing, why it may or may not be healthy and why it is so commonplace. Definitions are one thing, obsessional addiction is another. That indisputable impulse, the overwhelming force to own every possible guitar that one can get one’s hands on, irrespective of anything else in the universe is irresistible. These things seem to exert an overpowering gravitational pull on the afflicted. Enough of the hyperbole, you get the idea. Time to explore a bit further.
What the trite definitions miss, in my view, is the element of a compelling impulse to ACT, to DO something. Enthusiasm and excitement are one thing (well, actually two things) but they aren’t tangible. Creating a collection of vintage guitar gear is tangible. Very tangible.
“Whether we live alone or with other people, few acknowledge the presence of another roommate. This roommate is named ‘Things’ and the space that ‘Things’ occupies is typically a lot larger than the space people have for themselves” – Fumio Sasaki (1978‑)
It looks like that trilogy might just have become a quadrilogy (but not a tetralogy).
Rhetorical question. Does anyone need all these guitars? Of course not. We want all these guitars. That’s the point. It is fundamental to economics and marketing. The demarcation between need and want is blurred by those wishing to exploit the latter at the cost of the former. Thing is, I can’t be bothered to justify the point. Probably because I can’t defend the fixation. Hopefully you get the idea.
“Nobody can give you advice after you’ve been collecting for a while. If you don’t enjoy making your own decisions, you’re never going to be much of a collector anyway” – Charles Saatchi (1943‑)
The Compulsion to Collect Things:
Why do collectors exhibit irrational, passionate cravings (sic!)? What is the psychology behind collecting? The criteria for compulsive collecting are not definitively set out, although there are many common themes, depending on the source.
Corroboratively, some or all of the following ‘compulsive collecting ground rules’, a.k.a. ‘reasons for collecting’, may apply, regardless of the material being collected.
For sentimental attachment
To connect to childhood
To connect with history
For the thrill of the hunt
For the status of owning rare or valuable items
For the pride of ownership over spectatorship
For achievement of intellectual knowledge and learning
For personal pleasure, relaxation appreciation and enjoyment
For social motivation within a community of fellow collectors
For competitive challenge
For social recognition by other collectors and observers
To invest for future profit
For a sense of control
Unlucky thirteen. On reflection, I probably relate most closely with 1, 3, 7, 8 and 13 and I probably mostly reject 2, 5, 9, 11 and 12 (the latter very strongly). Anyone who knows me understands that I don’t play well with others and social/community affiliations are unimportant to me. The same goes for profiteering. The rest are neither here nor there. I suspect that everyone probably has a different combination of motivations for collecting. Therefore, this simple model can be quite revealing while also being limited.
In my January 2025 article, ‘10 Things I Love and Hate about Vintage Guitars’, I covered my personal motivation for the enjoyment of vintage guitars. These are independent of, though largely consistent with, the ‘compulsive collecting ground rules’ mentioned above. These, however, are specific to CRAVE Guitars gear. As a reminder, the headlines were:
The Heritage and the History
The Ownership
The Uniqueness
The Authenticity
The Variety
The Look
The Feel
The Tone
The Mythology and the Truth
The Privilege of Stewardship
“People assume that happiness stems from collecting things outside of yourself, whereas true happiness stems from removing things from inside of yourself” – Dalai Lama (Tenzin Gyatso, 1935‑)
Collecting is a perfectly ordinary human activity. People have been collecting this or that for millennia in one form or another. There is nothing extraordinary or unhealthy about collecting as a diversion, occupation, pastime or passion. It is only when collecting morphs into something else, such as an obsessive addiction for hoarding that the activity can become psychologically problematic.
Personally, I see vintage guitar collection as a habitual hobby, not as a ‘be‑all and end‑all’ (NB. An idiom coined by William Shakespeare in ‘Macbeth’ (1606). It means that something is the final, most important or ultimate aspect of a situation or thing).
Collecting is not an OCD (Obsessive Compulsive Disorder) and it does not have symptoms attributable to another psychological disorder. However, the more extreme form of hoarding may be considered a subtype of OCD depending on the severity. Hoarding Disorder (the inability to manage and dispense with things) is also a distinct mental health condition with its own symptoms. Be aware of the difference, folks.
As collecting may be considered normal human behaviour, this suggests that there is something positive about it to make it defensible. It also suggests that there is a threshold that marks the boundary between normal and deviant behaviour. It also suggests that the boundary may be different for each individual, making objective evaluation somewhat challenging.
“Collecting is not just about acquiring objects, it’s about preserving history and passion” – John Doe (1953‑)
Many collectors never seem satisfied with what they already have and continually strive for ‘more’. This results in collections that continue to grow until something external intervenes to curtail progress. The ‘thrill of the hunt’ mentioned above is a very real aspect of collecting. It seems that, as soon as one owns something that has been fiercely hunted, the satisfaction wanes rapidly. At the same time, the obsession to find the next thing re‑establishes itself and the feedback loop results in a new hunt. There is therefore a cycle whereby newly acquired items soon become relegated to a sub‑class of ordinary ‘ownership’ and the quest thus continues unabated.
Neurologically, searching for ‘the next big thing’ has been demonstrated through the use of MRI brain scans to help to explain the collection compulsion called the ‘oddball effect’ (NB. yes, it is really a thing). The ‘oddball effect’ is a measurable psychological phenomenon, whereby brain activity and hormonal responses are stimulated by the introduction of a novel item into a range of normal items. As the activity of collecting becomes refined, we actively search out things missing from the collection in order to stimulate the pleasure/reward centres of the brain. At the same time, the items already collected recede into normality. Thus the process of collecting becomes exacerbated. The ‘oddball effect’ has been suggested as a reason why we feel the continual need to feed our obsessions and to expand our collections. It bears some similarities to substance addiction – finding that next fix.
“The journey of a collector is never-ending; there is always something new to discover” – Brian Selznick (1966‑)
For guitarists, this desirous activity is commonly referred to as GAS, a.k.a. Gear Acquisition Syndrome. GAS was originally thought up by American guitarist Walter Becker of Steely Dan in 1996. He used the term to expose the sometimes ridiculous ends musicians will go to, to obtain gear.
GAS is the overpowering yearning to acquire musical equipment. This symptom is common among musicians who often believe that getting hold of more gear will somehow improve their musicianship. The result of GAS is that the acquisition of physical artefacts may eventually take priority over the creative music making process. In such a a volte‑face, ultimately, the means become the end.
“Resistance is futile” – Originally from the British TV series, ‘Doctor Who, Tomb of the Cybermen’ (1967), though widely attributed to the Borg from ‘Star Trek: The Next Generation, The Best Of Both Worlds’ (1992).
It has been suggested that GAS derives from a feeling that one’s gear is inadequate leading to dissatisfaction and the development of an intense craving (sic!) for new/more gear, followed by impulsive buying beyond one’s identified need. Sellers try to exploit this cycle of unfulfilled satisfaction. Suggested remedies for GAS include an evaluation of what one already owns, establishing a budget cap and sticking to it, and to prioritise actual need as opposed to unjustifiable wants. Yeah, like that’s gonna work!
“It’s a trap!” – The character Admiral Ackbar, from the film, ‘Star Wars Episode VI: Return of the Jedi’ (1983)
Guitar Collecting and CRAVE Guitars
I, as you are probably well aware by now, ‘collect’ Cool & Rare American Vintage Electric Guitars, Basses, Effects and Amps. Yes, folks at a virtual GAS Anonymous™ meeting, “My name is CRAVE and I have a problem”. I’m beginning to accept that I have become one of those people for whom vintage guitar collecting is a reason for living (my ikigai – see my article of February 2025, ‘Ikigai and Vintage Guitars’). It seems that collecting vintage guitars has come to define me as a person, including my character, my personality and my lifestyle preferences.
Now, despite CRAVE Guitars being around as an entity since 2007 and online from 2014, it is not a large, special ‘collection’ by any stretch of the imagination. Neither is it a valuable, elite ‘collection’. It is a very modest assemblage of affordable old gear. Plenty of people have a great deal more gear than I do. The difference about CRAVE Guitars, I think, is that it is carefully curated for everyone to, hopefully, appreciate and enjoy. I wish I could also make audio files so others can experience the tone of these babies. Truth be told, I’m not a good enough musician and I genuinely don’t have the time/patience to go down that road. I would also like to provide videos and augmented reality but that is also beyond me at this stage.
“Objects are what matter. Only they carry the evidence that throughout the centuries something really happened among human beings” – Claude Levi‑Strauss (1908‑2009)
Guitar Collecting and Playing
Despite much searching and despite the fact that there are names for many obscure types of collectors, there doesn’t seem to be a name for someone who collects guitars, let alone vintage guitars. You know, like philatelists collect stamps. Heck, there isn’t even a collective noun for guitars themselves and neither is there one for guitarists. To be honest, I can’t think of a suitable noun that adequately describes the affliction. Perhaps it is time for someone to create a name for vintage guitar collectors. How about a CRAVE‑o‑holic, CRAVE‑o‑phile or CRAVEatalist? No, perhaps not. Alternative suggestions on a postcard, please.
One question that seems to come up repeatedly is whether someone is a guitar player or a guitar collector. Now, my response is along the lines of, ‘it doesn’t matter’, as the two are not mutually exclusive. As long as one is a guitar enthusiast, it matters not where one is along the continuum between the two, with most of us probably somewhere nearer the middle than one or other extreme (collectors who don’t play and players who don’t collect) – i.e. a normal distribution curve. The wonder of guitars is that players can collect and collectors can play. Many other forms of collectors don’t get that dual opportunity. For instance, going back to stamps, you can collect them but you can’t actually do much with them other than to look at, display or trade them.
Personally, I think that I play guitars first and collect guitars second. At least that is the chronological order through which I reached this point in later life. The fact that I can’t play very well is immaterial. I enjoy playing but have long realised that mastery of the instrument is beyond me, in the same way that mastery of vintage guitar collecting is also beyond me. Two trades, master of neither. Sigh.
As mentioned many times, I do not necessarily regard (or admit to) myself as a vintage guitar collector. However, a close friend confronted me on the subject and I reluctantly had to conclude that, in fact, I have fallen victim to having a collection of vintage guitars, which makes me a vintage guitar collector. Sussed again! Sigh.
“Collecting is like a treasure hunt, you never know what you might discover” – John Doe (1953‑)
Guitar Collecting and Ownership
Owning something is different from the things we own. Since time immemorial, humans have sought respect, identity and value in possessing things. Possessing something for oneself excludes the possibility that others can own the same thing. Ownership has long been associated with self‑esteem and materialism. Things, however, are not that simple. The relationship established between an individual and an object they possess can be very strong, even to the extent that sometimes the two become inseparable.
Material possessions encompass more than just owning an object. Objects can convey messages about status, power, wealth and superiority, and they are actively used to set one apart from one’s peers. Therefore, ownership becomes an integral part of personal lifestyle, community, society and, ultimately, civilisation. Ownership positions us in a pecking order within a social hierarchy. Yet the objects themselves don’t have any of the attributes we associate with owning them. In a world of infinite abundance, an object’s value is worthless, while in a world of scarcity, the same object’s value may be disproportionately high. Ownership value is therefore relative to its availability. This is another of the basics of economics.
Ownership helps us integrate into humanity, although paradoxically, ownership also separates us from others. An obsession with ownership leads to approval, envy, jealousy, resistance, control, competition conflict and outward demonstrations of self‑indulgence that subvert the humanity we so much yearn to belong to.
The psychological traits of ownership begin in childhood, continue through adolescence and becomes entrenched in adulthood, ready to be passed down succeeding generations. We are born with nothing. We take nothing with us when we die. Yet we spend a great deal of our lives in the pursuit of possessing material things.
Psychological ownership can be different from legal ownership, for instance, “that is MY parking space”. Many of us still want to own physical record or film collections despite plentiful streaming services. The cost and availability of access to streamed services, never mind the space savings, far outweigh the perceived benefits of ownership, yet many of us still want to own our own things rather than lease or borrow them from institutions.
The notion of ownership as an extension of the individual results in financial as well as emotional investment requiring decisions to be made on the basis of personal priorities. If those priorities include, for instance, the accumulation of vintage guitars, a collection becomes the ultimate manifestation of the ownership process (and it is a process, separate from the objects possessed). One person’s priorities may be of little or great interest to others, therefore possession becomes part of a like‑minded community’s self‑selection process.
There is no room here to delve into the ever more complex and fascinating issues of ownership. Suffice to say that human beings place considerable importance on possession and ownership.
Proof, if it was needed… would I relinquish the guitar collection I own? Not bloody likely! Even during the crisis years when I lost my home, my career and my self‑belief, I found a way to save and protect my vintage guitars with the help of a good friend. ‘Nuff said.
“It’s not as though you feel satisfied after collecting a certain amount of stuff. Instead, you keep thinking about what you’re missing” – Fumio Sasaki (1978‑)
Guitar Collecting and Value
Guitar collecting happens irrespective of the value of the instruments being collected. Once again, the two are not mutually exclusive. At least to me. For some, though, accruing monetary wealth it is the primary motivator and vintage guitars simply represent the currency exchange. I don’t have the means to play in the high end sand pit, so I dig in the muddy puddles of modestly priced/available vintage guitars. That’s OK by me. Affordable is good and far more grounded.
In the media, the instruments and collections that we tend to hear about are the large collections of genuinely rare (and therefore valuable) guitars. Number and value being the inversely proportional main factors. Some collections are worth a fortune with values that beggar belief. The major collectors are content to push up values with the consequence that the enthusiast becomes increasingly marginalised and/or excluded.
Then there are also the celebrity owned guitars that go for, frankly, ridiculous sums of money that we hear about from time to time. Often the two are complementary and we take notice of the largest collections worth the most amount of money. These collections tend to fall into two categories – public collections such as museums and private collections held by wealthy individuals.
I have often raised this aspect of vintage guitar collecting here. I recognise the need for public collections to document and preserve (not necessarily conserve) the historical importance of the guitar. I have anathema towards private collectors who hide the artefacts away and dare not touch them, let alone play them, in case it erodes their valuable return on investment. The latter, regular readers will know, I term the ‘collectorati’™, a pejorative term.
Do not overrate what you have received, nor envy others. He who envies others does not obtain peace of mind” – Buddha (Siddhārtha Gautama – c.480‑400BCE)
Now, a Zen approach covered in my March 2025 article, ‘Eastern Concepts and Vintage Guitars’ mentioned ‘shikata ga nai’ (control what you can control) and Gaman (rising above adversity). These two philosophical tenets suggest that the way is to accept what exists (in this case, the ‘collectorati’) and focus on one’s own agenda with dignity and self‑respect. In addition, the quote from the Buddha above makes some sense and I submit to his greater wisdom. Therefore, to the Zen version of me, the ‘collectorati’ are abhorrent; however, it is not my place to abhor them. Instead, I will gain contentment from what I am able to collect and to do it with enthusiasm and humility. As a result of this rather profound and ‘spiritual’ insight, to me, value becomes irrelevant and inconsequential. I will gladly leave the detestable twin traits of greed and avarice to others. Enjoy wallowing in the filth of your dirty dollars, you can’t take then with you into the afterlife and you probably don’t genuinely enjoy them in this life.
While value is not a primary motivating factor for me, it does factor large at those points where value decisions need to be made about buying and selling part of a prized collection. So… if value is not important, would I give away my cherished vintage guitars? Not bloody likely, the sequel! Fundamentally, value has a part to play in the decision‑making process of managing and curating a collection.
“A collection is only as valuable as the knowledge and passion behind it” – John Doe (1953‑)
Guitar Collecting and Dealing
Dealers are kinda the odd one out here. They are a go‑between and a facilitator. They are a necessary evil as well, holding us all to ransom for an extra buck or two here and there. These are the bods largely responsible for feeding our collecting obsession. I kinda liken them to drug dealers hanging around school gates dangling ‘free’ baggies of tempting addictive substances just to get us hooked and then to keep us all hooked for their financial benefit. OK, perhaps that’s pushing the metaphor a bit far but you get the general idea.
“Collecting is an adventure that brings joy and excitement to everyday life” – Amelia Earhart (1897‑1937)
For many of us, guitar retailers were the starting off point for satiating GAS and encouraging us to spend beyond our means to acquire the latest shiny ‘must have’, at least until the next visit. For me, that first retailer was a long‑lost guitar shop in Worthing, West Sussex, England – infuriatingly, I cannot recall its name. While I unfairly maligned dealers in the previous paragraph, they perform an essential, if intimidating, role in the broader music industry. The world will be a worse place without them and, God forbid, that they should disappear from the high street, leaving the Internet as the only source for our particular ‘drug’.
Now, if one goes along with the widely held principle (assumption) that every guitar looks unique, every guitar plays uniquely and every guitar sounds unique, then online purchasing undermines the principle of choice and the products are confined to the status of a commodity. Extrapolating the point; if a commodity carries with it a lower emotional investment value, it becomes less satisfying in ownership and therefore more easily disposed of. A bit like buying an average car or an average house unseen and untried, if you will. This throwaway consumer society approach is the antithesis of passionate collecting,
“Collecting is a way of owning a piece of history and preserving it for future generations” – Albert Einstein (1879‑1955)
Plenty of the meccas for guitar gear such as 48th Street (Music Row) and West Village in Manhattan, NYC are a pale shadow of their previous glory, as is Denmark Street (the UK’s Tin Pan Alley) in London (following in the footsteps of Charring Cross Road and Shaftesbury Avenue). While there remain plenty of independent stores dispersed ever more thinly, the declining trend is undeniable and of great concern to neophytes and veteran collectors alike.
This tragic decline in supply is worrying, as it may possibly result in a concomitant decline in demand. If both supply and demand are suppressed, there is a resulting steep deterioration in significance.
We have eBay and Reverb to fall back on as major sources of second hand gear online. However, in the author’s experience, these are not compensating for the scarcity of brick & mortar dealers. For many of us, they have become a limited avenue for addiction.
“I love collecting guitars, even though I can’t play well” – Kiefer Sutherland (1966‑)
Examples of Vintage Guitar Collections
What follows is just a small example of the many types of vintage guitar and music history gathered into a single space. It is not intended as comprehensive, rather a modest starting point for guitar enthusiasts from which to explore the multitude of physical collections held both privately and publically.
Some Private Collections:
Jim Irsay was the owner and CEO of NFL American football team the Indianapolis Colts. He passed away on 21 May 2025, aged just 65. He had spent over 25 years creating one of the world’s leading collections of rock & roll, American history and pop culture artefacts, including some of the most iconic instruments in rock history. David Gilmour’s Black Fender Strat? A cool $3.9m. Jerry Garcia’s Tiger? $957,500. Bob Dylan’s Newport Folk Festival Fender Stratocaster? $965,000. George Harrison’s Gibson SG used on Revolver? $567,000. He also owned Kurt Cobain’s Fender Mustang and Eric Clapton’s ‘The Fool’ Gibson SG. The total value of Irsay’s collection is estimated to be well over $1bn.
Scott Chinery was an avid guitar collector who passed away in 2000. His extensive collection of over 1,000 guitars covering 150 years of guitar history remained with his family until 2021. The collection was acquired by the Archtop Foundation, a not‑for‑profit organisation based in Burlington, Vermont. The foundation’s mission is to share the collection with everyone. Chinery is perhaps best known for his portfolio of blue archtop guitars, including a web site dedicated to ‘The Blue Guitars’. The Blue Guitars
Ralph Jay Triumfo is a musician and guitar collector from the Philippines. He is regarded as owning the largest guitar collection in the world and, in fact, he holds the Guinness World Record for the largest collection of guitars, with a staggering 1,026 guitars in his possession, as of 2021.
Joe Bonamassa is a world famous blues/rock guitarist and self‑confessed vintage guitar nerd. He is also well known as one of the world’s foremost private collectors of electric guitars and amps. His collection totals well over 500 guitars, as well as around the same number of amps. What’s more, JB doesn’t hide these treasures away for himself. He takes his enviable classic guitars on the road and uses them on stage, so that everyone can appreciate the combination of his undoubted guitar playing skills and the iconic instruments that he owns. He also shares his passion online, particularly on social media.
Rick Nielsen is the guitarist of the American rock band Cheap Trick. He is believed to own upwards of 250 guitars, including many custom guitars built for him by Jol Dantzig at Hamer Guitars, such as the multi‑neck guitars that have become his trademark. Highlights include priceless 1950s Gibsons including Les Pauls, Explorers and Flying Vs.
David Gilmour was the guitarist with Pink Floyd and has a lengthy solo career. He has accumulated a massive collection of guitars over the years. Famously, in 2019, he auctioned 120 of his guitars, raising $21m for an environmental charity.
Slash – The Guns N’ Roses guitarist reportedly has a collection of over 400 guitars, including vintage Les Pauls and rare prototypes.
“Collecting is my passion” – Ursula Andress (1936‑)
Some Public Exhibitions:
What follows are just some of the public exhibitions that may be of interest to readers. The links worked at the time of publication but overtime they may become redundant. Just sayin’.
Songbirds Guitar and Pop Culture Museum, Chattanooga, Tennessee – the Songbirds museum opened in 2017 in downtown Chattanooga, TN and has more than 1,700 fretted instruments in its collection, touted as the world’s largest collection of rare and vintage guitars. The collection’s value is estimated to be in excess of $200m. Songbirds Guitar and Pop Culture Museum
The Museum of Pop Culture (MoPOP), Seattle, Washington State – originally called The Experience Music Project (EMP) was established by the late Microsoft co‑founder, Paul Allen. MoPoP, as it is now known, also houses The Science Fiction Museum and Hall of Fame. One of the features of the MoPoP is the giant guitar sculpture, ‘IF VI WAS IX’, as well as other guitar sculptures and music artefacts. Perhaps unsurprisingly, the museum features exhibits celebrating the music and history of Seattle including ‘local’ artists like Jimi Hendrix and Nirvana. The Museum of Pop Culture
The Rock & Roll Hall of Fame (RRHOF), Cleveland, Ohio – The RRHOF, located on the bank of Lake Erie attempts to document rock history through artists, producers, engineers and others, rather than instruments. The Rock Hall (for short) was founded in 1983 by the chair of Atlantic Records, Ahmet Ertegun and the Museum was dedicated in 1995. While the focus is not on guitars, there is a diverse range of artefacts covering the evolution of modern music. The Rock & Roll Hall of Fame
C.F. Martin & Company Museum, Nazareth, Pennsylvania – More than 100 guitars are on display, including the first Martin guitar, the earliest Dreadnoughts and Kurt Cobain’s prized D-18 dreadnought acoustic. Unsurprisingly, it is a venue for fans of Martin guitars, as well as those seeking insights of historical importance. If you aren’t into Martins, you may want to seek an alternative. C.F. Martin & Company Museum
Delta Blues Museum, Clarksdale, Mississippi – The Delta Blues Museum was originally established in 1979 and became a standalone museum in 1999, homed in the historic Clarksdale rail freight depot. The museum is dedicated to preserving interest in the story of the blues, following the blues masters and their historical journey from the deep south of the USA to become a worldwide phenomenon. Delta Blues Museum
National GUITAR Museum, Bradenton, Florida – The NGM was the first American museum dedicated to the history, evolution, and cultural impact of the guitar. The museum has touring exhibitions that focus on a unique aspect of the guitar’s historical role in popular culture. Each touring exhibition is curated by the museum and includes artefacts from its permanent collection. National GUITAR Museum
The Gallery of Iconic Guitars (GIG), Belmont, Nashville, Tennessee – The museum at Belmont University was founded following the death of collector Steven Kern Shaw in 2015 and is supported by vintage guitar expert, George Gruhn. GIG aims to celebrate some of the rarest and most iconic guitars as well as other stringed instruments. The collection comprises over 500 rare guitars and mandolins valued at over $10.5m. The Gallery of Iconic Guitars
Museum of Musical Instruments (MIM), Phoenix, Arizona – Hank Risan is a collector and founder of the museum’s collection that focuses on the instruments played every day by people worldwide. The museum, which opened in 2010, comprises over 7,500 instruments from across the globe. Museum of Musical Instruments
Metropolitan Museum of Art (The Met), Manhattan, New York City – Coming to The Met in the spring of 2027 will be a rotating exhibition of historically important guitars focusing on American guitar making from 1920‑1970, donated to the museum by Dirk Ziff, an American billionaire publishing heir and financier, working with vintage guitar connoisseur Perry Margouleff. Nearly 600 guitars have been donated and around 150‑170 will be on display at any one time. Be prepared to have your mind blown in 2 years’ time. Metropolitan Museum of Art
The Smithsonian National Museum of American History – The Smithsonian is based in Washington, DC. It is home to the museum’s collection of over 500 guitars. Sadly, the dedicated hall of musical instruments exhibition closed in October 2012. However, the museum collection includes many stringed instruments of historical significance. The Smithsonian National Museum of American History
Hard Rock Café – Hard Rock is an international chain of hotels, theme bar/restaurants, memorabilia shops, casinos, sports venues and museums founded in 1971 by Isaac Tigrett and Peter Morton in London, England. In addition to many artist‑owned instruments and rock ephemera displayed in numerous settings across the world, Hard Rock opened two dedicated Hard Rock Vaults in London and Orlando, Florida in 1979, featuring rare and valuable guitars and other rock memorabilia. Hard Rock Café
Seven Decades, London, England – A British innovation co‑created by vintage guitar collectors and musicians, Phillip Hylander and Michael John Ross. The premium collection of vintage guitars is played by the Seven Decades Band in live stage shows mainly in London but also travelling around the country. The shows give audiences the opportunity to see and hear vintage instruments being used for their intended purpose. The concerts take place at events such as guitar shows as well as at national venues such as the Victoria & Albert (V&A) Museum in London. ‘The Story of Three Guitars That Changed The World’ focused on the Fender Telecaster, Fender Stratocaster and Gibson Les Paul. The shows cover music from 1950s’ rock & roll to the present day, including genres such as rockabilly, country, heavy metal, punk and disco. Seven Decades
The Royal College of Music Museum, London, England – The RCM was originally founded in 1882 and the museum was re‑opened in 2021 as a world leading music conservatoire. The museum collection currently comprises over 14,000 musical artefacts covering instruments, art and music related objects, including the earliest known guitar. The Royal College of Music Museum
Guitars the Museum, Umeå, Sweden – Guitars the Museum was opened in 2014 and hosts the world’s largest collection of rare 1950s and 1960s guitars. The collection comprises more than 500 vintage guitars on public display, with estimates putting the collection’s value at over $10million. The museum remains a not very well kept secret among vintage guitar aficionados. Guitars the Museum
Tamworth National Guitar Museum, Tamworth, Australia – ‘The Big Golden Guitar’ is a 12m high fibreglass statue located at Tamworth Visitor Information Centre, which also houses the Australian National Guitar Museum. Tamworth National Guitar Museum
“Communism doesn’t work because people like to own stuff” – Frank Zappa (1940‑1993)
A Few Clichéd & Corny Puns about Guitar Collecting
Sadly, my research only turned up a few bad relevant jokes. I am afraid that most guitar players will already know these.
Why did the guitarist bring home yet another guitar? Because his guitar collection has been missing “just one more” for the last ten years.
How do you know a guitar collector is lying? He says, “I have enough guitars for now”
I asked my dad if he could leave his guitar collection to my children when he dies. He said, “That’s music to my heirs”
A woman on trial accused of beating her husband to death with his guitar collection.
The judge asked, “First offender?” The woman replies, “No, first a Gibson, then a Fender”
You know you’re a guitarist when you’ve got more guitars than clean socks
If you know how many guitars you have, you don’t have enough
If anyone says you have too many guitars… block that person immediately. You don’t need that kind of negativity in your life
My greatest fear is that when I die my wife will sell my guitars for what I told her I paid for them
“I’ve got too many guitars” said no guitarist ever!
I don’t suffer from Guitar Acquisition Syndrome, I enjoy every minute of it
The formula you have to determine how many guitars you need; the number of guitars you currently have, plus 1
Guitar collectors don’t have problems – they have limited storage space and an expanding wish list!
How do you make a guitar collector cry? Tell them their dream guitar was listed for sale… yesterday.
How do you know a guitarist is also a collector? Their collection is worth more than their car!
What does a guitar collector bring to a desert island? Six guitars and no survival skills whatsoever
Guitar collectors don’t retire… they just spend more time ‘investing’ in their collection!
Why do guitar collectors always seem broke? Because ‘affordable’ is a relative term
My wife said I have too many guitars. I said, “No, I have a diverse collection of tonal possibilities”. She said, “Well, I have a diverse collection of divorce lawyers”
Oh dear, oh dear, oh dear. I apologise profusely.
Final Thoughts on the Compulsion to Collect Vintage Guitars
Basically, there are no hard and fast rules to compulsion, collecting and vintage guitars. Most of it is subjective and far from definitive (a recurring issue with these articles). Everyone will have their own motivations for collecting, methods of collecting and justification for the ownership of their personal collection. What does come through is the sheer diversity of vintage guitar collections across the world, of which this article is just the tiny tip of a very large iceberg.
Why did I opt to collect vintage guitars and turn them into an online entity? Well, I didn’t plan it that way, I kinda fell into it and over time it germinated organically (metaphorically speaking) and it grew into what it is now. I’ve covered the appeal of vintage guitars in the last three articles, so I won’t re‑iterate that here. The reason CRAVE Guitars exists and is an online resource is mainly to share these artefacts with the wider world. I could do the objectionable ‘collecterati’ thing and keep them to myself but what’s the point in that? Heritage needs sharing.
It is immaterial how small or large a collection might be – there is an infinite variety along that continuum. Contrary to popular female beliefs, size really doesn’t matter where vintage guitar collections are concerned. What matters is that there are people (like me) conserving the heritage and acting as stewards for future generations. The financial value of a collection is irrelevant to all but the heinous investors and, once again, there is an infinite variety along this continuum.
“Collecting is a never-ending journey of discovery and learning” – Sir David Attenborough (1926‑)
So, is it better to own a single high value vintage guitar or a shed load of low value ones? There is no right or wrong answer to that specific question. Would I trade in my entire so‑so ‘collection’ for one great guitar? Nope. If anyone approached me to sell the enterprise as a going concern, would I consider a reasonable offer? Nope. I wouldn’t know how much CRAVE Guitars is worth as an entity. If I had to start over again, would I choose guitars differently? Possibly not. If I could go back in time to being that naïve teenager again, would I ever have predicted that I would be in this position in 2025? Nope. Would I have done things differently? Indubitably.
Each to their own. Discuss…
CRAVE Guitars is limited by three things – space, funds and availability. I can’t see any of those three things changing any time soon. The current ‘most wanted’ list exceeds 50 vintage guitars but that hasn’t been updated in a long time because there is no point in pursuing any more acquisitions at the moment. That list just covers guitars, never mind basses, effects and amps. Compared to the professional collections, CRAVE Guitars is miniscule. However, it is my pride and joy and I am content of what I have been able to achieve given circumstances.
Can the desire to accumulate guitar gear ever be satiated? Possibly, but I am afraid that I will probably never know or find out. Like the junky being cured of addiction – life just doesn’t work that way. We may be able to live with it but we cannot overcome it. My view is that once one has been smitten, the course of ownership is irreversible.
One thing seems irrefutable, the compulsion to collect vintage guitars is a very real thing and it ain’t gonna stop anytime soon, at least for me. Good and long may it continue. Otherwise, I would have very little to write about each month. Enjoy your own personal journey.
“A collector’s passion can turn ordinary objects into extraordinary treasures” – Pablo Picasso (1881‑1973)
CRAVE Guitars’ ‘Album of the Month’
It seems appropriate for there to be a link between the article and the ‘album of the month’. Given the considerable relationship of one individual, his dedication to playing music and his not‑insignificant collection of vintage instruments, this month, we go for…
Joe Bonamassa – Dust Bowl (2011): ‘Dust Bowl’ is the 9th studio album by blues rock guitarist Joe Bonamassa. The album, comprising 12 tracks over 63 minutes, was released in March 2011 on Mascot Records. I don’t really have a favourite JB album, so ‘Dust Bowl’ is the one that tends to draw me in. Great cover art too, based on an image by American Depression‑era photographer Arthur Rothstein (1915‑1985), entitled, ‘Dust Storm, Cimarron County Oklahoma’ (1936). Very fitting for the music, which is exemplary, as is the norm for a guitar star.
Joe Bonamassa – Dust Bowl (2011)
There are many albums by the prolific guitarist and vintage gear collector. Any are well worth tracking down and giving a listen, if only to be gobsmacked by the dude’s awesome guitar playing. Critics may put his music down to straightforward blues/rock but in the 2020s, lord knows we need guitar heroes who know their chops and Bonamassa is one of those, probably the best since the late Stevie Ray Vaughan.
BELIEVE IN MUSIC!
“Collecting is a way of expressing your personality and interests” – Audrey Hepburn (1929‑1993)
Tailpiece
Another month, another article. It is becoming increasingly challenging to come up with a variety of topics and to keep things fresh interesting. I do hope that this one doesn’t disappoint. Who knows how long I can keep this streak going. Next month, another article, different subject. Let’s see what happens, eh?
I am still failing dismally in curtailing monthly blog articles in order to concentrate on ‘The Distortion Diaries’. Give me strength to prioritise and try harder. I hope to have some news on that front in due course.
In the meantime, I hope we all survive this perilous Earthly existence. We should be able to live, not just survive. We need to be able to live and have the opportunity to live better. Even more importantly, we should be able to thrive and flourish as individuals, communities and civilisation, not just survive. Time to live, then. Life is genuinely too short not to. Have FUN when you can.
Truth, peace, love, and guitar music be with you always. Until next time…
CRAVE Guitars’ ‘Quote of the Month’: “There is light at the end of the tunnel… unless it is at night or you have your eyes closed”
ALL PRESENT AND CORRECT, SIR, YES SIR! Here we are once again dear friends, acquaintances and anyone else who wishes to explore the Any‑Zany world of vintage gear. Spring is here folks and time to enjoy the freshness of rejuvenated nature accompanied by a suitable musical backdrop. It is a wonderful time of the year, in the northern hemisphere at least. I’ll get my monthly plea for a civilised society in our far too uncivilised world out of the way now. Even the notion of armed (or economic or social) conflict of any kind is futile and archaic in the 21st Century. Harmony, not discord, is the key to a flourishing future and it is achievable should we care enough and value it enough. What’s wrong with a bit of peace & love? Goodness knows we need it.
After the last three articles referencing Far Eastern influences, you may be relieved to know that that is not the focus of this month’s masterpiece (Ed: conceited or what?). I started out on this article thinking that it would be fairly straightforward. By the end, I was in the ‘what on Earth was I thinking?’ frame of mind. If I want to make space and time for writing ‘The Distortion Diaries’, this really is NOT the way to go about it. When will I learn? Well, it’s done now and time to move onto the next ‘big’ thang.
A CRAVE Guitars A‑Z of Vintage Guitar Gear
Looking back over the 90‑odd monthly articles so far, I was quite surprised I haven’t tried this particular exercise or something like it before now. This month is definitely one for the list‑o‑philes out there. For all you list‑o‑phobes, you might want to sit this one out.
The following narrative is an A‑Z that covers guitar gear including guitars, basses, amps, effects, accessories, etc. In order to give enough credence to many notable names, the A‑Z comprises subjects now associated with the vintage market and the main focus is on names with a clear historical component. There could have been many more but a line had to be drawn somewhere and it ended up a conveniently rounded 150.
For the author’s fragile sanity, the exercise is specifically about guitar‑related stuff. If I had gone for a looser definition or a wider scope for musical industry, instruments, equipment and accessories, it would have proved to be unmanageably massive.
Some of these names will be familiar household names while others are going to be somewhat esoteric. Some are companies, while others are products – it’s a bit mix and match but the rationale will hopefully become clear. It is not intended to be exhaustively comprehensive and I will undoubtedly have missed some important names that readers will pick up on and no doubt berate me for not including them. However, it is MY list and I’m sticking to it, although I apologise to anyone I may have omitted or misrepresented (easy to do with such a large number of précis).
There are plenty of notable industry names not included below, such as Ashdown, Blackstar, Eastman, Eastwood, Faith, Fractal, Kemper, Line 6, Luna, Manson Guitarworks, Matamp and Suhr among many, many, many more. The focus here is primarily on producers and products. Distributors and retailers are generally not listed, including names like Chandler Music, Gruhn Guitars, Macari, Rose Morris, Sam Ash, Guitar Center, PMT, Sweetwater, Thomann, Gear4Music, etc. Some key people are included as contributors to guitar gear, rather than in their own right, such as Robert Moog and Larry Fishman. Also pro studio gear tends not make the cut here. Not everything can make the list!
The volume of available information means that the descriptions here have to be very (and sometimes overly) brief, resulting in a lot of detail being left out skewing balance. However, the A‑Z may provide an interesting launching pad for further exploration and/or investigation should you so desire. Hey, I’m not going to do everything for you!
One thing I discovered (or rather became increasingly aware of, having understood it intuitively beforehand) during the research for this article is that the global music industry has been markedly incestuous and inbred over the last 150 years or so. The industry’s relationship status could probably best be described as, ‘it’s complicated’. There has been a great deal of to‑ing and fro‑ing, buyouts, mergers, sell‑offs, liquidations, shake outs, bankruptcies, relaunches, revivals and complex interdependencies between the various players. Trying to make sense of the numerous combinations and permutations in a consistent and coherent way made my head hurt. A lot.
Due to the nature of the subject matter and the work involved, there aren’t any words‑of‑wisdom quotes/idioms or many illustrative images this month. Horses for courses and all that. I apologise that this isn’t a very ‘pretty’ blog article.
Wherever possible, I have relied on my own resources built up over many years. While I have not plagiarised content from online sources, I have relied on generalised sources such as Wikipedia, specific sources such as company/brand web sites, as well as details from various books and other publications to inform the A‑Z. I would not have been able to achieve the significant amount of information herein without seeking corroborative cross‑references as part of the research. My thanks go out to those sources, which have been of significant assistance. It probably goes without saying that there is no end of ‘information’ on all of this should you wish to delve into the endless rabbit warren that is the hinternet thingummyjig.
There was, however, a great deal of unreliable, conflicting and/or inaccurate information making collation challenging. There is, therefore, despite best endeavours, a risk that the lack of definitive facts, especially relating to dates and individuals, may have made its way into the narrative. If that is the case, I apologise pre‑emptively. For that reason alone, I do not recommend using this as a source of irrefutable factual information. It is, as always, only for entertainment and broad information. The following is pretty heavy going and may stray into nerdy nirvana. Are you sitting comfortably?
Without further ado, it’s time to get analytically and amazingly alphabetic. Following convention, we start with…
A – A Stands for…
AER
AER (Audio Electric Research) was founded in 1992 by Udo Rösner, Michael Eisenmann and Susanne Janz in the the Ruhr area of Germany. As a relative newcomer, AER has specialised in developing and manufacturing amplifiers for acoustic instruments, an under‑represented field at the time. Their slogan is, ‘the acoustic people’.
Airline
Airline Guitars was a brand used by American mail order company Montgomery Ward on a range of electric and acoustic guitars between 1958 and 1968. Like their competitor, Sears, Montgomery Ward sourced instruments from the likes of Valco, Kay and Harmony. The Airline name was also used on a range of amplifiers manufactured by Valco and Danelectro during the same period. Eastwood Guitars purchased rights to the Airline brand in the early 2000s and is still used for retro designed guitars as of 2025.
Akai
Akai Electric Company Ltd. was founded by Masukichi and Saburo Akai in Tokyo in 1946. Akai was a Japanese electronics manufacturer for many years. In the 1980s, Akai Professional focused on studio production and recording equipment and stage audio gear. The original Akai business ceased production in 2000, although Akai Professional continued manufacturing a wide range of equipment, including synthesisers.
Alembic
Alembic was founded in 1969 by Owsley Stanley (1935‑2011) in Novato, California. Alembic was, and still is, an American manufacturer of high‑end basses and guitars, Alembic was an innovator in premium bass instruments including 5‑string and graphite necks. Alembic basses have been favoured by artists such as Jack Casady, Stanley Clarke and Mark King.
Alvarez
The American Alvarez guitar brand was created in 1965 by retailer Gene Kornblum and luthier Kazuo Yairi, based in St. Louis, Missouri. The firm focused on steel‑string acoustic guitars manufactured in Japan and imported into the US. Alvarez is a private company under the ownership of St. Louis Music as of 2025.
Ampeg
The American company that became Ampeg was founded in 1946 by Everett Hull and Stanley Michaels in Linden, New Jersey. Ampeg is an abbreviation of ‘AMlified PEG’, a transducer pickup for upright acoustic basses. Ampeg’s main focus over decades has been to specialise in bass amplifiers, although it has diversified into guitar amps as well. Like many other American manufacturers, it was sold in the mid‑1960s in order to survive. Ampeg is now a brand owned by Japanese giant, Yamaha.
Aria
Aria Guitars Co. was founded in 1956 by Shiro Arai (1930‑2019) in Nagoya, Japan. Initially, Aria was a musical instrument retailer. In 1964, Aria started manufacturing acoustic guitars and, from 1966, electric guitars and basses. Aria made its name during the 1970s and changed its name to Aria Pro II in 1975. Aria currently also owns Pignose amps (see below).
Audiovox
The original Audiovox Manufacturing Co. was founded by musician and inventor, Paul Tutmarc (1896‑1972). Tutmarc was famous for the introduction of the Audiovox Model 736 Bass Fiddle – the precursor to the fretted bass guitar – in 1936. Not to be confused with another consumer electronics company bearing the same name, founded in 1960, based in Orlando, Florida.
B – B Stands for…
B.C. Rich
B.C. Rich was founded by Bernardo Chavez Rico (1941‑1999) in 1974 in LA, California. The American company is famous for manufacturing acoustic and electric guitars, and basses. B.C. Rich guitars became known for radical guitar designs that became popular with heavy metal bands, particularly during the 1980s. Budget B.C. Rich guitars are made in Asia, while high‑end boutique instruments are made in small numbers in the US. After the founder’s death in 1999, the brand changed ownership several times before returning to private ownership in 2019.
Bigsby
Bigsby was the brainchild of innovator Paul Bigsby (1899‑1968) who started building bespoke guitars for professional artists like Merle Travis and Chet Atkins in Scottsdale, Arizona from 1946. Bigsby is best known for its worldwide industry standard vibrato tailpieces used by many other brands often under licensing agreements. Bigsby sold the company to Gibson president, Ted McCarty in 1966 and it was sold again to Fender in 2019.
Binson
The Binson Amplifier HiFi Company was founded by engineer, Bonfiglio Bini in Milan in the mid‑1940s. The company is best known for its legendary portable echo and reverberation effect, the Binson Echorec introduced in 1953/1954. Uniquely, the Echorec used a magnetic disc, rather than tape loop, to record and replay the original signal. The company ceased production in 1986. The Binson Echorec name has since been revived by guitar effect company T‑Rex.
Bogner
Bogner Amplification was founded in 1989 by Reinhold Bogner in LA, California. Bogner is an American manufacturer of guitar amps, speaker cabinets and effect pedals. The company started out making boutique amps based on modified Fender and Marshall amps before moving into mainstream production with three discrete amp lines.
BOSS
BOSS is a division of the Roland Corporation that was formed in 1972 in Osaka, Japan. BOSS focuses mainly on the manufacture of compact guitar and bass effect pedals, as well as modern multi‑effect units and amplifiers. The company started making its familiar compact BOSS effect pedals in 1977, first in Japan until c.1990 and then in Taiwan and latterly Malaysia. BOSS has become one of the biggest names in guitar and bass effects.
Burns
Burns Guitars London is a manufacturer of electric guitars and basses, founded in 1959 by Alice Farrell and Jim Burns (1925‑1998) in London, England. After a period of success during the 1960s, the Baldwin Piano Company acquired the business and the original Burns guitar line ceased production in 1970, although Jim Burns continued to make guitars independently. A range of Burns‑branded guitars re‑appeared in 1992 with guitars made in the Far East.
Buzz Feiten
Howard ‘Buzz’ Feiten II (1948‑) is a musician and luthier notable for patenting a unique tuning system for guitars in 1992. The Buzz Feiten Tuning System (BFTS) for fretted instruments is intended to correct inherent intonation issues by replacing a guitar’s standard fingerboard nut with a specialised compensated version. In 2012, Buzz Feiten Guitars was formed, renamed Buzz Feiten Guitar Research in 2018.
C – C Stands for…
Carlsboro
Carlsbro is a guitar amplifier company, founded in 1959 by Stuart and Sheila Mercer in Nottingham, England. It is one of the oldest British guitar amp makers. In 2002, production was shifted overseas and in 2010 the company was acquired by the Chinese Soundking Group.
Carvin (Kiesel)
The American Carvin Corporation was founded in 1946 by Lowell Kiesel (1915‑2009) based in San Diego, California. Carvin guitars and basses were popular with rock and metal guitarists during the 1970s and 1980s. After Kiesel’s death, the company was split into Kiesel Guitars and Carvin Corporation, the latter mainly covering audio equipment.
Charvel
Charvel is an American guitar company founded in 1974 by Wayne Charvel in Azusa, California. Charvel sold the company to Grover Jackson (of Jackson Guitars) in 1978. Charvel guitars were popular with rock and metal guitarists during the 1980s. After several changes, both Charvel and Jackson brands were acquired by Fender in 2002.
Collings
The American Collings Guitars company was founded in 1973 by Bill Collings (1948‑2017) in Austin, Texas. Collings manufacture a wide range of high quality acoustic, arch top and electric guitars, as well as other fretted instruments including production of quality mandolins and ukuleles.
Colorsound
Guitar effect brand Colorsound was formed in 1967 by brothers Larry and Joe Macari in London, England. Colorsound pedals were manufactured by another Macari‑owned company, Sola Sound. Colorsound is probably best known for the iconic Tone Bender fuzz pedal, made famous by rock guitarists in the 1960s and 1970s.
Columbus
Columbus was a brand name used by the American importer Elger Guitars on entry level copies of Gibson, Fender and Rickenbacker guitars. The flagrant copies were made in the Far East by the Japanese manufacturer, Hoshino Gakki Gen. Elger used the Ibanez name in the US and Columbus in the UK.
Coral
In 1967, the giant MCA company acquired guitar manufacturer Danelectro (see below) and introduced the short‑lived Coral brand with instruments produced in Danelectro’s Neptune City, New Jersey facility between 1967 and 1969. The brand is best remembered for its distinctive instruments like the Coral Bellzouki and the Coral Sitar.
CSL
The CSL brand name was used by Charles Summerfield Limited, based in Gateshead, England. During the 1970s, CSL distributed guitars in the UK that were manufactured by FujiGen Gakki in Matsumoto, Japan. At the time, FujiGen was known for supplying guitars for other brands including Ibanez, Fender, Yamaha and Greco. CSL guitars were mainly blatant ‘lawsuit era’ copies of Fender, Gibson and Rickenbacker models. CSL ceased trading in 1993.
D – D Stands for…
D’Angelico
D’Angelico was founded by master luthier John D’Angelico (1905‑1964) in 1932, in Manhattan, New York. D’Angelico built a strong reputation for hand built archtop guitars created in small numbers during the 1930s. Original instruments are now highly sought after. After D’Angelico’s death, the business (but not the name) was bought by former apprentice Jimmy D’Aquisto (see below). The D’Angelico brand was re‑launched in 1999 and continues as of 2025 with a range of American and Far Eastern models.
D’Aquisto
James L. D’Aquisto (1935‑1995) was an American luthier who served as an apprentice to John D’Angelico from 1952 until the latter’s death in 1964. D’Aquisto concentrated on building and repairing archtop guitars under his own name. As he predicted, he died at the same age as his mentor (59). Fender currently manufactures a range of guitars using the D’Aquisto name.
Dallas Arbiter
John E. Dallas & Sons was formed in 1875 in London, England making and selling musical instruments. Dallas imported musical instruments from Europe and the USA, including brands such as Kay, Harmony and Vega. Separately, Sound City was formed in London by Ivor Arbiter, another industry bigwig, which specialised in guitars and amplifiers. Around 1965, Dallas Music acquired the Arbiter‑Western company thereby creating Dallas Arbiter, which produced drums, guitars and basses under the Hayman brand. Dallas Arbiter is, though, best known for the iconic Fuzz Face effect pedal, manufactured from c.1966 to 1975 (and which has been reissued many times since). Dallas Arbiter went out of business in 1975.
Dan Armstrong
Dan Kent Armstrong (1934‑2004) was an American guitarist and luthier born in Pittsburgh, Pennsylvania. After opening his own business in 1965, Armstrong designed an innovative range of guitars for Ampeg in 1968 using bodies made from clear Plexiglas (a.k.a. Lucite), a synthetic polymer. The instruments also used interchangeable pickups designed by colleague Bill Lawrence. In the 1970s, Armstrong moved to England and designed a new range of traditional guitars, basses, effects and amps. In 1998, a Plexiglas Dan Armstrong guitar was reissued, made in Japan.
Danelectro
American company Danelectro was founded in 1947 by Nathan Daniel (1912‑1994) in Neptune City, New Jersey. ‘Dano’ made distinctive semi‑hollow guitar and bass bodies made from poplar or plywood frames faced with Masonite front and back and with vinyl tape binding. The instruments also used characteristic ‘lipstick’ single coil pickups and ‘coke bottle’ headstocks. MCA bought Danelectro in 1966 and ceased guitar production in 1969. The brand was revived in the 1990s focusing intermittently on guitars/basses, effect pedals and amps. Danelectro is currently owned by Evets Corporation.
DeArmond
Harold DeArmond (1906‑1999) was an American electrical designer who founded DeArmond Research in Toledo, Ohio to develop a magnetic guitar pickup in 1935, working with Bud Rowe, owner of Fox Electrical and Manufacturing. The first acoustic guitar pickups were manufactured in 1939. In 1940, production was consolidated as Rowe Industries. Although best known for guitar pickups, Rowe introduced a tremolo effect pedal in 1941, the first of its kind. By the time Harry DeArmond retired in 1976, his company had made over 170 different types of pickup, as well as many amplifiers and effect pedals. In c.1998, Fender acquired the rights to use the DeArmond name.
Dean
Dean Guitars was founded in 1976 by Dean Zelinsky in Chicago, Illinois. Dean originally made a variety of guitars for many famous artists. Zelinsky sold Dean in 1986, which continued in business but with little connection to the original company. Professional musician Elliott Rubinson of Armadillo Enterprises bought the business in 1997 and successfully rejuvenated the Dean Guitars brand with a range of products from Far Eastern budget models to US‑built custom shop instruments. The late guitarist Dimebag Darrell was a key endorsee.
DiMarzio
Larry DiMarzio started making guitar pickups in Staten Island, New York in the 1960s. DiMarzio became famous for manufacturing after‑market guitar pickups and stock pickups for a number of brands. DiMarzio also produces a range of accessories and merchandise. DiMarzio Inc. continues to make a wide range of products including around 200 types of guitar and bass pickups.
Dobro
Dobro Manufacturing Company was originally founded in 1928 by four Dopyera Brothers (Dobro is a conflation of DOpyera and BROthers). Dobro produced single cone acoustic resonator guitars to compete with National’s tricone resonator guitars. In 1932 Dobro merged with National to form the National‑Dobro Company. In the 1940s the business was sold to Valco (see below). In 1964, the Dopyera Brothers re‑introduced the Dobro name, which was eventually acquired by Gibson 1993 with guitars manufactured by Gibson subsidiary, Epiphone from 2012.
DOD (DigiTech)
DOD Electronics, deriving from the initials of founder David Oreste DiFrancesco, was formed in Salt Lake City, Utah in 1973. DOD, and its brand DigiTech, manufactures a wide range of popular guitar effect pedals. DOD/DigiTech was sold to Harman International around 1991 and then sold again to South Korean giant Cortek (owner of Cort Guitars) in 2018.
Dumble
Dumble Amplifiers was a one‑man‑band enterprise founded by reclusive Alexander Dumble (1944‑2022) to build no‑compromise hand‑made guitar amplifiers in very small numbers, often for wealthy celebrity artists. Dumble amplifiers have acquired legendary status amongst guitarists, particularly for his Dumble Overdrive Special. Commercially, the brand died along with its founder in 2022.
Dunlop
Dunlop Manufacturing was founded in 1965 by Scottish immigrant to the USA, entrepreneur Jim Dunlop (1936‑2019) in Benicia, California. Dunlop built the business from a humble start in his living room and garage to become one of the largest manufacturers of musical accessories and guitar effect pedals. Dunlop remains a private company as of 2025.
E – E Stands for…
EBow
The EBow is an innovative guitar accessory manufactured by Heet Sound Products in LA, California. The battery‑powered EBow (short for ‘electronic bow’) uses battery‑powered electromagnetism to vibrate a guitar string producing a sustained sound like a bowed violin or cello string. The sound contrasts with the rapid attack and decay of a plucked guitar string. Greg Heet invented the EBow in 1969, launched it commercially in 1976 and patented it in 1978. The EBow remains in production as of 2025.
Echoplex
Engineer Mike Battle designed the Echoplex tape delay effect unit in 1959, based on an earlier design by Ray Butts from the 1950s. The Echoplex was sold through Chicago Musical Instruments (CMI) and then Maestro, a distributor owned by Norlin (which also owned Gibson). The effect rapidly became an industry standard. In 1970, a solid‑state Echoplex superseded the valve‑driven unit, developed by Maestro. The Echoplex brand was purchased by Gibson in the 1990s and the Echoplex name was used on a line of digital looping delays. In 2019, Echoplex became a trademark of Dunlop Manufacturing.
EKO
EKO Guitars was founded in 1959 by Oliviero Pigini in Recanati, Italy. EKO manufactures classical guitars, 12‑string guitars, archtop guitars, electric guitars and acoustic bass guitars. During the 1960s, EKO became the largest guitar exporter in Europe and made guitars and effect pedals for other brands such as VOX. EKO remains a private company that continues to manufacture guitars as of 2025.
Electro-Harmonix
Electro-Harmonix (a.k.a. EHX) was founded in 1968 by musician Mike Matthews in New York City. EHX makes effect pedals and sells rebranded amplifier valves. During the 1970s, EHX manufactured a wide range of innovative affordable state-of-the art guitar effect pedals for guitarists and bass players. In the 1980s EHX stopped making effect pedals and focused on valves in the 1990s. At that time, EHX started producing a few effect pedals in Russia before returning to its roots from 2002 and continues to excel in the manufacture of guitar effect pedals.
Epiphone
What would become Epiphone in 1928 was founded by the family of Greek/Turkish immigrant luthier Anastasios Stathopoulo (1863‑1915) in 1873 in the Ottoman Empire. Initially a fiddle and lute maker, Epiphone became a major competitor to Gibson during the 1930s, especially in the manufacture of high quality archtop guitars. A struggling Epiphone was finally acquired by Gibson in 1957. Epiphone is best known for the Casino hollow body electric guitar because of an association with The Beatles. From the 1970s, Epiphone became a low cost offshore manufacturer of Epiphone‑branded copies of Gibson models.
Ernie Ball
Ernie Ball Inc. was founded in 1962 by American musician and entrepreneur Roland Sherwood Ball (1930‑2004) in San Luis Obispo, California. Ernie Ball is an instrument and accessory company, particularly known for its guitar strings. In 1972, Ernie Ball also started producing guitars. Guitars and basses are also manufactured by Music Man, which Ernie Ball bought in 1984 and now called Ernie Ball Music Man (EBMM). Ernie Ball’s son, Sterling Ball (1955‑) is the current CEO of the company, keeping it a private family business.
ESP/LTD
ESP Company Ltd was founded in 1975 by Hisatake Shibuya (1937‑2024) in Tokyo, Japan. ESP’s main business is manufacturing electric guitars and basses, as well as an OEM supplier of parts for other companies. ESP is also parent to subsidiary brand LTD amongst others. ESP and LTD guitars have been favoured by heavy metal guitarists in particular. ESP also has had an American headquarters based in LA, California since 1993. ESP’s primary competitor is rival Japanese brand, Ibanez.
Eventide
The American Eventide Inc. was founded in 1971 by recording engineer Stephen Katz, inventor Richard Factor, and businessman Orville Greene in New York City. Eventide is best known for its extensive range of premium quality studio and guitar effect pedals using digital effect processors and Digital Signal Processor (DSP) software. Eventide is now based in Little Ferry, New Jersey.
F – F Stands for…
Fender
Fender, one of the world’s most famous and important names in guitars, basses and amplifiers was founded in 1946 by Clarence Leonidas ‘Leo’ Fender (1909‑1991) in Fullerton, California. Leo Fender sold his business to CBS in 1965. Following a management buyout in 1985, Fender Musical Instrument Company (FMIC) once again became a private company. Fender is home to iconic instruments like the Telecaster, Stratocaster, Precision, Jazz Bass, Jaguar, Jazzmaster and amplifiers like the Twin, Deluxe, Bassman and Princeton. Fender also produces accessories and merchandise.
Fernandes
Fernandes Guitars was formed in 1972 from its predecessor, Saito Musical Instruments, founded in 1969 in Niizo, Japan. Fernandes is a Japanese company that produces electric and bass guitars, amplifiers and accessories. Fernandes has become one of the biggest guitar producers in Japan. Fernandes, though, is possibly best known for its Sustainer pickups that use electromagnetism to vibrate the guitar’s strings in a similar way to the eBow (see above). Fernandes also owns the Burny brand, known for making copies of Gibson guitars.
Floyd Rose
The Floyd Rose locking vibrato system (erroneously called a tremolo) was designed by Floyd D. Rose in 1976 and patented in 1979. The vibrato was intended to return the strings to accurate tuning despite extreme ‘dive bombing’ of a guitar bridge to change the pitch of strings. The system relies on firmly clamping the strings at both the nut and bridge. Floyd Rose vibratos became phenomenally popular, particularly with rock and heavy metal guitarists and the approach has been widely imitated and officially licensed.
Framus
Framus was founded in 1946 by Fred Wilfer in Luby, Czechoslovakia to make stringed instruments and to resettle German Bohemians expelled from Bohemia after WWII. Framus is a conflation of FRAnconian MUSical instruments. Framus became the largest guitar producer in Europe during the 1950s. Despite success, Framus went bankrupt in 1975. The brand was re‑introduced in 1995 by founder Fred Wilfer’s son as part of the German bass guitar manufacturer Warwick (see below).
G – G Stands for…
G&L
G&L Musical Instruments was founded in 1980 by George Fullerton (1923‑2009)(G), Leo Fender (L) and Dale Hyatt in Fullerton, California. G&L was the venture Leo Fender pursued after he left Music Man in 1979 and before Music Man was sold to Ernie Ball in 1984. G&L focused on continuing to innovate and evolve Leo Fender’s guitar and bass designs in a way that Fender (the company) couldn’t. After Leo Fender died in 1991, BBE Sound, Inc. took over the business.
Gibson
Gibson, one of the oldest, most famous and most important names in guitars was founded in 1894 by Orville Gibson (1856‑1918), in Kalamazoo, Michigan. Orville started off making labour‑intensive carved top guitars and mandolins. Lloyd Loar (1886‑1943) designed key jazz archtops like the L5 for Gibson in the 1920s. The ES‑150 was the first production ‘electric’ guitar in 1936. Collaborating with professional musician Les Paul (1915‑2009), Gibson introduced the Les Paul Model guitar in 1952. Company president Ted McCarty (1909‑2001), followed the Les Paul with the Explorer, Flying V, ES‑335, SG and many others. Gibson was sold by parent company CMI to Norlin in 1974 and was subsequently subject to a management buy‑out in 1986. Despite financial difficulties, Gibson remains a private company as of 2025.
Godin
Godin Guitars was founded by Robert Godin in Montreal, Quebec, Canada in 1972. Godin currently manufactures electric and acoustic guitars and basses under its own name, built in Canada, as well as other subsidiary brands like Seagull. Godin is Canada’s largest guitar business.
Gordon Smith
Gordon Smith Guitars was founded in 1974, named after its founders, Gordon Whitham and John Smith in Greater Manchester, England. Gordon Smith is a manufacturer of hand‑crafted electric guitars. The company is also Britain’s longest‑running electric guitar manufacturer. In April 2015 Gordon Smith Guitars was acquired by British firm, Auden Guitars, based in Northamptonshire, England.
Goya
Goya guitars (named after the Spanish artist) were manufactured by Levin, a company founded in 1900 by Herman Carlson Levin in Gothenburg, Sweden. In 1952, Goya introduced nylon‑strung acoustic guitars followed by steel‑string acoustic guitars in the 1960s. In 1976, the Goya brand was sold to CF Martin (see below). Production of Goya guitars suffered and Martin stopped selling Goya‑branded guitars during the 1990s.
Greco
Greco is a brand name used by the wholesaler Kanda Shokai Corporation, formed in 1948 in Japan. The company started selling Greco guitars in the mid‑1960s. In the 1970s, although not specifically targeted by Gibson, Greco became embroiled in the ‘lawsuit-era’ copy scandal. In 1982, Kanda Shokai was part of a joint venture with Fender Japan, making acoustic and electric guitars for the Japanese market. Various guitar models have used the Greco name on and off since the 1990s.
Gretsch
Gretsch was originally founded by German immigrant Friedrich Gretsch (c.1856‑1895) in 1883, located in Brooklyn, New York, USA. Gretsch focused primarily on guitars as a core business in the 1930s and the company hit their peak era from the mid‑1950s to mid‑1960s during the rock & roll boom. Gretsch was sold to Baldwin Pianos in 1967 and the family business has worked in partnership with Fender since 2002. Gretsch is probably best known for the iconic 6120 Chet Atkins hollow body guitar.
Guild
The Guild Guitar Company was founded in 1952 by professional guitarist and music retailer Avram ‘Al’ Dronge (1911‑1972) in Manhattan, New York. Guild intended to compete primarily with rivals Epiphone and Gretsch. Following expansion, Guild was sold to the Avnet Corporation in 1966, which moved production to Westerly, Rhode Island. Guild was sold again to Fender Musical Instrument Corporation (FMIC) in 1995. In 2014, Guild was acquired by Cordoba Music Group and moved yet again to Oxnard, California.
Guyatone
Guyatone was founded in 1933 by Mitsuo Matsuki in Yamanashi, Japan. Matsuki Manufacturing produced guitars under the Guya brand until 1940. In 1951 the Guyatone name was established for electric guitars and, in 1955, the first Guyatone solid-body electric guitar was introduced. In Japan, Guyatone guitars were sold using the Ibanez name. In the UK, Matsuki used the Antoria name and in the US, they used the Kent name. The Guyatone name is now owned by DeMont Guitars LLC.
H – H Stands for…
Hagström
Hagström was founded in 1925 by Albin Hagström in Älvdalen, Dalecarlia, Sweden. Hagström’s main business was accordions before they started making electric guitars in 1958 and subsequently amps. Hagström pioneered with the innovative H8 8‑string bass and also began to experiment with guitar synths. Hagström ceased production in 1983 in the face of stiff competition. The brand was revived in 2004 and now produces guitars in both Europe and the Far East.
Hamer
Hamer Guitars was founded in 1973 by Paul Hamer and Jol Dantzig in Wilmette, Illinois. Hamer became well‑known for building guitars and basses based on Gibson’s designs. In 1988, Hamer was acquired by Kaman Music Corporation (KMC), which owned Ovation guitars. In 2008, Fender bought KMC including the Ovation and Hamer brands. Fender closed down Hamer production in 2012. In 2015, Fender sold KMC again. In 2017, KMC revived the Hamer name with products imported into the US.
Harmony
The Harmony Company was founded in 1892 by Wilhelm Schultz. Sears, Roebuck & Co. purchased Harmony in 1916 for the latter’s ukulele business. By the 1950s, Harmony produced a wide range of instruments, peaking in the mid‑1960s. In 1975, the production of Harmony guitars ceased and the brand name was sold. In 2018, BandLab Technologies of Singapore revived the Harmony brand, producing guitars and amps made by Heritage (see below).
Heritage
Heritage Guitar Inc. was founded in 1985 by three former Gibson employees in Kalamazoo, Michigan. Heritage set up business in the old Gibson factory after Gibson had moved to Nashville, Tennessee in 1974. As of 2025, Heritage is a small‑scale manufacturer of guitars heavily based on Gibson’s traditional designs.
HH Electronics
HH Electronics was founded in 1968 by Mike Harrison, Malcolm Green and Graham Lowes in Harston near Cambridge, England. It was a manufacturer of distinctive solid state guitar, bass and PA amps, as well as speaker cabinets. In the 1990s, HH was acquired by Laney Amplification (see below).
Hiwatt
Hylight Electronics, better known as Hiwatt, was founded in 1966 by Dave Reeves in Surrey, England. Hiwatt are best known for their guitar and bass amps. As part of the 1960s and 1970s boom in high powered amps, Hiwatt (including Sound City, see below) along with its main competitors Marshall, Orange and VOX helped to cement the ‘British sound’ of rock music, contrasting with the ‘American sound’ of Fender (and its derivatives) amps.
Höfner
Karl Höfner GmbH & Co. KG was founded in 1887 by German luthier Karl Höfner (1864‑1955) in Schönbach, Austria-Hungary (now Luby in the Czech Republic). One part of the company manufactured classical string instruments while another produced guitars and basses. After WWII, Höfner moved to West Germany, where the company thrived. Höfner became closely associated with The Beatles who were seen to use Höfner guitars and basses. In 1994, Höfner was sold to British music publisher, Boosey & Hawkes. After financial difficulties, the Höfner brand was sold to a former Höfner employee in 2004.
Hohner
Hohner Musikinstrumente GmbH & Co. KG was founded in 1857 by clock maker Matthias Hohner (1833‑1902) in Trossingen, Baden‑Württemberg, Germany. While Hohner is best known for its harmonicas, the company manufactured a wide range of musical instruments, including guitars from the 1950s until c.2015. Hohner has since returned to its roots and currently produces harmonicas, melodicas, accordions and recorder flutes.
Hondo
The Hondo guitar company was founded in 1969 by Jerry Freed and Tommy Moore. Hondo was a joint venture with the Samick Company of South Korea to manufacture entry‑level acoustic and electric guitars and basses, importing them into the USA using the Hondo name. Many of Hondo’s guitars were based on, or copies of, classic American guitar designs. The Hondo name had largely disappeared by 1989 but was revived by what is now Musicorp in 1995.
Hughes & Kettner
Hughes & Kettner was founded in 1984 by brothers Hans and Lothar Stamer in in Neunkirchen, Saarland, Germany. The company focuses on manufacturing premium level amps and innovative effect pedals. H&K as built a strong reputation with a particular focus on high‑gain amplifier technology for heavy metal and hard rock.
I – I Stands for…
Ibanez
Ibanez is a guitar brand created in 1957 in Nagoya, Aichi, Japan. Ibanez is owned by Hoshino Gakki a musical instrument manufacturer founded in 1908. Ibanez began production of guitars in 1957 and were known for copies of American guitars during the 1960s. Ibanez in particular was the target for litigation by Gibson because of trademark infringements during the 1970s. Ibanez (and other) brand guitars of the period became known as ‘lawsuit‑era’ instruments. Also in the 1970s, Hoshino Gakki licensed Maxon effect pedals for sale under the Ibanez brand.
J – J Stands for…
Jackson
Jackson Guitars was founded in 1980 by American luthier Grover Jackson in Glendora, California to manufacture electric guitars and basses. Grover Jackson had worked closely with Wayne Charvel until the latter sold the Charvel name to Jackson in 1978. During the 1980s, Jackson manufactured high-quality, US‑made, custom instruments, primarily for heavy metal guitarists including Randy Rhoads. Fender acquired both Jackson Guitars and Charvel in 2002. Low budget Jackson guitars are manufactured in the Far East. Grover Jackson is now co‑owner of independent GJ2 Guitars, based in Orange County, California.
Jen
JEN Elettronica was founded in c.1969 in Pescara, Italy. Jen’s focus was to become Europe’s biggest music OEM manufacturer including guitar effect pedals. Jen was notable for manufacturing products for VOX and Gretsch among others, as well as a line of guitar effect pedals under the JEN name. Jen is best known for making the iconic wah‑wah pedal, the ‘Cry Baby’ in the 1960s. Jen failed to trademark the Cry Baby name, so any manufacturer could use it at the time.
John Hornby Skewes (JHS)
John Hornby Skewes (JHS for short) was founded in 1965 by John & Madge Hornby Skewes in Garforth near Leeds, England. Over the years, JHS has become an international company offering thousands of products including a number of JHS proprietary brands including Fret‑King, Vintage, Encore and JHS‑branded guitar effect pedals.
K – K Stands for…
Kahler
Kahler Systems International was formed in the late 1970s by Gary Kahler. The company started out making parts for other companies such as Fender and DiMarzio. The cam‑operated Kahler vibrato (not tremolo!) was introduced in 1981, just in time for the rock and metal boom of the 1980s with its associated ‘shredding’ and ‘dive‑bombing’ guitar playing styles. Kahler’s main competitor was Floyd Rose (see above). Like Floyd Rose, the focus was on maintaining tuning stability. Unusually, Kahler also produces a bass vibrato version. When demand for vibrato systems declined in the 1990s, Kahler switched to making golf clubs but returned to manufacturing guitar hardware including the classic Kahler vibrato in 2005.
Kalamazoo
Gibson was based in Kalamazoo, Michigan until 1974. Kalamazoo was also a brand name used by Gibson for archtop and flattop acoustic guitars, lap steels, banjos, and mandolins. Kalamazoo was a low cost option that many musicians needed during the Great Depression (1929‑1939). The original short‑lived Kalamazoo brand was used between 1933 and 1942. During the 1960s, Gibson temporarily resurrected the Kalamazoo name for low-cost, beginner guitars until Gibson positioned Epiphone into that market to compete with Far Eastern competition.
Kawai
Kawai Musical Instruments Manufacturing Co Ltd was founded in 1927 by Koichi Kawai (1886‑1955) in Hamamatsu, Shizuoka, Japan. The company is best known for its pianos, electronic keyboards and synthesisers. Kawai worked for Nippon Gakki (Yamaha) before setting up his own business. Koichi’s son, Shigeru took over control of Kawai until his death in 2006. Shigeru’s son, Hirotaka Kawai now runs the family business. Kawaii also bought the Teisco brand, which manufactured a range of distinctive guitars and basses.
Kay
Kay Musical Instrument Company was founded in 1931 by Henry ‘Kay’ Kuhrmeyer in Chicago, Illinois, although previous incarnations date back to 1890. Kay produced budget and pro‑level guitars, mandolins, banjos and ukuleles from 1936. Kay migrated to electric guitars and basses from c.1955. Kay was sold in 1965 and again in 1967, this time to Valco (see below) who went bust in 1968, and then sold again in 1969. The Kay name has been used intermittently over the years, often attached to instruments imported from China.
Korg
Korg Inc. (previously Keio Electronic Laboratories) was founded in 1962 by Tsutomu Kato (1926‑2011) and Tadashi Osanai in Tokyo, Japan. Korg was and is best known for their keyboards and synthesisers from the late 1960s to the 1980s. In 1987, Yamaha took temporary control of Korg until 1992. In 1992, Korg acquired British amp maker VOX (see below).
Kramer
Kramer Guitars was founded in 1976 by Gary Kramer in Neptune, New Jersey. Gary Kramer and Travis Bean had formed the Travis Bean guitar company in 1974 shortly before Kramer formed his own company. Initially, Kramer continued to use aluminium necks on guitars and basses, improving on Travis Bean’s designs. Kramer reverted to traditional wood necks from 1981. Kramer guitars and basses became associated with the rock and metal boom of the 1980s. Kramer filed for bankruptcy in 1989. Eventually, Gibson acquired the rights to Kramer in 1997 and guitars are now manufactured by Epiphone using the Kramer name. In 2005, Gary Kramer founded the independent Gary Kramer Guitars (GKG).
Kustom
Kustom Amplification was founded in 1964 by Charles ‘Bud’ Ross in Chanute, Kansas. Kustom is a manufacturer of guitar and bass amplifiers, PA systems and accessories. Uniquely, speaker cabinets were wrapped in a sparkling car upholstery material called Naugahyde, giving them a particularly standout image. Baldwin Pianos bought Kustom in 1972 and is now owned by Hanser Music Group who keep the style and spirit of the original Kustom designs going. Founder Charles Ross went on to form effect pedal company Ross Musical (see below) in c.1972.
L – L Stands for…
Laney
Laney Amplification was founded in 1967 by musician Lyndon Laney in Birmingham, England. The British Laney brand manufactured guitar and bass amplifiers, speaker cabinets and PA systems. Laney developed from its humble beginnings in Laney’s father’s garage into a major player in the global amp market. Laney remains in business as a private company, as of 2025.
Larrivée
Jean Larrivée Guitars Inc. was founded in 1967 by Jean Larrivée in Toronto, Canada. The company moved to Vancouver in 1982 then to California in 2001. Since 1977, Larrivée has manufactured a range of premium acoustic guitars, often featuring ornate inlays. Larrivée Guitars is still in production as a family business as of 2025.
Leslie
The Leslie speaker was the invention of electronic engineer Donald Leslie. Development began in the 1930s as a means for a Hammond organ to emulate the sound of a pipe organ. Production began in 1941. The speaker comprises a variable speed rotating baffle in front of the loudspeaker(s) which modulates the sound exploiting the Doppler Effect. Leslie speakers have been used by guitarists keen to obtain the signature Leslie sound. In contemporary times, many attempts have been made to imitate the sound effect, first through analogue circuits and then by Digital Signal Processing (DSP). In 1965, Leslie sold his business to CBS who, in turn sold it to Hammond in 1980. In 1992, the Japanese Suzuki Musical Instrument Corporation bought both the Hammond and Leslie brands.
Lowden
George Lowden (1952‑) is an Irish luthier based in Bangor, County Down. He founded the eponymous company, George Lowden Guitars in 1974. Lowden’s main output comprises premium nylon and steel‑string acoustic guitars although he has also dabbled in making electric solid body guitars. In an unusual move, Lowden licenses other luthiers to build guitars using the Lowden name, especially in Japan. In 2002, Lowden introduced a more affordable range of guitars, called Avalon.
M – M Stands for…
Maccaferri
Henri Selmer Paris was a company founded in 1885 in Mantes‑la‑Ville near Paris. In 1932, Selmer worked with Italian luthier Mario Maccaferri (1900‑1995) to design what are known as ‘gypsy jazz’ acoustic guitars, famously used by virtuoso Belgian/French jazz guitarist Django Reinhardt. Maccaferri guitars have a large body with thin ladder‑braced top and squared off bouts. Early sound holes were D‑shaped while later ones were oval, with a rounded cutaway on the upper treble bout. Selmer made less than 1,000 of these guitars until production ceased in 1952.
Maestro
Gibson’s parent company, Chicago Musical Exchange (CMI) had used the Maestro name on products like the legendary Echoplex tape loop echo effect (see above). From 1962, CMI was one of the first companies to move into effect pedals using the Maestro name. They launched a number of effect pedals starting with the FZ‑1 Fuzz Tone. In 1974, Norlin acquired Gibson from CMI and the company put synthesiser pioneer, Robert Moog in charge of Maestro effects. By 1979, Norlin was struggling and ceased production of all Maestro products. In 2022, Gibson revived the Maestro name and re‑launched a new range of effect pedals.
Magnatone
The origins of Magnatone date back to the late 1930s and a company called Dickerson Musical Instrument Company in California. The business was bought by Art Duhamell in c.1946, when the name was changed to Magna Electronics Company, using the brand name Magnatone. Magna manufactured a range of electric guitars and vibrato (actually tremolo!) amplifiers produced between 1937 and the mid‑1970s. In 2013, Ted Kornblum reintroduced the Magnatone brand on a range of reissued amps.
Marshall
Marshall Amplification was founded in 1962 by drummer and retailer Jim Marshall (1923‑2012) in London, England. The British company built its formidable reputation manufacturing Marshall guitar and bass amps, and speaker cabinets, starting with the classic JTM45 amp head in 1963. The Marhsall ‘stack’ became a familiar icon of rock music from the 1970s onward. Other guitarists preferred combo amps like the Bluesbreaker. In 1965, Marshall launched a sister brand, Park which made amps until 1982. Facing stiff competition from American companies like Mesa and Soldano, Marshall explored the use of solid state, rather than valve‑based amp circuits, including hybrid versions. In 2007, some former employees of Marshall left and founded Blackstar Amplification. In 2023, Marshall was sold to Swedish company Zound Industries, majority owned by the Chinese HongShan Capital Group. Marshall was nicknamed, ‘The Father of Loud’.
Martin
C.F. Martin & Company was founded in 1833 by German immigrant Christian Frederick Martin in New York City before relocating to Nazareth, Pennsylvania in 1838. C.F. Martin was an apprentice for Johann Georg Stauffer, a famous luthier from Vienna, Austria. Following consumer demand, Martin refocused its manufacturing toward steel‑strung acoustic guitars around 1921 using many key innovations to improve the company’s already strong reputation. In 1931, Martin launched its dreadnought acoustic guitar with X‑bracing, which became a best seller and industry standard, particularly the D‑18 and D‑28 models. Pre‑WWII Martin guitars are highly sought after today. Martin has also dipped its toes into solid body electric guitars and basses, as well as strings. Martin continued to innovate including the use of composite materials from the 1990s onward. The company has been family‑owned and run throughout its entire history with the great‑great‑great‑grandson of the founder, C.F. ‘Chris’ Martin IV as current president as of 2025.
Maxon
The Japanese company, Nisshin Onpa was formed in 1965 in Tokyo Japan. Maxon was a brand name used by the company for its range of guitar effect pedals from 1969. Maxon became an OEM provider for Ibanez, producing stomp boxes using the Ibanez name, including the iconic TS‑808 Tube Screamer Pro. Nisshin Onpa also marketed pedals under its own Maxon name. Maxon stopped working with Ibanez in 2002 and Maxon continues to manufacture and market its own effect pedals.
Mesa/Boogie
Mesa Engineering was founded in 1969 by Randall Smith (1946‑) in Petaluma, California. Randall started out by hot‑rodding Fender amps in his home workshop. The Mesa/Boogie nickname derived from a comment made by Carlos Santana when demoing a Mesa‑modified Fender Princeton. The Boogie amps went through a number of generations (Marks) and in the 1990s the Boogie was supplemented by high‑gain Rectifier models. Gibson acquired Mesa Engineering from Smith in 2021.
Morley
Morley Pedals was founded in 1969 by American brothers Raymond and Marvin Lubow in LA, California superseding their previous enterprise, Tel‑Ray Electronics. The distinctively rugged Morley guitar effect pedals, particularly their wah‑wah and volume pedals using electro-optical circuitry, grew in popularity during the 1970s. Chicago‑based firm, Sound Enhancements, Inc. acquired Morley in 1989.
Mosrite
Mosrite guitars was founded in 1956 as Mosrite of California by Semie and Andy Moseley in LA, California. Semie Moseley (1935‑1992) had been an apprentice at Rickenbacker and Bigsby where he learnt his craft. Mosrite guitars were known for their radical designs and innovative features, as well as the brand’s association with surf pop/rock band The Ventures. The original Mosrite company went bankrupt in 1968. Several attempts were made to resurrect the brand over intervening decades, although without much success. Semie’s daughter, Dana Moseley is keeping the name alive.
Mu‑Tron
Musitronics Corporation (a.k.a. Mu‑Tron) was founded in 1972 by former Guild employees, Mike Beigel and Aaron Newman in Rosemont, New Jersey. Musitronics was known for manufacturing a number of high-quality guitar effect pedals including their most famous effect unit, the Mu‑Tron III envelope filter in 1972, which produced an electronic wah‑wah type sound beloved by funk guitarists. Musitronics ran into financial trouble in the late 1970s and production wasn’t resumed until 2014 when Mike Beigel founded Mu‑FX.
MXR
MXR Innovations was founded in 1972 by Keith Barr and Terry Sherwood in Rochester, New York. MXR is famous for its range of guitar effect pedals, starting with the iconic Phase 90, followed by the Distortion +, Dyna Comp and Blue Box. MXR was acquired by Dunlop Manufacturing in 1987 and continues to manufacture effect pedals using the MXR name as of 2025.
Music Man
Music Man (a.k.a. MM) was the company formed in 1974 by Leo Fender and partners 10 years after Leo sold the firm that bore his name to CBS in 1965. MM made its name with the Stingray Bass introduced in 1976. Leo Fender left Music Man in 1979 and went on to found G&L in 1980 (see above). Music Man was sold to Ernie Ball Inc. in 1984.
N – N Stands for…
National
The National String Instrument Corporation was an American guitar company founded in 1927 by entertainer George Beauchamp and luthier John Dopyera in LA, California. The company started by manufacturing banjos and then acoustic resonator guitars, an innovative instrument intended to be loud enough to be heard in a big band environment. In 1932, National merged with Dobro (see above) to form the National Dobro Company. It later came under the control of Valco (see below) until the latter went bankrupt in 1968. The spirit of National resonator guitars was rejuvenated by independent company, National Reso‑Phonic Guitars founded in 1989 in San Luis Obispo, California.
O – O Stands for…
Orange
Orange Amps was founded in 1968 by musician, electronics designer and retailer Clifford Cooper in London, England. The bright orange covering on their amp heads and speaker cabinets was a distinctive aesthetic, making them instantly recognisable. It helped that the sounds were also what many guitarists and bass players were listening out for at the time. Orange partnered with Radiocraft owned by Mat Mathias, which led to the Orange Matamp amps. After a 4‑year period in which Gibson reissued amps using the Orange name, Cooper regained the brand in 1997 and production was resumed in 1998. Orange is still flourishing as of 2025.
Orville
Orville by Gibson guitars and basses were part of the Gibson Guitar Corporation, destined for the Japanese market from 1988. Japanese distributor Yamano Gakki and Gibson decided not to use the Epiphone brand name and chose Orville – after Gibson founder Orville Gibson – despite the fact that Gibson was selling both Gibson and Epiphone in Japan. Production of Orville by Gibson guitars ceased in 1998 with Gibson’s focus on promoting Epiphone Japan models.
Ovation
Ovation was founded in 1965 by aeronautical engineer Charles Kaman (1919‑2011), in Hartford, Connecticut, USA. Kaman Music Corporation (KMC) used the founder’s technical background to manufacture guitars employing composite materials, predominantly bowl‑back acoustic guitars using a synthetic material called Lyracord. Fender briefly owned Ovation from 2008 to 2014 and the business is now owned by German company GEWA Music as of 2025.
P – P Stands for…
Parker
Parker Guitars was founded in 1993 by American luthier Ken Parker with input from pickup pioneer Larry Fishman in Chicago, Illinois. Parker guitars, particularly the Fly model, used innovative composite construction including a wood core covered with a carbon fibre/resin exoskeleton to reduce weight and increase rigidity. Pickups were traditional magnetic coil split humbuckers supplemented by piezo pickups to provide acoustic‑like tones. Fingerboards comprised composite materials with stainless steel frets. The US Music Corporation acquired Parker in 2003, moving production overseas before selling the brand again to Jam Industries. Parker Guitars has been defunct since 2016, despite several efforts to revive the brand.
Patrick James Eggle
Patrick Eggle Guitars was founded in the 1990s by British luthier Patrick James Eggle in Coventry, England. He left his own company in 1994 and, after several side projects in the US and UK, he formed Patrick James Eggle Guitars producing high‑end acoustic guitars. Eggle also helped to design Faith Guitars. In 2016, Eggle switched production from acoustic to electric guitars and in 2017. Eggle has also designed guitars for the revived Shergold Guitars brand (see below).
Paul Reed Smith (PRS)
PRS, a relatively new kid on the block, was founded in 1985 by American luthier Paul Reed Smith (1956‑) in Annapolis, Maryland. PRS guitars were cleverly positioned strategically between Fender and Gibson often using flamboyant designs and highly figured tone woods, often selling for premium prices. In 2003, PRS created the highly successful SE (Student Edition) range manufactured in the Far East. PRS remains a private company as of 2025.
Peavey
American innovator, Hartley Peavey (1941‑) founded Peavey Electronics in 1965, based in Meridian, Mississippi. Peavey has grown to become one of the largest music audio equipment manufacturers in the world. Peavey is mainly known for its amps and speaker cabinets, Peavey has also manufactured acoustic and electric guitars as well as basses. As of 2025, Peavey remains a privately owned company.
Pignose
Pignose was founded in 1969 by Richard Edlund and Wayne Kimbell in Chicago, Illinois. The company focuses on the manufacture of battery‑powered guitar amps, mains‑powered practice amps and innovative travel guitars incorporating an integrated amp and speaker. The iconic Pignose 7‑100 was considered to be the first portable electric guitar amp. Since 2023, Pignose has been under the ownership of Japanese company Aria (see above).
Pro Co
Pro Co Sound is based in Kalamazoo, Michigan and is best known for a single product, the Pro Co Rat distortion effect pedal (and multiple variations thereof). The Rat – allegedly named after the rodent‑infested basement in which the pedal was designed – was the brainchild of Pro Co engineer Scott Burnham in 1974, entering full production in 1979. The Rat has become one of best‑selling distortion stomp boxes of all time.
Q – Q Stands for…
I got nothin’
R – R Stands for…
Ramírez
Ramírez Guitars was founded in 1882 by José Ramírez in Madrid, Spain. The company has been manufacturing hand‑built professional, concert‑grade classical and flamenco acoustic guitars. Ramírez has been in business for over 140 years and has remained a private family business for five generations (to‑date).
Randall
Randall Amplifier Company was founded in 1970 by Don Randall in Irvine, California. Before setting up his own business focusing on guitar amps, Randall was vice president and general manager of Fender and then the Fender Sales divisions of CBS. After Randall sold his business in 1987, it was acquired by US Music Corporation, a subsidiary of Canadian corporate group Exertis.
Regal
What would become the Regal Musical Instrument Manufacturing Company from 1901 was founded in 1896 by Emil Wulschner in Indianapolis, Indiana. Regal started out making ukuleles and tenor guitars. Regal later made resonator guitar components for National and Dobro as well as making instruments under their own brand. Regal ceased production of guitars in 1941 and closed business in 1954, Fender owned the brand for a while before it was sold again to Saga Musical Instruments in 1987, who reintroduced a range of resonator instruments using the Regal name.
Rickenbacker
Swiss immigrant Adolph Rickenbacher (1886‑1976) founded Rickenbacker Manufacturing Company in 1925 to make metal bodies for National Guitars before setting up the Ro‑Pat‑In Corporation in 1931 along with performer and inventor George Beauchamp in LA, California. In 1932, Rickenbacker became the first company to make a production solid bodied electric guitar and by 1934, the company was using the Rickenbacker name. Rickenbacker really hit its stride in the 1950s after Rickenbacker sold his company to businessman F.C. Hall. Rickenbacker International Corporation (RIC) is famous for its 300 series guitars and 4000 series basses. Rickenbacker remains a private company, with its headquarters in Santa Ana, California.
Roger Mayer
Electrical engineer Roger Mayer is a name closely associated with Jimi Hendrix among others in the 1960s. In particular, Mayer’s fame resulted from the Octavia guitar effect pedal that integrated an octave (up) generator with a fuzz distortion effect. The classic Octavia remains in production still using the Mayer name. Mayer was also involved with modifying Maestro Fuzz Tone pedals and influencing the Sola Sound/Coloursound Tone Bender fuzz pedals.
Roland
The Roland Corporation was founded in 1972 by Ikutaro Kakehashi (1930‑2017) in Osaka, Japan. Roland is a multinational company manufacturing electronic organs, synthesisers, drum machines, amps and effect pedals with many iconic models, too many to mention here. Roland was also a key player in the development, introduction and promotion of the MIDI communication protocol for electronic music equipment. Roland also owns famous subsidiaries, including BOSS, Drum Workshop, Edirol and Rhodes.
Ross
Kustom Amps was founded in 1964 by Charles ‘Bud’ Ross in Chanute Kansas. After Kustom achieved considerable success, Ross sold his company to Baldwin Pianos in 1972. At that point, Ross launched Ross Musical and released the first Ross guitar effect pedals in c.1974. While Ross manufactured a wide range of effects, three Ross pedals are noteworthy, the tan‑hued Distortion, the orange Phaser and the now legendary grey Compressor. Ross pedals were revived in c.2020 by JHS Pedals (see above under John Hornby Skewes) with reissues of the classic Ross stomp boxes from the 1970s.
S – S Stands for…
Sadowsky
Sadowsky Guitars Limited was founded in 1979 by American luthier Roger Sadowsky in Long Island, New York. Roger Sadowsky has a strong reputation for building high‑end boutique guitars and basses. From 2019, Sadowsky has remained a private company while instruments are produced by German bass manufacturer Warwick (see below).
Santa Cruz
The Santa Cruz Guitar Company was founded in 1976 by American luthier Richard Hoover in Santa Cruz, California. Santa Cruz manufactures a limited number of high‑end steel‑string acoustic and acoustic bass guitars along with baritone guitars and ukuleles. Santa Cruz remains a private company as of 2025.
Schaller
Schaller GmBH was founded in in 1945 by Helmut Schaller (1923‑1999) near Nuremberg, Bavaria, Germany. Schaller manufactures a wide range of guitar parts and accessories. Initially, Schaller focused on the development of amps and speakers before moving into manufacturing metal guitar aftermarket and OEM components used by a wide variety of companies. Schaller tuners and bridges have achieved recognition for build quality. After the deaths of founding family members by 2006, Schaller was restructured as a limited liability company (GmbH).
Schecter
Schecter Guitar Research was founded in 1976 by David Schecter in Van Nuys, California. Initially, Schecter manufactured a wide range of replacement guitar parts and accessories. In 1979, Schecter started producing its own custom made guitars based on Fender designs. By 1983, Schecter was bought out by investors and, after legal action from Fender, the company was bought again by Japanese businessman Shibuya Hisatake, owner of ESP Guitars (see above), to make high‑end custom guitars. In addition to American manufacturing, Schecter imported South Korean‑built guitars from the late 1990s. In 2012, Schecter resumed American custom shop production.
Selmer
Henri Selmer Paris was founded in 1885 by Henri Selmer in Mantes la Ville near Paris, France. Selmer started off by manufacturing professional woodwind and brass instruments. In 1928, a UK branch of Selmer was formed under the leadership of brothers, Ben and Lew Davis. In the 1930s, Selmer partnered with luthier Mario Maccaferri to produce gypsy jazz guitars (see above). They also moved into PA systems during the 1930s. In the 1950s, Selmer also went into manufacturing organs as well as importing guitars from Europe. Selmer began producing a range of guitar and bass amps prompted by the rise of rock & roll. In the 1970s, Gibson owner CMI acquired Selmer UK. From 1976, CMI’s successor Norlin started running down Selmer UK until it was shut down in the early 1980s. In 2018, the family‑owned Henri Selmer Paris was sold to European equity group, Argos Wityu.
Seymour Duncan
Seymour Duncan was founded in 1976 by Seymour Duncan (1951‑) and his wife Cathy Carter in Santa Barbara, California. Seymour Duncan is best known for manufacturing a wide range of aftermarket guitar and bass pickups, as well as effect pedals. Most pickups are American‑made although the low‑cost OEM ‘Duncan‑designed’ pickups are manufactured in South Korea. Seymour Duncan’s main competitor is DiMarzio (see above).
Shergold
Shergold Guitars was founded in 1967 by former Burns London employees Jack Golder and Norman Houlder in London, England. After producing products for other companies, Shergold started making and selling guitars under the Shergold name in 1975. Shergold ceased manufacturing guitars in 1982 and there were several subsequent failed attempts to revive the brand. Barnes & Mullins acquired Shergold in 2015 and, in 2016, British luthier Patrick James Eggle (see above) became a shareholder and helped to design a range of new Shergold models.
Shin-ei
Little known outside of Japan, Shin‑ei was a major manufacturer of guitar effect pedals from the late 1960s and throughout the 1970s. In 1968, Shin‑ei created the legendary Uni‑Vibe modulation effect made famous by Jimi Hendrix. The Uni‑Vibe’s unique tones have been much imitated since. Shin‑ei manufactured products for different companies as well as under its own name. The rejuvenated company is Honey Shin-ei LLC, based in Austin, Texas.
Silvertone
Silvertone was a brand name used by the American Sears, Roebuck & Company mail order and department store for its line of consumer electronics and musical instruments from 1916. Silvertone instruments and amplifiers were manufactured by a wide variety of companies including Danelectro, Harmony, Kay, National, Supro, Teisco and Valco. Sears stopped using the Silvertone brand in 1972. In 2001, South Korean company, Samick Music acquired the rights to Silvertone and reissued a number of instruments under the revived Silvertone brand. Samick sold Silvertone to current owners, RBI Music in 2021.
Sola Sound
Sola Sound was a British guitar effect pedal brand best known for making the iconic Tone Bender fuzz pedals. The Tone Bender first appeared in 1965, designed and built in London by electronic technician Gary Hurst. The Tone Bender derived from Maestro’s Fuzz Tone and inspired Dallas Arbiter’s Fuzz face. From 1970, Sola Sound produced Colorsound‑branded pedals. Sola Sound also made pedals for other companies, such as VOX, Marshall, Carlsboro, Rotosound, CSL and many others. Both Sola Sound and Colorsound were owned by brothers Larry and Joe Macari of London, England, known for their eponymous London retail store.
Soldano
Soldano Custom Amplification was founded in 1986 by American Michael Soldano in LA, Calirfornia. Soldano designed and manufactured high‑gain guitar amps after modifying Fender and Mesa/Boogie amps. Michael Soldano, latterly based in Seattle, Washington, sold his company to Boutique Amps Distribution in 2019.
Sound City
British amp manufacturer Hiwatt (see above) was formed in 1966. Hiwatt’s founder Dave Reeves contacted Ivor Arbiter to produce guitar amplifiers re‑badged using Arbiter’s Sound City music store name. Sound City amps became associated particularly with The Who and Jimi Hendrix.
Steinberger
Steinberger was founded in 1979 by Ned Steinberger (1948‑) in Brooklyn, New York. The company manufactured a range of electric guitars and basses designed by the founder. Steinberger was eventually sold to Gibson in 1987, which stopped selling Steinberger guitars in the mid‑1990s. The most distinctive Steinberger instruments have downsized synthetic construction bodies and necks devoid of a traditional headstock, giving the instruments a minimalistic look. Steinberger (under Gibson) licensed the design to other companies including Hohner and Cort, accounting for new models.
Stick
Stick Enterprises is the company behind the innovative Chapman Stick, an unorthodox electric musical instrument devised by jazz musician Emmett Chapman (1936‑2021), which started production in 1974. The Chapman Stick commonly comprises 8, 10 or 12 strings on an enlarged fretboard and is usually played by a ‘two handed tapping’ technique, rather than by plucking the strings. While based on a guitar, it is classified as a composite chordophone.
Stromberg
Stromberg Guitars was founded in 1906 by Swedish immigrant Charles Stromberg in Boston, Massachusetts. Stromberg started out by making banjos and mandolins until 1927 when they produced their first archtop jazz guitar. Stromberg only made around 640 guitars during the big band era, during which their guitars’ large size gave them sufficient volume to compete with loud horn sections. Production stopped in in 1955 with the death of the founder.
Supro
Supro guitars date back to 1935, made as a low‑cost brand by the National Dobro Corporation (see above). From the 1950s, Supro produced electric guitars, basses, amps and effects. National Dobro was acquired by Valco, which went out of business in 1968, at which time the Supro name was discontinued. The Supro name was revived in 2013 making guitars, amps and effects. In 2020, Supro was bought by Bond Audio.
T – T Stands for…
Takamine
Takamine Musical Instruments Manufacturing Co., Ltd. was founded in 1959 by Ozhone in Sakashita, Gifu, Japan. In 1962, the company was named after Mount Takamine in Japan. Takamine focuses on manufacturing steel‑string acoustic guitars and it has become one of the leading companies of its kind. In 1978, Takamine was one of the first firms to make acoustic/electric guitars using innovative transducers, particularly suited to live performance, as they reduced feedback. For a short period, Takamine also produced solid body electric guitars and basses. Takamine remains a private company as of 2025.
Taylor
Taylor Guitars was founded in 1974 by Bob Taylor and Kurt Listug in El Cajon, California. Taylor manufactures premium acoustic, classical and semi‑hollow electric guitars in the USA and Mexico. Taylor has become famous for its innovative manufacturing technologies, use of exotic tone woods and sustainable production processes. In 2021, Taylor Guitars became owned by its employees and in 2022, Luthier and guitarist Andy Powers became Taylor’s Chief Executive, President, and Chief Guitar Designer.
TC Electronic
TC Electronic was founded in 1976 by brothers Kim and John Rishøj in Denmark. The company specialises in a wide range of innovative music audio products and is most famous for its guitar effect products. TC Electronic is only one of several companies under the ownership of TC Group holding company. In 2015, TC Electronic was purchased by Music Group (now Music Tribe).
Teisco
Teisco was founded in 1946 by guitarist Atswo Kaneko and electrical engineer Doryo Matsuda in Tokyo, Japan. The company produced a range of esoterically designed guitars, basses and baritone guitars as well as other musical equipment including amps, synthesisers and drums. In the US, guitars were re‑badged Teisco Del Rey. In 1967, the Teisco name was acquired by Japanese company Kawai Gakki Seisakusho which ceased using the Teisco name outside Japan in 1969. In 2018, the Teisco name, along with Harmony Guitars (see above), was relaunched by BandLab Technologies of Singapore.
Thomas Organ
The Thomas Organ Company was founded in 1875 by Edward Thomas in Woodstock, Ontario, Canada. The company’s early focus was on pipe and pump organs. In the 1950s, the company invented the Thomas electronic organ. Thomas became US importer of VOX products, exemplified by the Thomas Organ Cry Baby (the Cry Baby name wasn’t trademarked). Thomas also acquired rights to make Moog synthesisers. In 1979, Thomas Organ ceased business, although the name was revived 1996 to manufacture electronic organs once again.
Tobias
Tobias Bass Guitars was founded in 1977 by Michael Tobias in Orlando, Florida. The majority of Tobias basses were cost‑effective neck‑through models. Tobias was acquired by Gibson in 1990 and production was moved to Nashville, Tennessee. In 1992, Michael Tobias left Gibson to found Michael Tobias Design making boutique bass guitars. Tobias bass guitars are manufactured by Gibson’s Epiphone division and the brand has been rejuvenated in 2025.
Tokai
Tōkai Gakki was founded in 1947 by Tadayouki Adachi in Hamamatsu, Shizuoka, Japan. Initially, Tokai focused on harmonicas and pianos as well as other instruments. In 1968, Tokai started manufacturing electric guitars alongside acoustics and, later, basses and amps. In 1972, Tokai worked with C.F. Martin to build Martin’s Sigma electric guitars. In the early 1980s, Tokai got caught up in the ‘lawsuit era’, a period during which American brands threatened Japanese businesses over design copyright infringements. Tokai was a family business until it was sold in 2021 to Grace Company Ltd.
Tom Anderson
Tom Anderson Guitarworks was founded in 1984 by American luthier Tom Anderson in Newbury Park, California. Anderson started out working for Schecter before branching out on his own making limited numbers of highly‑regarded premium boutique and custom guitars. By 1990, Anderson moved from manufacturing parts to building whole guitars. Tom Anderson remains in business as of 2025.
Trace Elliot
Trace Elliot was founded in 1979 by retailer Fred Friedlein in Romford, Essex, England. The company specialised in bass amps and speaker cabinets, and from 1989, acoustic guitar amps. In 1992, KMC (who owned Ovation) acquired Trace Elliott to focus on the US market. In 1998, the company was sold again to Gibson. Then, in 2005, Peavey acquired Trace Elliott.
Travis Bean
Travis Bean Guitars was founded in 1974 by American luthier Travis Bean (1947‑2011) and business partner Gary Kramer in California to manufacture high‑end guitars using necks made from machined aluminium. Kramer left the company in 1975 to found Kramer Guitars (see above). Bean once again toyed with guitar manufacture in the late 1990s but the potential from his innovative construction techniques was largely unrealised.
Traynor
Traynor Amplifiers was a brand founded in 1963 by electronics designer Peter Traynor in Toronto, Canada under parent company Yorkville Sound. Traynor focused on manufacturing bass and guitar amps. In 1976, Peter Traynor left due to poor health and the brand diminished over a period of years until it was revived by Yorkville in 2000, still manufacturing bass, guitar, acoustic and keyboard amps.
U – U Stands for…
Univox
Univox was a musical instrument brand founded in 1960 by Thomas Walter Jennings in Westbury New York. The company marketed Univox guitar amplifiers, guitars, keyboards and drum machines. Univox’s main claims to fame were the legendary Uni‑Vibe and Uni‑Fuzz pedals. They also distributed Matsumoku guitars, Shin‑Ei effect pedals and Korg synthesisers. In 1985, the parent company Unicord was sold to Japanese company Korg, after which the Univox brand was phased out.
V – V Stands for…
Valco
Valco was formed in 1940 by a stakeholder restructuring of the National Dobro Company. Valco manufactured a range of guitars, basses and amplifiers using a variety of brand names including National, Airline and Supro, as well as making guitars for other companies such as Sears and Montgomery Ward. However, they didn’t retail any products using the Valco name. Valco merged with Kay in 1967 before going bankrupt in 1968.
Vega
The American Vega Company was formed in 1881 by Julius and Carl Nelson in Boston, Massachusetts. At the start of the 20th Century, the firm concentrated on banjos, mandolins and brass instruments. Vega started building guitars in the 1930s and was later acquired by C.F. Martin in 1970, primarily for its banjo expertise. In 1989 the Vega name was sold to the Deering Banjo Company who continue to make banjos using the Vega brand.
Vigier
Vigier Guitars was founded in 1980 by luthier Patrice Vigier in Grigny, Essonne, France. Vigier manufactures premium grade electric guitars, basses and strings. Vigier guitars has introduced many innovations and became particularly noteworthy for its Surfreter fretless variation on the Excalibur 6‑string guitar model.
VOX
VOX was founded in 1957 by Thomas Walter Jennings in Dartford, Kent, England. The company is mostly associated with guitar amplifiers such as the iconic AC30. From 1962, VOX also manufactured a range of electric guitars and effect pedals, often using Italian production facilities. VOX was sold to Rose Morris in 1978 and then again to the giant Japanese corporation Korg in 1992. Korg still own the VOX name as of 2025.
W – W Stands for…
Wal
Wal is a British brand of bass guitars founded in 1974 by electronic innovator Ian Waller and luthier Pete Stevens in London, England. Starting out making custom‑made bass guitars for professional players, the first production Pro Series basses started appearing in 1978 and the Custom Series in 1983. After Ian Waller died in 1988, Pete Stevens kept the business going at a low level. The company was revived under the leadership of luthier and former Wal employee Paul Herman in 2008.
Wandre
Wandre Guitars was founded in c.1957 by Antonio Vandrè Pioli in in Cavriago, Italy. Wandre manufactured a very small number of electric guitars and basses using some esoteric radical design elements until production ceased in 1968. To‑date, the Wandre brand has not been revived. Examples of Wandre instruments are highly sought after on the vintage guitar market.
Warwick
Warwick was founded in 1982 by Hans‑Peter Wilfer in Erlangen, Bavaria, Germany. Hans‑Peter was the son of Fred Wilfer, who had founded Framus (see above) back in 1946. Warwick is famous for manufacturing premium bass guitars, as well as more affordable bass models, amps and bass strings.
Washburn
Washburn Guitars was originally founded in 1883 by American businessman George W. Lyon and Patrick J. Healy in Chicago, Illinois. Washburn initially focused on guitars, mandolins, banjos, ukuleles and zithers. Washburn’s early years were particularly volatile and hard to document accurately. After bankruptcy, Regal (see above) tried to rejuvenate the brand without success. After many further changes, Washburn International was formed in 1987. Washburn bought the US Music Corporation in 2002 and was then sold on to Jam Industries in 2009. Washburn‑branded instruments are currently sourced from Indonesia and China.
Watkins (WEM)
Watkins Electric Music (WEM) was founded in 1949 by Charlie and Reg Watkins in London, England. WEM was one of the first British makers of guitar and PA amplifiers from 1954. In 1958, WEM introduced one of the first portable tape loop echo effects, the iconic Copicat. WEM amps and speaker cabinets were adopted by a wide range of British rock bands in the 1960s and early 1970s. Watkins sill manufactures small numbers of Copicat tape echo units.
Westone
The official Westone brand was formed in 1975 when Japanese company Matsumoku purchased the rights to the Westone name. Westone began by producing affordable acoustic and electric guitars, and basses. St. Louis Music registered the Westone brand in the US to import Japanese Westone guitars. The Westone name was superseded by Alvarez (see above) in 1991. Since then, a number of firms have used (or tried to use) the Westone name.
X
I got nothin’
Y – Y Stands for…
Yamaha
The massive Japanese Yamaha Corporation is the world’s largest manufacturer of music and audio equipment. Yamaha was founded as the Nippon Gakki Co. in 1887 by Torakusu Yamaha (1851‑1916) in Hamamatsu, Shizuoka, Japan. The company began as a reed organ manufacturer. In 1987, Nippon Gakki was renamed Yamaha Corporation in honour of its founder, still based in Hamamatsu. Yamaha also owns some other famous brands such as Ampeg and Line 6.
Z – Z Stands for…
Zemaitis
Zemaitis was founded in 1955 by luthier Tony Zemaitis (1935‑2002) in London, England. He hand built guitars, renowned for their engraved metal tops (created by Danny O’Brien) and later pearl inlaid tops. Zemaitis gained an enviable reputation among many famous artists. After his death, the tradition was continued by Zemaitis Guitars of Tokyo, Japan, led by the founder’s son, Tony Zemaitis Jr. and still using the metal engraving skills of O’Brien. Original Zemaitis guitars are now highly sought after.
Links to CRAVE Guitars’ Brand Features
The CRAVE Guitars’ web site currently has feature pages on 14 guitar brands. These provide a bit more detail than the above, should you wish to explore further (each link opens in a new browser tab):
Final Thoughts on ‘An Alternative A‑Z of Vintage Guitar Gear’
Well, that was a bit of a slog (at least for me). For once, there is not a great deal to add, so this will be very brief. That’s it. There you go. No point in wasting words on waffle. So, let’s move on with aplomb.
CRAVE Guitars’ ‘Album(s) of the Month’
It seems appropriate this month to applaud the accomplishments of not one but two bands and their classic studio albums, both with an alphabetic emphasis from A(BC) to Z(Z Top). See what I did there? These two albums should prove beyond doubt that there was some great music – and MTV‑friendly pop music videos to boot – to be had in the 1980s. Without further ado, let’s dig in for some upbeat joyful musical exuberance…
ABC – The Lexicon of Love (1982): ‘The Lexicon of Love’ was the chart‑topping debut studio album by English new wave/new romantic/pop band ABC. It was released in June 1982 on Neutron Records. The astounding popularity and commercial success of the album led it to be ranked as ‘one of the greatest albums of the 1980s’. It sounds both of its time and also timeless, if you get my drift. ABC were not able to capitalise on their success and the slick 10 tracks (38 minutes) of ‘The Lexicon of Love’ remains the pinnacle of their career (to‑date).
ZZ Top – Eliminator (1983): ‘Eliminator’ was the 8th studio album by American blues/rock band ZZ Top. It was released in March 1983 on Warner Brothers Records. Despite only reaching #3 in the UK album chart and #9 in the US Billboard 200, it proved phenomenally popular and commercially successful. Whether you remember the iconic pop music videos, the customised 1933 Ford Coupe hot rod or the spinning sheepskin‑covered guitars, the striking images and fresh sounds of the 11 tracks (45 mins) on ‘Eliminator’ couldn’t be ignored. It may not be their best but it is certainly their biggest. There is no doubt that ‘Eliminator’ launched the power trio into superstardom.
There you have it – from ABC-ZZ Top. Love or loathe these albums epitomising the excesses of the 1980s, they have both become landmarks in music history and represent the cultural zeitgeist at the time. Perhaps it is now time for a re‑appraisal of their merit within the broader historical context. Are they ‘essential listening’? I think so but, when it comes down to it, it’s up to everyone to make up their own minds. All I can do is put it out there for consideration.
BELIEVE IN MUSIC!
Tailpiece
Well, that was a lot, and I mean A LOT, of work and, for what I ask? Was it worth it? Well, for the author’s own sanity and personal development, yes. For everyone out there, that’s for you to judge. I hope it has been both informative and entertaining. Given the huge amount of work involved in compiling this A‑Z article, I intend to use a lot of it in modified form as a permanent part of the ‘Resources’ section of the CRAVE Guitars web site.
Next month, the author will face a conundrum, a dilemma, a challenge, a quandary, a predicament, a pickle and, most of all, an enigma, a paradox and a bit of a mystery (at least for now). Typically trailing trendy tantalising tantra. Intrigued? Be sure to check in, same time, same place, next month. Bye for now, y’all.
Truth, peace, love, and guitar music be with you always. Until next time…
CRAVE Guitars’ ‘Quote of the Month’: “A picture can tell a thousand lies”
HERALDING A HEARTY “HELLO” to y’all for the first time in 2025. Welcome one and all this fresh, shiny New Year, albeit nearly a month old now. Personally, I dislike January. It is cold, dark, wet and definitely inclement. In addition, due to the preceding festive season, January is a month of self‑imposed financial austerity. Almost unbelievably, this year (2025) represents a quarter of the way into the first century of the second millennium already. Where does time go and, more importantly for each of us, uniquely, is where did our time go? One thing is for sure, once it’s gone, it’s gone and it can never be recycled for any purpose other than memory and, perhaps, reminiscence. As one gets older and nearer to the long rest of inevitable mortality, time becomes disproportionately more precious and ephemeral.
Now, ‘they’ say that those who can’t do, teach, those who can’t teach, teach teachers and those who can’t teach teachers write about the things they can’t do or teach. So here I am writing about stuff that I don’t really feel qualified to discuss. Again. Some readers will know way more about vintage guitars than I ever will. Wait… hold on a sec… that’s never stopped me. Oh, what the heck, let’s do this.
This month, I’d like to get back to the subject close to my heart, vintage guitars. It’s been a while because I’ve been writing about other things. This month, while I’m still trying (and not getting far) to work on ‘The Distortion Diaries’, I was thinking about what I like about vintage guitars and what I don’t like about them. One might think that my experience might be entirely positive. However, the reality is a great deal more pragmatic.
The free‑ranging thought processes led me to this month’s article, ‘Ten Things…’ In previous articles, I have attempted to understand the appeal of vintage guitars compared to modern instruments and other old stuff. However, this was inherently a predisposed approach, using positive reinforcement to justify a lifelong preoccupation. Time then, I thought, to take a more contemplative, critical and non‑prejudicial approach by questioning what I love about vintage guitars and the polar opposite of what I hate about vintage guitars.
For info, the majority of the quotes this month are from William Shakespeare’s ‘Taming of the Shrew’ (c.1590‑1594) and a romantic comedy film loosely based on the play, ‘10 Things I Hate About You’ (1999). This is intentional and fitting.
“You can’t just buy me a guitar every time you mess up, you know” – Kat from the film, ‘10 Things I Hate About You’
Understanding universal balance
Before we start, please bear with me while I take a bit of an existential ‘helicopter view’, then we’ll get to the point. Like most things in the universe (at least our universe if you believe in multiverses), there exists a natural balance that, overall, maintains a steady state of equilibrium over time while also allowing for chaotic fluctuations.
Once again, I’m looking to the east for cultural inspiration. In ancient Chinese philosophy, the concept regarding opposite but complementary, interconnected and self‑perpetuating cycle is known as yin and yang. The opposing forces of yin and yang interact to form a dynamic system in which the whole is greater than the parts and the parts are integral to the whole. The concept is represented by the Taijitu (the familiar diagram of the ‘supreme ultimate’, c.3rd Century BCE) with black representing yin (the female/passive/negative) and white representing yang (the male/active/positive). The contrasting dots in the Taijitu represent the one co‑existing within the other. Yin and yang are co‑dependent – they cannot exist in isolation, only in perpetual, infinite duality (called a unity of opposites). With yin & yang, the duality exists between the opposing cosmological forces of order and chaos. In human socio‑political terms, the duality is signified by the tension between order and disorder, good and evil, etc. The concept of universal balance applies equally to the past, the present, and the future of existence. Put simply, opposites exist for a reason. Right, that’s the mind‑bending bit over. Deep breath time.
Taijitu
“You’re 18, you don’t know what you want. And you won’t know what you want ’til you’re 45, and even if you get it, you’ll be too old to use it” – Walter from the film, ‘10 Things I Hate About You’
Applying universal balance
So… balance is important. The fundamental and elemental ‘rules of engagement’ represented by yin and yang are applicable to every aspect of “life, the universe and everything” (NB. A reference from ‘The Hitchhiker’s Guide to the Galaxy’ (1979) by author Douglas Adams).
Thus, when it comes to vintage guitars (and, by extension, equally to vintage basses, effects, amps, etc.), there is a universal balance that provides for the existence of these bits of wood, plastic and metal, and how we feel about them. Accepting the principle of equal and opposing absolutes; light and dark, good and bad, black and white, truth and lies, men and women (at least in my day), concepts of heaven and hell, N and S magnetic poles, etc., let’s start with the positives before we move onto the negatives.
Please remember that this is my, albeit biased, personal opinion under the guise of establishing objective fact. Readers will undoubtedly think differently, so please regard these ‘10 things…’ as the author’s own perspective – nothing more, nothing less. Above everything else, though, this perfunctory examination is for entertainment purposes only. Reader discretion is advised.
I will, however, attempt to curtail my typical tendency to alliteration, my personal propensity for hyperbole, my fun‑filled metaphor mixing and other intentional grammatical sins.
“Better once than never, for never too late” – William Shakespeare from ‘The Taming of the Shrew’
10 Things…
For once, I am not going to go into great depths and will limit each point for brevity. I trust that the implied message behind a few words (for me) is sufficient to convey what I struggle to express. Right, without further ado, let’s get into the action.
10 Things… I Love About Vintage Guitars:
The Heritage and the History – Vintage guitars are the epitome of heritage and they chart the sights and sounds of music over many decades. Many guitars are associated with artists and musical genres that embody and reflect social culture of their time. They play a fundamental and integral part of music history. These aren’t just ‘antiques’ to be stuck on a dusty shelf, they can (and should) actually still be used to make music. My playing skills are inadequate but that doesn’t matter. Holding and playing vintage instruments imbues an intangible, almost mystical appreciation of a zeitgeist stored within the materials. They are vintage because of the long life they have lived, not just the number of years since manufacture. It is, however, all too easy to slip into a deceptively romanticised view of the past.
The Ownership – Fundamentally, people like to own stuff and, for me, that means vintage guitars. Once we start accumulating stuff, there are deep‑seated psychological reasons why we develop a compulsion to collect more stuff. There is no space here to cover that, so you’ll have to take my word for it (for now – I feel another article topic coming). Watching guitars on stages, TV and, yes, even viewing them in museums is one thing but the thrill of having them literally to hand and being able to pick up a vintage guitar and to play it is massive part of the ownership experience. Simply owning and playing some of these old instruments is a pleasurable exercise. Once acquired, I don’t feel inclined to move any of them on; they become part of my life. Protracted ownership is one of the key reasons I’m not a dealer.
The Uniqueness – Back in the day, guitars were largely manufactured by hand and it is unlikely to find two that were identical even back at the factory. On top of that, add in all the things that have happened to them over many years and they bear the marks of time, giving them their mojo and making each and every one of them even more unique and genuinely so. No fake aging here. There is something uniquely satisfying about knowing that the guitar in your hand is unlike any other on the planet, not because it’s been messed with but because it has lived a life of music making over the decades.
The Authenticity – Vintage guitars are the real thing. Not reissues, not New Old Stock (NOS), not relics. They show in every way that they’ve had a life of playing and making music. They don’t just look the part, they are the genuine archetypes on which many modern guitars are styled. I must admit that I prefer vintage guitars that are all‑original if possible, even though this isn’t always practical. I am divided on the topic of refinishes. Generally speaking, original is best – once a refinish has been undertaken, the original can never be reinstated. I do not advocate modifying a vintage instrument unless it can easily be put back to original.
The Variety – Particularly but not exclusively in the 1950s, there was an explosion of design creativity as far as American (and other) electric guitars are concerned. This brought us the Telecaster, Stratocaster, Precision bass, Les Paul, ES‑335, Explorer, Flying V, etc. etc. This means that, although the number of vintage guitars for a specific period is finite, there remains a great deal of diversity, even though there were no such things as ‘mod shops’ or custom shops at the time. In particular, I tend to like the unusual guitars that many others detest. My choice. Their loss.
The Look – I can sit and look at vintage guitars for ages. Wabi sabi is the Japanese concept that something can be perfect because of its imperfections. Whether it’s the patina, the light reflections, the bumps and nicks, the lacquer fading, finish crazing, the genuine wear and tear mean that there is always something that draws the eye over and over again. In my view, the best guitars are well‑used instruments and far more interesting that pristine museum‑grade examples. Where others might see ugliness, I see loveliness in droves.
The Feel – Looks are one thing, feel is another. Most vintage guitars are well played in, although some are worn out. The materials age naturally over time, giving them a tactile feel that is far from the generic newness of mass produced modern guitars. Modern machine manufacturing is very different from the somewhat haphazard and idiosyncratic construction methods of the past. Many modern manufacturers try (and fail) to mimic the physical effects of extended age and use in new instruments. One can almost feel the honest history of each instrument every time it is picked up and played.
The Tone – After the previous two points, one cannot ignore the tone. Many modern guitar designers spend inordinate amounts of time trying to replicate the tones of original instruments. Tone woods are unique and age uniquely. Pickups for instance were often made out of what was available at the time and, while it is possible to emulate the materials, the passage of time seems to exert a permanent change in the physical structure which not only makes each one unique (see above) but makes them impossible to replicate in every way. Modern technology and techniques can only get so far. There are also plenty of under‑the‑radar vintage guitars that can provide a wide range of tones beyond the ‘classic’ sounds of the icons.
The Mythology and the Truth – The absence of genuine documentation leads to much interpretation and opinion. Even the most fastidious research can only uncover some of the truth. The rest is, and will probably likely always will be, unknown. The scant facts result in a truth vacuum within which stories have been created and promulgated, with varying degrees of truth. The fact that only some things can be verified, means a wide variety of opinions persevere. In the absence of documentation, who really knows what these instruments have been through in their lifetime? Using one’s imagination imbues them with intangible mystery that may or may not be deserved. Generally speaking, the more pristine the example, the less storied its history.
The Privilege of Stewardship – Ownership is one thing (see above). However, many vintage guitars not only predate their owners but also will probably outlast them, possibly many times over. This means that ‘owners’ are essentially only temporary and are transitional guardians of important historical artefacts. It is good to be part of their story, perhaps being documented for only the first time in their long life. While I’m here, I am trying hard to do my bit for prolonging posterity, even if I won’t be there to enjoy it once my time is up.
“No profit grows where is no pleasure ta’en. In brief, sir, study what you most affect.” – William Shakespeare from ‘The Taming of the Shrew’
10 Things… I Hate About Vintage Guitars:
The Economics of Collectors vs. Enthusiasts – Regular readers will know that I abhor the whole ‘vintage guitar collector’ world and its elitism, asset accumulation, profiteering based on return on investment and flaunted status symbols of wealth. Most ‘golden era’ vintage guitars (c.1950‑1965) from the major American brands are now so far out of the reach of enthusiasts that many will never get to appreciate the charms of these icons. A case could be made that collectors help to preserve heritage but only if they can make a profit along the way. I can’t abide, let alone change, the arrogant avarice and scornful snobbery associated with vintage guitar ‘collecting’ but at least I can attempt to share my ardent enthusiasm. I recognise that dealers have to make a profit but some take the price of ‘exclusivity’ to extremes. This particular gripe is not about vintage guitars per se but directed at the leeches that avidly feed off them. It is even worse when those pariahs can’t even play them while at the same time denying others the joy.
Provenance and Celebrity Ownership – What distinguishes a standard guitar from the same model owned by a famous musician. Normally nothing really, other than the artist association. A guitar that would otherwise cost just a few thousand pounds/dollars can be escalated to stratospheric, often seven figure sums. Owning a celebrity guitar wouldn’t make me sound like them (why would I want to?) and it doesn’t make me play any better (sadly). I am interested in the instruments, not the artists. While it is good to have some genuine insight to a guitar’s history, I will leave the quest for insanely costly instruments with documented provenance to others. If I mention that auction house, Christie’s of London sold part of the late, great Jeff Beck’s guitar collection on 22 January 2025, raising over £8.7m ($10.7m) in the process, you’ll possibly kinda see where I’m coming from.
The Maintenance (Inc. Parts & Accessories) – Keeping vintage guitars is not straightforward; they require ongoing care and attention. If vintage guitars are used (as they should be), wear and tear ensues. Taking care of vintage guitars often exceeds the skills of amateur meddling and benefit from (expensive) professional skills. Finding a luthier who really knows what they are doing and can be trusted is not an easy task. Sourcing genuine vintage parts is becoming harder and more costly meaning that it is a challenge to keep them vintage correct AND usable. Worn out and badly treated vintage guitars are a sad sight and some, in all honesty, are just not worth conserving. Refinishes devalue an otherwise great instrument. Refrets are, however, sometimes necessary. Neck breaks unfortunately determine eternal ‘player’ status. The prices of vintage guitar cases on their own can also be quite daunting, not to mention case candy, sales tags, manuals and sales documents, normally discarded many decades ago.
The Environment – Vintage guitars are more sensitive to environmental conditions than new ones – temperature, humidity, UV light, etc. Different materials respond differently over time. The ideal environment for vintage guitars often differs from what people experience in day‑to‑day living areas. Most vintage guitars, in my view, should not be locked away in secure environmental storage, meaning that there has to be compromise for us ordinary enthusiast owners. Managing the environment in a normal home without climate control is therefore not ideal but, at least in my case, good enough (just). Thankfully, most electric guitars are less susceptible to changes in environment than acoustics, although archtops and semi‑acoustics can prove problematic. Prevailing wisdom is that guitars should be kept in their cases at a temperature of 21‑24˚ (70‑75˚) and a relative humidity (RH) of 40‑50%. The most important factor here, though, is ‘stability’, avoiding extremes and rapid fluctuations.
The Playing Experience – Part of the mythology is that vintage guitar playing is some transcendent spiritual experience that cannot be matched by mere mortals with ordinary instruments. The reality is, however, much more mundane. However, no matter what period vintage guitars were originally manufactured, some are great, many are OK and some are dogs. The consistency and accuracy of manufacturing back in the day means that many are not always the easiest or most pleasant to play. Sometimes, however, the challenge may also inspire different approaches to playing. Bottom line, the truth is that a guitar of a certain edge doesn’t guarantee blissful nirvana, not by a long way. Be prepared for fret buzzing, high action, scratchy pots, stiff or loose tuners, inaccurate intonation, ineffective truss rods (if any), etc.
The (Lack of) Documentation – Even today, accurate information isn’t always easy to come by but with vintage guitars, it is often almost impossible to get to the bottom of things. From serial numbers, to manufacturing/shipping numbers, to seemingly contradictory features and specifications, identifying and dating vintage instruments can be a nightmare, despite best efforts and extensive research. Even George Gruhn’s illustrious ‘bible’ has plenty of errors and omissions. The best approach is to undertake diligent research and, if possible, find corroborating information from someone who may know more. Sometimes, one just has to use one’s experience and take a punt on an undocumented instrument.
The Noise of the Opinionated Ignorant – The usual example of this is the vociferous and damning condemnation of CBS‑era Fenders and Norlin‑era Gibsons, et al. Such broad‑spectrum denigration simply isn’t justified. These disparaging views are sustained by many people who don’t really know and understand what they are talking about – they just spout out the derivative, clichéd rhetoric of the lazy and uninformed. While there may be no smoke without fire, it is plain wrong to assume that sweeping generalisations apply to every instrument. Don’t believe everything you read; make up your own mind, based on real experience. Extrapolating the point further, the noise of self‑appointed, erratically opinionated commentators over time can create a broad perception that is not necessarily true but, if restated sufficiently strongly, people will believe it anyway (the so‑called illusory truth effect). Such automatic assumptions need to be challenged and re‑evaluated. I strongly advocate an open mind and critical questioning of blind dogma. The symptom may be exacerbated by selective positive reinforcement, i.e. someone agreeing with similar views while dismissing opposing views. File under guitar snobbery, hogwash and boloney.
Fakes and Copies – Where there is money involved, often lots of it, there are unscrupulous companies and individuals wanting to exploit innocent victims for financial gain. There have long been fakes of classic guitars pervading the vintage market and some of them are hard to identify and root out, let alone the possibility of bringing the perpetrators to justice. A lesser ‘crime’ is companies imitating classic guitars and selling them in large numbers. I can understand some people wanting the look without the cost but it is not a thing to be proud of and it often isn’t good for the industry. The most infamous cases were in the 1970s with the lawsuit‑era guitars where flagrant copies by Ibanez (and others) were almost identical to the originals. Then there was the Gibson vs. PRS battle in the early 2000s over the single cutaway Les Paul outline. Now, cheap Chinese knock offs are flooding western markets with an adverse impact on genuine models and are, politically, impossible to litigate against. There really is no need to counterfeit the classics – do something original and improve the breed with integrity.
The Preserve or Conserve Dilemma – Should museum grade vintage guitars be locked up in vaults or in glass cabinets so they can be ‘preserved in aspic’ or should vintage guitars be used for what they were intended to be used for, making music? A case can be made for protecting a very few historically significant items but not all by any means. In my view, playing vintage instruments is good for them, even if it means that they experience greater wear and tear in the process. An old guitar that hasn’t been used for some time sounds dull and lifeless. Playing a stored vintage guitar can bring it back to life. My generally pragmatic stance here is to conserve but not to preserve. One should never feel afraid to touch, pick up or play a vintage guitar.
The Responsibility of Stewardship – While temporary stewardship of vintage guitars is a privilege (see above), it also carries a great deal of responsibility so that they can be passed on for the benefit of future generations of players and enthusiasts (and, begrudgingly, collectors) in a condition that befits their previous ownership. It is up to current ‘owners’ that the legacy can continue untainted into the future. Those that don’t take the responsibility seriously probably shouldn’t own a vintage guitar. For instance, my advice is not to mess with an original vintage instrument unless unavoidable. Far too many guitars have been modified in the past – often when they were near new – and can’t easily be restored to original. Things like tuners, nuts, frets, pickups, bridges, scratchplates, electrics, knobs and strap buttons should be kept original if at all possible. Some mods may be ‘tolerable’, for instance where changes can be 100% reversible without any damage, as long as the original parts are kept with the instrument. Routing out a guitar body to accommodate inappropriate pickups, for instance, may be considered a travesty.
“If you repeat a lie often enough, people will believe it, and you will even come to believe it yourself” – a ‘law of propaganda’ attributed to the Nazi Joseph Goebbels (1897‑1945), used as evidence to substantiate ‘the illusory truth effect’.
I have tried, objectively, to explain why I am addicted to allure of vintage guitars. So… If it isn’t about money and it isn’t about vanity and it isn’t about my playing ability, just what is it about? That’s the subjective, intangible bit that I still find hard to articulate.
Regarding the subject matter, I suspect that my passion for these objects doesn’t come across particularly well. That is my prosaic inadequacy for which I apologise.
In conclusion… if my idle observations carry any substance, there is some semblance of universal balance after all and the equilibrium is sustained. The same principles apply to just about anything you might care to think about.
“Don’t let anyone, ever, make you feel like you don’t deserve what you want” – Patrick from the film, ‘10 Things I Hate About You’
10 Images which you may love or hate
Below are 10 CRAVE Guitars images for you to feast your eyes upon and, perhaps, crave (sic!). NB. None of which are to be found on the web site (until now).
Final thoughts about 10 Things…
When I started accumulating (rather than collecting) guitars in the mid‑late 1970s there wasn’t really a broadly accepted awareness of electric guitars let alone basses, effects and amps being ‘vintage’ (a word that is hard to define in this context). The original CRAVE Guitars are the 1975 Gibson Les Paul Standard, the 1977 Fender Stratocaster, the 1977 Fender Precision fretless bass and the 1978 Music Man Stingray Bass – I still have all four of them. They may be considered vintage now but back in the day, they were just guitars. Only the Music Man Stingray was acquired new, the others were simply second hand. How things have changed in the intervening 40‑50 years. Now I feel old… sorry, vintage!
If you haven’t gathered already, I love genuine, original vintage guitars. I know that they aren’t essential to civilisation’s survival but they do represent a peaceful diversion from the meanness of the modern world. Exploring the ‘Ten Things I Love/Hate’ leads inexorably onto insatiable cravings (sic!) and obsessional pursuits. For many, this is more widely known as G.A.S. (Gear Acquisition Syndrome). For many vintage guitar enthusiasts there is an additional layer of addiction and passion that has real world consequences (e.g. funds, space, etc.).
“You don’t always have to be who they want you to be, you know” – Kat from the film, ‘10 Things I Hate About You’
Not everything about vintage guitar ownership is hunky dory. There is a zen-like steady balance to ownership, which is kinda the point I’m getting at, in rather a circuitous route. There are times of excruciating sufferance and moments of ecstatic exuberance. The latter more or less cancel out the former and, thus, the status quo is maintained. There is a karmic tension that many won’t understand, some will seek to fulfil, and fewer likely to tolerate. Vintage guitar ownership requires a particular type of person and a certain degree of patience that is not for everyone. Thankfully so, as there are simply not enough of these things to go around.
Economics is a social science that studies how we allocate scarce resources for production, distribution, and consumption. In this instance, the consumption component is fundamentally about the laws of supply and demand. The inversely proportional interdependence between quantity and price is something about which many vintage guitar buffs are all too well aware. As quantity reduces, prices increase. It rarely (other than in recessionary times) goes the other way in the finite world of vintage guitar market (and why an over‑abundance of new guitars keep retail prices low).
“You’re looking at this from entirely the wrong perspective. We’re making a statement” – Kat from the film, ‘10 Things I Hate About You’
Some things about vintage guitars are intangible and subjective, so much so that it is difficult to articulate effectively. Can some of the attributes associated with vintage guitars, including many of the statements above be measured or explained definitively? The ageing of electronic parts for instance. Scientifically, it is not easy to say why one vintage pickup hits the sweet spot while another fails to sound right. Does the type and quality of the tone wood make a real difference to the feel and tone of vintage instruments? How much is real and how much is simply suspicious snake oil? One thing is for sure, vintage guitars have something that new guitars don’t. Identifying with any sort of certainty what that ‘something’ is will engage people in debate, probably forever, and that just adds further mystique and mythology surrounding vintage instruments.
“I burn, I pine, I perish” – William Shakespeare from ‘The Taming of the Shrew’
Some may accuse CRAVE Guitars of actually being a symptomatic example of the abominable ‘collectorati’, a secretive society of which I am so consistently critical. That is probably a ‘fair cop’ to some extent and it is an insinuation that I must bear and justify as a necessary compromise. However, as a not‑for‑profit entity, CRAVE Guitars is certainly not in it for money and I do my best to share the heritage with anyone who wants to look in, so not secretive. They are played, although each one doesn’t get as much playing time as I would like. In addition, I do not try to preserve them, they are too important to waste away in a sterile stasis.
“… But mostly I hate the way I don’t hate you. Not even close, not even a little bit, not even at all” – Kat from the film, ‘10 Things I Hate About You’
One thing you might ask at this juncture is (how) do I rank guitars in the ‘collection’? Well, the easy answer is that I don’t. There are undoubtedly ones that I prefer playing to others, some that I prefer to look at to others, and some that sound better than others. However, in overall terms each one has its place and is valued in different, if not directly comparable, ways. However, I cannot rule out the fact that the thorny subject of favouritism may come back under the spotlight at some point.
Where all the CRAVE Guitars’ guitars, basses, effects, amps and accessories will eventually end up, who on Earth knows? In the meantime, I’ll just continue as a curatorial custodian of valued vintage paraphernalia to the best of my (limited) ability.
One wonders what future generations will make of things if/when they look back to the 2020s and, maybe, come across this article. Even in another 40‑50 years, I am certain that perspectives will be very different again. I will also wager that many of the much maligned guitars that I personally like will be much in demand attracting inflated premium prices. Unfortunately and sadly, I won’t be around to proclaim ever so smugly, “I told you so”. Shame.
“If she and I be pleased, what’s that to you?” – William Shakespeare from ‘The Taming of the Shrew’
CRAVE Guitars’ ‘Album of the Month’
Given the subject matter of this month’s article, there is only one album that I think fits the bill (in a slightly tangential fashion).
Leonard Cohen – Songs Of Love And Hate (1971). This impressive recording was Leonard Cohen’s 3rd studio album, released in March 1971 on the Columbia record label. The album was recorded during a difficult period in Cohen’s life, suffering from depression, making it a very personal and emotionally intense album for the late, great Canadian singer/songwriter. As a whole, it is an extraordinary recording, famous for evocative tales including, ‘Avalanche’, ‘Last Year’s Man’, ‘Famous Blue Raincoat’ and ‘Joan Of Arc’. Despite Cohen believing ‘Songs Of Love And Hate’ was a failed experiment, it endures as one of his finest achievements. Many commentators assert this album as proof of Cohen’s pessimistic ‘downer’ reputation but that misses the point, as it can be a powerfully cathartic listening experience. Only 8 tracks on the original release, coming in at under 45 minutes, it was not only a commercially successful album but also it represents a priceless memoir in the annals of musical history. A fine legacy from a fine artist. Thank you Mr. Cohen (1934‑2016, 82).
Leonard Cohen – Songs Of Love And Hate (1971)
The relevance, once again, is that love and hate are interdependent polar opposites that exemplify the importance of, and need for, universal balance – the yin and yang referred to at the top of this article. If we do not understand hate, we cannot appreciate the value of love. If we do not wholeheartedly embrace love, hate will overcome and overwhelm us. Profound existentialism that provides for the equilibrium of life and humanity in the cosmos.
“Who needs affection when I have blind hatred?” – Patrick from the film, ‘10 Things I Hate About You’
BELIEVE IN MUSIC!
Tailpiece
So, 2025 is now well underway. Thank you for taking precious time out of your life to spend it here with me. I am pleased that CRAVE Guitars is back to talking about vintage guitars within a wider context. The change of scene for a few months was healthy and the subject matter fascinating but vintage guitars still rule. I hope you were able to get some interest and/or pleasure from it. The length of articles is beginning to creep up again, requiring more time to be spent on researching and writing articles than focusing on ‘The Distortion Diaries’. Note to self: Stop it! Now!
I know it’s not my place but in a world of escalating aggression and conflict, the only sensible bit of guidance I can give is for y’all to just chill the heck out (apologies for the split infinitive). Be kind to yourself and others.
Next month, ceteris paribus, we’ll be taking another oblique view about the world of vintage guitars. In the meantime, may you maintain your universal balance and find harmony and contentment therein.
Truth, peace, love, and guitar music be with you always. Until next time…
CRAVE Guitars’ ‘Quote of the Month’: “We don’t make love. Love makes us”
GOOD DAY AND GREETINGS, MUSIC‑MINDED CITIZENS. For this month and for the next two we’re taking a 3‑part sojourn in uncharted lands (as medieval cartographers once denoted, ‘terra incognita’) and what monstrosities may inhabit those unexplored territories (‘hic sunt dracones’, literally translated as ‘here be dragons’). Yes folks, it is time for CRAVE Guitars to explore a current‑day innovation that once seemed surreal but is rapidly becoming increasingly real; a phenomenon that the original makers of what we now know as vintage guitars could never have envisaged (probably).
Whether we like it or not, the faddish fuss around Artificial Intelligence (AI) is a ‘BIG THING’ at the moment. At the forefront of the debate are the societal dilemmas posed by sophisticated systems potentially becoming more intelligent than human beings (in my experience, not particularly difficult in many cases!).
“I’d rather see artificial intelligence than no intelligence” – Michael Crichton (American author)
In a worst case scenario, how does a supposedly civilised society prevent malicious actors using AI technology for nefarious means? A profound question indeed. Prescient Hollywood film director James Cameron’s bleak vision of Cyberdyne Systems, Skynet and Terminators can, perhaps, be taken as an extreme but stark lesson. The rise of the machines, taking over the world and resulting in the potential obliteration of humanity is a chilling proposition. It seems we already have too many twisted tyrants willing and attempting to achieve that end right now with and without AI and robotics as the means. Just spare a moment to think what deranged despots could do with the technology and what the consequences may be for everyone in the very near future. AI’s potential demands that collectively we address the challenge of what needs to be done to avoid the annihilation of civilisation through unhindered autonomous technological advance.
“Throughout human history, we have been dependent on machines to survive. Fate, it seems, is not without a sense of irony” – the character Morpheus from ‘The Matrix’ (1999)
What on Earth does this divergent dystopian diatribe (apologies, folks) have to do with vintage guitars and music you may well be justified in asking? Very little, other than as an existential context. From here on, we’ll be taking a far more parochial and prosaically pedestrian path.
Like many people, I have become curious about what AI means for culture and specifically for the creative crafts. Given my obsession with vintage guitars and music, I thought I’d turn my attention to what AI might have to say on the matter. So… that is the basis of this month’s article. For once, I can say, quite legitimately, that AI was used to research and write this article. This interesting (?) examination will not change the world but, then again, neither will it jeopardise it.
Artificial Intelligence Part I
“Choice is an illusion created between those with power and those without” – the character Merovingian from ‘The Matrix’ (1999)
Before we get to vintage guitars and what wisdom (or not) AI has to impart, we have to do some homework about AI so that the rest of the article makes sense. We’ll start with an English hero and take it from there.
Alan Turing and the Turing Test
The following description of one of the world’s most influential geniuses in the world of computers and artificial intelligence, comes direct, courtesy of Wikipedia… “Alan Mathison Turing (1912‑1954) was an English mathematician, computer scientist, logician, cryptanalyst, philosopher and theoretical biologist. Turing was highly influential in the development of theoretical computer science, providing a formalisation of the concepts of algorithm and computation with the Turing machine, which can be considered a model of a general‑purpose computer. He is widely considered to be the father of theoretical computer science and artificial intelligence.”
During World War II, civilian Alan Turing worked as a codebreaker based at the Government Code and Cypher School at the Bletchley Park country estate in Buckinghamshire, England. While there, Turing devised complex techniques for breaking German ciphers used by the Nazi’s military encryption device, the Enigma Machine, which had been invented by a German engineer Arthur Scherbius (1878‑1929) shortly after WWI. The Germans were confident that the system could not be broken. However, in 1942‑1943, Turing and his colleagues played a vital part in successfully cracking intercepted German encoded messages transmitted using the Enigma Machine. Turing’s historic achievements enabled the Allies to defeat the Axis powers in, particularly, the Battle of the Atlantic (1939‑1945).
After the end of the war in 1945, Turing invented the Automatic Computing Machine the world’s first digital computer capable of using stored programs. By 1950, Turing developed an experiment to gauge the ‘intelligence’ of a computer. His simple test requires that a human being should be unable to distinguish the machine from another human being by evaluating replies to questions put to both. The Turing Test, as it was known, is still regarded as a fundamental benchmark for assessing machine intelligence.
“Artificial Intelligence is what we don’t know how to do yet” – Alan Kay (American computer scientist)
Defining Artificial Intelligence
Now for the techy bit… Sorry, bear with me. The term ‘artificial intelligence’ was first used in 1956 at a Summer Research Project on Artificial Intelligence held at Dartmouth College, a private Ivy League research university based in Hanover, New Hampshire, USA. The conference was organised by computer scientist and Assistant Professor of Mathematics at Dartmouth College, John McCarthy (1927‑2011). The project proposed, “that every aspect of learning or any other feature of intelligence can in principle be so precisely described that a machine can be made to simulate it”.
In 1958, American psychologist Frank Rosenblatt (1928‑1971) outlined what he regarded as “the first machine which is capable of having an original idea”. Rosenblatt’s concept was the ‘Perceptron’, a program inspired by the way the human brain works, which ran on a state‑of‑the‑art IBM mainframe computer. The Perceptron was a rudimentary version of a neural network, comprising interconnected nodes (neurons) that process and learn from data, enabling tasks such as pattern recognition and decision making. Rosenblatt was regarded as ‘the father of deep learning’.
As early as the 1960s, computer scientists and neuroscientists were already teaching computers how to mimic human decision‑making processes, which developed into research around what is known today as ‘machine learning’.
“If the human brain were so simple that we could understand it, we would be so simple that we couldn’t” – Emerson M. Pugh (American physicist)
In 1997, IBM’s ‘Deep Blue’, an expert chess program running on a unique, purpose‑built IBM supercomputer, beat the Russian chess grandmaster, Garry Kasparov, leading to the description of rules‑based ‘Traditional AI’. While Deep Blue may have been excellent at playing chess, its talents were capable of little else.
“AI is the most exciting tech of our time” – Tim Cook (CEO, Apple Inc.)
Artificial Intelligence is now a mainstream branch of computer science that refers to IT systems capable of performing complex tasks that attempt to replicate human thought and intelligence. AI’s systematic tasks include analysing data, identifying patterns, recognising speech, solving problems, proposing solutions and taking decisions.
“Artificial intelligence is one of the most profound things we’re working on as humanity. It is more profound than fire or electricity” – Sundar Pichai (CEO, Google and Alphabet Inc.)
As of early 2024, not all AIs are created equal. Traditional AI (a.k.a. Weak AI or Narrow AI) is an umbrella term for computer systems that employ supervised learning and discriminative models to solve specific tasks using predefined rules, Natural Language Processing (NLP) and Large Language Models (LLMs).
“Denial is the most predictable of all human responses” – the character The Architect from ‘The Matrix’ (1999)
The category of AI that we will be looking at in this article is called Generative AI, also referred to as GenAI or GAI, which is a relatively new subset of AI. Generative AI allows users to input a variety of prompts to generate content, such as text, images, videos, sounds, 3D designs and other types of media.
“We’re living in the golden age of AI” – Jeff Bezos (founder, Amazon)
The distinctive aspect of GAI is that it uses unsupervised deep machine learning models to generate new material based on patterns of data acquired from existing sources. GAI models work on large unlabelled data sets that require complex mathematical algorithms and a great deal of computing power to analyse and build constructs.
“While AI has tremendous potential to transform industries, we must not forget the impact it could have on society and must work to mitigate potential risks” – Elon Musk (CEO, Tesla and SpaceX)
Generative AI models don’t stand still; they continue to evolve at an increasingly rapid rate, as they learn from additional data as it becomes available. It is the quality of the data sets that enable the AI to predict responsible outcomes and undertake a range of cognitive tasks in the same way that a human might.
“The question is not whether intelligent machines can have any emotions, but whether machines can be intelligent without any emotions” – Marvin Minsky (American computer scientist, MIT)
Over time, it is inevitable that GAI’s ability will catch up with, and ultimately surpass, that of humans. The nature, pace and potential of GAI is causing concern among some experts and policy makers because of the moral and ethical issues it raises, particularly if AI’s unbridled behaviour is not moderated in some way by responsible human intervention. The risks of uncontrolled or poorly controlled AI models are swiftly becoming both tangible and potentially unsafe.
“We should not be afraid of AI. Instead, we should hope for the amazing amount of good it will do in the world” – Mark Zuckerberg (founder, Meta Inc.)
So, the next question is, what comes after GAI? Well, GAI still has a long way to go and that will keep innovators such as OpenAI and Deep Mind hard at work pushing the boundaries of what is possible for some time yet. After that, the most likely development would be Artificial General Intelligence (AGI) or Artificial General Superintelligence (AGS). The aim is to build a device that can do anything the human brain can do (and more) and to integrate that with the rapidly developing parallel field of advanced robotics to create a machine that can do anything the human body can do (and more). Scary? Super intelligent super robots may well finally demonstrate that yesterday’s science fiction is becoming today’s science fact.
“I am in the camp that is concerned about superintelligence. But I don’t think we need to be fatalistic about it” Bill Gates (founder, Microsoft)
However, let’s not get bogged down by credible or fanciful conspiracy theories and get back to the matter in hand.
Applying Artificial Intelligence to the world of vintage guitars
Phew! Back to basics and more familiar territory. After all that preliminary exposition, I think we can all probably agree that AI is one of topical themes of the first half of the 2020s. Not wishing to be left behind, I thought CRAVE Guitars should try to get AI to respond to a series of questions about my favourite topic, vintage guitars. From my experience so far, all that the easily accessible public AI (as opposed to military‑grade AI) can do is to extract information that is already available on the Internet (whether right or wrong) and to compose it into straightforward responses to an input.
Before we start, I will lay my cards on the table and state my starting position, which, may or may not change by the time this article has concluded. My naïve biological brain came up with eight statements that set out what AI does not (or cannot) currently do. In my view, AI struggles…
To understand a question correctly without over‑specificity (i.e. it can’t deal with vague ambiguity)
To interpret and extrapolate relevant information objectively within a wider context (i.e. the bigger picture)
To present a cogent argument that can adequately be judged and/or challenged
To form a genuine opinion from scratch without relevant information being readily available in the first place, in the same way that a person might do in the case of uncertainty (i.e. its ability to make genuinely informed assumptions from limited information)
To debate the initial result to achieve a potentially better outcome (i.e. to learn from the interaction on the spot and adjust its responses accordingly)
To produce a creative response that improves on the original information input by humans
To remember what it has already output (i.e. as part of a continuous ‘dialogue’ – as here – each question is treated as a new subject with no memory of previous questions)
To understand fully what humans want or expect from ‘intelligence’ (i.e. something coherent and interesting)
Assessing AI’s responses against those eight points is this article’s main challenge.
Below, I pose 20 (plus 2) questions to AI and present its verbatim response to each question (bar correcting the occasional heinous ‘typo’ or bad grammar, which in itself is a bit ironic!), so that you can judge for yourselves just how close AI might be to succeeding at transcending its silicon‑based electronic components (‘deus ex machina’ – god from the machine – if you will). More importantly, you can gauge whether AI can make any sense of the intricately complex subject of vintage guitars. So… can AI pass the CRAVE Guitars Test? We’ll see.
There are no images in the main part of this article. AI did not present any pictures to support its answers, so I haven’t embellished the words with anything additional, as it might skew the results. What you see below is what I got, no more, no less; untainted in any way.
The material presented here is not appropriated as belonging to, or being the view of CRAVE Guitars in any way; it is presented here solely for information, intellectual evaluation and critique.
“Change is never painful, only the resistance to change is painful” Buddha (Siddhārtha Gautama ‑ c.480‑400BCE)
Right. That’s my involvement pretty much at an end for now. I’m off to make a cup of tea or ten. See you again at the end of the article with my appraisal of how I think AI did.
20 Questions about vintage guitars posed to AI
Question #1 – What is the definition of a vintage guitar?
AI Response #1 – A vintage guitar is an older guitar that is usually sought after and maintained by avid collectors or musicians. The term can indicate either that an instrument is merely old or that it is sought after for its tonal quality, cosmetic appearance, or historical significance. While there is no strict chronological definition for what makes something vintage, guitars around 30 years old or older typically fall into this category. Even newer instruments are often labelled as vintage by sellers. So, if you come across a beautifully aged guitar with a rich history, it just might be a vintage gem!
Question #2 – Why should I be interested in vintage guitars?
AI Response #2 – Vintage guitars have a unique appeal and charm due to their age and history. They often possess a certain character and sound that cannot be replicated by newer guitars. In addition, vintage guitars can appreciate in value over time, making them a valuable investment. However, they can be expensive and require careful maintenance. Understanding the vintage guitar market, knowing what to look for when buying, and appreciating the unique sound and playability of these instruments are key to making a worthwhile purchase. Ask professional guitar dealers on how to navigate the vintage guitar market.
Question #3 – What are the best things about vintage guitars?
AI Response #3 – Vintage guitars have several unique qualities that make them highly desirable for musicians and collectors alike:
Tonal Character: Vintage guitars often have a distinct and rich sound that sets them apart from newer instruments. The aging of the wood, hardware, and electronics contributes to their unique tonal character. Musicians appreciate the warmth, resonance, and depth of vintage guitar tones.
Craftsmanship: Many vintage guitars were meticulously handcrafted by skilled luthiers. These instruments showcase exceptional attention to detail, fine workmanship, and quality materials. The craftsmanship of vintage guitars reflects the artistry and dedication of their makers.
Historical Significance: Vintage guitars carry a piece of musical history. They have witnessed decades of music, performances, and cultural shifts. Owning a vintage guitar connects you to the past and allows you to be part of a musical legacy.
Collectability: Vintage guitars are sought after by collectors and enthusiasts. Their scarcity and historical value contribute to their collectible status. Some iconic models, such as the Gibson Les Paul or Fender Stratocaster, have become legendary in the music world.
Investment Potential: While not all vintage guitars appreciate significantly in value, some rare and sought‑after models can be excellent investments. If you choose wisely and maintain the instrument well, it may appreciate over time.
Visual Appeal: Vintage guitars often exhibit beautiful designs, unique finishes, and intricate inlays. Their aesthetics evoke nostalgia and admiration. Whether it’s the graceful curves of a vintage hollow‑body or the simplicity of a vintage Telecaster, these guitars are visually captivating.
Playing Experience: Many musicians find that playing a vintage guitar is a special experience. The feel of the neck, the responsiveness of the fretboard, and the way the guitar resonates under their fingers create a connection that transcends mere functionality.
Story and Provenance: Each vintage guitar has a story to tell. Who played it? Was it used on famous recordings? Did it travel the world with a touring band? Uncovering the history and provenance of a vintage guitar adds to its allure.
Remember that owning a vintage guitar requires careful consideration. Factors like condition, authenticity, and playability matter. Whether you’re a seasoned guitarist or a collector, the allure of vintage guitars lies in their blend of art, history, and music.
Question #4 – What are the worst things about vintage guitars?
AI Response #4 – While vintage guitars have their allure, there are some potential downsides to consider:
Condition and Maintenance: Vintage guitars may have endured decades of use, wear, and aging. Their condition can vary significantly. Some may require extensive repairs, refrets, or replacement parts. Regular maintenance is essential to keep them playable.
Fragility: Older guitars can be delicate. The wood may have dried out, making it more susceptible to cracks or warping. Vintage finishes are often thin and prone to chipping. Handling them with care is crucial.
Cost: Authentic vintage guitars can be expensive. Rare models or those associated with famous musicians command high prices. If you’re on a budget, acquiring a well‑preserved vintage instrument may be challenging.
Limited Availability: Truly exceptional vintage guitars are scarce. Finding the right one—especially in good condition—can be time‑consuming. Patience and persistence are necessary.
Playability: While vintage guitars have character, not all of them are easy to play. Neck profiles, fret sizes, and action may differ from modern standards. Some vintage instruments may feel less ergonomic.
Incompatibility with Modern Gear: Vintage guitars may lack features found in contemporary models. For example, they might not have versatile pickup configurations, tremolo systems, or locking tuners. Compatibility with modern amplifiers and effects can be an issue.
Weight: Some vintage electric guitars, especially solid‑body models, can be heavy. Prolonged playing sessions may strain your back and shoulders.
Risk of Fakes and Forgeries: The vintage guitar market attracts counterfeiters. It’s essential to verify authenticity and provenance. Consult experts or reputable dealers to avoid purchasing a fake.
Investment Uncertainty: While some vintage guitars appreciate in value, it’s not guaranteed. Market trends fluctuate, and economic factors play a role. Buying solely for investment purposes can be risky.
Sentimental Value: Owning a vintage guitar with historical significance can be emotionally rewarding. However, if you’re purely focused on practicality, the sentimental aspect may not matter to you.
Remember that each vintage guitar is unique, and what some consider drawbacks, others may view as part of their charm. Consider your preferences, playing style, and budget when deciding whether a vintage guitar is right for you.
Question #5 – What are the most desirable vintage guitar brands?
AI Response #5 – Vintage guitars have a rich history, and some lesser‑known brands have become highly desirable among collectors and musicians. Here are a few vintage guitar brands worth exploring:
Bartell: Although less known, Bartell guitars gained attention when one of their models was associated with Jimi Hendrix’s collection. The Black Widow is one of their notable guitars. Bartell was a Californian‑based company that produced around 2000 guitars between 1964 and 1969.
Electra: Active during the 1970s and early 1980s, Electra guitars were made in Japan and sold in the United States. They gained popularity for their good quality and reasonable prices. Notably, Electra introduced the MPC (Modular Powered Circuits) guitars, which featured replaceable effect modules—a unique concept at the time.
Hondo: Often mistaken for the automobile brand Honda, Hondo was an American guitar company founded in 1969. They aimed to produce quality entry‑level instruments in Korea and Japan while maintaining consistency with U.S.‑made guitars. Hondo’s steel‑string acoustics and electric guitars gained recognition. In 1978, they even used DiMarzio pickups, making them pioneers among overseas guitar manufacturers.
Airline: Airline guitars, popular in the 1960s, were produced by Valco and later Harmony. Their quirky designs, including the ‘Jetsons’ look, make them sought after by collectors today.
Supro: Supro guitars were part of the Valco family and gained prominence in the 1960s. Their unique tone, often associated with blues and rock, appeals to vintage enthusiasts.
Teisco: Teisco, a Japanese brand, flooded the market with budget‑friendly guitars in the 1960s. Their funky designs, including offset bodies and unusual pickup configurations, have a cult following.
Hagstrom: Hagstrom, a Swedish brand, produced guitars with innovative features like the ‘resinator’ fingerboard. Their vintage models are prized for their playability and distinct sound.
Remember that desirability varies based on personal preferences, rarity, and historical significance. Exploring these vintage brands can lead to hidden gems and unique instruments that resonate with your musical style.
Question #6 – What instruments are the most desirable vintage guitars?
AI Response #6 – Vintage guitars hold a special allure for collectors and musicians alike. Let’s explore some of the most desirable vintage guitars based on their historical significance, rarity, and iconic status:
1958‑’59 Gibson Explorer:
Value: Between $250,000 and $310,000.
Why: The Explorer, with its futuristic design, initially received little attention from buyers. However, its African limba (marketed as ‘Korina’) body and unique sound have made it highly sought after by collectors.
1936‑’42 Martin D‑45:
Value: Ranging from $250,000 to $400,000.
Why: Martin dreadnoughts are revered, and the D‑45, adorned with Brazilian rosewood back and sides, ivory binding, and intricate fretboard inlays, remains a pinnacle of steel‑string acoustics.
1958‑’60 Gibson Les Paul Standard:
Value: Approximately $225,000 to $375,000.
Why: Initially overlooked, the Les Paul gained prominence after Eric Clapton and Michael Bloomfield played it. Today, it’s not only a collectable solid body but also a symbol of guitar history.
1930‑’33 Martin OM‑45:
Value: Estimated at $265,000 to $350,000.
Why: Rarity drives its value; only a handful were made each year. The first‑year ‘Deluxe’ version commands the highest prices.
1958‑’59 Gibson Flying V:
Value: Around $200,000 to $250,000.
Why: Like the Explorer, the Flying V’s Korina body design was ahead of its time. Only 98 were produced, making it a prized collector’s item.
These guitars not only represent exceptional craftsmanship but also evoke the magic of music history. Whether you’re a player or an investor, vintage guitars continue to captivate enthusiasts worldwide.
Question #7 – Are American vintage guitars better than ones from other countries?
AI Response #7 – The quality of guitars is determined by a variety of factors, including the materials used, the craftsmanship, and the design. While American‑made guitars are often considered to be of high quality, it’s not necessarily true that they are better than guitars made in other countries.
In fact, many guitarists prefer guitars made in Japan, Korea, or Mexico, for example. These countries have a long history of producing high‑quality instruments, and many guitarists appreciate the unique sound and feel of guitars made in these regions.
Ultimately, the best guitar for you depends on your personal preferences and playing style. It’s important to try out different guitars and find one that feels comfortable and sounds great to you.
Question #8 – What is the state of the vintage guitar market today?
AI Response #8 – The vintage guitar market has been through ups and downs over the years. According to a 2009 article by Premier Guitar, the vintage market was down 20 to 30 percent from its 2007 peak, with oversaturated pockets of the market down even further. However, a 2021 report by Market Strides suggests that the vintage guitar market is expected to grow in the coming years, with key market trends and dynamics analysed for major geographies and countries.
If you’re interested in buying or selling vintage guitars, you might want to check out Reverb’s Price Guide. It records the sale price of used or vintage instruments sold on Reverb, providing a fair market range for buyers and sellers.
Question #9 – Are vintage guitars a worthwhile investment?
AI Response #9 – Vintage guitars, like a well‑aged wine or a classic novel, evoke a sense of nostalgia and craftsmanship. But are they a wise investment? Let’s explore the fretted path of vintage guitar investments:
Historical Appeal:
Vintage guitars carry a piece of musical history. Owning an instrument that has been played by legendary musicians can be emotionally rewarding.
Collectability: Rare models, limited editions, or guitars associated with iconic artists tend to appreciate in value over time.
Market Trends:
The vintage guitar market has seen fluctuations. While some models skyrocket in value, others remain steady or decline.
Research: Investigate trends, consult experts, and track auction results. Knowledge is your tuning peg.
Condition Matters:
Originality: Unaltered vintage guitars fetch higher prices. Modifications can dampen their investment potential.
Wear and Tear: Light wear adds character, but excessive damage affects value.
Supply and Demand:
Scarcity: Limited supply drives up prices. Seek out guitars with low production numbers.
Desirability: Popular brands (Gibson, Fender) and models (Stratocaster, Les Paul) remain sought after.
Playability vs. Investment:
Play First: Buy a vintage guitar because you love its sound and feel. Enjoy playing it!
Investment Second: While some vintage guitars appreciate, it’s not guaranteed. Don’t solely rely on them as financial assets.
Diversification:
Portfolio Approach: If you’re investing, diversify. Don’t put all your strings in one guitar case.
Other Instruments: Consider violins, mandolins, or rare basses.
Long‑Term Commitment:
Vintage guitars require care, maintenance, and storage. They’re not a quick flip.
Patience: Appreciation often takes years, not months.
In conclusion, vintage guitars can be a rewarding investment if you’re passionate about music, appreciate craftsmanship, and understand the risks. Whether you strum for profit or pleasure, let your heart and ears guide you.
Question #10 – Which vintage guitars are simply not worth investing in?
AI Response #10 – Vintage guitars can indeed be a rewarding investment, but not all of them are equally valuable. Let’s explore which ones might not be worth your investment:
Mass‑Produced Models:
Guitar factories churned out many models in the past. Some of these are abundant and lack the rarity that drives up value.
Avoid: Generic models with little historical significance.
Obscure Brands:
Lesser‑known brands may not have the same collector appeal. Their limited demand affects their investment potential.
Avoid: Guitars from obscure or defunct manufacturers unless they have unique features or historical context.
Poor Condition:
Wear and Tear: Severely damaged or heavily modified guitars lose value. Repairs can be costly.
Avoid: Instruments with extensive cracks, warped necks, or missing parts.
Overpriced Celebrity Associations:
Be Sceptical: Some sellers inflate prices based on dubious claims of celebrity ownership.
Avoid: Guitars with exaggerated stories unless there’s solid evidence.
Fads and Trends:
Beware of Hype: Trends come and go. What’s hot today may not be tomorrow.
Avoid: Investing solely based on current trends. Look for timeless appeal.
Avoid: Assuming every old guitar will skyrocket in value.
Remember, research is your best ally. Seek advice from experts, explore reputable dealers, and play the guitars yourself. Whether you’re strumming for passion or profit, choose wisely!
Question #11 – What vintage guitars are likely to become more desirable in the next 5 years?
AI Response #11 – The world of vintage guitars is a fascinating blend of history, craftsmanship, and musical magic. While predicting the future is akin to tuning an old guitar by ear, here are some intriguing candidates that might appreciate in value over the next five years:
Gibson Les Paul Signature (1974):
Often overlooked, the Les Paul Signature from the ’70s has hidden potential. Its versatility shines through various genres, especially when cranked through a Marshall amp. Keep an eye out for these criminally underrated semi‑hollow beauties.
Fender Starcaster (1976–80):
Originally overshadowed, the Fender Starcaster has gained traction. Ted Turner of Wishbone Ash fame owned one, and its unique pickups contribute to its allure. Expect further value appreciation in the coming decades.
Silvertone 1446 (1960s):
Crafted by Harmony, the Silvertone 1446 boasts Gibson‑made pickups with a distinct tone. It may not be the most refined instrument, but its sound and sexiness compensate. A vintage gem that could resonate with collectors.
Kay K775 Jazz II (1960s):
Eric Clapton’s early learning ground, the Kay K775 Jazz II, is gaining recognition. Despite Kay’s quality control reputation, this bolt‑on neck thinline surprises with its laminated figured maple top, Bigsby vibrato, and Barney Kessel–designed Kleenex Box single‑coils. A naughty guitar indeed.
Supro and Kay Archtops:
These old Supro and Kay guitars remain undervalued. While the overall vintage market fluctuates, these archtops haven’t fully rebounded. Their unique character and historical significance make them intriguing investments.
Remember, the guitar market dances to its own rhythm, influenced by players, trends, and nostalgia. Whether you strum for passion or profit, let your heart guide your choices.
Question #12 – What is the sort of return on investment that one might expect from collecting vintage guitars?
AI Response #12 – Collecting vintage guitars can indeed be a rewarding investment, combining passion for music with potential financial gains. Let’s explore why vintage guitars are an excellent strategy:
Tangible and Attractive:
Vintage guitars provide more than just financial value. They’re tangible pieces of history, beautiful to display, and enjoyable to collect.
Unlike stocks or bonds, you can admire and play them.
Stability and Appreciation:
Vintage guitars have consistently outperformed the stock market in terms of stability.
As they age, their value tends to appreciate, provided you maintain them well.
Superior Craftsmanship:
Vintage guitars often surpass modern counterparts in quality. They were meticulously crafted using fine materials.
Brands like Gibson Les Paul, Fender Telecaster, and CF Martin remain popular among collectors.
Guitar Brands to Consider:
Gibson Les Paul: These older models, made of oak, mahogany, and other fine materials, are highly sought after.
Fender: Look for ’50s and ’60s Telecasters, Stratocasters, and Thunderbirds.
CF Martin: Known for their acoustic excellence, Martin guitars from the 1960s hold significant value.
Guild: Although less famous, older Guild instruments are on par with Martin guitars of the same era.
Investment Potential:
While not every vintage guitar will skyrocket in value, a well‑chosen collection can yield substantial returns.
Research, learn about the models, and make informed decisions.
Remember, whether you’re a musician or simply appreciate the beauty of old guitars, vintage instruments offer a harmonious blend of passion and investment potential.
Question #13 – Are vintage guitars better than new guitars?
AI Response #13 – Vintage guitars and new guitars each have their own merits, and the answer depends on various factors. Let’s explore both sides:
Vintage Guitars:
Historical Charm: Vintage guitars carry a sense of history and nostalgia. Owning an instrument that has been played by legendary musicians can be emotionally rewarding.
Unique Tone: Some vintage guitars have aged tone woods that resonate differently. The wood dries out over time, leading to a more resonant tone with better sustain, especially in acoustic guitars.
Collectability: Rare models or those associated with iconic artists tend to appreciate in value over time.
New Guitars:
Advancements in Craftsmanship: Modern manufacturing techniques have improved significantly. CNC machines and precision tools allow for consistent builds.
Reliability: New guitars are generally more reliable. They undergo rigorous quality control and benefit from advancements in materials and construction.
Customisation: Custom shop guitars offer the best of both worlds. You can get a new guitar tailored to your preferences, combining vintage aesthetics with modern playability.
Quality Comparison:
Subtle Differences: Vintage guitars may have unique quirks due to handcrafted processes. For example, old Les Pauls had smaller frets and thicker necks.
Precision and Consistency: Modern CNC machines ensure precise fretwork and consistent results. Every Gibson today goes through a PLEK machine for levelling and crowning frets within micrometers.
Subjectivity:
‘Better’ Is Relative: The definition of ‘better’ varies. It’s subjective and depends on personal preferences.
Playability: Some players prefer the feel of vintage necks, while others enjoy the sleekness of modern profiles.
In summary, both vintage and new guitars have their place. Whether you seek historical charm, unique tones, or cutting‑edge craftsmanship, choose based on your playing style, preferences, and budget.
Question #14 – Should vintage guitars be used or preserved in museums?
AI Response #14 – Vintage guitars, like ancient manuscripts or Renaissance paintings, straddle the delicate balance between utility and preservation. Let’s explore both perspectives:
Playing and Using Vintage Guitars:
Sonic Legacy: Vintage guitars were crafted to be played. Their rich tones, unique characteristics, and historical significance come alive when strummed or picked.
Musical Connection: Owning a vintage instrument allows musicians to channel the spirit of past players. It’s a bridge across time and genres.
Art in Action: A vintage guitar’s true purpose is to create music. It yearns for fingers on frets, resonating strings, and melodies that echo through decades.
Preserving Vintage Guitars in Museums:
Cultural Artefacts: Museums safeguard our collective heritage. Vintage guitars, like ancient artefacts, tell stories of creativity, craftsmanship, and musical evolution.
Educational Value: Displaying vintage instruments educates visitors about music history, luthiery techniques, and the evolution of sound.
Conservation: Museums provide controlled environments, protecting guitars from wear, humidity, and light damage.
A Harmonious Balance:
Rotating Exhibits: Some museums allow playable vintage guitars in temporary exhibits. Musicians can strum them, and visitors appreciate their beauty.
Replicas and Demonstrations: Museums can create replicas for hands‑on experiences while preserving the originals.
Digital Archives: Recordings, videos, and virtual tours can complement physical displays.
In the grand symphony of cultural preservation, vintage guitars play a vital note. Whether they resonate in concert halls or rest behind glass, their melodies continue to echo through time.
Question #15 – Are collectors a good or bad thing for vintage guitars?
AI Response #15 – Collectors, like the silent guardians of a musical time capsule, wield both light and shadow upon the vintage guitar realm. Let us strum through their impact:
The Good Harmony:
Preservation: Collectors cradle vintage guitars, shielding them from the ravages of time. These instruments whisper secrets of bygone eras.
Curators of History: They curate private museums, preserving luthiery artistry and the soulful echoes of past players.
Financial Support: By investing in rare models, collectors contribute to the market’s stability and encourage craftsmanship.
The Dissonant Notes:
Inaccessibility: Some vintage guitars languish behind velvet ropes, yearning for calloused fingertips. Their music remains unheard.
Price Inflation: Collectors can inflate prices, making it harder for musicians to acquire playable vintage instruments.
Frozen Artefacts: When guitars become mere artefacts, their purpose shifts from music‑making to display.
The Ongoing Duet:
Balance: Collectors must harmonize preservation with accessibility. Rotate exhibits, allow touch, and share the magic.
Collaboration: Collaborate with musicians, luthiers, and enthusiasts. Let vintage guitars sing in live performances.
Legacy: Remember that these guitars once graced stages, studios, and hearts. Their legacy transcends wood and strings.
In the grand symphony of vintage guitars, collectors play a vital role. May they strum chords of reverence and resonance, bridging past and present.
Question #16 – What is the best advice for someone considering collecting vintage guitars?
AI Response #16 – Collecting vintage guitars is a harmonious blend of passion, history, and craftsmanship. Whether you’re a seasoned collector or just starting out, here’s some valuable advice:
Do Your Homework:
Know Your Instruments: Dive deep into the guitars you’re interested in. Understand their history, features, and quirks.
Learn Anomalies: Beyond books and the internet, explore anomalies not widely documented. Sometimes, hidden gems lie in those details.
Connect with Experts:
Trustworthy Sources: Build relationships with reputable dealers, collectors, and experts. Seek advice and learn from their experience.
Avoid Shady Sellers: Beware of untrustworthy sources. Not everyone has the same integrity in this world of vintage guitars.
Brand Matters:
Collectible Brands: Focus on heritage brands like Fender and Gibson. These classics tend to rise in value over time.
Rickenbackers: Often overlooked, Rickenbackers (played by the Beatles, Byrds, and Tom Petty) offer great American‑made guitars at reasonable prices.
Avoid eBay Frenzies:
While eBay is a treasure trove, it can also be a frenzy of bidding. Be cautious and aware of shill bidding.
Consider other platforms and auctions for a more measured approach.
Budget Wisely:
Set a Budget: Determine how much you’re willing to invest. Vintage guitars can range from affordable to astronomical.
Quality Over Quantity: Rather than amassing many guitars, focus on quality pieces that resonate with you.
Remember, collecting vintage guitars is not just about financial gain; it’s about connecting with music history and craftsmanship. Let your heart guide your collection, and may each guitar sing its unique melody in your hands!
Question #17 – What are good criteria for evaluating whether to buy a vintage guitar?
AI Response #17 – When considering buying a vintage guitar, it’s essential to assess various factors to ensure you’re making an informed decision. Here are some valuable criteria to evaluate:
Check The Frets:
Examine the condition of the frets. Worn frets can significantly impact playability.
Consider the cost of refretting if necessary. Lacquer issues on maple fingerboards may also need attention.
Electrical Components:
Don’t be alarmed by minor crackling or cutouts in the electronics.
Vintage guitars often need a little love in this area. Budget for potential repairs.
Moving Parts and Hardware:
Inspect tuners, bridges, and other hardware. Ensure they function smoothly.
Some vintage parts may be hard to find or expensive to replace.
Cosmetic Condition:
Don’t judge a book by its cover. Sometimes slightly worn or ‘cosmetically ropey’ guitars sound better.
Look beyond surface imperfections and focus on playability and resonance.
Research and Knowledge:
Understand the specific model you’re interested in. Learn about its history, features, and common issues.
Read reviews, consult experts, and explore online resources.
Budget Realistically:
Set a budget that considers not only the purchase price but also potential repairs or upgrades.
Vintage guitars often require adjustments to optimize playability.
Remember, vintage guitars are more than just instruments; they carry stories, character, and a connection to music history. Let your passion guide you, and may your chosen guitar resonate with your soul!
Question #18 – How to detect a fake from an authentic vintage guitar?
AI Response #18 – When evaluating a vintage guitar for authenticity, keep these criteria in mind:
Weight:
Authentic guitars have consistent weights based on their model and wood type.
Compare the weight of the guitar you’re examining with the average weight for that model.
Guitar Logo:
Download an image of the authentic model’s logo from the manufacturer’s website.
Compare it with the logo on the guitar you’re considering. Look for differences in size, shape, position, font, and staining around the logo.
Components and Hardware:
Inspect tuners, bridges, and other hardware. Authentic guitars use specific components.
Be cautious if anything looks off or doesn’t match the original model.
Sound hole (for Acoustic Guitars):
Authentic acoustic guitars have perfectly round and symmetrical sound holes.
If the sound hole appears irregular or poorly crafted, it might be a fake.
Serial Number:
Check the guitar’s serial number against databases or guides specific to the brand.
Serial numbers can reveal the guitar’s production year and authenticity.
Consult Experts:
Seek advice from reputable dealers, collectors, or luthiers.
They can spot subtle details that indicate authenticity.
Remember, a genuine vintage guitar carries history and soul. Whether you’re a player or collector, choose wisely and let the music resonate!
Question #19 – Are vintage bass guitars worth collecting?
AI Response #19 – Vintage bass guitars, like the heartbeat of a rhythm section, resonate with their own allure. Let’s explore why they’re worth collecting:
Historical Significance:
Vintage basses carry the pulse of music history. They’ve grooved through genres, recording studios, and live performances.
Owning one connects you to the basslines of legends like James Jamerson, Jaco Pastorius, and Paul McCartney.
Tonal Character:
Each vintage bass has a unique voice. The wood, pickups, and craftsmanship contribute to its signature sound.
Whether it’s the thump of a Fender Precision Bass or the growl of a Rickenbacker 4001, vintage basses offer distinct tones.
Investment Potential:
While not all vintage basses appreciate significantly, certain models do.
Brands like Fender, Gibson, and Music Man have iconic basses that hold value.
Craftsmanship:
Vintage basses were meticulously built by skilled luthiers. Their attention to detail and quality materials shine through.
The patina of age adds character, like the lines on a seasoned musician’s face.
Collectability:
Some basses are rare due to limited production runs or unique features.
Collectors seek these gems, creating demand and driving up prices.
Playing Experience:
Vintage basses feel different. Their neck profiles, weight, and balance offer a tactile experience.
Whether you’re a player or a collector, the joy of plucking those strings transcends time.
In the rhythm of life, vintage bass guitars provide the low notes that anchor melodies. Let your passion guide your collection, and may your basslines resonate!
Question #20 – What is CRAVE Guitars?
AI Response #20 – CRAVE Guitars is a fascinating venture that celebrates and showcases vintage American electric guitars, effects, and amplifiers. Let me break it down for you:
Name and Acronym:
The name ‘CRAVE’ is a clever play on words.
As an acronym, it stands for ‘Cool & Rare American Vintage Electric’ guitars.
Literally, it also means ‘to yearn for’ or ‘to want greatly’.
All these meanings are fitting for the world of vintage guitars.
Mission and Focus:
CRAVE Guitars aims to bring you some of the coolest American vintage electric guitars from iconic brands like Fender and Gibson, among others.
These guitars aren’t necessarily the most expensive or desirable ones but definitely have that special something that makes them stand out.
Non‑Profit Approach:
Unlike traditional dealers or collectors, CRAVE Guitars is a non‑profit enterprise.
It celebrates vintage guitars both as important musical heritage and as real instruments meant to be used and played.
The focus is on more affordable, underdog, and often quirky vintage guitars, effects, and amps.
Instead of the exotic and rarely played classics, CRAVE Guitars delves into the heart of the vintage guitar world.
Wabi‑Sabi and Imperfections:
CRAVE Guitars also embraces the Japanese concept of wabi‑sabi.
Wabi‑sabi appreciates the imperfections in objects, finding beauty in their flaws.
Vintage guitars, with their unique wear and history, embody this concept.
More Than Guitars:
Beyond guitars, CRAVE features galleries and information on vintage effect pedals (from brands like Electro‑Harmonix, MXR, BOSS, and Ibanez) and a small collection of vintage American valve amplifiers.
It’s a treasure trove for guitar enthusiasts and those who appreciate the magic of vintage gear.
So, if you’re curious or have a craving for all things vintage, explore the world of CRAVE Guitars and immerse yourself in the legacy of these remarkable instruments!
In addition, I also asked AI 2 supplementary questions relating to vintage amplifiers and vintage effects. Here is what AI put forward, very much in the same vein as the previous examples.
Question #21 – Are vintage amplifiers worth collecting?
AI Response #21 – Vintage amplifiers are like sonic time capsules, each carrying a unique story and tone. Here’s why they’re worth collecting:
Historical Significance:
Vintage amps shaped the sound of countless recordings. They’re the secret sauce behind iconic guitar tones.
Owning one connects you to the artists and eras that made music history.
Tonal Magic:
Vintage amps have a warmth and character that modern counterparts often lack.
Whether it’s the creamy overdrive of a Dumble Overdrive Special or the gritty blues of a Marshall JTM45, vintage amps offer distinct flavours.
Investment Potential:
While not all vintage amps appreciate significantly, certain models do.
Brands like Fender, Marshall, and Trainwreck hold value and continue to inspire players.
Craftsmanship:
These amps were handcrafted with care, using quality components.
The patina of age adds to their allure, like the wrinkles on a seasoned musician’s face.
Playing Experience:
Vintage amps respond differently. Their tubes, circuits, and speakers create a tactile connection.
Plug in and feel the magic—the way they react to your playing is unmatched.
So whether you’re a collector, player, or both, vintage amplifiers offer a symphony of history and sound.
Question #22 – Are vintage guitar effect pedals worth collecting?
AI Response #22 – Vintage guitar effect pedals are like hidden treasures waiting to be discovered. Let’s explore their allure:
Historical Gems:
Vintage pedals offer a glimpse into the evolution of effects. They’re like musical fossils, preserving sonic eras.
Owning one connects you to the creativity of past players and the birth of iconic sounds.
Tonal Mojo:
Each vintage pedal has a distinct flavour. The analogue circuits, aged components, and quirks create magic.
Whether it’s the warm fuzz of a Dallas Arbiter Fuzz Face or the psychedelic swirl of a Uni‑Vibe, vintage pedals offer sonic character.
Investment Potential:
While not every vintage pedal appreciates significantly, some models do.
Brands like Boss, Electro‑Harmonix, and Ibanez have cult classics that hold value.
Nostalgia and Inspiration:
Vintage pedals evoke memories of classic albums and legendary performances.
Plugging into a vintage pedal can spark creativity and transport you to musical moments.
Collectability:
Some pedals are rare due to limited production or unique features.
Collectors seek these gems, creating demand and driving up prices.
Remember, whether you’re a guitarist, collector, or sonic explorer, vintage pedals offer a symphony of history and sound.
Well, there you have it. 20+2 questions and 20+2 answers (and a haiku thrown in for good measure). What do you think? Apologies, that’s a rhetorical question. My thoughts on the matter are purely my own opinion based on what I was presented with. I am no expert on AI technology, so my observations are therefore, by nature, liable to organic fallibility and bias. I should state at this point that, in no way did I attempt to outwit or trick the AI models. The questions were very simple and the intent was purely to see what would happen. The results are uncorrupted by me in any way.
There are some truly cringe worthy phrases buried in amongst the relevant outputs – AI trying to be ‘clever’. AI can’t seem to master the human traits of irony, satire, wit, whimsy and sarcasm! Mind you, AI also doesn’t exhibit the less desirable human traits of arrogance, hubris, deceit (intentionally or innocently) or biased opinion, which is probably a good, although potentially less entertaining, thing. This jocular aspect, however, is a bit like the 17th Century Spanish idiom, ‘the pot calling the kettle black’ (NB. from a 1620 English translation of ‘Don Quixote’ by Miguel de Cervantes), especially given my innate trademark penchant for pretentious prose and affinity for asinine alliterations (QED!).
Given that simulated responses draw directly on diverse material from a range of (human?) contributors, AI could be accused of plagiarism, as it simply extracts these sources of information and re‑presents them as a rational, objective summary. In terms of credibility, many of the responses make common sense, while others are less believable (see, particularly, the off‑kilter response to Questions #5 and #12).
Each question taken in isolation is one thing but when taken together, the repetitiveness of both content and presentation (and is a dead giveaway that this is not the sort of rational intercourse that would take place between, say, a knowledgeable human interviewer and interviewee. It simply wouldn’t be like that in practice.
Are there any factual errors exposed through this process? Not necessarily (although the reference to older Gibson Les Pauls being made of oak in response to question #12 is peculiar). However, this question does raise the issue of interpretation, i.e. the action of explaining the meaning of something. Inevitably, some perspective may be gleaned from information that is neither technically true nor false, especially where that information is dependent on subjective opinion and/or ambiguity that is difficult to corroborate or prove. The interpretation issue may constrain the ability of AI methodology to explore subject matter diligently and thoroughly in the way a human investigation might. While arguably forensic, it clearly isn’t ‘thoughtful’ in its approach.
The responses generally seem to be ‘playing it safe’, as though AI’s output was written by a committee to iron out any wayward emphases. The sanitised responses may well be useful as a starting point for a novice or someone lacking knowledge about the subject. It doesn’t, however, add anything over and above the basic level of human understanding. AI wouldn’t really impress someone who knows what they are talking about, let alone an expert.
“That’s how it is with people. Nobody cares how it works as long as it works” – The character Councillor Hamann from The Matrix (1999)
AI seems unable to extend a concept beyond the current boundaries of the question. It may be able to develop ‘vision’ at some point but clearly not yet. AI also seems unable to distinguish between poor, acceptable or high quality information – it is innately non‑sceptical of what it is fed with, leading potentially to unreliable outputs. AI currently depends heavily on humans to contribute and moderate content and that is another limitation at the time of writing, perhaps inhibiting its more creative potential. In some ways, AI avoids the question, again, the response to Question #12 doesn’t indicate the range of ROI that one might anticipate from investing.
What the responses do is to focus solely (unnaturally?) on the subject matter without even a hint of the possibility of a wider context. The ‘big picture’ omission struck me throughout the exercise. The current new gear market is strongly oriented – almost obsessively (and irritatingly) so – toward stressing the ‘vintage’ qualities, characteristics and specifications of brand new gear. Many new products are clearly aimed at imitating as closely as possible the idiosyncrasies and technological limitations of the past, frequently as if that is the only game in town. The current new guitar marketplace is not really progressive and, in many cases is clearly regressive. No reference to this marketing incongruity exists in the responses. The vintage past is not actually ‘authentically recreated’ in new products. AI therefore comes across as past‑oriented, not future‑focused.
One of the conundrums with AI at the time of writing is actually how these supposedly intelligible responses were compiled. Presumably, as AI simply mines information originally created by humans (expert or otherwise) in one form or another at some point in time, its generated outputs are not genuinely ‘new’. AI couldn’t possibly conjure a believable level of detail out of an information vacuum, it had to have something from which to start.
The ‘memory’ question is a big issue for AI. When asked basically the same question twice, either consecutively or separated by others, AI will respond to the second question as if the first had not been asked. A human would either, say “I’ve already answered that” or would respond in a slightly different way. AI lacks nuance and is totally oblivious of the regurgitation issue. It seems incapable of a continuing dialogue without tripping up.
The extent to which the human input has been manipulated by AI isn’t readily made clear. One therefore might wonder what was omitted (or added) and what was the result of machine intervention? Also, how did AI decide what should and shouldn’t be processed and the methodology by which it is output? What would AI come up with if it had nothing at all on which to base its algorithmic recipe?
Question – What will happen when AI starts building information based on the output of another AI over several iterations? It would be like a photocopy of a photocopy of a photocopy, etc. Does the integrity of information degrade significantly as it is repeatedly manipulated such that it bears little or no relationship to the authentic original (i.e. much like artificial Chinese whispers)?
“Perhaps we are asking the wrong questions…” – the character Agent Brown from The Matrix (1999)
Sometimes, less is more and getting something from AI can feel like being bombarded with a relentless barrage of words, rather than selective profound insight (hypocritically guilty as charged!). It is like the difference between learning by rote and repeating facts compared with genuinely understanding a subject matter through critical reasoning, or like reading a dictionary and expecting to comprehend the real world. The responses are more like a pre‑prepared structured lecture based on a text book exemplar, rather than a process of meaningful critical analysis and acute deductive reasoning.
AI is clearly getting a lot closer to human behaviour than simple search results from any standard Internet search engine and it will undoubtedly get better. However, it is not (yet) the last word on the matter. There is something to be gained from the responses, as long as they are taken as one of many inputs into a conclusion, rather than to be taken as a determining factor. My advice, for what it is worth, is to consider what AI presents you with but always take it with a figurative ‘pinch of salt’ (NB. yet another idiom; ‘a grain of salt’, from Pliny the Elder’s ‘Naturalis Historia’, 77CE). A genuine fascination with the subject matter – vintage guitars – is as much about subjective experience as it is about objective black and white bullet point facts. Currently, as far as I’m aware, that degree of authentic articulation of ‘shades of grey’ (i.e. sometimes reality is subtle and complex, and the boundaries are not always clear‑cut) cannot be gained readily from the Internet, AI or no AI.
“The deepest sin against the human mind is to believe things without evidence” – Aldous Huxley (American author, 1894‑1963)
While the AI processes are undoubtedly impressive, did AI inspire or stimulate curiosity as a skilled mentor might? Categorically not. Did I actually learn anything new about vintage guitars from AI? Nope. But then again, I believe, somewhat conceitedly, that I was already reasonably well informed on the topic.
“AI will be the most transformative technology of the 21st century. It will affect every industry and aspect of our lives” – Jensen Huang of Nvidia Corporation
Final thoughts on AI
In conclusion, I would suggest that AI as it stands, at least on this specific subject matter fails the Turing Test as described at the start of this article. It comes across as ‘artificial’ and the sort of assignment a student might construct from prima facie sources without thought, genuine research, analysis, insight or intellect. The clincher for me was AI’s derivative description of CRAVE Guitars, which isn’t presented as a narrative and not at all how I would (and have) articulated it.
So… Cutting to the chase, how would I rate AI’s responses compared to say, the responses of a specialist to the same questions. Probably, I’d give it about a 5‑6 out of 10 and that is, I think, being generous. AI is leaps and bounds ahead of standard Internet search engine results but still a long way behind what I would expect a rational, knowledgeable human professional to say, not necessarily in terms of what is said but definitely in how it is said. AI could do better (and it definitely will, believe me). It may best be described as ‘work‑in‑progress’.
I posited my starting position at the top of this article, written before embarking on this extravaganza. Reading it again after disembarking, my view has not shifted substantially and I think those eight criteria remain relevant, at least as of March 2024. Perhaps I am falling foul of ‘confirmation bias’, another human flaw. My bad.
Putting it bluntly, AI comes across as having no personality. Some sort of identifiable persona is, I believe, a prerequisite for passing the Turing test. Without a sense of character, AI will always seem a dry, clumsy imitation of an average human. Arguably, AI just wasn’t convincing as being interested in the subject matter. For now, I’ll stick with ‘natural stupidity’, thanks.
Like the character Sarah Connor inaccurately forecast in James Cameron’s 1991 film ‘Terminator 2: Judgment Day’, AI didn’t quite get it right, “Three billion human lives ended on August 29, 1997”. Skynet hasn’t grown up… yet. Thankfully.
CRAVE Guitars’ ‘Album of the Month’
I am not going anywhere near the mechanistic and sterile AI for this section of the article. Consequently, I’m going for one of the most organic and natural sounding albums I know (and like). Once again, it is a fairly well‑known recording, so nothing obscure or inaccessible this time around.
Cowboy Junkies – The Trinity Session (1988) – The second album from the Canadian alt‑country band, recorded live in the Church Of The Holy Trinity in Toronto in November 1987 and released in 1988. Its atmospheric beauty is partly due to its imperfections and the natural reverb of the building, all captured by a single microphone. The raw recording was purportedly not adulterated, mixed, overdubbed or edited in any way. Interestingly, the sublime, ‘Blue Moon Revisited (Song For Elvis)’ wasn’t on the original vinyl release. While not to everyone’s tastes (and otherwise probably not normally to mine either), it represents fifty three minutes of exquisite alchemy. It is 100% human in all its gentle, fragile, ragged glory – in a good way. It is hard to envisage AI ever coming up with music like this, now or in the future.
Cowboy Junkies – The Trinity Session (1988)
Tailpiece
Phew! That is way more than enough from me and my erstwhile AI co‑author for now. Please don’t blame me for the majority of this outing, it is mostly down to the synthetic nature of its creation. I must admit that, while a very interesting little (?!?!) project, it was ultimately a bit (?!?!) of a long and arduous slog, bordering on boring (sorry folks). I trust you can discern what was written by me and what was produced by AI.
Finally, a word of sagely counsel. Whatever we do, humanity should always strive to harness the potential of output AI/GAI/AGI for good and to guard against the risks of it being exploited for evil.
I also stated at the beginning that is only Part I of this 3‑part AI adventure! Next month, we’ll take a look at another aspect of AI and vintage guitars. I can tell you are eagerly ‘champing at the bit’ (NB. another human idiom; from ‘Joseph, A Religious Poem’ by the Reverend Charles Lucas, 1810)!
Truth, peace, love, music be with you always. Until next time…
CRAVE Guitars’ ‘Quote of the Month’: “Whoever thinks pets are non‑judgemental has clearly never been owned by a cat”
HAPPY & HEALTHY FEBRUARY 2024 GUITAR MUSIC AFICIONADOS. Despite the world collapsing into increasingly dire crises at the behest of inept megalomaniac despots, I will endeavour to deliver some (hopefully) light entertainment as a non‑addictive antidote to the agonising anguish of day‑to‑day survival. As woeful soothsayers may predict, ‘the end of the world is nigh’. For once, they might just be right, at least for human civilisation. Time to repent and plead for redemption at the end of days? I think not. At least not yet. In the meantime… rock till you drop, I say. I digress, as usual. Apologies to one and all.
“Better than a thousand hollow words, is one word that brings peace” Buddha (Siddhārtha Gautama – c.480-400BCE)
Back to the business at hand. Pretentious pedantic prose. OK. Up front, forgive me, for there is an underlying understanding in, and a focus on, the simplicity of the here and now that runs through this article, hence the title. It is a contemplative and reflective narrative that draws on the creative essence of CRAVE Guitars over time.
A little while ago, I was doing some file management on my laptop and I came across a number of old documents that caught my attention. They were basically some very crude design ideas created in a transitional period of CRAVE Guitars’ history between 2007 and 2014.
‘Aha’. Lightbulb moment. The discovery might make a different and, perhaps (?), interesting basis for a matter‑of‑factual monthly musing, I thought. So, without further ado, let’s fire up the metaphorical DeLorean and drift back to 2007 to track the evolution of design elements that developed over a period of seven years and which have been a mainstay of CRAVE Guitars for the last nine years or so. A much shorter missive for you this month, you will probably be pleased to know. Some images too, to brighten up the virtual page.
The dawn of CRAVE Guitars: a reminder – 2007
A quick recap may be in order to provide context. I covered the birth and early years progression of CRAVE Guitars back on its 10th anniversary article in July 2017. There is some inevitable overlap with this article. For those that wish to go into a bit more background detail (opens in a new tab)…
There is, though, a bit more to the design components than I covered at the time. The catalyst for establishing CRAVE Guitars as ‘a thing’ goes back to 2007 and the acquisition of a gorgeous 1989 Gibson Les Paul Custom. While this wasn’t actually a vintage guitar at the time, it had many of the beguiling characteristics that are present on many vintage guitars, including minor bumps, nicks, play wear yellowed binding, and a fading lustre resulting in a fine satin patina. The point of mentioning this here is that this event was the germination of an idea and a facilitator for what would become the CRAVE (Cool & Rare American Vintage Electric) Guitars ‘project’.
1989 Gibson Les Paul Custom
“An idea that is developed and put into action is more important than an idea that exists only as an idea.” Buddha (Siddhārtha Gautama – c.480-400BCE)
The original concept is stated on the home page of the web site, “The name ‘CRAVE’ is a play on words; as an acronym, it stands for ‘Cool & Rare American Vintage Electric’ guitars, while its literal meaning is ‘to yearn for’ or ‘to want greatly’. It may also be taken as a ‘call to action’.”
In addition, the six individual constituent words – cool, rare, American, vintage, electric and guitars – became the core criteria for identifying and acquiring instruments (and associated equipment) for the CRAVE Guitars ‘collection’.
Thus… CRAVE Guitars became more than just a vague notion. Sort of. It was shaping up into being ‘a thing’, although I’m still not quite sure what ‘thing’ it has become. However, it exists, whatever ‘it’ is. It struck me as notable how some things come from nowhere and then somehow develop a life of their own, becoming well‑established over time with no or little subsequent change. While the name stuck, the graphic design to support it did not appear fully formed at the time; the current brand image came along much later.
After the summer of 2007, the odd assortment of random guitar gear acquired over many years came under scrutiny and I quickly realised it needed radical rationalisation if it was to comply with the six core criteria of the project. Firstly my non‑American guitars were sold off, then my acoustic guitars and, finally, guitars newer than 1989 were also sold (bar two). What remained formed the basis of CRAVE Guitars as it is now. What was left were about 6‑8 guitars and 2 basses. Since 2007‑ish, all essential acquisitions have complied with the principle mission and entry criteria to create a rationally thought‑through, clearly defined ‘collection’. I don’t like the word ‘collection’ for all its negative connotations but for this exercise, I can’t think of a better one.
From 2007 to about 2010, the focus was on buying familiar classic guitars solely from Gibson and Fender. This reinforced the baseline from which to proceed. It turned out not to be a good time for buying, as it was just before the global financial meltdown of 2008, so vintage guitar prices were sky high. By 2010, the proverbial bubble had well and truly burst. Sigh. It is a good job that CRAVE Guitars is not financially motivated.
2010 to 2014 was a catastrophic period during which I lost almost everything, including my home, so we’ll bypass that quickly without further reference. What’s gone has gone. The subsequent recovery was painful, slow and laborious.
“Do not pray for an easy life, pray for the strength to endure a difficult one” Bruce Lee (1940-1973)
Since 2014, CRAVE Guitars has focussed more and more on quirky, unusual and interesting ‘affordable’ vintage guitars from other American manufacturers as well as the Big ‘G’ and ‘F’. It wasn’t until early 2019 that a significant proportion of the pre‑loss ‘collection’ was reunited with newer acquisitions after a friend had kept them safe for several years. Since 2019, CRAVE Guitars has been ‘a thing’ again.
The initial CRAVE Guitars designs – 2008‑2014
At this point, I must state that I am not a graphic designer and have no professional training in the craft, although my family does have artistic roots. I do, however, think I have a reasonably good eye for aesthetics. I might have liked to pursue an education and career in art, photography and design (as well as music) but, like most good citizens, I realised that I had to make a living, so my cultural aspirations were sacrificed at the altar of responsibility and any artistic credentials remain entirely amateur.
As the project grew, I proceeded to develop a Microsoft Access database to record each instrument in some detail. The database has been updated a number of times over the years (see below) and is still in use today.
CRAVE Guitars Database Screen Shots
Photographs of each instrument were taken to add to the database and were used in the early activities. Admittedly, the original photos were limited and not high definition by today’s standard so, from 2014, the guitars were re‑photographed in greater detail and quality.
Using the information from the database, a ‘brochure’ of the ‘collection’ was concocted, such as it was, using the early photographs and a basic narrative. The original Arabic‑style ‘logo’ text was a font used by the CorelDRAW graphics package at the time; unfortunately, I can’t recall the font’s name. The marron and yellow colour scheme was intended (arguably) to convey a sense of classy opulence (!?). I know, I know, the approach was very basic and hardly anything to be proud of now but at least it was a start.
“There are only two mistakes one can make along the road to truth; not going all the way, and not starting” Buddha (Siddhārtha Gautama – c.480-400BCE)
CRAVE Guitars Original Logo 2008
However, that is all it was back then; a start. A primitive and very limited run printed pamphlet of some vintage Gibson and Fender guitars from the 1960s to the 1980s inclusive. It was not widely ‘visible/available’ to anyone else who might share my interest, so it was essentially a creative dead end and only of interest in hindsight. It was also a learning exercise. CRAVE Guitars had come a long way, although the evidence may not seem like it.
CRAVE Guitars Catalogue Spread
I suspect that regular readers (if there are any!) will know that I have a principled anathema towards the heinous capitalist practice of accumulating vintage guitars for profit and hoarding them away. This benefits no‑one except the owner’s bank account. I didn’t want to fall foul of that accusation, so I had to find a way of sharing the results of the project with others who have similar interests. It is the sharing element that I feel is important and beneficial.
One way of sharing might have been to become a vintage guitar dealer, like many existing established retail outlets. However, I simply don’t have the ‘killer instinct’ (or the funds) to become a successful hard‑nosed commercial trader, so that option was quickly ruled out. I guess I’m just too nice. Besides, I didn’t have any desire to be like any other businesses. It would be rewarding if I could, in some way, monetize CRAVE Guitars, so that any proceeds could be invested back into the enterprise. However I can’t envisage how that end could be achieved without compromising the principal mission and my own values.
CRAVE Guitars doesn’t have any business premises, so creating some sort of physical curated heritage ‘museum’ (for want of a better word) with only a few average guitars was also out of the question. While I quite like the idea of some sort of unique exhibition, it wasn’t, and still isn’t, feasible. Preliminary research indicated that a gallery or heritage centre wouldn’t attract sufficient visitors to make it worthwhile, so it didn’t even make it to a draft business plan stage.
So, I decided to take the plunge and venture into online sharing. As far as I can tell, there doesn’t seem to be anything quite like CRAVE Guitars out there anywhere. Perhaps it is unique, although I wouldn’t be so arrogant as to assert that particular proposition. It might be exciting to develop some sort of virtual online ‘gallery museum’. However, the technology, for instance pro‑level design software, studio photography, photogrammetry, 3D animation, augmented reality and studio recording, to make it genuinely innovative, immersive and impressive are currently beyond CRAVE Guitars’ modest means. More thought required.
“Design is thinking made visual.” Saul Bass (1920‑1996)
CRAVE Guitars online presence – 2014‑date
In 2014, I had no experience of web site development or running any social media accounts. The emergence of what is recognisably CRAVE Guitars today started in late 2014 culminating with the advent of the CRAVE Guitars web site and social media channels. I was basically starting from scratch but, for me, that was quite ambitious, exciting and frustrating in equal measure.
I had the basic structure of, and a design concept for, a WordPress web site planned out. I went about acquiring the relevant URLs and identifying an ISP (Internet Service Provider) to host the results. A web site without any cohesive design theme would be pretty rubbish, so I had to think of a way of conveying what the entity was and turning that into coherent graphic designs that would become familiar to online visitors.
In addition to the web site, I felt that there would have to be a parallel social media presence, consistent with the aesthetics of the web site where possible. The two leading platforms at the time, Twitter (now Elon Musk’s diabolical ‘X’) and Facebook were priorities. In addition, I had a LinkedIn account, so that also seemed a logical extension. YouTube and Instagram were also popular, so they were other channels to consider. There were/are other social media platforms including Flickr, Pinterest and Tumblr, so I set about making sure that CRAVE Guitars had a presence on all of these (and thereby preventing others from appropriating the name!).
There are some gaps, however. Does anyone remember the social media platform called Google+? I actually liked it but due to inherent security weaknesses, Google shut it down in 2019 and it has become all but forgotten nowadays. I evaluated Snapchat and felt it was irrelevant for CRAVE Guitars. I refuse to use TikTok due to its Chinese ownership, so CRAVE Guitars is not present for ethical geopolitical, environmental, technological and human rights reasons.
Accordingly, the work began in earnest to cultivate the broader CRAVE Guitars ‘brand’ image. Activity on this front was quite significant up until the tempestuous 3‑year hiatus, which took place from November 2020 to September 2023.
“Know well what leads you forward and what holds you back, and choose the path that leads to wisdom” Buddha (Siddhārtha Gautama – c.480-400BCE)
The CRAVE Guitars signature image
Determining a signature image for CRAVE Guitars was kinda easy. The sunburst 1975 Gibson Les Paul Standard was one of my original guitars that I bought second hand in c.1978 and have had ever since. It was already a bit battered when I got it, with buckle rash and some parts removed (pickup covers and scratchplate) but it was all I could afford at the time. People pay good money for fake wear and tear like that nowadays and the Les Paul’s attrition was genuine! NB. Relic is not a verb! Ggrr!
Not thinking anything of it at the time, I had the Les Paul refinished from its original tobacco sunburst, which I didn’t really like back then, to a shiny natural finish, which was very popular during the late 1970s. By the 1990s, I was tired of the somewhat bland natural finish, so it was refinished again in a lovely deep cherry sunburst and the missing parts were restored. That is the condition of the Les Paul at the time of writing. Below is the original CRAVE Guitars photograph.
1975 Gibson Les Paul Standard
[Image: 1975 Gibson Les Paul Standard]
Although the Les Paul’s finish isn’t original, it has been a long‑time favourite axe, so it became CRAVE Guitars’ signature instrument, despite rather than because of its chequered history. I don’t give a hoot that self‑opinionated critics pour scorn on Gibson’s 1970s Norlin‑era guitars.
That Les Paul is the only instrument in the ‘collection’ that has been refinished. I don’t do regrets but, if I did, I would feel guilty for messing with that Les Paul like I did. In my defence, I was young and it was only a couple of years old at the time. It was intended to be a working guitar rather than a collectable. Who would have thought that I’d still have it 46 years later and it would be a figurehead for a vintage guitar enterprise! The Les Paul has, though, endured over the years through the few ups and many downs, so it has become appropriately symbolic for both me and for CRAVE Guitars.
The CRAVE Guitars logo and avatar
I couldn’t afford to appoint a professional designer to come up with a ‘corporate’ logo, so I had to attempt something myself. It was these work‑in‑progress attempts that I came across recently and which prompted this article.
The very early efforts comprised a brainstorming‑type design process with some never‑before‑seen aborted concepts. Some of these early rough draft ideas are shown here.
CRAVE Guitars Early Logo Designs #1CRAVE Guitars Early Logo Designs #2
I had an epiphany to combine the signature Gibson Les Paul outline and the word CRAVE into a unified logo. Genius, I thought. The very first attempt at the integrated logo was a rough hand‑drawn scrawl made with a marker pen on a small scrap of (white) paper!
CRAVE Guitars Original Logo Scan
I tested out some of these early ‘sketch’ ideas and the CRAVE acronym with a professional graphic designer friend who I respect. He didn’t like it at all, which was a bit disappointing. However, I persevered, as I thought I was onto something that I could live with.
Crave Guitars Logo Evolution
Once the overall Les Paul shape of the logo was firmed up, I had to choose a colour scheme. It was important to me not to try and be too clever, so it was imperative to Keep It Simple Stupid (KISS). For clarity at different resolutions and sizes, I selected a bright/deep blue for high contrast over a pristine white background. A graphics package was used to scan in and then refine the originally hand‑drawn initial outline.
The ‘bobbly’ lines are intended to give the impression of kinetic resonant vibrations of the instrument. Clever tie‑in huh? OK. Maybe not but that’s what I thought and it seemed eminently logical, so I stuck with it.
Most importantly, the graphic design, narrative and photographic imagery must complement, enhance and not distract from the core subject matter – the vintage guitars, basses, amps and effects – which should be able to shine in their own right. The intention was/is that the various components should all work together in an integrated way, creating a whole that is more than the sum of its parts.
CRAVE Logo Basics
“Simplicity is not the goal. It is the by-product of a good idea and modest expectations.” Paul Rand (1914‑1996)
The admittedly very crude, irregular first attempts were then finessed through about 8‑10 incremental, increasingly subtle, iterations. Eventually, it became what you see on the website, social media, business cards, merchandise, etc. today.
CRAVE Guitars Logo Evolution #2
The guitar‑shaped CRAVE logo image was embellished with the word ‘Guitars’ in a clean, modern and minimalist sans serif Segoe UI Light font, which appealed to my eye. With the recent brand update, the logo’s text was selectively extended to read ‘Vintage Guitars’. This approach could also apply to CRAVE Basses, CRAVE Amps and CRAVE Effects. With or without ‘Vintage’ depending on the circumstance.
CRAVE Guitars Fonts
The full logo, however, wasn’t suitable for social media and Internet browsers, which generally uses round or square‑ish ‘icons’ or ‘avatars’ to represent the image of a relevant account so, once the main logo was firmed up, I set about addressing that particular task. The very first draft avatar was a basic black/red silhouette based on a Gibson ES‑335 body outline but it bore very little resemblance to the rest of the brand, so it didn’t last long.
CRAVE Guitars Avatar #1
The logical answer was to reduce the full logo to fit the avatar’s specification. The result of that exercise was to use only the ‘CR’ from the full logo, intended to represent the shape of the Les Paul body (minus neck/headstock).
CRAVE Guitars Avatar Basics
Recently someone not into guitars asked me what the ‘squiggle’ on Facebook was meant to be and I had to explain it. Never a good sign. I had become so used to it that I thought it was obvious. Obviously not! Once again, there was some disappointment but I can live with it. The ‘CR’ Les Paul body shaped avatar for social media has been retained unchanged.
Crave Guitars Avatar Evolution
“Design is not just what it looks like and feels like. Design is how it works.” Steve Jobs (1955‑2011)
CRAVE Guitars merchandise
The aim behind the CRAVE Guitars graphic design is that it can be used beyond the online presence for instance, printed materials and merchandise. CRAVE merch is there for fun, not money. Routine merch items include T‑shirts, mugs, guitar picks, etc. As CRAVE Guitars is not a business or even a physical entity, there is no pre‑prepared merch stock. It’s all made to order as and when needed. Here are a few examples.
CRAVE Guitars Business CardCRAVE Guitars Guitar Picks
[Image: Business Card]
CRAVE Guitars T-Shirt Designs
CRAVE Guitars future design
Continuity of image is as important as coherence. There are no immediate intentions to change or improve the logo and graphic design. I still believe it to be effective, even though my designer friend still doesn’t like it. The overall aesthetic has been around for ten years now and I think it still looks fresh, clean and modern.
I do review the visuals regularly and think of different ways in which it could be embellished or enhanced but I keep coming back to the basic, simple brand image. Less is more and all that. If it ain’t broke…
At some point, I might want to redesign the brand but not yet. I still like it as it is and it remains visually coherent to my inexpert eye. To change the style radically would, I believe, be counter‑productive and disrupt continuity. Evolution, rather than revolution is likely to be the order of the day, if and when it comes around.
I don’t envisage separate designs for the sub‑brands, CRAVE Basses, CRAVE Amps and CRAVE Effects. They are essentially all under the umbrella of the main brand identity, rather than discrete entities in their own right. They would not exist were it not for CRAVE Guitars. Nor do I envisage any more vintage sub‑brands joining the family any time soon (e.g. drums, keyboards, studio gear, etc.). To diversify further would be to dilute too much.
In the unlikely event that both mankind and I survive until 2027, it will be time to celebrate two decades of CRAVE Guitars. I believe that the design will still be familiar for visitors. Could the CRAVE Vintage Guitars brand design be better? Of course it could.
“Have no fear of perfection. You’ll never reach it.” Salvador Dali (1904‑1989)
I am reluctant to pose the question, ‘what do you think?’, as that would open up a whole can of worms. I see so many logos that are unclear, ambiguous, unrelated to the core business, indistinct, outdated, too detailed, irrelevant, conflicting, poor choice of colours/contrast, overblown, illegible, generic, confusing, ugly, or just plain dull. Simple doesn’t have to be boring. I didn’t set out to create the world’s best logo but, in hindsight, I don’t think it’s too bad. For a rank amateur.
Tantalising snippet… I will return to the subject of the CRAVE Guitars logo in a planned future article. Why? Wait and see!
Final thoughts
One fundamental question for CRAVE Guitars is, ‘Is it worth it?’ I have been doing all of this to share my passion with others but does anyone else actually care or give a damn? It’s also nearly met its demise more than once along the way, so it isn’t a ‘sure thing’. The truth is, I really don’t know what the future holds. I like to think it is a worthwhile adventure but, then again, I am not the one to judge. It is worth it to me.
The website currently gets over 4,000 visitors a month and CRAVE Guitars has over 6,750 followers on X (about 1,000 down from its pre‑hiatus peak) but is that good or not? Again, I have absolutely no idea; they are just numbers. I would hate to think that the last 17 years have been in vain.
A further question is, ‘Why do I do it?’ I have been fascinated by guitars since I got my first nylon‑strung acoustic as a teenager. That fascination prevails to this day. Therefore, I feel quite strongly that CRAVE Vintage Guitars is my ikigai; my purpose in life (from an ancient Japanese philosophy, with ‘iki’ meaning ‘to live’ and ‘gai’ meaning ‘reason’, in rough translation). I have poured my soul into guitars, music and CRAVE Guitars over quite a prolonged period (overall, longer than my entire professional working career, so the effort has been considerable, even though it feels like there is much more to be done before I’m finished (if I live that long!). Is CRAVE Guitars my fate, my destiny? Nah. I wouldn’t go that far; I feel that some decisions are still under my control.
Another profound question is, ‘Where to go from here?’ What is the end game? Well, for that, we’ll just have to wait and see. A great deal depends on currently non‑existent funds. I do not want or intend to give up any time soon; I have become too invested in the project to ‘throw the towel into the ring’ now. I have some thoughts about adding content to the website and some narrative has already been drafted but it is hardly Earth‑shattering. Perhaps a degree of reinvention may be needed after all. I look forward to future developments.
“I never see what has been done; I only see what remains to be done” Buddha (Siddhārtha Gautama – c.480-400BCE)
CRAVE Guitars’ ‘Album of the Month’
This month, I tried to think of something relevant to the article’s theme. If I had to come up with an album that hints at what CRAVE Vintage Guitars stands for, what on Earth could it possibly be? HHhhmm. Tricky one. Sadly, I no longer have any recordings of my own music, lost in the mists of time, so it has to be an established artist. It has to be predominantly guitar music and it should (?) be a recognisable classic (and from the time of many vintage guitars). HHhhmm. Still tricky. So, so many and yet so few! More HHhhmm. This is hard. Gotta pick something. OK, then, here goes; I wouldn’t call it CRAVE Guitars’ theme tune but I like it anyway…
The Doors – L.A. Woman (1971) No ten‑minute self‑indulgent virtuoso guitar wizard solos here, just solid song writing and shed loads of charisma with guitar playing that serves the songs, rather than vice versa. Guitarist Robby Krieger and his trusty Gibson SG Standard along with Ray Manzarek on keyboards, John Densmore on drums and the tragically mercurial Jim Morrison on vocal chords. The Doors didn’t have a resident bass player but that didn’t hold them back – Jerry Scheff played bass on this album. ‘L.A. Woman’ was the band’s last studio album before Morrison’s untimely death in Paris, France in July 1971, at the age of 27. The recording won’t appear in any ‘top 100 guitar albums’ lists but that’s not really the point. I am personally not a huge fan of The Doors but this record stands out for me. Neither is it universally admired. However, it survived my honing down process until it remained on the shortlist of one at the end.
The Doors – LA Woman (1971)
“Where’s your will to be weird?” Jim Morrison (1943-1971)
HHhhmm. Other worthy (in my view) contenders included, Deep Purple – Made In Japan (1972), Genesis – Selling England By The Pound (1973), Black Sabbath – Black Sabbath (1970), Lynyrd Skynyrd – Second Helping (1974), Pink Floyd – Meddle (1971), Led Zeppelin – Physical Graffiti (1975), T.Rex – Electric Warrior (1971), The Cure – Disintegration (1989), Bob Marley & The Wailers – Live! (1975), Steve Hillage – L (1976), Rory Gallagher – Against The Grain (1975), and David Bowie – Let’s Dance (1983).
One interesting observation; all of the above albums emanated from the 1970s and 1980s. Nothing older and nothing newer. Was it really some sort of ‘golden age’ for guitar music or just the music that impacted an impressionable post‑hippie youth?
Tailpiece
So, there you have it; a much shorter discursive diversion (I had to get at least one alliteration in!) this month and a bit different from most other recent articles. I like to mix things up a bit, so a diversity of subject matter keeps things lively and unpredictable. I’m conjuring up something even more offbeat for next month, if it works! There is, though, a lot to do before we get to that point. Watch this space, folks…
In the meantime, if you get any opportunity at all to help bring common sense to the fore and pre‑empt the impending global apocalypse, just do it!
Truth, peace, love, and guitar music be with you always. Until next time…
CRAVE Guitars’ ‘Quote of the Month’: “Since when did the truth become a conspiracy theory?”
HELLO AND WELCOME to the second half of 2020 for what it’s worth. The fact that most of us meek hominids have made it this far is surely a good thing (for mankind, if not the planet), despite the best efforts of coronageddon. At the time of writing there are over 17 million confirmed cases and 667,000 deaths recorded globally due to coronavirus and sadly the numbers are still rising. I hope you are surviving amongst the mercenary madness. Thoughts, as always, lie with those affected directly and indirectly. Also, it is important to recognise the detrimental effects of the COVID pandemic on mental health & wellbeing; the risk of long‑term psychosis is a concern, worse because it cannot be seen and is rarely disclosed as an issue. Civilisation still has some way to go before it can prove resilient to the virus and worthy enough to survive as a species.
Before further ado, let’s move forward to the past. In the last article, I covered the key acquisitions made by CRAVE Guitars during 2019. As signposted last time, this month I’ll be covering the experience of repatriating 42 guitars and basses (40 of them vintage) after an extended period in enforced storage and bringing them back to as good a shape as they can be. None of the guitars covered here were featured in last month’s article, so there is no overlap between the two.
What are we actually talking about here?
As a reminder, here is the full list of the guitars that eventually returned home (by brand/alphabetic order):
Vintage Fender guitars (13):
1966 Fender Coronado II
1965 Fender Duo-Sonic II
1965 Fender Jaguar
1965 Fender Jazzmaster
1965 Fender Musicmaster II
1966 Fender Mustang
1972 Fender Mustang Competition
1977 Fender Stratocaster
1983 Fender Stratocaster ‘Dan Smith’ Era
1988 Fender Telecaster
1974 Fender Telecaster Custom
1973 Fender Telecaster Deluxe
1972 Fender Telecaster Thinline
1966 Fender Coronado
Vintage Gibson guitars (20):
1983 Gibson Corvus II
1963 Gibson ES-330 TDC
1985 Gibson ES-335 Dot
1983 Gibson Explorer
1984 Gibson Explorer
1982 Gibson Explorer CMT/E2
1984 Gibson Explorer Custom Shop Edition
1984 Gibson Explorer ‘Union Jack’
1976 Gibson Firebird Bicentennial
1966 Gibson Firebird III
1980 Gibson Flying V2
1989 Gibson Les Paul Custom
1977 Gibson Les Paul Deluxe Gold Top
1975 Gibson Les Paul Standard
1964 Gibson Melody Maker
1961 Gibson Melody Maker D
1982 Gibson Moderne Korina Heritage
1981 Gibson RD Artist
1965 Gibson SG Junior
1968 Gibson SG Standard
1981 Gibson RD Artist
Vintage other brand guitars (5):
1966 Epiphone Olympic
1962 Gretsch 6120 Chet Atkins Double Cutaway Hollowbody
1965 Gretsch 6135 Corvette
1974 Rickenbacker 480
1964 Silvertone 1449 ‘Amp in Case’
1974 Rickenbacker 480
Vintage basses (2):
1977 Fender Precision Fretless Bass
1978 Music Man Stingray Bass
1978 Music Man Stingray Bass
Non-vintage guitars (2):
2002 Gibson Les Paul Standard
1998 Gibson Les Paul Standard DC
1998 Gibson Les Paul Standard DC
Many purists may assert that some of these aren’t ‘vintage’. However, that is a debate for another time and place (and has actually been deliberated upon in previous articles). CRAVE Guitars’ cut‑off point is currently the end of 1989, i.e. over 30 years old.
While I might bloviate limitlessly about these musical devices, you will probably be relieved that I won’t be going through each of the guitars in sequence and in forensic detail. Rather, I will try to relate the key headlines, the highs and lows, the learning points and any resultant implications arising from the exercise.
At the time of writing, 38 vintage guitars have been given a well-deserved cossetting and these are the ones I’ll be covering here. The only ones remaining are the two vintage bass guitars, which I dread will both need some expert remedial work, as well as the two newer guitars (1998 and 2002). These remaining instruments will get the treatment they require in due course but now is the time to reflect on the significant work done on the major assets. I abhor calling them that but in this context, I guess that’s what they are.
Where they went and how they returned
In this first section, I may reiterate some points I’ve previously covered, so for regular readers, please forgive me for repeating myself. The elephant in the room is… ‘why?’.
I have to admit that the events that led to ‘here & now’ include a very dark period for me and the impact of the hardship still deeply affects me to my core. I won’t go into the detail of the circumstances, suffice to say that I lost pretty much everything back in 2011 and rapidly had to find a temporary home, not only for us as a family, but also for most of my guitars, which at that time was around 37 of them.
My first job was to document what was going away as best as I could, which included photographs and a comprehensive database covering each guitar. Fortunately for me, a good friend was able to find a safe space for them and they were stored away in a dry and reasonably ventilated roof space. Certainly not the ideal conditions for temperature and humidity but when desperate needs must, it was a saviour of momentous proportions and for which I will be eternally grateful. At least we live in a cool temperate zone, so the swings in climate could be a lot worse.
I had hoped to get back on my feet in a matter of just a few months, however that turned into a year and then several years until they were brought back home in 2019. I felt truly bad about the imposition on my friend and very fearful about what deterioration might be taking place in a less than perfect environment over an extended period of confinement. At least the guitars were all in cases of one sort or other, offering some degree of protection. During the lengthy hiatus, some guitars were retrieved, others swapped out and some were interred. Some of them, however, spent the full 7‑8 years in horrible exile.
We eventually relocated into a new home in the SW of the UK in 2017. When we moved, a few of the newer non‑vintage gear had to be sold off to preserve the core vintage items. A year after our move, my friend also moved home, staying in the SE of England. It was that combination of events that led to ‘the 42’ and I being reunited at long last in January 2019. A specialist haulage company charged the Earth for the pleasure of transporting them 200‑odd miles but at least they arrived OK. I had originally planned to refurbish our damp, dark cellar to make a new home for the guitars first but, as is usually our luck, circumstances got in the way and now I’m living amongst many stacked guitar cases. At least they are always close to hand.
Repatriation Guitar Cases
I knew that it wasn’t just going to be a case of unpacking and playing them as if nothing had happened, so I set about planning a very unhurried and practical approach to assessment and reconditioning. There was no set order to this process; it was very much a case of starting at the beginning and working through in whatever order they happened to be in. Now, in July 2020, I have worked through all the key returnees.
Nevertheless, it has taken over 18 months to complete the programme of refurbishment to this point. Not a quick procedure but not rushed either. I always felt that it would be better to take it easy rather than potentially to make things worse by jumping in too enthusiastically. They are already old, a little longer doesn’t matter.
General Condition
Thankfully, all the guitars were in cases, although the condition of each case varied greatly. Some cases are good and strong, while others have various signs of wear and tear and some are very tatty and weak, providing hardly any physical protection but better than nothing. The oblong cases were far easier to accommodate, being easier and safer to stack, unlike the shaped ones.
The first thing to notice was a predictable coating of general entropy. A lot of people pay a lot of money for genuine old dust and grime (heehee), so the cases stay as they are, as testament to the trials and tribulations to which they had been exposed. I am not one of those snobbish ‘collector’ types that insist on everything being perfect and as‑new. I fully understand that I am only a temporary custodian in their long lifespan that in some cases started before I was born and which most likely will well outlast me. This part of their existence has at least been documented for all to see. It is all part of our collective heritage, albeit a miniscule representation.
Opening each case for the first time and taking each guitar out was the point of maximum trepidation and anxiety, rather than excitement. On initial release, each one was given a cursory once over to see if there was any immediate and obvious appreciable damage. I can report that, so far, that no appreciable impairment has occurred to any of the guitars during stasis. No significant issues requiring immediate corrective work were noticed, which was a massive relief. Phew!
One thing common to many, if not all, guitars was an unidentified surface film/smear, despite being effectively protected from too many outside elements. There were also signs of varying degrees of oxidation and/or corrosion to some metal parts although, again, nothing particularly serious. Most of these ‘issues’ would be rectified by a sensitive clean. A few guitars seemed to have more nitrocellulose weather checking than I remember. Whether this was a result of inaccurate memory or a genuine reaction to environmental factors, I cannot be absolutely sure. While finish crazing can add mojo to a vintage guitar, I’d rather not intentionally make it worse, so I was a bit despondent on that front, as the crazing process is irreversible. So, job number 1 would be a thorough deep cleaning – not enough to ruin the genuine patina of age but just to bring the finish back to life and protect it for the future.
1984 Gibson Explorer
The next thing was a quick acoustic strum and noodle before plugging them in. All of them were strung at full tension to preserve the neck relief but the strings themselves showed various degrees of corrosion and were horribly sticky to the touch. What surprised me was that about 80% of them were still in tune. Impressive. They sounded dead and lifeless though, even acoustically. So, job number 2 would be a full restring and setup for each of them.
Each guitar was then plugged in to an amp to test the instrument’s electrics. This is, sadly, where the most obvious degradation was evident across the board. Initially, some showed no signs of electrical life at all, which was a concern. Others had annoyingly intermittent noisy signals, many had rough scratchy pots, iffy crackly switches and raucous jittery jack sockets. I don’t think that any permanent failures occurred although they clearly needed to be seen to before they could be used in earnest. To be honest, with unkempt electrics and long dead strings, they generally sounded awful compared to how they should be. Not a promising initial analysis. So, job number 3 would be to go over the electrics where necessary to return them to usable operation.
That’s about it. Thankfully, there were no major concerns other than any reservations I might have had anyway (these are vintage guitars after all). The appearance could easily be resolved through some sensitive tender loving care (TLC). The electrics, I was pretty sure could be cleaned up and just used. Restringing and setting them up properly would, I hope give them a new lease of life. Phase 1 sorted then – just 3 key straightforward tasks for each guitar plus anything specifically identified on each one as they went through the TLC procedure.
Playability
As mentioned above, straight out of storage, pretty much every guitar felt dead and lifeless with little resonance from the bodies. Anyone who has followed CRAVE Guitars over the years knows that it is my firm belief that guitars should never be kept as mere trinkets and they need to be played regularly. The guitars seemed to agree wholeheartedly with this observation, as they were telling me loud and clear that they didn’t appreciate not being used for so long. It makes me wonder how many would‑be collectors are put off vintage guitars because they try one out in this unprepared state and then presume that they are all like that.
As I wasn’t in a hurry, I experimented with my approach to this zombie‑like phenomenon. They are just bits of wood, metal and plastic after all; why should a period of abandonment make that much difference? What is it that makes the difference? I decided to take some amateur and idle investigation a little further.
1983 Gibson Corvus
Some guitars I stripped down straight away, while others I decided to play for a while before reconditioning them. The interesting thing is that they didn’t need cleaning or restringing to bring them back to some resemblance of vitality, they simply needed playing for a while. Even with ratty old strings, tarnished finish and creaky electronics, they surprisingly would recover much of their vibrancy after a few days of being used. Some needed more teasing than others – no surprise there. This doesn’t mean that they couldn’t be made even better. Those that were given some TLC first seemed to spring back a bit quicker and stronger with fresh strings on board.
Most of the guitars did not need much in the way of set up to restore their playability. Not one needed a truss rod adjustment (phew!). I suppose the necks have been OK for several decades and they had already settled into how they should be. However, restringing gave an opportunity to check action, nut, bridge saddles, intonation and pickup height to fine tune them. A couple needed appropriate lubrication for the nut, bridge and tuners but not much. Time for some D’Addario/Planet Waves ‘LubriKit Friction Remover’, especially on vibrato‑equipped instruments. Just a few simple things made a lot of difference.
However, getting back to the point, the biggest difference to usability was simply to play them for a while. The comparison between ‘before’ and ‘after’ was remarkable in almost every instance. I’m sure that there must be scientific reasons but I’m not clear in my mind what actual cause and effect is going on here.
General TLC
This is the bit of maintenance that I’m probably best at – the simple stuff. I have mentioned quite a few times that my practical guitar tech skills are limited. What I can do though, is to give guitars a thorough pampering. The first thing is to take the old strings off (and recycle them). Some needed a bit of extra dismantling, for instance to get at the electrics, to shim a bolt‑on neck or to capture neck/body codes and document internal condition.
Cleaning is a relatively straightforward and painless process but it does make a huge difference to aesthetics. If there were specific reasons to do so, I might start off using T‑Cut judiciously to get through thick grime or smooth out some minor scratch marks. However, T‑Cut isn’t recommended to use on vintage guitars but it can help in some circumstances, as long as one is very careful. I have tried other abrasive products with varying degrees of success.
Most of the cleaning process was done using my guitar maintenance ‘system’ of choice, which is D’Addario/Planet Waves products.
More gentle than T‑Cut is D’Addario’s ‘Step 1 Restore: Detailer’, which is good for restoring the underlying nitrocellulose finish without ruining the natural aging and patina that develops over many years. It also helps to reduce minor swirl or plectrum marks, giving a nice healthy overall sheen. The degree of elbow grease required depended on each guitar and it is worth it.
After leaving the finish for a day to stabilise, I then used D’Addario’s ‘Step 2 Protect: Guitar Wax’, which uses premium quality Brazilian carnauba wax to give it a lovely finish and protect it for the future. As a wax, I’m uncertain as to how effective it actually is on nitrocellulose or polyester finishes but I figured that it certainly can’t do any harm. It is important here not to use anything that contains silicon or other unhelpful contaminants.
At this point, I would stop and not use D’Addario’s ‘Step 3 Shine: Spray Cleaner’ unless I continued to play the guitar for some time. It is ideal for use when a guitar needs a quick spruce up after playing, before putting it back into its case and/or moving onto the next one.
Plenty of people prefer other maintenance systems such as Dunlop’s excellent cleaning products. I just prefer the ’Addario/Planet Waves’ products. It may seem like I’m promoting and/or recommending their products, I’m not – it just works for me. They are quite expensive per millilitre but I think worth it on balance.
All rosewood and ebony fingerboards needed a good clean and multiple applications of lemon oil (which, incidentally, ain’t what it used to be!). Here, I use Kyser Lemon Oil, now that I’ve run out of my old good stuff, which it seems you can’t get any more. I’m still looking for something better though. Maple fingerboards only needed the same cleaning as for body/neck finish and it is important not to use lemon oil on lacquered maple fingerboards.
The condition of frets unsurprisingly varied from guitar to guitar, especially in the lower ‘cowboy chord’ frets. A few will require expert fret work at some point but not immediately. There were a few signs of rough surface corrosion. At its worst, rust build up could be removed using very fine grade wet & dry paper, whereas routine sprucing up could be achieved with fine wire wool depending on condition. For a final gleam, I used D’Addario’s ‘Fret Polishing System’. Visually, it does make a difference and it makes playing much nicer, especially when string bending in the higher registers.
Most of the other metalwork was OK and nothing needed anything radical. One has to be careful on gold, chrome or nickel plating, not to abrade the surface too much, so a gentle application of Brasso Metal Polish wadding was usually enough to remove surface tarnish and restore a nice metallic shine. I didn’t need to go further and use something harsher like Solvol Autosol on any guitar metalwork.
The crackly, glitchy, scratchy electrical components, including the usual pots, switches and jack sockets were mostly solved with a dose of electrical contact cleaner and repeated use to clean the surfaces. Here, I use Tone Electro-Sound Guitar Pick-Up & Electronic Cleaner, which is expensive but cheaper than the class leader, DeoxIT. There were a few remaining electrical problems that will require soldering and/or replacement parts/wires but nothing requiring immediate attention. As they were mostly OK when they went into confinement, it was really only new issues that will need sorting out.
1965 Fender Duo-Sonic II
As I’m sure most guitarists will attest, new strings are a key part of the playing experience. Here, I am very pragmatic and don’t insist on a ‘must have’ type of string. I am certainly not a string snob, opting for some (expensive) esoteric boutique product that needs changing after every play. Frankly, I can’t tell the difference. What I will mention is that it requires a level of investment to restring 40+ guitars, especially without ready access to bulk buying as a regular end‑consumer.
For Stratocasters with a vibrato block, I generally use Fender Bullets 10‑46 gauge. For most standard scale guitars, I use Ernie Ball Regular Slinky 10‑46 gauge. For short scale guitars or ones that benefit from a little extra string tension, I’ll go up to Ernie Ball Power Slinky 11-48 gauge. For the Gibson ES‑150, I haven’t decided on a suitable string set yet but it will probably need something like 12-56 semi‑flat wound strings to give it the necessary volume, warmth and resonance that it deserves. With the dreaded Brexit negotiations and no clear trade deals with either the European Union or the U.S.A. (or anyone else for that matter), I may decide to migrate to British‑made Rotosound strings for general use.
A final buffing with a lint‑free duster keeps the guitar’s finish nicely clean and shiny. No guitars are going back into long‑term storage and all will be played regularly over time. They aren’t on constant display and are kept indoors in their cases when not being played.
Remedial Work
Most of the guitars were in pretty good condition when they were stored away, so they didn’t go into incarceration with (m)any outstanding issues. Fortunately, they also came home in pretty good condition too. As mentioned above, I think both basses need some expert attention to their necks. I can’t be sure what issues they may have or what may be required but it is probably best to leave that to the experts.
There are a few guitars that do need electrical work doing, once again, anything beyond cleaning up contacts is best left to the experts. Some have intermittent problems (hums, crackles) or weak signals. On some, the balance of tones doesn’t seem right and could do with investigation. Perhaps some combination of new pots, switches, wires, capacitors, jack sockets, solder joints, etc. may be required.
If replacements and/or repairs are needed, where possible, these will be vintage correct. However, finding genuine vintage parts in the UK is a big issue and importing them is disproportionately expensive, so it isn’t something to be taken on lightly. In several instances, I may have to be pragmatic and replace faulty vintage parts with newer quality equivalents. After all, it is better to have guitars working properly, otherwise they are just planks of wood, bits of metal and plastic that won’t get played. Things like vintage pots can always be fitted retrospectively if need be.
Apart from the basses, not one of the guitars suffered neck problems, which I am genuinely amazed at. I guess they were old and settled anyway. Certainly no fretwork will be needed other than some basic levelling, crowning and polishing. I wish it was something I felt more confident about doing myself but I know that, if I made a mistake, it would undoubtedly be worse than when I started. Best left to a competent technician.
None, thankfully, require any finish work. I would prefer to leave any worn finish, dinks, scuffs, scratches or other marks as they are, rather than refinish a guitar and ruin its authenticity. Besides, I am smitten by the untold stories behind the genuine blemishes and imperfections that give them character. These are not new guitars and neither should they look it. Neither are they museum pieces, so the ravages of daily use are important to both their integrity and charm.
I only have one refinished guitar, which is CRAVE Guitars’ ‘signature’ 1975 Gibson Les Paul Standard. The guitar came to me when it was about two years old and had significant buckle rash on the back. For a while, it was finished in natural before being refinished again in a beautiful cherry sunburst. If you are wondering, it was originally a dark tobacco sunburst. At the time, as a teenager, I didn’t know any better and had absolutely no idea that in several decades that I would a) still have the guitar or b) value original finishes. Oh well. One lives and learns.
1975 Gibson Les Paul Standard
Guitar cases are a different matter. Some of the very old ‘cardboard’ cases are pretty tatty and there is not much that can be done about that. A number of cases have broken latches or missing handles and I would like to work through these to make them at least usable. Sourcing vintage or OEM NOS parts and restoring the hardware isn’t easy, as latches, hinges and handles were mainly riveted on, rather than screwed. Again, this isn’t entirely necessary or urgent, so it can be a project for a future date. Mostly, they are best left as they originally came to me.
Parts and Accessories
There are a few guitars that have had newer parts fitted at some point (not by me, I might add!). Some of these examples could do with sensitive conservation by using vintage original replacement parts. None of this is necessary or urgent so, like several other jobs, it can be done over time as opportunities present themselves. Messing with them or modifying them is not on my agenda.
Case candy is always nice to have but I don’t go out of my way to acquire it, if it wasn’t original to the guitar. Authenticity matters here. We have more than enough fake news and phoney history to contend with, without adding unnecessary doubt to the origins of the guitars.
Some have optional parts missing, for instance, my 1977 Fender Stratocaster doesn’t have its original bridge cover but, let’s face it, does it really matter? It may be another ‘nice to have’ but it serves absolutely no beneficial function.
1977 Fender Stratocaster
Many of the guitars have their original cases but, similarly, many came to me with non‑original or modern cases. While I might like to get vintage original cases for some guitars, that can be inordinately expensive and it kinda messes with originality. Another ‘nice to have’ but not essential. If an occasion comes along to conserve the instrument better, I’ll consider it as and when. It really is the contents that matter.
If I’ve done my buying well in the first place, the acquisition of parts and accessories to restore a guitar to as close to its original condition generally aren’t needed. There are always exceptions to each rule, so it’s on a case‑by‑case basis.
Documentation and Photographs
By now, you’ll have hopefully concluded that they are all in more‑or‑less acceptable playable condition. Everything else is a bonus.
All that is left to do is to document each guitar at this particular point in time. As mentioned above, when the guitars went into storage, they were photographed and their individual characteristics logged onto a comprehensive database. Now, several years later, some of the details on the database can be updated and, where information was missing, new data can be added.
CRAVE Guitars – Database
New photographs have been taken for historical evidence and also added to the database. In the event of some potential future catastrophe such as theft or damage, all the necessary details will be available. Many of the same photographs can also be used on the web site to go with new all‑new features that have been written. I will come back to the web site in due course, so that’s enough on that front for the time being.
In addition, and perhaps more interestingly, this article and the documentation are all part of each these guitars’ long life stories and something that can go with them if and when they ever get passed on. Perhaps for the first time in their long lives, there is a written and photographic moment‑in‑time record for these wonderful heritage artefacts. This extensive task is still only partially completed but there is no ‘burning bridge’ imperative to hurry the task and it can be done at leisure.
The one I couldn’t put down
Rediscovering these lovely vintage guitars all over again was a real pleasure and there weren’t really any major surprises or disappointments. I wasn’t planning on comparing or ranking the returnees. There was, however, one guitar that stood out above all the rest during the process.
It was… drum roll please… the cool 1965 Fender Jazzmaster. It is an all‑original, pre‑CBS standard sunburst Jazzmaster, so there is nothing particularly unusual about it to differentiate it from any other of the period. Once it was resurrected, fairly nearly the end of the programme, it was the one that I just couldn’t put down and I kept playing and playing if for several weeks before I was compelled to move on. The Jazzmaster must have had some fairy dust sprinkled on it for it to stand out from very tough competition.
1965 Fender Jazzmaster
I consider myself to be very fortunate not only to have had all the guitars but also to re‑experience them for a second time. I am therefore largely content with my lot, despite the hellish privations in getting through the wicked times to this redemptive point.
What next?
Well, the obvious next thing to do is to play and enjoy them. That is, after all, the whole point of having these things in the first place, isn’t it? They can’t all be played at once, so organising them so that they can have equal opportunity for playtime will be important.
That brings us back to an oft‑repeated bugbear of mine, which is my priority to refurbish the house’s currently unused cellar to make a safe and secure home for them all. In the meantime, they are arranged not too badly, so they can be accessed without too much heavy lifting.
While I have worked through the vast majority of the repatriated guitars, these only represent about two thirds of all the instruments here at CRAVE Guitars. There are also the other 24 guitars (and counting), some of which could well do with the same sort of pampering that the returnees have had, and some also need similar remedial work to, for instance, frets, electrics, etc.
1967 Gibson Melody Maker SG
I think the cycle of TLC is a continuous one. Once one cycle has been finished, it will be time to start another one. It is a bit like the metaphor of ‘painting the Forth Bridge’, i.e. an on‑going, repetitive and never ending process. Almost the definition of Sisyphean. At least it is a pedestrian task that I can enjoy as therapy from the mad, mad world unravelling outside my little hikikomorian bubble.
While the focus of this article has been on the guitars, there are also effect pedals and amplifiers that need regular attention and some of which were repatriated alongside the guitars. The same basic principles apply to keeping them in tip‑top shape, even though their needs are different.
I don’t need to sell any guitars although a bit of rationalising and trading up may actually be a good idea. The thing is that I’m not one of those people who regularly buys and sells to keep a constant flow of ‘new’ (to me) guitars coming through. I tend to grow an attachment to guitars, and especially these guitars that have been through so much at my expense. There is maybe a small number that I could part with to make space for something else. It’s just whether I can break the emotional ties. Oh, that and the impending global recession will undoubtedly have a bearing on matters.
There will also inevitably be further additions to the ‘collection’ in due course. I can’t see it getting smaller but I can certainly envisage it getting bigger. However, due to the finite constraints of space, time and money, buying anything else is on hold for a while out of plain old and boring necessity.
Help Needed
I mentioned in the last article that vintage guitars, effects and amps need expert attention from time to time to keep them working at their best, so this is basically a reiteration. If there is someone out there with the requisite skillset to help maintain these treasures, and who is local to SE Cornwall in the UK, I would be interested in exploring opportunities. Is there anyone out there attracted to the proposition? If there is, please contact me at the e-mail address at the bottom of every page on the website.
Learning points
Well, having gone through all of the above, I must have learned something, right?
Probably the most important lesson is simply, ‘don’t do what I did’. Don’t store guitars away for long periods, especially in inappropriate environmental conditions. I couldn’t help what happened to me and I did what I had to do using my best judgement at the time. In retrospect, I am not sure what I could have done differently and retain the guitars. I ‘swear to God’ that I don’t ever want to go through that experience again.
The second lesson is ‘to take your time and not rush in’. To do so would risk the integrity of the guitars. After all that time away, a few more weeks waiting to be sorted out made no difference in the big picture. A measured approach worked wonders and also took a lot of the potential stress out of the process. In effect, instead of a single insurmountable task, breaking it down into manageable steps made it more of a therapeutic and cathartic exercise.
The third lesson is to ‘do what you can and do not do any more’. Leave the other stuff to the experts. Be prudent and cautious about what you undertake. Any foolish actions might well prove to be irreversible and therefore regrettable. One also really doesn’t want to make them look like new; they are old and they are meant to look and feel that way. Conserving these artefacts is important, while preserving them (proverbially ‘pickling them in aspic’) is not. Sensitive refurbishment means accepting that what they are is a direct result of what happened to them and to be happy about it. That doesn’t, however, mean that they should now be neglected all over again. They can be played, enjoyed, maintained and kept in good condition, no problem. They’ve survived this long; my job is to ensure that they survive for a long time after me.
That is really it. Three fundamental, profound and straightforward learning points. Simples! The vista of glorious vintage guitars has been re‑opened to me, so that is one thing to celebrate for sure. The haptic experience of playing these gracefully aging instruments has been restored at long last.
Tailpiece
So, that represents some of their story, revealed at long last. After a year‑and‑a‑half, I can finally say that I am relatively pleased with how things are and no longer over‑anxious about what I might find. Why am I not over the moon? Any overwhelming joy or excitement has been surpassed by the detriment of the past decade that I cannot obliviate.
There is still plenty to do, even in one’s splendidly isolated silo of virus‑induced exile. The short‑term aim is largely to continue on the path already set, while also looking forward more ambitiously to the medium‑to‑long‑term future. I have a plan; it is executing the plan that is the problem. That, ultimately, comes down to filthy lucre.
Anyway, that’s two out of the three catch‑up topics now dealt with. I hope you’ll be willing and able to return for another tasty course of ‘whazzup’ delights next month.
Stay safe and hope you continue to survive the coronapocalypse. Remember that the basis of karma is to ‘be good and do good’. Until next time…
CRAVE Guitars’ ‘Quote of the Month’: “Addiction to false beliefs is equivalent to wronging the world’s rights”
WELCOME BACK ONCE again guitar fans and hello to any new visitors. We are now half way through an extraordinary 2020 and the world is still turned upside down in so many concerning ways. While there may be glimmers of light at the end of the tunnel for COVID‑19, there is still a long way to go and there will be profound ramifications that it will leave in its sizeable wake. At the end of last year, we had no inclination as to what was about to befall, yet here we are now. Perhaps us hooman beans really aren’t as clever as we seem to think we are (shock, horror – hold the front page!). It seems that we also still have some way to go before all people are deemed equal and can live their lives freely, responsibly and peacefully. The first half of 2020 has passed by very quickly and, frankly, good riddance to it. I don’t like wishing life away but it has been 6 months that I’m sure we could all have done without, everything being on‑hold.
Well, here we are and no more historical facts, quotes or predictions on which to ponder this month. I said at the very end of the last article that I would get back to pontificating about ‘cool & rare American vintage electric’ guitars and, at last, I can deliver on that promise/threat (delete as applicable).
There are 3 themes on which I’d like to embark this month. Firstly, I mentioned in my December 2019 article that I had bought some gear (big surprise… not) during last year but I didn’t go any further than to list what they were, without any indication as to the whys and wherefores behind the spending spree. Secondly, after 18 months, most of the 42 repatriated guitars have now been properly assessed and worked through as far as I am able. So far, I haven’t given any real sense about what I found and what I learnt from the exercise. Thirdly, there have been a number of purchases during the first half of 2020 and in due course I can reveal what those are and how they relate both to the existing ‘collection’ and to the ‘wanted’ list from that same December 2019 end‑of‑year/look‑forward roundup.
I think that there is more than enough material to occupy one article, so without further ado, let us begin at the beginning. Sitting comfortably? Good. Then, we’ll begin…
2019 CRAVE Guitars’ Purchases
An Introduction to the 2019 CRAVE Guitars
2019 was certainly an interesting year. Due to circumstances, I started out not anticipating much in the way of guitar purchases. The relatively modest vintage guitar ‘wanted’ list from December 2018 included a Danelectro of some sort, a Fender Starcaster and a Gibson Melody Maker. These had all featured on the target list for more than one year, so it seemed a fairly realistic expectation. What actually happened was a bit more fruitful than I foresaw and I think it deserves some rationale to indicate why they weren’t random purchases. In fact, 2019 resulted in nine new additions to the CRAVE Guitars family, spanning five decades (1940s‑1980s with at least one from each). I couldn’t really afford the outlay but, although it meant sacrifices in other areas, it has probably been worth a bit of hardship. I hope you find this array of short stories moderately interesting.
1982 Fender Bullet H2
This is what happened when esteemed Fender designer John Page was tasked with creating a low cost student model to carry the ‘Made in U.S.A.’ decal and replace the outgoing Mustang and Musicmaster? The result was the Fender Bullet. I’d already acquired a 1981 Fender Bullet which was essentially a Telecaster‑on‑a‑budget model. Several aspects of the first iteration intrigued me and I set about looking for a second generation model, with the more Stratocaster‑like body outline. Initially, I was looking for a ‘standard’ one with twin single coil pickups and the integrated bent steel pick guard and bridge assembly, just like the ‘Tele’ Bullet. Instead, I found a cool Fender Bullet H2 in great all‑original condition in very smart red and white with a maple neck. This version has a more robust standard integrated hardtail bridge/tailpiece with through‑body stringing. The H2 features what at first glance appear to be standard twin ‘humbuckers’. However, looks can be deceiving. The pickups aren’t actually traditional humbuckers – they are actually 4 single coil pickups arranged as two pairs in humbucking configuration. In addition to a normal 3‑way pickup selector switch, the H2 has two additional buttons that ‘split’ the humbucking pickup pairs to give a wide range of tonal options including genuine single coil sounds (unlike most tapped or split humbuckers). When it arrived, one of the 4 pickups wasn’t working and it had to be sent to a pickup expert to fix. Thankfully, it was a weak connection between the coil and pickup lead, so easily sorted. Like the earlier Bullet, the H2 has a very nice standard Telecaster neck. The diverse sounds available from this guitar are nothing short of remarkable and it makes me wonder why this particular unique configuration hasn’t been widely used since. The early USA‑made Bullets were misunderstood and tend to attract a lot of unfair criticism from purists. As a result, like the Fender Leads of the time, they weren’t manufactured for long. Judging it on its own terms, this is really not the cheap Stratocaster imitation it may seem at first glance. I realised that the Fender Bullet H2s are both cool and quite rare, so fit the CRAVE criteria. I never envisaged that it would be so fascinating and collectable while still being affordable. This Bullet H2 came with its original (if battered and stickered) Original Hard Shell Case (OHSC).
1975 Fender Starcaster
The Fender Starcaster (and, no, that isn’t a spelling error) has been a long‑standing ‘wanted’ guitar, ever since I got a 1960s Coronado. There is very little similarity between the two models but as there are very few semi‑acoustic electrics in the brand’s history, I was once again curious. Unusually, I bought this one from a retailer, so I probably paid more than I normally would have considered but it was worth it. Where the Coronado is fully hollow, the Starcaster has a solid centre block running under the pickups and the massive hardtail bridge/tailpiece assembly. Surprisingly, the Starcaster has through‑body stringing like a Telecaster. While the Coronado has DeArmond single coil pickups, the Starcaster uses the sublime Seth Lover ‘wide range’ humbuckers as used on several Telecaster variants from the 1970s. While both the Coronado and the Starcaster use bolt on maple necks, they are, again, very different and the latter is unique to the model with a maple fingerboard. Both the Coronado and Starcaster were reissued by Fender in 2013 although neither are a patch on the originals. The vintage Starcasters are instantly recognisable because of the distinctive bridge assembly and the 5 controls (2 volume, 2 tone plus master volume). When going over the guitar on arrival, I found it was a rare very early 1975 (pre‑production?) model. It has been well used but is still in remarkably good condition with the sort of genuine patina that only age can bestow. The tobacco sunburst and sunburst flame maple is just gorgeous. It is also a fantastic guitar to play with a great neck and I really like the (in‑vogue) offset body shape. Even better, it doesn’t play or sound like any other Fender, ever made. The Starcaster didn’t prove popular on its original release and wasn’t produced for long before being quietly discontinued in 1982. I can understand why it didn’t sell in large numbers but that misses the point about its exclusive charms. Make no mistake, the Starcaster is a high quality instrument just waiting to be rediscovered. This beauty is not to be confused with cheapo far‑eastern Strat imitations from the 2000s that unfortunately carried the ‘Starcaster by Fender’ moniker. The case, while vintage, is not an original Fender Starcaster case. Obtaining a Fender Starcaster was a long‑standing aspiration achieved, which can now be removed from the ‘wanted’ list. These babies are now becoming extortionately expensive on the vintage market, as the ‘collectorati’ are now cottoning onto them. Seems I got this one just about in time‑ish.
1979 Fender Stratocaster Anniversary
I already have a 1977 Stratocaster hardtail and I was kinda looking around for one from the early 1970s with a vibrato before they become unaffordable (rapidly heading that way now). Along the way, I became distracted by the 1979 Anniversary Stratocaster. I missed out on a couple before I finally attained one (once again at a higher price than I intended, unfortunately). The Anniversary is distinctive in that it was Fender’s first foray into limited edition commemorative models, celebrating 25 years since the original Stratocaster’s introduction in 1954. I was attracted by the classic look of silver, black and maple fingerboard. Whether one can regard a massive 10,000 examples as a ‘limited edition’ is debatable. It also comes with a very unsubtle ‘Anniversary’ logo emblazoned on the bass horn plus a much more understated 25th anniversary neck plate which carries its serial/issue number. This one comes with its original certificate of authenticity and most (but not quite all) of its case candy, as well as its ABS OHSC, all of which is nice to have. Like all Anniversary models, this one is heavy at 10lbs (4.6kgs) but I can live with that because of the part this model plays in electric guitar heritage. It looks cool, sounds great and plays very nicely, although the action is a little high. Fundamentally, though, it is essentially a standard Stratocaster with a few aesthetic embellishments. This guitar is in excellent, almost mint condition, which suggests that it was kept as a memento rather than an instrument to be played, which in my view is sacrilege. These aren’t especially rare instruments and many purists would say they aren’t cool. Well, I’m going to stand my ground and say that I like it, which is why it now has a safe home here at CRAVE Guitars.
1983 Fender Stratocaster Elite
This is the first of a pair of Fender Elites that I bought in 2019 (and the second Stratocaster!), both of which I think are quite desirable. As background, the Elite series was only produced in 1982 and 1983 before it was withdrawn shortly before CBS sold Fender in 1984. It is the innovative electronics that really set the Elites apart. The signal chain starts with 3 ‘noiseless’ single coil pickups including an additional dummy coil to reduce hum. These pickups are distinguishable by the Fender logo covers with no visible pole pieces. Instead of a 5‑way pickup selector switch, there are 3 on/off buttons, 1 for each pickup, giving 8 permutations in all (including all ‘off’). This arrangement provides easy access to more sounds than the standard Stratocaster of the time. The switching is unusual but also very intuitive (far better than Fender’s current S‑1 switching). The signal then passes through an on‑board active pre‑amp powered by a 9V battery. The controls are different too and not just the nice soft‑touch logo knobs. There is the usual single master volume complemented by two master tone controls, comprising Fender’s propriety MDX (MiD‑range eXpander) boost and TBX (Treble/Bass eXpander) circuit. The Strat’s iconic jack plate is also absent, with the output moved to the body edge. The bridge assembly is also unique, here it is a top‑loading hardtail Fender Freeflyte bridge. In use, it plays just like a Strat, although it is a touch on the heavy side. The sounds though are, as you might expect, quite different from a normal Stratocaster. Before the purists clamour with cries of sacrilegious iconoclasm, the electronics went on, albeit modified, to be used in both the Eric Clapton and Buddy Guy signature guitars, so the Elite wasn’t an abortive experiment. This example looks particularly cool in creamy Olympic White with a lovely rosewood fingerboard. This Elite is in lovely all‑original excellent condition and comes with its ABS OHSC. Like many 1970s and 1980s Fenders, these are now becoming more desirable on the vintage market. These original Elites are not to be confused with the similarly named but otherwise standard Elite series instruments issued by Fender between 2016 and 2019.
1983 Fender Telecaster Elite
More?! OK then. Onto the second in the pair of Fender Elites. This one is a 1983 Telecaster Elite in lovely translucent Sienna Burst with a gorgeous rosewood fingerboard. Like the Stratocaster Elite, it is a fascinating variant on the classic design. The electronics here comprise dual‑coil noise‑cancelling Alnico 2 pickups routed through an on‑board active 9V preamp with 2 volume controls allied to the same MDX (mid‑range) and TBX (high‑range) tone controls as found on the Stratocaster Elite. Like its sister model, it has the unique top‑loading hardtail Fender Freeflyte bridge. The body has cool single binding on the top edge, similar to the original Custom Telecaster from the 1960s. For some inexplicable reason, the designers at Fender felt that a Telecaster would look good with a Les Paul‑like scratchplate. They were wrong, it doesn’t. Fortunately, the scratchplate was provided in the case, rather than being attached and even then, it could be stuck on with double‑sided tape. Personally, I prefer it without the scratchplate, revealing the woodgrain through the finish. Like the Stratocaster, the Telecaster is a touch on the heavy side but I can forgive that because of its unique position within the Fender canon. This little beauty is in near mint condition and includes its OHSC. The Elite is far from your average Telecaster and, on my unending quest for something cool and rare, it has found a good home here at CRAVE Guitars. Both Elite models (and there was also a Precision bass in the range as well) are harder to come across than standard models, so the prices tend to reflect their relative scarcity. The Elites are unequivocally ‘curio’ guitars from the last dying days of Fender’s notorious CBS era, so they tend to be frowned upon by purists, which makes them all the more appealing to the maverick side of my enduring addiction to the quirky and idiosyncratic guitars from a generally unloved period of guitar history.
1947 Gibson ES-150
Thus, we move onto the ‘Big G’. The author sadly hit one of those dreaded ‘big birthdays’ in 2019 and without much else to celebrate, I figured that I would mark my passing years with something self‑indulgent. I had been keeping my eyes peeled for a vintage Gibson ES‑150 for several years and watching as the prices escalated to, frankly, silly levels. I couldn’t afford one of the carved top pre‑war models with the Charlie Christian pickup, so I was looking around for a newer model, which would be cheaper. For those that may not know, the Gibson ES‑150 was introduced in 1936 and is acknowledged as the first commercially successful electric Spanish guitar. I eventually found a lovely 1947 ES‑150 from the first year of post‑war production and sporting a single P90 pickup. This one was way, way more expensive than I could normally justify so, because of my impending mortality, I was tempted to go for it. In fact, it is the most I’ve ever spent on a single instrument to‑date. This ES‑150 was residing in Italy, so I imported it before Brexit shuts down all opportunities to access vintage fare from our European colleagues. Owning a really old hollow body non‑cutaway jazz guitar is new territory for me, so it was with some trepidation and excitement that I was delving into this particular art form. The guitar itself is in fine all‑original condition with just surface crazing to the lovely sunburst nitrocellulose finish. There is no serial number or Factory Order Number (FON) which, along with the features, dates it to 1947. Playing it is a different experience altogether, as it needs heavy semi‑flat wound strings to get the laminated top vibrating. Then there is the limited upper fret access to contend with, so it takes some time to acclimatise to the technique. Being deep‑bodied and fully hollow, this one actually works quite well as an acoustic jazz guitar too. As you may know, I really like single pickup guitars, so there is less to get in the way of pure P90 tone. The ES‑150 is currently a bit of an outlier within the CRAVE Guitars family. One thing is for sure, it isn’t going anywhere anytime soon. Definitely not the ideal guitar of choice for metal heads though.
1965 Gibson Melody Maker
This 1965 Melody Maker was a bit of a gap filling exercise. Between 1959 and 1971, Gibson released four versions of their ‘student’ guitar, the Melody Maker. The first was a single cutaway Les Paul shape (1959‑1961), the second was a unique and really cute double cutaway model (1961‑1965), the third iteration was a somewhat crude and short‑lived double cutaway model (1965‑1966) and the final generation was SG‑shaped (1967‑1971). This is one of the rather ‘ugly duckling’ models from 1965 (weirdly often called the ‘type 2’, even though it’s the third body shape), which completes the set. The Melody Maker comprises a slab mahogany body with double cutaways, a set mahogany neck with the typical narrow headstock, one single coil pickup, and comes in a reserved cherry nitrocellulose finish. Unsurprisingly, this model has never been reissued by Gibson, although there has been a Joan Jett signature guitar. The Melody Maker name has re‑appeared a number of times since the 1960s. This example is not in pristine shape but is all‑original and it comes with its OHSC. At least this one hasn’t been butchered over the years unlike many. I was shocked that a recent guitar magazine article (which I won’t name but they really should know better) was recommending that the vintage Melody Maker body should be routed and the pickup replaced with a P90 or humbucker! Unbelievable and indefensible! I think that the narrow single coil pickups give the Melody Maker a distinct tone, which is very underrated by purists. Melody Makers are unique in the Gibson history books and unmolested examples deserve much more credit in my view. They are made from the same materials in the same Kalamazoo factory by the same people as other highly prized models and should be regarded (and treated) as worthy vintage instruments in their own right. They are very light and resonant, making them really easy to pick up and play. Compared to many Gibsons from the 1960s, Melody Makers are still relatively affordable on the vintage market and represent a good starting point for people interested in collecting vintage guitars from a major American brand. Personally, I have to admit that I am not a huge fan of this pointy body shape but now that I own one, it is growing on me.
1989 PRS Classic Electric
Having dipped my toes into the world of Paul Reed Smith (PRS) guitars with an elegant 1988 PRS Standard, I was looking around for other early hand‑finished guitars that were made in PRS’s original facility in Annapolis, Maryland. These early, so‑called ‘pre‑factory’ models are becoming increasingly collectable, especially as they are now beginning to get to vintage age (and price!). The early PRS Customs are becoming incredibly expensive, so my eyes settled on an early PRS model that was initially called the Classic Electric when introduced in 1989. The model was swiftly renamed as the CE after a legal dispute with Peavey over the original name. NB. The CE is not to be confused with the far Eastern PRS SE (‘Student Edition’) guitars. I also had my sights set on the early solid Electric Blue metallic finish, which I think is stunningly beautiful. This example is a very early Classic Electric, being only the 473rd guitar off the production line, distinguished by its 24‑fret, bolt‑on maple neck and the plain headstock carrying the block ‘PRS Electric’ logo (soon to change to the familiar modern ‘Paul Reed Smith’ signature script logo). There are quite a few marks including one significant ding to the body and the finish on the back of the neck has worn down. The wear indicates that it has been well played, which is often a sign of a soundly put together instrument. OK, it doesn’t have the flashy flame or quilted maple cap, faux binding, bird inlays or set neck but it is still a very creditable guitar that plays very well and sounds great. The CE is one of those under‑the‑radar PRSs that the collectors tend to overlook, although genuine owners praise them very highly. PRS finally got around to re‑releasing the bolt‑on CE model in 2016 but the new ones really aren’t the same as these early ‘handmade’ examples. Despite the wear and tear, it is all‑original and comes with its OHSC but no case candy. You can’t have everything. A vintage PRS Custom to add to the Standard and Classic Electric sadly has to remain on the wish list for the time being.
1959 Silvertone 1304
I had a bit of a mad spell towards the end of the year when I was buying several guitars for the sake of it. I was looking for a vintage Danelectro and came across this funky little 1959 Silvertone 1304 with its single cutaway and dowdy brown finish. It is very similar to the Danelectro U1 (differentiated by pickup position and headstock logo), which is no surprise seeing that Danelectro manufactured Silvertone guitars for the Sears & Roebuck retail and mail order company at the time. The 1304 is actually a pretty rare model being only available in Sears & Roebuck’s ‘Wish Book’ Christmas catalogue and related advertising of 1958, 1959 and 1960. The neck and familiar ‘coke bottle’ headstock is also rare, being finished in natural, rather than colour matched to the body, apparently due to supply shortages at the time. It also has the circular electrics cover on the back and the squared off neck joint that confirms its age and lineage. The ever present Lipstick pickup and body‑edge tape will be familiar to Danelectro fans. It also feels, plays and sounds just like you’d expect a vintage Danelectro from the 1950s, i.e. great. This was the last of the Danelectro single cutaway body shapes before they moved to double cutaways in the 1960s. The single pickup and simple controls let you focus on playing and getting the most out of a very cool and groovy (and lightweight due to semi acoustic construction) instrument. It is a lot of fun to pick up and play and hard to put down. The action is a little high but that resistance actually forces one to play differently compared to a more ‘refined’ guitar. Like others in this résumé, it is in fine all‑original condition, although it sadly doesn’t come with an original 1950s case. These cool Silvertone and comparable Danelectro guitars are still amazingly affordable for vintage guitars from the so‑called ‘golden era’, perhaps because they were (generally) made in large numbers and sold to a largely undiscriminating ‘student’ audience at the time.
2019 CRAVE Amps? What Amps?
Right, that’s the 2019 guitars covered, so what else was new? Well CRAVE Amplifiers didn’t achieve anything at all in 2019 – no new additions and no losses. Nada. As it turned out, I was quite happy running two relatively similar modest little units as daily go‑to amplification during the year, a 1978 Fender Champ and a 1978 Fender Vibro Champ both in ‘silverface’ livery. Don’t underestimate these diminutive 5W Class A valve amps, they are really great for what they are. I acknowledge that I’m not a vintage amp specialist, so they are not hugely abundant here at CRAVE Guitars. Owning vintage valve amps demands space, time and effort as well as oodles of filthy lucre, so I’m not in a huge rush to buy up large numbers of vintage amps.
An Introduction to the 2019 CRAVE Effects
CRAVE Effects did a little better during 2019, although there were only five new pedals to join the clan. Having said that, two of those were outstanding examples of the type. As with amps, because I am not a vintage effect expert, I’m sticking to a few well‑known global brands from the 1960s to 1980s, rather than go too far into the realms of the unique, idiosyncratic and unusual.
1987 BOSS RV-2 Digital Reverb
It may seem heretical to many but this is the first vintage digital effect to join the CRAVE club. This Japanese BOSS RV‑2 was sought out principally because there are few vintage compact analogue reverb pedals out there. Yes there are the bulky (and expensive) vintage valve reverb tanks from the likes of Fender but I wanted something small and convenient to add an extra special dimension to the aforementioned Fender Champs, neither of which have on‑board reverb. So, a digital reverb was the way to go with this rather plain looking but flexible 1987 BOSS RV‑2. It provides a range of reverbs and it sounds quite natural without too many sibilant digital artefacts, although not quite the soft and cuddly warm tones of traditional analogue reverbs. Still, it does its job very well and it is from the right era (pre‑1990s), which is why it’s here. Interestingly, the high current draw of the digital circuitry in the RV‑2 means that it cannot be powered by batteries and requires a BOSS PSA power supply in order to do its ‘0’ and ‘1’ digi‑thing.
1969 Dallas Arbiter Fuzz Face
This is the first of two iconic classic pedals acquired in 2019. The humble but fabled English Dallas Arbiter Fuzz Face rose to stardom mainly because of none other than Jimi Hendrix. This isn’t one of the earliest Fuzz Faces that used germanium transistors but one of the first to use silicon transistors, this one dating from c.1969. It is amazing what a few cheap electronic components can end up being turned into. Truth be told, I didn’t actually intend to get this pedal. It came along via an eBay auction and I decided to take a punt and put on a (relatively) low bid and… what happened? No‑one came along at the last minute to beat me and I ended up getting it. Yikes! Yes, it was hideously expensive but not as bad as it could have been. Therefore, while it was not exactly a bargain, I suppose it was still a reasonable price for what it is. Fortunately, it delivers its fuzzy glory in all the right ways, so that’s OK then. It is in excellent all‑original condition and in perfect working order, so my initial reticence was soon overcome. It actually looks pretty cool in red too. By today’s standards, its circular form factor does take up a disproportionate amount of pedalboard real estate but, c’mon, it is a vintage fuzz pedal – what’s not to like? The original Fuzz Face was definitely a batteries only zone back in the 1960s and neither is there an LED status light to indicate when it’s on. Great though it undoubtedly is, this is clearly not one of those pedals you’d want to gig with down the local pub, that’s for sure.
1982 Ibanez PT9 Phaser
At totally the other end of the value scale from the Fuzz Face, we have a fairly widely available and averagely collectable 1982 Ibanez PT9 Phaser. CRAVE Effects has somehow accumulated more phasers than any other kind over the years and that’s probably because the late 1970s and early 1980s experienced a surfeit of these simple analogue modulation effects. Let’s be honest, your average phaser really isn’t the most exciting of guitar effects compared to what else is out there, especially in these days of ubiquitous boutique eccentricities. The PT9 is pretty utilitarian and sounds OK, but not necessarily exceptional, which is probably to damn it with faint praise. I’m guessing that Ibanez chose to change their colour scheme from the previous blue/white PT‑909 Phase Tone to the orange/black PT9 in order to compete on looks with the all‑dominating and very orange MXR Phase 90 of the time. I had been on the track of a PT9 to fill a gap in the collection for a while, so the gap was duly filled. Original PT9s are still relatively affordable phasers and they are, perhaps, a good entry point for neophytes to get into vintage effects before getting into more exclusive and expensive fare. Time to move on… Next!
1981 Ibanez TS-808 Tube Screamer Overdrive Pro
… and here is the second iconic classic pedal procured in 2019. The otherwise ordinary green Ibanez TS-808 Tube Screamer Overdrive Pro rose to hallowed status via another guitarist association, this time with the inimitable Stevie Ray Vaughan. Like the Fuzz Face, the original vintage TS‑808s are now inordinately expensive on the vintage effect market, with prices increasing all the time. This was one of those times when I felt a ‘now or never’ moment and bagged a reasonably good one dating from 1981 at just below average price. At this point, I’m going to proclaim ‘emperor’s new clothes’ and say that, while it is undoubtedly a very competent pedal, does it really deserve the unchallenged accolades above all the other competent overdrive pedals out there? Just why we guitarists spend thousands of pounds/dollars on vintage instruments and vintage valve amps and then rely on some dirt cheap solid state components to make them sound ‘better’ is beyond me. To some extent, the same goes for the Fuzz Face but at least that is a down ‘n’ dirty fuzz pedal! I understand all the well‑rehearsed arguments about compensating mid‑boost and clean low gain drive into the front end of an already cooking valve amp. Perhaps I’m missing something else obvious but I really don’t think so. I also know that it goes against the grain to defer from perceived wisdom and to test the TS‑808’s seemingly unassailable reputation. Don’t get me wrong, I’m not knocking the Tube Screamer and what it does. I just believe it is somewhat overrated for the crazy market prices being asked. Anyhow, one of the green meanies is here now and is part of the growing ranks alongside other Ibanez ‘0’ and ‘9’ series pedals. At least I no longer have to keep scanning the market endlessly for a good one at a reasonable price.
1980 MXR Micro Amp
… and right back to the other end of the value scale again with a humble 1980 MXR Micro Amp. Essentially, all a boost pedal does is to increase the signal level hitting the front end of a (valve) pre‑amp, therefore not only adding a bit of volume, but also hopefully some natural compression and a bit of smooth distortion without affecting the underlying tone. Once again, there is something of a question mark about relying on a few cheap bits of electronics to make vintage gear ‘sing’. Having said that, the Micro Amp does its job perfectly well and it can be a really useful tool in the right circumstances. However, let us be clear that it is not exactly the most exhilarating or far out stomp box out there. As an idle observation, it is funny how things come round again given long enough. Outboard pre‑amp pedals are now a ‘big thing’ in the 2020s, albeit a bit more complex than this little MXR. There are many modern‑day compact pedal pre‑amps out there, including the Hudson Electronics Broadcast, Catalinbread Epoch Pre and Fredric Effects 150 Preamp. At least the unassuming little white MXR Micro Amp doesn’t take up much pedalboard space and is oh‑so simple in operation with only a single ‘Gain’ control. Like most un‑modified MXR pedals back in 1980, the Micro Amp only eats batteries for breakfast and doesn’t come with either an LED status light or DC input.
Help Needed
Vintage guitars, effects and amps need attention from time to time to keep them working at their best. While I can undertake basic maintenance, set ups and general TLC, I know that my skills are finite. I am looking for a guitar tech or luthier who can, from time to time, take on a vintage guitar and do some sympathetic remedial work, whether it involves fretwork, electrics, repairs or whatever. I’m also looking for someone who can do occasional work on effects and amps, which is basically electronics, switches, leads, soldering, etc. With over 60 vintage guitars, more than 50 vintage effects and 6 vintage amps, I need some expert help every so often. If there is someone out there with the requisite skillset for any or all of the above, and who is local to SE Cornwall in the UK, I would be interested in making a connection. Anyone interested? Please contact me at the e-mail address at the bottom of every page on the website.
Tailpiece
Actually, I think this is a good place to pause, so I’ll stop there for now. Nine guitars and five effect pedals is enough for one month.
At this point, I must stress that I did not buy any of these items as a pecuniary investment – anyone familiar with CRAVE Guitars will know that is not my motivation. However, given that savings accounts in the UK are currently offering just 0.01% interest rate, I would prefer to be broke and have great vintage guitars, amps and effects to play with and look at. The last recession that began in 2008 apparently saw 30% wiped off the value of vintage guitars, albeit temporarily. To me, it’s still a no brainer, when funds become available, eBay here I come for some vintage gear hunting. The other thing I would add is that all of the new additions are consistent with CRAVE Guitars larger strategic grand plan to conserve ‘Cool & Rare American Vintage Electric’ guitars, amps and effects as important musical and cultural heritage. Oh, and it’s also an unhealthy obsessive addiction as well but I guess you’ve sussed that out already.
At the top of this article I mentioned that there are three themes to work through and I’ve only covered one of them. I am conscious that the ‘History of Modern Music…’ series resulted in lengthy articles and this is, compared to them, quite short. I’m also a bit fatigued by the demands of lengthy researching and writing exercises. Thus, I’ll leave the rest for future article(s). I reckon that it is best to keep these reflective articles relatively consumable. Besides, there really is no rush, is there? Are we going anywhere, anytime soon? No, I thought not.
Believe me, there is still plenty of stuff to be getting on with here at CRAVE Guitars, so I guess I’ll be getting on with stuff then. Who knows what the world will be like in the coming months. Despite the continuing stresses and challenges of COVID‑19 et al, I hope that you’ll return here in due course for your prescribed diet of diversionary diatribes. Stay home, stay safe and stay (in)sane. Remember this simple but important mantra while civilisation unravels around us, Peace, Love & Guitar Music. Until next time…
CRAVE Guitars’ ‘Quote of the Month’: “I can see where this is going because I’ve been where it went.”
April 2020 – The Story of Modern Music in 1,500+ Facts – Part XIII
Introduction
For anyone out there still surviving the appalling ‘coronapocalypse’ that is undermining and unravelling civilisation around us as we speak, it’s good that you are hanging in there and hope you’re staying healthy and safe. Take a moment and spare a thought for the many who aren’t as lucky and those that have succumbed to the deadly virus. While the general response to the pandemic shows the best characteristics in most people, it also starkly reveals the sheer idiocy and irresponsibility of a not‑insignificant proportion of the population. Shame.
Thank you again for taking the time to visit CRAVE Guitars for the latest instalment of this epic series. Given the horrifying circumstances out there, your presence here is welcomed and very much appreciated. I only hope that it can provide some idle distraction from more serious issues facing us all.
It seems that this is this is a tale that just keeps on telling. I never thought it would reach these proportions when I started out on it, just over a year ago now! I trust this 13th part of the series is not unlucky. If you suffer from triskaidekaphobia (fear of the number 13) or even primonumerophobia (the fear of prime numbers), it may be advisable to think of this as part 12a or, to be trendy, 12+.
As has become traditional, if you would like to (re)visit any or all of the first 12 parts (and 370 years) of the story to‑date, you can do so here (each link opens a new browser tab):
In the last article, I presented an array of quotes about music uttered by a diverse range of non‑musicians. This time, guess what? Yep, perhaps somewhat predictably, we’re looking at quotes about music by musicians or, to be strictly more accurate, music professionals. While this is clearly a heavily skewed sample of the population expressing themselves on the wonder (or otherwise) of music, their vocabulary is revealing about what it means to them and others. As you can imagine, musicians have quite a lot to say about their passion, hence the sheer panoply of relevant observations on all things musical. There are also a couple of sneaky lyrics thrown in just for good measure.
For this article, I have omitted quotes explicitly about the guitar as a musical instrument; these were, I felt, adequately covered in the equivalent part of the companion series, ‘November 2018 – A Potted History of the Guitar: Epilogue’.
Simply because of my obsession with the world’s most popular instrument, the quotes tend to be biased towards those with some sort of connection to the guitar, although not exclusively so. I make no apology for this, it’s just the way it has turned out. Some of the quotes are very well known and may well be familiar, while others are somewhat more obscure but still worth extolling. If nothing else, I hope they inspire you to think about mankind’s unique affiliation with music a little differently.
Like last month, the quotes are in alphabetical order of the person, rather than their quote or any sort of chronological order. After much deliberation and messing around with different formats, I finally decided to lay these quotes out in a table. This is, perhaps, the most accessible and economical way of presentation, even though it means repeating the person being quoted in many instances. I apologise if that is not the best way for you to read the content.
Quotes about music by musicians
Right… let’s go. Enjoy.
Music drives you. It wakes you up, it gets you pumping and, at the end of the day, the correct tune will chill you down
‘Dimebag’ Darrell Abbot (1966-2004)
Music is something that should speak for itself, straight from the heart. It took me a long time to understand that
Damon Albarn (1968-)
Music to me is the air that I breathe, it’s the blood that pumps through my veins that keeps me alive
Billie Joe Armstrong (1972-)
If you have to ask what jazz is, you’ll never know
Louis Armstrong (1901-1971)
Music is life itself. What would this world be without good music? No matter what kind it is
Louis Armstrong (1901-1971)
Musicians don’t retire; they stop when there is no more music left in them
Louis Armstrong (1901-1971)
When I was a little boy, I told my dad, ‘When I grow up, I want to be a musician.’ My dad said: ‘You can’t do both, Son’
Chet Atkins (1924-2001)
The true beauty of music is that it connects people. It carries a message, and we, the musicians, are the messengers
Roy Ayers (1940-)
Don’t cry for me, for I go where music is born
Johann Sebastian Bach (1685-1750)
I think it’s good if a song has more than one meaning. Maybe that kind of song can reach far more people
Syd Barrett (1946-2006)
I would rather write 10,000 notes than a single letter of the alphabet
Ludwig van Beethoven (1770-1827)
Music comes to me more readily than words
Ludwig van Beethoven (1770-1827)
Music is a higher revelation than all wisdom and philosophy
Ludwig van Beethoven (1770-1827)
Music is like a dream. One that I cannot hear
Ludwig van Beethoven (1770-1827)
Music is the mediator between the spiritual and the sensual life
Ludwig van Beethoven (1770-1827)
Music is the one incorporeal entrance into the higher world of knowledge which comprehends mankind but which mankind cannot comprehend
Ludwig van Beethoven (1770-1827)
Music should strike fire from the heart of man, and bring tears from the eyes of woman
Ludwig van Beethoven (1770-1827)
To play a wrong note is insignificant; to play without passion is inexcusable
Ludwig van Beethoven (1770-1827)
I can’t live one day without hearing music, playing it, studying it, or thinking about it
Leonard Bernstein (1918-1990)
Music can name the unnameable and communicate the unknowable
Leonard Bernstein (1918-1990)
This will be our reply to violence: to make music more intensely, more beautifully, more devotedly than ever before
Leonard Bernstein (1918-1990)
I grew up thinking art was pictures until I got into music and found I was an artist and didn’t paint
Chuck Berry (1926-2017)
Music is an important part of our culture and record stores play a vital part in keeping the power of music alive
Chuck Berry (1926-2017)
If you play music for no other reason than actually just because you love it, the skills just kinda creep up on you
Nuno Bettencourt (1966-)
Music can change the world because it can change people
Bono (1960-)
Music fills in for words a lot of the time when people don’t know what to say, and I think music can be more eloquent than words
Bono (1960-)
I had to resign myself, many years ago, that I’m not too articulate when it comes to explaining how I feel about things. But my music does it for me, it really does
David Bowie (1947-2016)
I wanted to prove the sustaining power of music
David Bowie (1947-2016)
My theory is this; I’m not a political songwriter. I’m an honest songwriter
Billy Bragg (1957-)
It is cruel, you know, that music should be so beautiful. It has the beauty of loneliness of pain: of strength and freedom. The beauty of disappointment and never-satisfied love. The cruel beauty of nature and everlasting beauty of monotony
Benjamin Britten (1913-1976)
I guess all songs is folk songs. I never heard no horse sing them
Big Bill Broonzy (1893-1958)
I only got a seventh-grade education, but I have a doctorate in funk, and I like to put that to good use
James Brown (1933-2006)
I don’t really need to be remembered. I hope the music’s remembered
Jeff Buckley (1966-1997)
Punk was defined by an attitude rather than a musical style
David Byrne (1952-)
We don’t make music, it makes us
David Byrne (1952-)
With music, you often don’t have to translate it. It just affects you, and you don’t know why
David Byrne (1952-)
You create a community with music, not just at concerts but by talking about it with your friends
David Byrne (1952-)
Music is the divine way to tell beautiful, poetic things to the heart
Pablo Casals (1876-1973)
Of emotions, of love, of breakup, of love and hate and death and dying, mama, apple pie, and the whole thing. It covers a lot of territory, country music does
Johnny Cash (1932-2003)
I was born with music inside me. Music was one of my parts. Like my ribs, my kidneys, my liver, my heart. Like my blood. It was a force already within me when I arrived on the scene. It was a necessity for me – like food or water
Ray Charles (1930-2004)
Music is about the only thing left that people don’t fight over
Ray Charles (1930-2004)
Music to me is like breathing. I don’t get tired of breathing. I don’t get tired of music!
Ray Charles (1930-2004)
Music is powerful. As people listen to it, they can be affected. They respond
Ray Charles (1930-2004)
The important thing is to feel your music, really feel it and believe it
Ray Charles (1930-2004)
Music became a healer for me. And I learned to listen with all my being. I found that it could wipe away all the emotions of fear and confusion relating to my family
Eric Clapton (1945-)
Music will always find its way to us, with or without business, politics, religion, or any other bullshit attached. Music survives everything
Eric Clapton (1945-)
The point is, technology has empowered so many musicians, you know?
Stanley Clarke (1951-)
If it’s illegal to rock and roll, throw my ass in jail!
Kurt Cobain (1967-1994)
I have one message for young musicians around the world: Stay true to your heart, believe in yourself, and work hard
Joe Cocker (1944-2014)
I want to read… poems filled with terror and music that changes laws and lives
Leonard Cohen (1934-2016)
If I knew where the good songs came from, I’d go there more often
Leonard Cohen (1934-2016)
Music is the emotional life of most people
Leonard Cohen (1934-2016)
Nobody leaves this place without singing the blues
Albert Collins (1932-1993)
Simple music is the hardest music to play and blues is simple music
Albert Collins (1932-1993)
Musicians understand each other through means other than speaking
Ry Cooder (1947-)
To stop the flow of music would be like the stopping of time itself, incredible and inconceivable
Aaron Copland (1900-1990)
There’s a lot of integrity with musicians; you really still aspire to grow, and be great, to be the best version of yourself you can be
Sheryl Crow (1962-)
Every song is like a painting
Dick Dale (1937-2019)
I don’t play pyrotechnic scales. I play about frustration, patience, anger. Music is an extension of my soul
Dick Dale (1937-2019)
If songs were lines in a conversation, the situation would be fine
Nick Drake (1948-1974)
This land is your land and this land is my land, sure, but the world is run by those that never listen to music anyway
Bob Dylan (1941-)
I have a curiosity that compels me to find ways to make music that are fresh and new
The Edge (1961-)
Music is such a great communicator. It breaks down linguistic barriers, cultural barriers, it basically reaches out. That’s when rock n’ roll succeeds, and that’s what virtuosity is all about
The Edge (1961-)
You see, rock and roll isn’t a career or hobby – it’s a life force. It’s something very essential
The Edge (1961-)
My idea is that there is music in the air, music all around us; the world is full of it, and you simply take as much as you require
Edward Elgar (1857-1934)
I merely took the energy it takes to pour and wrote some blues
Duke Ellington (1899-1974)
I need drama in my life to keep making music
Eminem (1972-)
If people take anything from my music, it should be motivation to know that anything is possible as long as you keep working at it and don’t back down
Eminem (1972-)
Aggressive music can only shock you once. Afterwards, its impact declines. It’s inevitable
Brian Eno (1948-)
I’m a painter in sound
Brian Eno (1948-)
I’m fascinated by musicians who don’t completely understand their territory; that’s when you do your best work
Brian Eno (1948-)
You should play with real musicians; the best music comes from real people interacting with each other
John Fogerty (1945-)
It really is an honor if I can be inspirational to a younger singer or person. It means I’ve done my job
Aretha Franklin (1942-2018)
Finding a good band is like finding a good wife. You got to keep trying till you find the right one
Ace Frehley (1951-)
That’s what Kiss is all about – not just music, but entertainment, y’know? We’re there to take you away from your problems, and rock and roll all night and party every day for those two hours you’re at the concert
Ace Frehley (1951-)
I enjoy being able to express myself and the band is the perfect way of doing that
Keith Flint (1969-2019)
Music is the wine that fills the cup of silence
Robert Fripp (1946-)
Hardly a day goes by without me sticking on a Muddy Waters record
Rory Gallagher (1948-1995)
Life is a lot like jazz… it’s best when you improvise
George Gershwin (1898-1937)
A song without music is a lot like H2 without the O
Ira Gershwin (1896-1983)
Until you learn to play what you want to hear, you’re barking up the wrong tree
Billy Gibbons (1949-)
Too many young musicians today want to win polls before they learn their instruments
Benny Goodman (1909-1986)
Never lose faith in real rock and roll music. Never lose faith in that. You might have to look a little harder, but it’s always going to be there
Dave Grohl (1969-)
Anyone who used more than three chords is just showing off
Woody Guthrie (1912-1967)
I’ve never missed a gig yet. Music makes people happy, and that’s why I go on doing it – I like to see everybody smile
Buddy Guy (1936-)
Listen to the lyrics – we’re singing about everyday life: rich people trying to keep money, poor people trying to get it, and everyone having trouble with their husband or wife!
Buddy Guy (1936-)
Music is the tool to express life – and all that makes a difference
Herbie Hancock (1940-)
I do know the effect that music still has on me – I’m completely vulnerable to it. I’m seduced by it
Debbie Harry (1945-)
Music is a safe kind of high
Jimi Hendrix (1942-1970)
Music is my religion
Jimi Hendrix (1942-1970)
My goal is to be one with the music. I just dedicate my whole life to this art
Jimi Hendrix (1942-1970)
We plan for our sound to go inside the soul of a person… and see if they can awaken some kind of thing in their minds
Jimi Hendrix (1942-1970)
If I’m going to sing like someone else, then I don’t need to sing at all
Billie Holiday (1915-1959)
Music is the only thing I’ve ever known that doesn’t have any rules at all
Josh Homme (1973-)
Great music seems to come from a lot of angst, and that angst is from great musicians getting together with intense chemistry. When that chemistry isn’t there, people tend not to write great music
Peter Hook (1956-)
I don’t like no fancy chords. Just the boogie. The drive. The feeling. A lot of people play fancy but they don’t have no style. It’s a deep feeling-you just can’t stop listening to that sad blues sound. My sound
John Lee Hooker (1912-2001)
It’s never hard to sing the blues. Everyone in the world has the blues
John Lee Hooker (1912-2001)
No matter what you got, the blues is there
John Lee Hooker (1912-2001)
Poor people have the blues because they’re poor and hungry. Rich people can’t sleep at night because they’re trying to hold on to their money and everything they have
John Lee Hooker (1912-2001)
The blues tells a story. Every line of the blues has a meaning
John Lee Hooker (1912-2001)
When I die, they’ll bury the blues with me. But the blues will never die
John Lee Hooker (1912-2001)
I had the one thing you need to be a blues singer, I was born with the blues
Lightnin’ Hopkins (1912-1982)
Ain’t but one kind of blues and that consists of a male and female that’s in love
Son House (1902-1988)
The blues is not a plaything like some people think they are
Son House (1902-1988)
I don’t think punk ever really dies, because punk rock attitude can never die
Billy Idol (1955-)
Rock isn’t art, it’s the way ordinary people talk
Billy Idol (1955-)
Ladies and gentleman, I’ve suffered for my music, now it’s your turn
Neil Innes (1944-)
To have someone to relate to and hopefully enjoy the music and get a positive message out of it, to make the best music that we possibly could, those were the goals
Janet Jackson (1966-)
I believe that through music we can help heal the world
Michael Jackson (1958-2009)
I believe we should encourage children to sing and play instruments from an early age
Mick Jagger (1943-)
You start out playing rock ‘n’ roll so you can have sex and do drugs, but you end up doing drugs so you can still play rock ‘n’ roll and have sex
Mick Jagger (1943-)
My mother always told me, even if a song has been done a thousand times, you can still bring something of your own to it. I like to think I did that
Etta James (1938-2012)
I grew up in a world that told girls they couldn’t play rock ‘n’ roll
Joan Jett (1958-)
If nothing else, music lets you know that you’re not alone
Joan Jett (1958-)
Music is healing. It’s a really powerful thing, not to be taken lightly
Joan Jett (1958-)
I think music in itself is healing. It’s an explosive expression of humanity. It’s something we are all touched by. No matter what culture we’re from, everyone loves music
Billy Joel (1949-)
Musicians want to be the loud voice for so many quiet hearts
Billy Joel (1949-)
Music has healing power. It has the ability to take people out of themselves for a few hours
Elton John (1947-)
I been studyin’ the rain and I’m ‘on drive my blues away
Robert Johnson (1911-1938)
Some people tell me that the worried blues ain’t bad. Worst old feelin’ I most ever had
Robert Johnson (1911-1938)
The blues is a low down achin’ chill
Robert Johnson (1911-1938)
If you think you’re too old to rock ‘n’ roll then you are
Ian ‘Lemmy’ Kilmister (1945-2015)
And as long as people have problems, the blues can never die
BB King (1925-2015)
Notes are expensive… spend them wisely
BB King (1925-2015)
I think no matter what kind of music you play, there will be moments when you feel like it’s all been done before
Kerry King (1964-)
Music is my life, it is a reflection of what I go through
Lenny Kravitz (1964-)
And I think for me, any great art is art which communicates human emotion
Greg Lake (1947-2016)
The bottom line is that musicians love to make music and always will
Jennifer Lopez (1969-)
If being an egomaniac means I believe in what I do and in my art or music, then in that respect you can call me that… I believe in what I do, and I’ll say it
John Lennon (1940-1980)
Songwriting is like… being possessed. You try to go to sleep but the song won’t let you
John Lennon (1940-1980)
Music is an extraordinary vehicle for expressing emotion – very powerful emotions. That’s what draws millions of people towards it. And, um, I found myself always going for these darker places and – people identify with that
Annie Lennox (1954-)
Nothing pleases me more than to go into a room and come out with a piece of music
Paul McCartney (1942-)
I always said punk was an attitude. It was never about having a Mohican haircut or wearing a ripped T-shirt. It was all about destruction, and the creative potential within that
Malcolm McLaren (1946-2010)
The popularity of punk rock was, in effect, due to the fact that it made ugliness beautiful
Malcolm McLaren (1946-2010)
Music is born out of the inner sounds within a soul
John McLaughlin (1942-)
Actors always want to be musicians, and musicians want to be actors
Marilyn Manson (1969-)
Music is the strongest form of magic
Marilyn Manson (1969-)
My music fights against the system that teaches to live and die
Bob Marley (1945-1981)
My music will go on forever. Maybe it’s a fool say that, but when me know facts me can say facts. My music will go on forever
Bob Marley (1945-1981)
One good thing about music, when it hits you, you feel no pain
Bob Marley (1945-1981)
I’m just a musical prostitute, my dear
Freddie Mercury (1946-1991)
Life is too short to listen to bad music
Freddie Mercury (1946-1991)
What I look for in musicians is a sense of infinity
Pat Metheny (1954-)
All musicians are subconsciously mathematicians
Thelonious Monk (1917-1982)
A musician’s or artist’s responsibility is a simple one, and that is, through your music to tell the truth
Tom Morello (1964-)
Music inflames temperament
Jim Morrison (1943-1971)
Music is the magic carpet that carries poetry
Jim Morrison (1943-1971)
Music is spiritual. The music business is not
Van Morrison (1945-)
You can’t stay the same. If you’re a musician and a singer, you have to change, that’s the way it works
Van Morrison (1945-)
Three chords and the truth – that’s what a country song is
Willie Nelson (1933-)
If it’s too loud, you’re too old
Ted Nugent (1948-)
If I ever really felt depressed, I would just start putting on all my old records that I played as a kid, because the whole thing that really lifted me then still lifted me then, still lifted me during those other times
Jimmy Page (1944-)
I’m all about inspiring young musicians to get out there and express themselves through music
Orianthi Panagaris (1985-)
Master your instrument. Master the music. And then forget all that bullshit and just play
Charlie Parker (1920-1955)
Music is your own experience, your thoughts, your wisdom. If you don’t live it, it won’t come out of your horn
Charlie Parker (1920-1955)
They teach you there’s a boundary line to music. But, man, there’s no boundary line to art
Charlie Parker (1920-1955)
You can’t go to the store and buy a good ear and rhythm
Les Paul (1915-2009)
If children are not introduced to music at an early age, I believe something fundamental is actually being taken from them
Luciano Pavarotti (1935-2007)
I don’t know, my music has always just come from where the wind blew me. Like where I’m at during a particular moment in time
Tom Petty (1950-2017)
Music is probably the only real magic I have encountered in my life. There’s not some trick involved with it. It’s pure and it’s real. It moves, it heals, it communicates and does all these incredible things
Tom Petty (1950-2017)
I don’t know how much more expressive you can get than being a rock and roll singer
Robert Plant (1948-)
Music is for every single person that walks the planet
Robert Plant (1948-)
I like music that’s more offensive. I like it to sound like nails on a blackboard, get me wild
Iggy Pop (1947-)
Music is life, and life is not a business
Iggy Pop (1947-)
‘Punk rock’ is a word used by dilettantes and heartless manipulators about music that takes up the energies, the bodies, the hearts, the souls, the time and the minds of young men who give everything they have to it
Iggy Pop (1947-)
Rock and roll music, if you like it, if you feel it, you can’t help but move to it. That’s what happens to me. I can’t help it
Elvis Presley (1935-1977)
I’m always happy. I’m never sad. I never slow down. I’m constantly occupied with music
Prince (1958-2016)
Music is music, ultimately. If it makes you feel good, cool
Prince (1958-2016)
The hardest thing with musicians is getting them not to play
Prince (1958-2016)
The key to longevity is to learn every aspect of music that you can
Prince (1958-2016)
I am flattered to have been the woman to have opened the door for female rockers to be accepted into the mainly male industry
Suzi Quatro (1950-)
Rock n’ roll! It’s the music of puberty
Suzi Quatro (1950-)
Music is enough for a lifetime but a lifetime is not enough for music
Sergei Rachmaninoff (1873-1943)
I never saw music in terms of men and women or black and white. There was just cool and uncool
Bonnie Raitt (1949-)
The great thing about the arts, and especially popular music, is that it really does cut across genres and races and classes
Bonnie Raitt (1949-)
All punk is is attitude. That’s what makes it. The attitude
Joey Ramone (1951-2001)
Rock ‘n’ roll is very special to me. It’s my lifeblood
Joey Ramone (1951-2001)
The only love affair I have ever had was with music
Maurice Ravel (1875-1937)
Music is the greatest communication in the world. Even if people don’t understand the language that you’re singing in, they still know good music when they hear it
Lou Rawls (1933-2006)
Music should come crashing out of your speakers and grab you, and the lyrics should challenge whatever preconceived notions that listener has
Lou Reed (1942-2013)
My God is rock ‘n’ roll
Lou Reed (1942-2013)
My music, I hope, takes 100% of your concentration. I know how to do that
Trent Reznor (1965-)
If you don’t know the blues… there’s no point in picking up the guitar and playing rock and roll or any other form of popular music
Keith Richards (1943-)
Music is a language that doesn’t speak in particular words. It speaks in emotions, and if it’s in the bones, it’s in the bones
Keith Richards (1943-)
Music is a necessity. After food, air, water and warmth, music is the next necessity of life
Keith Richards (1943-)
Rock and Roll: Music for the neck downwards
Keith Richards (1943-)
To make a rock ‘n’ roll record, technology is the least important thing
Keith Richards (1943-)
I’ve always said music should make you laugh, make you cry or make you think. If it doesn’t do one those things, then you’re wasting everybody’s time
Kenny Rogers (1938-)
Texas is a hotbed of insanely good bands and musicians
Henry Rollins (1961-)
The musician is perhaps the most modest of animals, but he is also the proudest
Erik Satie (1866-1925)
Anyone who loves music can never be quite unhappy
Franz Schubert (1797-1827)
There is no such thing as happy music
Franz Schubert (1797-1827)
When you play, never mind who listens to you
Robert Schumann (1810-1856)
Songs won’t save the planet, but neither will books or speeches
Pete Seeger (1919-2014)
The music that I have learned and want to give is like worshipping God. It’s absolutely like a prayer
Ravi Shankar (1920-2012)
Music is forever; music should grow and mature with you, following you right on up until you die
Paul Simon (1941-)
Music is feeling. You can try to verbalize it. It really just hits you or it doesn’t
Gene Simmons (1949-)
Artists, musicians, scientists – if you have any kind of visionary aptitude, it’s often something that you don’t have a choice in. You have to do it
Patti Smith (1946-)
I don’t think I’ll ever write a song that’ll ever move me as much as ‘Faith’, that’ll change my life as much as that song did, or encapsulates a period of my life as well as that one does
Robert Smith (1959-)
I do a job I really, really love and I kind of have fun with. People think you can’t be grown up unless you’re moaning about your job
Robert Smith (1959-)
I had no desire to be famous; I just wanted to make the greatest music ever made. I didn’t want anyone to know who I was
Robert Smith (1959-)
I honestly don’t class myself as a songwriter. I’ve got ‘musician’ written on my passport. That’s even funnier
Robert Smith (1959-)
I lose myself in music because I can’t be bothered explaining what I feel to anyone else around me
Robert Smith (1959-)
The best music is essentially there to provide you something to face the world with
Bruce Springsteen (1949-)
Half the battle is selling music, not singing it. It’s the image, not what you sing
Rod Stewart (1945-)
If you play music with passion and love and honesty, then it will nourish your soul, heal your wounds and make your life worth living. Music is its own reward
Sting (1951-)
A painter paints pictures on canvas. But musicians paint their pictures on silence
Leopold Stokowski (1882-1977)
I haven’t understood a bar of music in my life, but I have felt it
Igor Stravinsky (1882-1971)
My music is best understood by children and animals
Igor Stravinsky (1882-1971)
Too many pieces of music finish too long after the end
Igor Stravinsky (1882-1971)
People have told me songs I’ve written have changed their life. That`s remarkable. That keeps your faith
Joe Strummer (1952-2002)
Punk rock isn’t something you grow out of. Punk rock is an attitude, and the essence of that attitude is ‘give us some truth’
Joe Strummer (1952-2002)
I believe 100 percent in the power and importance of music
James Taylor (1948-)
I never wanted to get rich or be a star. I’m an old bastard but I’m still playing! That’s the point
Bernie Tormé (1952-2019)
Music acts like a magic key, to which the most tightly closed heart opens
Maria von Trapp (1905-1987)
Music – what a powerful instrument, what a mighty weapon!
Maria von Trapp (1905-1987)
Music is a great natural high and a great natural escape
Shania Twain (1965-)
I’m always pursuing knowledge; I’m a seeker of spiritual equilibrium – and music is a big part of that
Steve Vai (1960-)
Music really is a way to reach out and hold on to each other in a healthy way
Stevie Ray Vaughan (1954-1990)
I don’t know if any genuine, meaningful change could ever result from a song. It’s kind of like throwing peanuts at a gorilla
Tom Waits (1949-)
I like beautiful melodies telling me terrible things
Tom Waits (1949-)
Songs really are like a form of time travel because they really have moved forward in a bubble. Everyone who’s connected with it, the studio’s gone, the musicians are gone, and the only thing that’s left is this recording which was only about a three-minute period maybe 70 years ago
Tom Waits (1949-)
The universe is making music all the time
Tom Waits (1949-)
I been in the blues all my life. I’m still delivering ‘cause I got a long memory
Muddy Waters (1913-1983)
My blues are so simple but so few people can play it right
Muddy Waters (1913-1983)
The blues had a baby and they called it rock and roll
Muddy Waters (1913-1983)
Being a musician is a noble profession
Paul Weller (1958-)
Music is very spiritual, it has the power to bring people together
Edgar Winter (1946-)
I think the blues will always be around. It just takes one person to make people aware of the blues
Johnny Winter (1944-2014)
I couldn’t do no yodelin’, so I turned to howlin’. And it’s done me just fine
Howlin’ Wolf (1910-1976)
I don’t play anything but the blues, but now I could never make no money on nothin’ but the blues. That’s why I wasn’t interested in nothin’ else
Howlin’ Wolf (1910-1976)
I just play blues for fun
Howlin’ Wolf (1910-1976)
When you ain’t got no money, you got the blues
Howlin’ Wolf (1910-1976)
Music, at its essence, is what gives us memories. And the longer a song has existed in our lives, the more memories we have of it
Stevie Wonder (1950-)
Music is a world within itself, with a language we all understand
Stevie Wonder (1950-)
The musical soundscape is an endless road
Zakk Wylde (1967-)
I am probably the last of a generation to be able to gain an education in country music by osmosis, by sitting in a ’64 Ford banging the buttons on the radio
Dwight Yoakam (1956-)
I think the most important thing about music is the sense of escape
Thom Yorke (1968-)
Rock and roll is here to stay
Neil Young (1945-)
There’s an edge to real rock ‘n’ roll. It’s all that matters
Neil Young (1945-)
I don’t understand this phrase ‘I’ve paid my dues’. We didn’t have any money and lived on peanut butter and jelly, and I loved it. I don’t regret any of it. We never expected to make it this far, but we worked hard to get here
Ronnie Van Zant (1948-1977)
If prisons, freight trains, swamps, and gators don’t get ya to write songs, man, y’ain’t got no business writin’ songs
Ronnie Van Zant (1948-1977)
A composer is a guy who goes around forcing his will on unsuspecting air molecules, often with the assistance of unsuspecting musicians
Frank Zappa (1940-1993)
All the good music has already been written by people with wigs and stuff
Frank Zappa (1940-1993)
Information is not knowledge. Knowledge is not wisdom. Wisdom is not truth. Truth is not beauty. Beauty is not love. Love is not music. Music is THE BEST
Frank Zappa (1940-1993)
Jazz is not dead, it just smells funny
Frank Zappa (1940-1993)
Most people wouldn’t know music if it came up and bit them on the ass
Frank Zappa (1940-1993)
Music is always a commentary on society
Frank Zappa (1940-1993)
There are more love songs than anything else. If songs could make you do something we’d all love one another
Frank Zappa (1940-1993)
Without music to decorate it, time is just a bunch of boring production deadlines or dates by which bills must be paid
Frank Zappa (1940-1993)
You can’t always write a chord ugly enough to say what you want to say, so sometimes you have to rely on a giraffe filled with whipped cream
Frank Zappa (1940-1993)
Tailpiece
Well, the above represents a veritable roll call of music royalty covering multiple centuries. As you might have expected, these maxims from musicians about music are often passionate, heartfelt and powerful, almost beyond words. The historical male dominance of the industry is clear and look forward to more female music professionals being credited for their insightful observations in the future.
There is, as mentioned last month, a certain irony in using plain words to articulate the meaning of music but that is just the medium I’m using. I would encourage you to listen to the source material for many of the elements covered in this series so far. There is a lifetime of ever‑growing musical exploration to be had out there.
CRAVE Guitars posts a ‘quote of the day’, both about music and more generally about ‘life, the universe and everything’ (Douglas Adams) every day on Twitter and Facebook. The previous article and this one have allowed me to draw from that broader research and to focus resources on the collective wisdom of this particular theme.
Having now done two consecutive articles on quotations, you are probably all quoted out by now, so be reassured that there won’t be any more for a while (except my traditional personal observation at the end of every article). As far as I can tell, this is the penultimate article in this long series, which means that, all being well, we should culminate the next month, as scheduled. As a bit of bait, I will leave you to ponder what else might be espoused in the way of a conclusion. Any guesses?
Despite the global shutdown of society, I’m sticking to what I know and love doing, which is to continue my mission to share with anyone who may be interested some selfishly selected stuff about ‘Cool & Rare American Vintage Electric’ Guitars. Weirdly, I am actually very comfortable in splendid seclusion and I would be quite happy to continue a relatively hermetic lifestyle whatever comes to pass. In the meantime, above all, please look after yourselves and take care – stay home, stay safe. Until next time…
CRAVE Guitars’ ‘Quote of the Month’: “True wealth is appreciating what you have now and neither grieving for what you might have had nor for what you may wish to have”
Well, here we are once again. Welcome to 2020 one and all – a new year and a new decade, well, sort of. After the temporary intermission last month for the obligatory 2019 end‑of‑year roundup, we’re back on the trail ‘History of Modern Music…’ Cast your mind back for a moment. In more than one way, 1650 and the end of the Renaissance, where this story began seems a long, long time ago now. It struck me during the brief interlude just what a conceivably Sisyphean labour it has become, and there is still quite a bit of fun and games to be played out. Getting straight back into the proverbial saddle, Part X of the story is now rounding up the stragglers from the 20th Century and riding into the dawn of the new millennium with all its first world promises and disappointments.
If you would like to (re)visit the first 9 parts (and 350 years) of the story to‑date, you can do so here (each link opens a new browser tab):
Right, now the prelude is over, let’s get into the groove of the shiny new millennium, starting at 2000 and finishing this month at the end of 2009…
The Story of Modern Music Part X 2000-2009
Without the benefit of lengthy hindsight, the question is, how best to describe early 21st Century music? Arguably, the most notable trend of the noughties was the rise in popularity of indie music standing proud and in stark contrast to the seemingly indomitable, yet strangely bland, soulless and non‑descript merchandise of the commercial pop music industry.
Sadly, time and circumstances resulted in many prominent departures during the decade, adding a touch of pathos among the many achievements. While lost to us, at least we still have their music to appreciate.
In the absence of any particularly significant defining characteristics, perhaps it is best to let the facts speak for themselves. Before we get there, though, it is important to set the turbulent global context within which the musical styles of the new age progressed. Although shorter in content than previous decades, the ‘noughties’, and consequently, the ‘teenies’, will still get their own discrete article.
Historical Context 2000-2009
The opening decade of the 2000s has many popular names, one of which is simply, ‘the noughties’. The widely recognised formal name for the first decade of a new century is the less common, ‘the aughts’. Despite the unbridled optimism for the new millennium, the ‘00s heralded a fractious decade during which terrorism and the rise of dangerous radical Islamic ideologies would dominate international relations and drive brutal armed conflict in many territories. An unsustainable rise in living standards and avaricious materialism during the first half of the decade precipitated another inevitable major ‘boom and bust’ event fuelled by rabid financial mismanagement and, ultimately, greed. The result was the most devastating global recession to hit ordinary people since the 1930s in terms of both impact and longevity. Depression drove increasingly profound social, health and wealth divisions between the richest few percent and the vast majority. The digital revolution boomed and the unbridled growth of the Internet facilitated the promise of global democratisation of knowledge and information, while also enabling massive levels of ‘social’ drivel and inanity. There was a continued expansion in environmental lobbying and ‘green’ industries aiming to tackle the impending and still controversial threat of the ‘greenhouse effect’ on the planet’s fragile ecosystem.
Year
Global Events
2000
An Air France Concorde airliner crashed shortly after take‑off in France, killing 113 people, leading to the suspension of the fleet and effectively ending the era of supersonic passenger flights.
The first stage of the world’s largest collaborative biological project, the Human Genome Project was completed, documenting an initial rough draft of the base pairs that make up human DNA.
2001
Republican politician George W. Bush became the 43rd president of the U.S.A. Bush Junior was the son of George H.W. Bush who was the 41st president.
Members of the Islamic terrorist group al-Qaeda hijacked and crashed two airliners into the World Trade Center in Manhattan, New York City. A third plane was crashed into the U.S. Department of Defense HQ, the Pentagon in Virginia. A fourth aircraft crashed in Shanksville, Pennsylvania after passengers overpowered the hijackers. The co‑ordinated attacks of 9/11 killed almost 3,000 people.
America, supported by its allies, invaded Afghanistan following the unprecedented 9/11 terrorist attacks on the U.S.A. with the intention of dismantling the threat of Islamic terrorist organisation al‑Qaeda at its source.
2002
The Euro was officially introduced in the Eurozone countries, after which the former currencies of those countries ceased to be legal tender.
Queen Elizabeth, The Queen Mother of the UK monarchy and the wife of King George VI, died. Her funeral took place at Westminster Abbey in London.
The Severe Acute Respiratory Syndrome coronavirus (SARS CoV) outbreak emanated in southern China and the subsequent epidemic caused a global public health crisis.
2003
America and Britain, supported by allies, invaded Iraq to remove the threat of alleged weapons of mass destruction (WMD) and to depose the country’s dictator and head of state, Saddam Hussain.
The first successful global social networking website, Myspace was founded by Americans Chris DeWolfe and Tom Anderson, based in Beverly Hills, California. Myspace was overtaken in popularity by rival Facebook in 2008 and, while still in existence, usage has declined significantly.
American Space Shuttle Columbia disintegrated during re‑entry to the Earth’s atmosphere, killing all seven astronauts aboard.
2004
The global Internet‑based social media networking web site Facebook was created by American entrepreneur Mark Zuckerberg, based in Menlo Park, California. Facebook has approximately 2.5billion active users.
The European Union (EU) expanded by 10 new member states – Poland, Lithuania, Latvia, Estonia, the Czech Republic, Slovakia, Slovenia, Hungary, Malta and Cyprus.
A massive 9.3 magnitude earthquake and tsunami in the Indian Ocean near Sumatra killed over 200,000 people.
The tallest skyscraper in the world, Taipei 101, at a height of 1,670 feet (510m) opened in Taipei, Taiwan. It was overtaken by the completion of the Burj Khalifa in Dubai in 2010.
2005
The video sharing web site, YouTube was launched. The platform was created by Chad Hurley, Steve Chen, and Jawed Karim, based in San Bruno, California. YouTube is currently owned by technology giant, Google.
Polish head of the Catholic Church and sovereign of the Vatican City, Pope John Paul II died. He was succeeded by German national, Pope Benedict XVI.
Category 5 Hurricane Katrina devastated the city of New Orleans, Louisiana, U.S.A., killing over 1,800 people and causing billions of dollars’ worth of damage.
2006
Indian Islamic terrorists detonated seven bombs on trains in the city of Mumbai, India, killing more than 200 people.
Discovered in 1930, Pluto was demoted from planet status and was re‑designated the largest known dwarf planet in the Kuiper belt. Caltech researcher Mike Brown led the team that led to the declassification.
Former president of Iraq, Saddam Hussein was tried and convicted by an Iraqi Special Tribunal and was executed by hanging for crimes against humanity.
2007
Three-year old English girl Madeleine McCann disappeared from the holiday resort of Praia da Luz in the Algarve region of Portugal. She remains missing despite massive media coverage.
Technology giant Apple Inc. launched the game‑changing touch screen mobile telephone, the iPhone.
The Global Financial Crisis began, caused by poor regulation resulted in the failure of a number of large financial and banking institutions. The severe worldwide economic downturn, known as the Great Recession, was the worst since the Great Depression of the 1930s. The economic impact of the slump lasted for more than a decade.
2008
In physics, the Large Hadron Collider particle accelerator used to detect the presence of sub‑atomic particles was completed by CERN near Geneva in Switzerland. The pioneering science project became fully operational in 2010.
Pakistani Islamic terrorists carried out a series of 12 attacks over 4 days in Mumbai, India, killing almost 175 people.
2009
The decentralised digital cryptocurrency Bitcoin was established by pseudonymous Japanese creator Satoshi Nakamoto.
Democrat politician Barack Obama became the 44th president of the U.S.A. and was the first African‑American to be elected to the presidency.
Musical Genre Development 2000-2009
The pop music machine sustained commercial success well into the 21st Century. Large record companies continued to focus resources on the lucrative tween and teen audiences with artists such as Avril Lavigne, Miley Cyrus, Justin Bieber, Rihanna, Chris Brown, Usher, P!nk, Beyoncé, Lady Gaga and Katy Perry. Also popular were manufactured groups such as Destiny’s Child, Sugababes, Pussycat Dolls, One Direction, 5 Seconds Of Summer and Little Mix. Country music saw another revival with artists like Shania Twain, Taylor Swift, Faith Hill, Keith Urban and Carrie Underwood achieving notable success. Soul (nu‑soul) also saw a resurgence of interest, including performers like Joss Stone, Natasha Bedingfield, Corinne Bailey Rae, Estelle, Amy Winehouse, Adele and Duffy. Hip‑hop broadened out into contemporary R&B and claimed the resurgent urban music territory with artists such as Jay‑Z, Kanye West, Ludacris and 50 Cent building on the popularity of Dr Dre, Eminem and N.W.A.
Indie (rock) music had its origins in the 1970s as a ‘catch‑all’ umbrella term for artists who produced music through independent record labels rather than the large record companies and their subsidiaries. A new breed of bands began to emerge, aided by Internet exposure, coalescing into the indie rock movement on both sides of the Atlantic Ocean. Emerging rock bands came into their own and reasserted their independence through a rejection of (and by) the structured studio system. One constant characteristic of indie music is the rejuvenated dominance of the electric guitar within a band format. Indie music originated from the punk, alternative and grunge genres of previous decades and represents a very diverse range of musical approaches including dream pop, shoegaze, indie pop, indie dance, garage rock, indietronica, chillwave, hypnagogic pop, lo‑fi, etc. To reflect this diversity, there is a long list of indie artists from varying sub‑genres to give an indication of its broad appeal, including (in no particular order); My Bloody Valentine, Arctic Monkeys, The Jesus & Mary Chain, Eels, Low, The Zutons, Interpol, Charlatans, Slowdive, Ride, Primal Scream, PJ Harvey, The Strokes, The White Stripes, The Hives, The Vines, Snow Patrol, Keane, Pavement, Spiritualized, Blood Red Shoes, The Cribs, Sleater‑Kinney, The Libertines, Franz Ferdinand, Razorlight, Editors, Kasabian, Kings Of Leon, LCD Soundsystem, Crystal Castles, Arcade Fire, Yeah Yeah Yeahs, Paramore, Belle & Sebastian, The Shins, The Kooks, The Killers, The Fratellis, Vampire Weekend, Bombay Bicycle Club, The Black Keys, Black Rebel Motorcycle Club, Modest Mouse, Ariel Pink, My Chemical Romance, Weezer, Death Cab for Cutie, White Lies, Two Door Cinema Club and War On Drugs amongst many others. The sheer volume of artists and material led to the term ‘indie landfill’ used to describe generic and derivative music exploiting indie music credentials.
Musical Facts 2000-2009
Day
Month
Year
Music Fact
6
March
2000
The American Rock & Roll Hall Of Fame inducted its ‘Class of 2000’ including Eric Clapton, Earth Wind & Fire, The Lovin’ Spoonful, Bonnie Raitt, James Taylor, Nat ‘King’ Cole, Billie Holiday and Scotty Moore.
27
March
2000
English punk singer, songwriter and poet, Ian Dury died from cancer in London at the age of 57.
23
May
2000
American hip hop artist Eminem released his classic 3nd studio album, ‘The Marshall Mathers LP’.
20
June
2000
American blues/rock duo The White Stripes released their 2nd studio album, ‘De Stijl’.
2
October
2000
English alternative rock band Radiohead changed stylistic direction when they released their 4th studio album, ‘Kid A’.
9
October
2000
English alternative rock band Placebo released their 3rd studio album, ‘Black Market Music’.
5
December
2000
American political rap rock band, Rage Against The Machine released their 4th and, to‑date, final studio album, ‘Renegades’.
8
December
2000
English bass guitarist, singer, songwriter and former member of rock band The Police, Sting received a star on the Hollywood Walk of Fame at 6834 Hollywood Boulevard.
18
December
2000
English singer and songwriter Kirsty MacColl was killed tragically in a boating incident while on holiday in Cozumel, Quintana Roo, Mexico at the age of 41.
20
December
2000
Long-running UK music magazine ‘Melody Maker’ published its final issue. It had run for over 74 years since January 1926. Melody Maker was merged with rival music paper, New Musical Express (NME).
6
March
2001
Jamaican reggae legend Bob Marley received a posthumous Star on the Hollywood Walk of Fame at 7080 Hollywood Boulevard.
19
March
2001
The American Rock & Roll Hall Of Fame inducted its ‘Class of 2001’ including Aerosmith, Solomon Burke, the Flamingos, Michael Jackson, Queen, Paul Simon, Steely Dan, Ritchie Valens and James Burton.
20
March
2001
Renowned Northern Irish blues/rock guitarist, Gary Moore released his classic 15th studio album, ‘Back To The Blues’ in the UK.
2
April
2001
German industrial heavy metal rock band Rammstein released their top-selling 3rd studio album, ‘Mutter’ (translated as Mother).
3
April
2001
American indie rock band Black Rebel Motorcycle Club released their debut studio album, ‘B.R.M.C.’.
10
April
2001
Indie rock giants, Nick Cave & The Bad Seeds released their 11th studio album, ‘No More Shall We Part’.
4
June
2001
English alternative rock band Radiohead released their classic 5th studio album, ‘Amnesiac’ in the UK.
18
June
2001
English alternative rock band Muse released their breakout 2nd studio album, ‘Origin of Symmetry’.
30
June
2001
American guitarist, nicknamed the ‘Country Gentleman’, Chet Atkins died from cancer at his home in Nashville, Tennessee at the age of 77.
3
July
2001
American blues/rock duo The White Stripes released their 3rd studio album, ‘White Blood Cells’.
18
July
2001
American hard rock band KISS introduced a unique, if somewhat sinister, item of brand merchandise, a burial coffin humorously known as the ‘KISS Kasket’.
27
July
2001
American bass guitarist with southern rock band Lynyrd Skynyrd, Leon Wilkeson died of chronic liver and lung disease in Ponte Vedra Beach, Florida at the age of 49.
30
July
2001
Emerging American indie rock band The Strokes released their classic debut album, ‘Is This It’.
18
September
2001
American alternative/indie rock band Wilco released their classic 4th studio album, ‘Yankee Hotel Foxtrot’.
23
October
2001
American technology giant Apple Inc. introduced the first iPod solid state portable media player, linked to the iTunes media storage library.
29
November
2001
English former member of The Beatles, George Harrison died of cancer in Los Angeles, California at the age of 58.
16
December
2001
Scottish guitarist and singer with punk rock band Skids and then Big Country, Stuart Adamson committed suicide in Honolulu, Hawaii at the age of 43.
5
March
2002
MTV broadcast the first episode of their reality TV show ‘The Osbournes’, featuring a portrayal of the Black Sabbath singer Ozzy Osbourne’s family life.
18
March
2002
The American Rock & Roll Hall Of Fame inducted its ‘Class of 2002’ including Isaac Hayes, Brenda Lee, Tom Petty and the Heartbreakers, Gene Pitney, Ramones, Talking Heads and Chet Atkins.
26
March
2002
British heavy metal rock band, Iron Maiden released their massive live concert album, ‘Rock In Rio’.
12
April
2002
English heavy metal singer with Black Sabbath and TV reality show celebrity, Ozzy Osbourne received a star on the Hollywood Walk of Fame at 6780 Hollywood Boulevard.
14
May
2002
Award-winning American singer, songwriter, guitarist, electronica musician and producer Moby released his commercially successful 6th studio album, ‘18’.
5
June
2002
American bass guitarist Dee Dee Ramone of punk rock band Ramones died from a heroin drug overdose at his home in Hollywood, California at the age of 50.
27
June
2002
English bass guitarist with rock band The Who, John Entwistle, nicknamed ‘The Ox’, died of a cocaine‑related heart attack in a Hard Rock hotel room in Paradise, Nevada at the age of 57.
27
August
2002
American rock band Queens Of The Stone Age released their classic 3rd studio album, ‘Songs For The Deaf’.
24
September
2002
American alternative rock artist, Beck released his introspective and highly underrated 8th studio album, ‘Sea Change’.
14
October
2002
English indie rock band The Libertines released their successful debut studio album, ‘Up The Bracket’.
18
October
2002
English pop/rock band Queen received a star on the Hollywood Walk of Fame at 6356 Hollywood Boulevard.
27
October
2002
Highly renowned American record producer who worked for Atlantic Records, Tom Dowd died of emphysema in Aventura, Florida at the age of 77.
3
November
2002
Scottish singer and guitarist, crowned the ‘King of Skiffle’, Lonnie Donegan died of a heart attack in Market Deeping, Lincolnshire at the age of 71.
22
December
2002
English singer, songwriter and guitarist, Joe Strummer of punk rock band The Clash died from a congenital heart defect at his home in Somerset, UK at the age of 50.
30
December
2002
The funeral of English guitarist, singer and songwriter with punk rock band The Clash, Joe Strummer took place in London, UK.
3
February
2003
Famous American ‘wall of sound’ record producer, Phil Spector murdered actress Lana Clarkson in his California Alhambra mansion.
10
February
2003
English trip-hop group, Massive Attack released their underrated 4th studio album, ‘100th Window’ in the UK.
10
March
2003
The American Rock & Roll Hall Of Fame inducted its ‘Class of 2003’ including AC/DC, The Clash, Elvis Costello & The Attractions, The Police, The Righteous Brothers and Floyd Cramer.
1
April
2003
American blues/rock duo The White Stripes released their highly regarded 4th studio album, ‘Elephant’.
1
April
2003
English alternative rock band Placebo released their 4th studio album, ‘Sleeping With Ghosts’.
18
April
2003
Legendary American blues/R&B, soul and jazz singer Etta James received a star on the Hollywood Walk of Fame at 7080 Hollywood Boulevard.
11
May
2003
English bass guitarist with The Jimi Hendrix Experience, Noel Redding died of liver disease in Clonakilty, County Cork, Ireland at the age of 57.
15
May
2003
American country music singer and wife of Johnny Cash, June Carter Cash died following heart surgery in Nashville, Tennessee at the age of 73.
30
May
2003
Successful English record producer behind many massive chart hits, Mickie Most died from abdominal cancer at his home in London at the age of 64.
9
June
2003
Acclaimed English alternative rock band Radiohead released their 6th studio album, ‘Hail To The Thief’.
13
June
2003
English guitarist, singer, songwriter and former member of progressive rock band Pink Floyd, David Gilmour was awarded a CBE by Her Majesty the Queen.
30
July
2003
Legendary American record producer Sam Phillips, founder of Sun Records and the man responsible for signing Elvis Presley, Jerry Lee Lewis, Roy Orbison and Johnny Cash, died of respiratory failure in Memphis Tennessee at the age of 80.
25
August
2003
American indie rock band Black Rebel Motorcycle Club released their 2nd studio album, ‘Take Them On, On Your Own’.
12
September
2003
Less than 4 months after his wife passed away, American country legend Johnny Cash died of complications caused by diabetes in Nashville at the age of 71.
26
September
2003
English singer, songwriter, musician, solo artist and former member of the pop rock band Power Station, Robert Palmer died of a heart attack in a hotel room in Paris, France at the age of 54.
29
September
2003
English alternative rock band Muse released their successful 3nd studio album, ‘Absolution’.
12
December
2003
English singer and songwriter with The Rolling Stones, Mick Jagger received a knighthood from HRH Prince Charles at Buckingham Palace.
9
February
2004
English indie rock band Franz Ferdinand released their successful debut studio album, the self-titled ‘Franz Ferdinand’.
15
March
2004
The American Rock & Roll Hall Of Fame inducted its ‘Class of 2004’ including Jackson Browne, George Harrison, Prince, Bob Seger, Traffic and ZZ Top.
6
May
2004
American virtuoso jazz guitarist and session musician with The Wrecking Crew, Barney Kessel died from a brain tumour at his home in San Diego, California at the age of 80.
10
June
2004
American singer, songwriter, musician, and composer Ray Charles died from complications as a result of acute liver disease at his home in Beverly Hills, California at the age of 73.
15
June
2004
Emerging American rock band The Killers released their hugely successful debut studio album, ‘Hot Fuss’.
23
June
2004
American folk/rock singer, songwriter and guitarist, Bob Dylan was made ‘Doctor of Music’ at St. Andrews University in Scotland, UK.
24
June
2004
Exactly 5 years after his first sale, English blues/rock guitarist, Eric Clapton auctioned many of his guitars in New York City. Together, the two auctions raised $11 million for the Crossroads Centre he founded in Antigua, a residential treatment centre for alcohol and chemical dependencies.
21
July
2004
American music composer, Jerry Goldsmith, famous for his many TV and film scores, died from cancer in Beverley Hills, California at the age of 75.
30
August
2004
English indie rock band The Libertines released their successful eponymous 2nd studio album, ‘The Libertines’.
6
September
2004
English indie rock band Kasabian released their classic self-titled debut studio album, ‘Kasabian’.
9
September
2004
Successful American guitar and musical equipment entrepreneur and businessman, Ernie Ball died in San Luis Obispo, California at the age of 74.
15
September
2004
American guitarist and songwriter with punk rock band Ramones, Johnny Ramone died of prostate cancer at his home in Los Angeles, California at the age of 56.
20
September
2004
Indie/alternative rock giants, Nick Cave & The Bad Seeds released their epic 13th double studio album, ‘Abattoir Blues / The Lyre of Orpheus’.
21
September
2004
American post-punk rock band Green Day released their top-selling 7th studio album, ‘American Idiot’ in the U.S.
27
September
2004
German industrial heavy metal band Rammstein released their 4th studio album, ‘Reise, Reise’ (roughly translated as ‘Arise, Arise’).
25
October
2004
Highly acclaimed English DJ and BBC radio presenter, John Peel died from a heart attack while working on holiday in Cusco, Peru at the age of 65.
1
November
2004
American rock band Kings of Leon released their commercially successful 4th studio album, ‘Only By The Night’ in the UK (22 February 2005 in the US).
3
November
2004
English blues/rock guitarist, singer and songwriter, Eric Clapton received a CBE from the Princess Royal at Buckingham Palace in London for his services to music.
8
December
2004
American guitarist, ‘Dimebag’ Darrell Abbott, co-founder of heavy metal bands Pantera and Damageplan was murdered while performing on stage in Columbus, Ohio at the age of 38.
14
December
2004
The funeral of American guitarist with heavy rock bands Pantera and Damageplan, ‘Dimebag’ Darrell Abbott, took place in Arlington, Texas.
10
February
2005
English singer with The Who, Roger Daltrey was awarded a CBE by HM The Queen at Buckingham Palace.
14
March
2005
The American Rock & Roll Hall Of Fame inducted its ‘Class of 2005’ including Buddy Guy, The O’Jays, The Pretenders, Percy Sledge and U2.
22
March
2005
American alternative rock band Queens Of The Stone Age released their 4th studio album ‘Lullabies to Paralyze’.
11
June
2005
Two English rock guitarists were rewarded for their contributions to music in the Queen’s Birthday Honours. Jimmy Page of Led Zeppelin was awarded an OBE and Brian May of Queen a CBE.
22
August
2005
American indie rock band Black Rebel Motorcycle Club released their 3rd studio album, ‘Howl’.
30
August
2005
American indie rock band Death Cab For Cutie released their 5th studio album, ‘Plans’.
1
September
2005
American blues singer, songwriter and guitarist R.L. Burnside died of heart disease in a hospital in Memphis, Tennessee at the age of 78.
4
September
2005
The major feature film chronicling the life of country legend Johnny Cash, ‘Walk The Line’, starring Joaquin Phoenix and Reese Witherspoon, directed by James Mangold, was released in the USA.
10
September
2005
American guitarist and Blues Hall of Famer, Clarence ‘Gatemouth’ Brown died from cancer in Orange, Texas at the age of 81.
5
November
2005
Influential American rock ‘n’ roll guitarist Link Wray died of heart failure at his home in Copenhagen, Denmark at the age of 76.
23
January
2006
English indie rock sensation, Arctic Monkeys released their debut studio album, ‘Whatever People Say I Am, That’s What I’m Not’.
13
March
2006
The American Rock & Roll Hall Of Fame inducted its ‘Class of 2006’ including Black Sabbath, Blondie, Miles Davis, Lynyrd Skynyrd, Sex Pistols and Herb Alpert.
7
July
2006
English guitarist, songwriter and founder of progressive rock band Pink Floyd, Syd Barrett died of pancreatic cancer at his home in Cambridge at the age of 60.
25
July
2005
British indie rock band Editors released their debut studio album, ‘The Back Room’ in the UK.
30
July
2006
Popular weekly UK music chart TV programme ‘Top Of The Pops’ (TOTP) was broadcast by the BBC for the final time, after running for 42 years.
28
August
2006
English indie rock band Kasabian released their classic 2nd studio album, ‘Empire’.
15
October
2006
After American singer Patti Smith finished her live set at New York City’s famous punk rock music venue CBGB & OMFUG, the club finally closed its doors for good, following a rent dispute and thereby ending an era.
25
December
2006
Legendary American singer and the ‘Godfather of Soul’, James Brown died of pneumonia in Atlanta, Georgia at the age of 73.
28
February
2007
American rock band The Doors received a star on the Hollywood Walk of Fame at 6901 Hollywood Boulevard.
12
March
2007
The American Rock & Roll Hall Of Fame inducted its ‘Class of 2007’ including Grandmaster Flash & The Furious Five, R.E.M., The Ronettes, Patti Smith and Van Halen.
23
April
2007
English indie rock band, Arctic Monkeys released their sophomore studio album, ‘Favourite Worst Nightmare’.
25
June
2007
British indie rock band Editors released their sophomore studio album, ‘An End Has a Start’.
5
November
2007
English downtempo artist William Emmanuel Bevan (a.k.a. Burial) released his melancholic genre breaking 2nd studio album, ‘Untrue’.
12
December
2007
Controversial American rock ‘n’ roll and R&B pioneer, Ike Turner died from a cocaine overdose at his home in San Marcos, California at the age of 76.
2
March
2008
Extraordinary blind Canadian blues/rock guitarist Jeff Healey died from lung cancer in Toronto at the age of 41.
10
March
2008
The American Rock & Roll Hall Of Fame inducted its ‘Class of 2008’ including Leonard Cohen, The Dave Clark Five, Madonna, John Mellencamp, The Ventures and Little Walter.
1
April
2008
American blues/rock duo The Black Keys released their classic 5th studio album, ‘Attack & Release’.
3
April
2008
American media and technology giant Apple Inc. became the top seller of recorded music in the USA.
19
April
2008
The annual global campaign to promote the importance of independent music stores ‘Record Store Day’ began in California, USA.
28
April
2008
English trip-hop band, Portishead released their 3rd studio album, the originally titled, ‘Third’.
12
May
2008
American indie rock band Death Cab For Cutie released their 6th studio album, ‘Narrow Stairs’.
26
May
2008
English indie rock band Spiritualized released their 6th studio album, ‘Songs In A&E’.
2
June
2008
Legendary American blues and rock ‘n’ roll guitarist Bo Diddley died from heart failure at his home in Archer, Florida at the age of 79.
7
June
2008
The ‘homecoming’ funeral of American blues guitarist and singer Bo Diddley took place in Gainseville Florida.
19
June
2008
American indie rock band The War On Drugs released their debut studio album, ‘Wagonwheel Blues’.
10
August
2008
Acclaimed American soul singer, songwriter, producer and actor, Isaac Hayes died of a stroke at his home in Memphis, Tennessee at the age of 65.
19
September
2008
American rock band Kings of Leon released their commercially successful 4th studio album, ‘Only By The Night’.
10
October
2008
English alternative rock band Radiohead released their 7th studio album, ‘In Rainbows’ in the UK.
24
November
2008
Experimental virtuoso English rock guitarist, Jeff Beck released his highly acclaimed live concert album, ‘Performing This Week… Live At Ronnie Scott’s’.
15
December
2008
Hugely influential English folk acoustic guitarist Davey Graham died of lung cancer at the age of 68.
6
January
2009
American guitarist and songwriter with The Stooges and Iggy Pop, Ron Asheton died of a heart attack at his home in Ann Arbor, Michigan at the age of 60.
29
January
2009
Influential British singer, songwriter and guitarist, John Martyn died from pneumonia in Kilkenny, Ireland at the age of 60.
23
February
2009
English rave band The Prodigy released their resurgent 5th studio album, ‘Invaders Must Die’.
4
April
2009
The American Rock & Roll Hall Of Fame inducted its ‘Class of 2009’ including Jeff Beck, Metallica, Run‑D.M.C., Bobby Womack, Bill Black and D.J. Fontana.
13
April
2009
Controversial American record producer Phil Spector was convicted of murdering actress Lana Clarkson at his Alhambra mansion in California in February 2003.
14
April
2009
English former member of The Beatles, George Harrison received a posthumous star on the Hollywood Walk of Fame at 1750 Vine Street.
29
May
2009
Notorious American record producer, Phil Spector was sentenced to 19 years to life in prison for murdering actress Lana Clarkson at his California mansion in 2003.
5
June
2009
English indie rock band Kasabian released their classic 3rd studio album, ‘West Ryder Pauper Lunatic Asylum’.
25
June
2009
American superstar singer Michael Jackson died of a drug overdose in Los Angeles, California at the age of 50.
12
August
2009
Legendary American jazz guitarist, singer, inventor and recording innovator, Les Paul, died from pneumonia in White Plains, New York at the age of 94.
19
August
2009
English indie rock band, Arctic Monkeys released their 3rd studio album, ‘Humbug’.
12
October
2009
British indie rock band Editors released their 3rd studio album, ‘In This Light And On This Evening’.
Tailpiece
Help! We are running out of decades from which to poach pertinent and poignant particulars (pardon the flowery alliteration). Just one more decade and a few hundred facts to be revealed before the chronological timeline has to remain as‑yet‑unwritten for another epoch. The next instalment looking at the 2010s will, by definition, bring us pretty much up‑to‑date. I hope you feel inclined to re-join me in the next enthralling part of the journey.
In the meantime, warmer days and longer evenings of spring beckon. There are plenty of guitars to be played and much music to be listened to. Until next time…
CRAVE Guitars’ ‘Quote of the Month’: “It really doesn’t matter what music you play, or how good you are at playing it,as long as you play”
Hello and welcome back to the second part of what is turning out to be CRAVE Guitars’ magnum opus for this year. You can revisit Part I by clicking on the link below (it will open in new browser tab):
After posting Part I in March 2019, I realised that the intended approach wasn’t going to work as I’d originally intended, especially as the series would progress. The idea for this year was to present each section in two parts, i) a short narrative setting the general historical context through global political, technological and economic events of the time, and ii) the list of music facts covering the same period. That worked well enough for the first article, which briefly covered 250 years (1650 to 1900) as a precursor to ‘modern’ musical times (from 1900 onwards).
Now… after a bit of reflection, this posed a few problems once we get into the 20th and 21st Centuries, as the number of facts and the historical context expanded in quantity and complexity. Not only this, there was a noticeable disconnect between the context and the musical facts that seemed to leave a hole in the story. While not a huge problem, I wasn’t happy with the result. The course of events needed something additional not only to make the story more coherent but also to become more interesting.
So, as it’s ‘early doors’ in the project, I decided to revisit the deferred piece of research that I was going to publish this year. This brainwave enabled me to adapt that other idea and to combine it with the historical context and musical facts. It isn’t quite what I was thinking of but I reckon it will work quite well. This extensive new piece of work involved documenting the development of relevant musical genres that took place over the same time period as the rest. This move, however, will negate the original idea I had for 2019. Oh well, never mind.
Unfortunately for me, this presented another issue which was to undertake the background work needed for it to make sense and this was on top of the other elements I was already working on. If that was the end of the story, that would be enough. However, it also meant that the length of each section would then not only become too long but also too ‘chunky’. The answer to that is to split the sections into decades, each comprising three parts – historical context, musical genre developments and music facts. That’s where we are this month.
As music is an art not a science, the approach is, to some extent, necessarily arbitrary. In an attempt to avoid repetition, each genre is only covered in the first period when it became popular. As you might expect, history, genres, artists and time periods are not always neatly organised, so there is often overlap and a degree of ‘fuzziness’ around the edges. I hope, however, that the structure is relatively easy to follow and makes some kind of sense.
As previously mentioned, this is not a detailed, comprehensive academic exercise. It is purely for entertainment and each snippet of information barely scratches the tip of the proverbial iceberg. If you want to know more, I’m afraid you’ll have to go and explore where it takes you for yourself.
Finally, before we get started with this month’s part of musical history, I also have to say that the starting point of the series is from the perspective of the guitar and guitar music. If you are reading this, then you probably already appreciate that anyway, however, it does need to be said. This means that, while other aspects of music are covered, it will have a definite and obvious guitar bias. As the author, that’s my prerogative and I’m not apologising for that. Anyway, I hope you enjoy this part of the story because this is where things begin to get enthralling.
The Story of Modern Music Part II – 1900-1919
Musical Context
This is the new bit of the story added to cement the whole together, so a quick recap is needed.
Popular music of the early 1900s was very different from the predominantly highly structured classical music genres that preceded it. Starting around 1870, the catalyst for the emergent modern styles led to a seemingly miraculous eruption of musical innovation, creativity and experimentation during the 20th Century that was unlike anything that preceded it and probably unlike anything we will see again, at least in our lifetimes. Blues, jazz, gospel and folk were becoming particularly prominent and relevant in the western world.
In order to appreciate where modern music of the 20th Century began, we need to take a brief look at the origins that began to appear in the late 19th Century, even though they were still not necessarily prominent at the turn of the millennium. In these sections it is important to recognise that musical genres did not appear from nothing and neither did they disappear overnight. In addition, many musical genres endured and morphed over decades and many have seen periodical revivals. The categorisation of music into decades for the sake of this article is simply a convenient device to provide a frame of reference within which the ‘facts’ can be readily accommodated. Similarly, genre boundaries and musical styles emanating from particular geographical territories should be seen as fluid and constantly cross‑pollinating, and should not, therefore, be taken as definitive. Where appropriate, relevant notes will be included. Nothing in music, it seems, is simple or straightforward.
1870s
The Blues, or ‘the devil’s music’ is a major musical genre that originated in the Deep South of the United States such as Mississippi, Louisiana and southern Texas from around the 1870s and spread widely across the country changing its style as its popularity increased. Blues really came to prominence at the beginning of the 20th Century. The basis of the blues came predominantly from African American music and traditional African music, as well as European traditional folk music. The genre can be recognised often by repeating chord progressions and commonly a 12‑bar structure. The word ‘blues’ is largely attributed to melancholy, sad or depressed mental states and is often associated with trials and tribulations of post‑slavery black oppression. The development of the blues included work songs, spiritual songs, chants, and ballads. Around 1902, African American musician WC Handy, often called ‘the father of the blues’, heard blues music being played at a railway station and set about promoting the genre through early recordings. Some of the early practitioners of blues include Charlie Patton, Blind Blake, Blind Lemon Jefferson, Mississippi John Hurt, Son House, Robert Johnson, Big Bill Broonzy and Lead Belly, along with many others. Blues music has been highly influential over the last 150 years and its lasting effects can be found widely in jazz as well as later musical genres such as rhythm & blues, rock ‘n’ roll and rock music. Blues has also spawned many sub‑genres including Delta blues, country blues, Piedmont blues, hill country blues, West Coast blues, electric Chicago blues, Texas blues and blues rock.
1890s
While orchestral music remained popular up to the end of the 19th Century, a new breed of music was attracting listeners’ attention. Ragtime emanated from the African American communities of urban cities including St. Louis in Missouri around 1895-1897. Ragtime takes the traditional march musical style that had been made popular by John Philip Sousa and was often played by African American bands. Ragtime incorporated ‘ragged’ syncopated rhythms often reminiscent of polyrhythmic African music. Ragtime became a massively popular form of dance music up to around 1919. Ragtime, along with blues music largely influenced and evolved into Jazz from about 1917. Dance crazes inspired by ragtime became popular with contemporary audiences of the time including the shimmy, the turkey trot, the buzzard lope, the chicken scratch, the monkey glide, and the bunny hug. Predominantly white audiences first encountered the new craze at popular vaudeville shows, with artists soon migrating to the music clubs. Scott Joplin, Joseph Lamb and James Scott are known as the ‘big three’ ragtime composers of their time.
Right, now things are back on track, let’s get going with the early part of the 20th Century.
The 1900s
The 1900s was a decade that heralded not only intense hope for a new millennium but also further leaps of scientific and technological progress.
Historical Context 1900-1909
1900
Work on the famous New York subway from City Hall to the Bronx began.
1901
The first Nobel Prizes are awarded in Stockholm, Sweden in the fields of physics, chemistry, medicine, literature, and peace.
The Commonwealth of Australia was created.
Hubert Cecil Booth made the world’s first commercial vacuum cleaner.
King Gillette and William Nickerson founded the American Safety Razor Company.
After 63 years on the throne, British monarch Queen Victoria died and was succeeded by King Edward VII.
The first 2000‑mile transatlantic radio message from England to Newfoundland was sent by Italian electrical engineer Guglielmo Marconi.
1902
The Flatiron Building in Manhattan, New York became the world’s tallest at 20 stories and 205 feet tall.
1903
The first powered flight was made by brothers Orville and Wilbur Wright using the first heavier than air powered airplane, the Wright Flyer.
American industrialist and founder of the Ford Motor Company, Henry Ford started mass production of motor cars in America.
The first baseball World Series was held.
1905
Albert Einstein published his ‘Special Theory of Relativity’ proposing the relationship between space and time.
1906
A massive 7.9 (estimated) magnitude earthquake struck California, killing 3,000 people and destroying 80% of San Francisco. The Britain suffragette movement began, aiming to give women the vote.
The first Grand Prix motor race took place at Le Mans in France.
1908
Lord Baden‑Powell founded the Boy Scouts and Girl Guides movement.
The headquarters of the Singer Manufacturing Company in Manhattan reached 47 stories and 612 feet tall.
The American agency, the FBI (Federal Bureau of Investigation) was formed.
Ford introduced the massively popular Model T motor car, which sold for $850.
1909
Explorers Robert Peary and Matthew Henson claim to be the first people to reach the North Pole.
Musical Genre Development 1900-1909
Blues music was beginning to spread from the rural areas of the American Deep South and varieties such as hill blues and country blues reflected the social culture of their regional origins. Church music was also prominent in the American Bible belt, as was Anglo‑American folk music with immigrants influencing home grown styles.
Although classical music began to be overtaken rapidly by more modern forms, opera became particularly popular in the early 20th Century and sustained interest until about 1960.
Jazz music, often termed ‘America’s classical music’, is another major musical genre starting from around 1900. Early forms of jazz musical expression emerged mainly from the American south and particularly around the city of New Orleans in Louisiana, often referred to as Dixieland. Jazz stemmed from existing blues, ragtime and European military band music, all of which were popular in the late 19th Century. Musician Buddy Bolden is widely recognised for fusing blues and ragtime to form the basis of jazz. Partly because of these origins, early jazz music was principally performed by African American musicians. Jazz is characterized by ‘swing’ and ‘blue’ notes, call and response patterns, polyrhythmic arrangements and extensive improvisation. Jazz rapidly diversified with forms such as ‘honky‑tonk’, ‘boogie woogie’ and simple jug band music. The main surge in the popularity of jazz music occurred after WWI and particularly from 1920 onwards, known widely as ‘the Jazz Age’. The growth of the jazz craze soon spread to dance halls and speakeasies as well as ubiquitous marching bands. Music and dancing became a significant part of popular jazz culture, including the cakewalk, the black bottom, the Charleston, the lindy hop and the jitterbug. The introduction of recording technology and wireless radio also gave much broader exposure to the exciting new musical genre. Popular jazz artists included Jelly Roll Morton, Louis Armstrong, Bessie Smith and Fats Waller, as well as big band orchestras led by the likes of Duke Ellington, and Count Basie. Jazz rapidly diversified including forms such as Kansas City jazz, gypsy jazz, bebop, cool jazz, free jazz and fusion. Jazz and its many different styles remained hugely popular up to the 1940s and its legacy heavily influenced the proliferation of other musical genres from the early 1950s.
Musical Facts 1901-1909
Day
Month
Year
Music Fact
4
August
1901
Legendary American jazz trumpet player, singer and composer, Louis ‘Satchmo’ Armstrong was born in New Orleans, Louisiana.
21
March
1902
Legendary and influential blues guitarist, singer and songwriter, Son House (1902-1988, 86) was born in Lyon, Mississippi.
9
June
1902
Influential delta blues guitarist and singer Skip James (1902-1969, 67) was born in Bentonia, Mississippi.
10
October
1902
American luthier Orville Gibson founded The Gibson Mandolin-Guitar Manufacturing Co. Ltd in Kalamazoo, Michigan, now better known as manufacturer of Gibson guitars.
26
June
1903
American blues singer, songwriter and guitarist, Big Bill Broonzy (1903-1958, 65) was born in Jefferson County, Arkansas.
1
March
1904
American big-band trombone player, arranger, composer, and bandleader Glenn Miller was born in Clarinda, Iowa.
21
August
1904
American jazz pianist, organist, bandleader, and composer Count Basie was born in Red Bank, New Jersey.
19
November
1905
American jazz trombone player, composer, conductor and bandleader, the ‘Sentimental Gentleman of Swing’ Tommy Dorsey was born in Shenandoah, Pennsylvania.
12
January
1906
American country blues singer and guitarist Mississippi Fred McDowell (1906-1972, 66) was born in Rossville, Tennessee.
12
November
1906
American delta blues guitarist and singer Booker T. Washington ‘Bukka’ White (1906 or 1909-1977, 67 or 70) was born between Aberdeen and Houston, Mississippi.
2
December
1906
The inventor of the long playing microgroove record (a.k.a. the LP) for Columbia Records, Peter Carl Goldmark was born in Budapest, Hungary.
29
September
1907
American guitarist, singer, songwriter, actor, rodeo performer and businessman, ‘the singing cowboy’ Gene Autry (1907-1998, 91) was born in Tioga, Texas
26
January
1908
Amazing French virtuoso jazz violinist, known as ‘the grandfather of jazz violinists’ Stéphane Grappelli was born in Paris.
30
May
1909
American jazz clarinet player and bandleader, the ‘King of Swing’, Benny Goodman was born in Chicago, Illinois.
10
August
1909
One of the most significant figures in guitar music history and business, Clarence Leonidas ‘Leo’ Fender (1909-1991, 81) was born in Anaheim, California.
10
October
1909
American businessman, president of guitar manufacturer Gibson and mentor to luthier Paul Reed Smith, the formidable Theodore ‘Ted’ McCarty (1909-2002, 91) was born in Somerset, Kentucky.
The 1910s
The 1910s was a tumultuous decade and one that would leave the world on a watershed, with positive and negative implications for the ones that would follow.
Historical Context 1910-1919
1911
Norwegian explorer, Roald Amundsen became the first person to reach the South Pole.
The Chinese Revolution led to the formation of the republic of China.
The first Indianapolis 500 motor race took place at Indianapolis Motor Speedway in Indiana.
1912
The so‑called unsinkable ocean liner, the RMS Titanic sank on its maiden transatlantic voyage from Southampton to New York after striking an iceberg, killing over 1,500 passengers and crew.
1913
The first crossword puzzle was published in a Sunday newspaper, the New York World.
1914
The Panama Canal in Central America opened, connecting the Atlantic and Pacific Oceans.
The First World War (WWI) started between Germany/Austria and Britain/France/Russia, which lasted until 1918.
1915
A German torpedo sank the British ocean liner Lusitania off the Irish coast, killing nearly 1,200 people.
1916
Albert Einstein published his ‘General Theory of Relativity’ proposing a unified description of gravitation as a geometric property of space and time.
1917
The Russian Bolshevik Revolution took place, led by Vladimir Lenin and Leon Trotsky.
America joined WWI on the side of the Allies.
1918
The British Royal Air Force was founded.
Women over the age of 30 were given the vote in Britain.
A deadly influenza pandemic infected c.500 million people around the world and resulted in the deaths of 50 to 100 million, equivalent to 3-5% of the global population.
The armistice between the Allies and Germany ended WWI. Approximately 17 million people were killed during the conflict.
1919
The infamous Chicago Black Sox baseball match fixing scandal, when 8 members of the White Sox were accused of intentionally losing the World Series to Cincinnati for money from a gambling syndicate.
The Grand Canyon National Park in Arizona was created.
After WWI, the League of Nations was established, intended to ensure world peace, lasting until it was abandoned in 1946.
Musical Genre Development 1910-1919
By 1910, blues music was migrating into urban areas and would have a major influence on all forms of music. Jazz particularly New Orleans Jazz maintained its popularity during the 1910s. Religion was of great solace to the oppressed black communities of southern USA and unaccompanied singing of spirituals grew in popularity, eventually morphing into gospel by the 1930s. Social development in America and particularly Europe during the 1910s was heavily impacted by World War I. In the absence of technological music distribution, the ‘new’ music from the previous decade continued to spread and it maintained its influence during the 1910s. As a consequence, no major genre styles appeared before the boom period of the post‑war ‘roaring twenties’. Recordings of Afro‑Caribbean calypso music began to appear in the 1910s, which proved not only popular but also influential.
Musical Facts 1910-1919
Day
Month
Year
Music Fact
23
January
1910
Belgian/French virtuoso gypsy jazz guitarist, Django Reinhardt (1910-1953, 43) was born in Liberchies, Pont‑à‑Celles, Belgium.
28
May
1910
Influential American blues guitarist, singer and songwriter T-Bone Walker (1910-1975, 64) was born in Linden, Texas.
10
June
1910
Legendary blues American guitarist and singer Howlin’ Wolf (real name, Chester Burnett) (1910-1976, 65) was born in White Station, Mississippi.
8
May
1911
Legendary American blues guitarist, singer and songwriter, Robert Johnson (1911-1938, 27) was born in Hazlehurst, Mississippi.
5
November
1911
American singer, guitarist and popular Western film actor, known as the ‘King of the Cowboys’ Roy Rogers (1911‑1998, 86) was born in Cincinnati, Ohio.
15
March
1912
American country blues singer, songwriter and guitar legend, Sam ‘Lightnin’ Hopkins (may be 1911 or 1912‑1982, 69) was born in Centreville, Texas.
14
July
1912
Legendary and influential American folk singer, songwriter and guitarist, Woody Guthrie (1912‑1967, 55) was born in Okemah, Oklahoma.
4
April
1913
Legendary American Chicago blues guitarist, Muddy Waters a.k.a. McKinley Morganfield, (1913-1983, 70) was born in Issaquena County, Mississippi.
7
August
1913
American pioneer of the 7-string jazz guitar, long before its current popularity in modern rock music, George Van Eps (1913-1998, 85) was born in Plainfield, New Jersey.
22
November
1913
Famous English classical composer, conductor and pianist Benjamin Britten was born in Lowestoft, Suffolk.
20
March
1915
Influential American gospel singer, songwriter and guitarist, Sister Rosetta Tharpe (1915-1973, 58) was born in Cotton Plant, Arkansas.
7
April
1915
Legendary American singer Billie Holiday was born in Philadelphia, Pennsylvania, She is widely recognised as one of the greatest jazz singers of all time.
9
June
1915
True American guitar legend and musical innovator, the incomparable Les Paul, a.k.a. Lester William Polsfuss (1915-2009, 84) was born in Waukesha, Wisconsin.
1
July
1915
Influential American blues singer, songwriter, upright bass player and guitarist, Willie Dixon (1915-1992, 75) was born in Vicksburg, Mississippi.
29
July
1916
Highly influential American jazz guitarist, Charlie Christian (1916-1942, 25) was born in Bonham, Texas.
12
March
1917
American record producer and co-founder of Chess Records in Chicago, famous for pioneering blues and rock ‘n’ roll artists, Leonard Chess was born in Motal, Poland.
7
June
1917
American singer, actor, comedian, and producer Dean Martin was born in Steubenville, Ohio.
22
August
1917
Massively influential American blues guitarist, singer and songwriter, an all-time great music man, John Lee Hooker (1917-2001, 83) was born in Tutwiler, Tallahatchie County, Mississippi.
30
September
1917
Legendary American jazz drummer and band leader Buddy Rich was born in Brooklyn, New York.
21
October
1917
American jazz trumpeter, bandleader, composer, and singer Dizzie Gillespie was born in Cheraw, South Carolina.
17
November
1917
Influential American country singer, songwriter and guitarist, Merle Travis (1917-1983, 65) was born in Rosewood, Kentucky.
27
January
1918
American blues guitarist, the ‘king of the slide guitar’, Elmore James (1918-1963, 45) was born in Richland, Mississippi.
25
April
1918
Renowned American jazz singer, known as the ‘First Lady of Song’ and the ‘Queen of Jazz’, Ella Fitzgerald was born in Newport News, Virginia.
19
August
1918
Pioneering American luthier, Orville H. Gibson, founder of Gibson guitars, died in a New York hospital at the age of 62.
Tailpiece
OK, there you have it for this month’s article and we’ve only covered two decades! But, what influential decades they were. Things are just starting to hot up and there is still plenty to look forward to over coming months. Music and world events begin to get even more complicated and quite exciting from here on in. I’m not sure how many months this series will last, so we’ll just have to take things as they come.
In the background, the repatriation project is ongoing at an intentionally slow pace with about 3‑4 guitars a month attracting some much deserved tender loving care and attention. Also, the ‘most wanted’ vintage gear hunt is still underway but with no desperate urgency, as there is plenty else to be getting on with. Also, the postponed and much‑needed cellar renovation (i.e. future guitar accommodation) may begin to get underway by mid‑year. So, lots of fun and games to be had if at all possible. Until next time…
CRAVE Guitars ‘Quote of the Month’: “Intelligence is not about what you know or how much you know but about having the curiosity to ask ‘why?’”
