April 2025 – An A‑Z of Vintage Guitar Gear: in 150 Snippets

Prelude

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):

Danelectro
Epiphone
Fender
Gibson
Gretsch
Guild
Kramer
Music Man
National (Dobro/Valco)
Ovation
Paul Reed Smith (PRS)
Peavey
Rickenbacker
Silvertone


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”

© 2025 CRAVE Guitars – Love Vintage Guitars.


 

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January 2025 – 10 Things I Love and Hate about Vintage Guitars

Prelude

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:

  1. 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.
  2. 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.
  3. 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.
  4. 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.
  5. 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.
  6. 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.
  7. 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.
  8. 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.
  9. 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.
  10. 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:

  1. 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.
  2. 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.
  3. 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.
  4. 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.
  5. 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.
  6. 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.
  7. 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.
  8. 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.
  9. 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.
  10. 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”

© 2025 CRAVE Guitars – Love Vintage Guitars.


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July 2020 – More Whazzup at CRAVE Guitars

Prelude

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”

© 2020 CRAVE Guitars – Love Vintage Guitars.

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June 2020 – Whazzup at CRAVE Guitars

Prelude

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.”

© 2020 CRAVE Guitars – Love Vintage Guitars.

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April 2020 – The Story of Modern Music in 1,500+ Facts – Part XIII

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):

The Story of Modern Music Part XIII

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”

© 2020 CRAVE Guitars – Love Vintage Guitars.

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January 2020 – The Story of Modern Music in 1,500+ Facts – Part X

Introduction

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”

© 2020 CRAVE Guitars – Love Vintage Guitars.

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April 2019 – The Story of Modern Music in 1,500+ Facts – Part II

Introduction

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

DayMonthYearMusic Fact
4August1901Legendary American jazz trumpet player, singer and composer, Louis ‘Satchmo’ Armstrong was born in New Orleans, Louisiana.
21March1902Legendary and influential blues guitarist, singer and songwriter, Son House (1902-1988, 86) was born in Lyon, Mississippi.
9June1902Influential delta blues guitarist and singer Skip James (1902-1969, 67) was born in Bentonia, Mississippi.
10October1902American luthier Orville Gibson founded The Gibson Mandolin-Guitar Manufacturing Co. Ltd in Kalamazoo, Michigan, now better known as manufacturer of Gibson guitars.
26June1903American blues singer, songwriter and guitarist, Big Bill Broonzy (1903-1958, 65) was born in Jefferson County, Arkansas.
1March1904American big-band trombone player, arranger, composer, and bandleader Glenn Miller was born in Clarinda, Iowa.
21August1904American jazz pianist, organist, bandleader, and composer Count Basie was born in Red Bank, New Jersey.
19November1905American jazz trombone player, composer, conductor and bandleader, the ‘Sentimental Gentleman of Swing’ Tommy Dorsey was born in Shenandoah, Pennsylvania.
12January1906American country blues singer and guitarist Mississippi Fred McDowell (1906-1972, 66) was born in Rossville, Tennessee.
12November1906American delta blues guitarist and singer Booker T. Washington ‘Bukka’ White (1906 or 1909-1977, 67 or 70) was born between Aberdeen and Houston, Mississippi.
2December1906The inventor of the long playing microgroove record (a.k.a. the LP) for Columbia Records, Peter Carl Goldmark was born in Budapest, Hungary.
29September1907American guitarist, singer, songwriter, actor, rodeo performer and businessman, ‘the singing cowboy’ Gene Autry (1907-1998, 91) was born in Tioga, Texas
26January1908Amazing French virtuoso jazz violinist, known as ‘the grandfather of jazz violinists’ Stéphane Grappelli was born in Paris.
30May1909American jazz clarinet player and bandleader, the ‘King of Swing’, Benny Goodman was born in Chicago, Illinois.
10August1909One of the most significant figures in guitar music history and business, Clarence Leonidas ‘Leo’ Fender (1909-1991, 81) was born in Anaheim, California.
10October1909American 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

DayMonthYearMusic Fact
23January1910Belgian/French virtuoso gypsy jazz guitarist, Django Reinhardt (1910-1953, 43) was born in Liberchies, Pont‑à‑Celles, Belgium.
28May1910Influential American blues guitarist, singer and songwriter T-Bone Walker (1910-1975, 64) was born in Linden, Texas.
10June1910Legendary blues American guitarist and singer Howlin’ Wolf (real name, Chester Burnett) (1910-1976, 65) was born in White Station, Mississippi.
8May1911Legendary American blues guitarist, singer and songwriter, Robert Johnson (1911-1938, 27) was born in Hazlehurst, Mississippi.
5November1911American singer, guitarist and popular Western film actor, known as the ‘King of the Cowboys’ Roy Rogers (1911‑1998, 86) was born in Cincinnati, Ohio.
15March1912American country blues singer, songwriter and guitar legend, Sam ‘Lightnin’ Hopkins (may be 1911 or 1912‑1982, 69) was born in Centreville, Texas.
14July1912Legendary and influential American folk singer, songwriter and guitarist, Woody Guthrie (1912‑1967, 55) was born in Okemah, Oklahoma.
4April1913Legendary American Chicago blues guitarist, Muddy Waters a.k.a. McKinley Morganfield, (1913-1983, 70) was born in Issaquena County, Mississippi.
7August1913American 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.
22November1913Famous English classical composer, conductor and pianist Benjamin Britten was born in Lowestoft, Suffolk.
20March1915Influential American gospel singer, songwriter and guitarist, Sister Rosetta Tharpe (1915-1973, 58) was born in Cotton Plant, Arkansas.
7April1915Legendary American singer Billie Holiday was born in Philadelphia, Pennsylvania, She is widely recognised as one of the greatest jazz singers of all time.
9June1915True American guitar legend and musical innovator, the incomparable Les Paul, a.k.a. Lester William Polsfuss (1915-2009, 84) was born in Waukesha, Wisconsin.
1July1915Influential American blues singer, songwriter, upright bass player and guitarist, Willie Dixon (1915-1992, 75) was born in Vicksburg, Mississippi.
29July1916Highly influential American jazz guitarist, Charlie Christian (1916-1942, 25) was born in Bonham, Texas.
12March1917American 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.
7June1917American singer, actor, comedian, and producer Dean Martin was born in Steubenville, Ohio.
22August1917Massively 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.
30September1917Legendary American jazz drummer and band leader Buddy Rich was born in Brooklyn, New York.
21October1917American jazz trumpeter, bandleader, composer, and singer Dizzie Gillespie was born in Cheraw, South Carolina.
17November1917Influential American country singer, songwriter and guitarist, Merle Travis (1917-1983, 65) was born in Rosewood, Kentucky.
27January1918American blues guitarist, the ‘king of the slide guitar’, Elmore James (1918-1963, 45) was born in Richland, Mississippi.
25April1918Renowned American jazz singer, known as the ‘First Lady of Song’ and the ‘Queen of Jazz’, Ella Fitzgerald was born in Newport News, Virginia.
19August1918Pioneering 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?’”

© 2019 CRAVE Guitars – Love Vintage Guitars.

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February 2019 – A General Update

posted in: News, Observations, Opinion | 0

Hello again guitar fans and welcome to anyone else who may be curious about the big wide world of guitar addiction and obsession. As the great Jimi Hendrix once proclaimed, “Music is a safe kind of high”, so I’m happy to admit my perennial affliction. I trust that 2019 is treating you all well as we begin the move from dreary winter into nascent springtime.

I don’t have any particular theme for this month, so apologies in advance are probably due for what seems to be a generally incoherent rambling round up of various bits and pieces thrown together. One beneficial consequence is that this is a shorter tome than some.

State of Guitarville 2019

In the grand scheme of things, the guitar‑centric sector of the wider music industry is a relatively small but vibrant arena. While the general shrinking and decline of the ‘business’ continues well into the post‑recession era, the core elements seem in fairly good health overall. There is cautious optimism out there within the context of an unpredictable and challenging operating environment. There has been some progress since this time last year but not as much as many commentators might have wished.

Even though I wasn’t at the event, Winter NAMM 2019 held at the end of January in Anaheim, California saw a lot of activity and relatively good business was done. There were few ground‑shaking announcements at the convention but there was the usual excitement about shiny new gear from established brands. It was reassuring to see Gibson back at NAMM after their absence in 2018 and their new CEO is making all the right noises about what to expect from the company. Let’s hope that good intentions translate into achieving the right balance between quality and price, along with appropriate innovations alongside traditional instrument manufacturing. It is interesting that some of the more contentious technologies that were being used to reposition Gibson as a lifestyle company are now likely to be jettisoned in order to re‑establish confidence about, and a focus on, what really matters to their customers.

It is hardly a surprise that digital continues to make significant inroads into the analogue domain that has been the bedrock for so many generations of musicians across the globe. With the influx of ever more convincing digital inventions, one really does have to wonder how long analogue will remain the force it has been up to now. At some point, even the most hardened of luddites will be lured to make the jump either by the metaphorical lure of the carrot or the fear of the stick. There is still some way to go before all the components in a guitarist’s signal chain provide everything that the working professional musician needs for writing, rehearsal, live and recording settings.

The advantage for CRAVE Guitars and many other vintage enthusiasts is that we generally don’t need to worry about learning the operational demands and subtleties of this new‑fangled complex digital stuff and we can stick with what worked for us when we started out, complete with all its charming analogue idiosyncrasies (?!?!). One day, soon, digital will be the default and vintage gear will become a bit like vinyl records in there will be a market for it, even if it ultimately becomes a niche for nerdy specialists. For up‑and‑coming musicians who may not know any different, though, the current‑day smorgasbord of choice is phenomenal and, although the value‑for‑money equation on some equipment can be debated, the benefits are there to be discovered and exploited.

My sense, at the beginning of 2019 is that there is a degree of consolidation in design, manufacturing, marketing and distribution. The on‑going battleground between ‘brick & mortar’ retail and Internet business is still bitterly being fought out. At some point, an equilibrium will be reached where both channels will co‑exist, even if it means that the retail experience will be different from how it is now. Many consumers still greatly value going into a physical store, looking at, trying out and talking about equipment, so they will endure, even if those establishments have to offer other value‑added services on top of the traditional mainstay of shop floor sales. Companies that rely heavily on Internet operations will find overheads increasing, margins tightening and profitability harder to come by, thereby impacting sustainability and beginning to level the playing field a bit.

As far as guitars are concerned, as mentioned above, Gibson is poised for resurgence and Fender seem to be on their game and producing some very competent and attractive models at all price points. PRS are on a creative stretch of their own and doing OK judging by headlines. Gretsch, Rickenbacker and Danelectro also seem to be faring well, perhaps needing a bit of additional cool vibe to secure their future. Rejuvenated brands like Supro and Harmony are aiming to join the ranks as ‘go to’ guitars, while many other familiar names are managing to stay afloat. Acoustically, Martin and Taylor are both actively vying for top dog status with new innovations, which ultimately means some great guitars for the consumer. The last 12 months has seen some small‑scale luthiers go under or simply disappear, which is regrettable but, sadly, not surprising given the volatile international economics of the industry.

In the amp arena, there are three major directions of travel; a) the relentless digital onslaught from the likes of Fractal, Kemper and Line6 among others, b) ranges of very good valve and solid amps from the mainstream names such as Fender, Marshall, Vox, Orange and others, including some faithful reissues of classic models, and c) the continued rise of boutique builders catering for individual tastes in small numbers. We guitarists are, though, a conservative breed. It seems that the valve is dead, long live the valve!

One area where digital is revolutionising sound is on the pedalboard, which is a current ‘big thing’. There are some astoundingly inventive ways of mangling your guitar tone, both in variations of established FX types and some intriguing all‑new creations that take advantage of digital technology. Some exciting products are appearing from the likes of Catalinbread, Strymon, Eventide, Fulltone, Thorpy, Keeley, Electro‑Harmonix and Wampler, to name just a few. If you prefer multi‑effect pedals, then you are likely to have stalwarts like Line6, Boss and Zoom in your sights. Then there are pedalboard switching systems to help you organise your complex myriad of stompers, e.g. the Gig Rig 2 and Headrush. Likewise, the ever‑improving pedalboard power supplies derive from companies such as Truetone, Voodoo Labs and MXR. Looking from the outside, there are some tremendous bits of alluring kit becoming available, way beyond the vision of manufacturers and musicians back in the 20th Century when digital was just starting out. Whatever your budget, the choice, it seems, is yours.

Music publications across the board, including the trade press, are still suffering a seemingly unstoppable shrinkage of their market. Sales of paper magazines continue to dwindle and digital subscriptions are not filling the gap. As a result, high street transactions along with the advertising revenue streams they need to survive are decreasing. As the absolute size of the readership reduces, the risk of becoming uneconomic goes up disproportionately. Strategically, there are few options available and quite what will remain once an inevitable shake‑out occurs remains to be seen. The consequence of this is that the quality of content is likely to suffer in the long term. Music industry journalism needs to adapt, although there are major challenges ahead as people find alternative ways of acquiring the information they need (or, perhaps more worryingly, not bothering at all). Although referring to something slightly different, one is reminded of a whimsical quote from Frank Zappa who suggested that, “Most rock journalism is people who can’t write interviewing people who can’t talk for people who can’t read.” Discuss…

Another area of stagnancy appears to be in the quality of music pervading distribution channels. Video/TV, radio and physical media sales are stagnant at best, while digital streaming is becoming the dominant force. This re‑jigging of supply channels, though, isn’t the issue. Although a sweeping generalisation, it seems that since the turn of the millennium music output has increased in volume and decreased in quality. While this is a highly subjective observation, it is borne out by (vaguely) reliable anecdote across generational divides. There is no doubt that there is some extremely good music being made. However, finding the glittering gems amongst the deluge of dross is difficult and, as a result, the good stuff is constantly battling to reach a mass market, thereby making success a tough task for genuine aspiring talent (rather than vacuous celebrity wannabees!). Financial rewards for artists from streaming services is a travesty and needs addressing before it’s too late. Quite how the tide can be turned to reveal new genre twists and identify the next swathe of outstanding musicians will be a challenge for the 2020s. One can hope that something will happen, as it has always has, it just remains to be seen who, what, when and where it will pop up. Another consequence of generic music produced by generic people is that the desire for genuine instruments will decrease, thereby ultimately affecting sales of guitars.

Getting back to the point, core consumer demand for music gear continues to be resilient, although customers are understandably more discerning and, as a result, potentially more fickle. Reliance on past sales and brand loyalty are continually being chipped away at by targeted marketing and tough rivalry. However, strong competition and the downward pressure on street prices can prove to be a double‑edged sword for price sensitive customers. On the whole, one thing I can easily predict is that the popularity of the guitar will persist no matter what, despite regular prognoses that ‘guitar music is dead’. Quite what the musical landscape will be like in years to come is best left for others to forecast. Whatever happens, it’s going to be an exciting time in Guitarville.

As CRAVE Guitars is based in the UK, it is incumbent on me to mention ‘Brexit’ at this point. There are NO scenarios where leaving the European Union can benefit the country or its citizens. Prices are already increasing, not only because of increased costs and perceptions of risk but also as a result of exploitative selling practices by the unscrupulous trying to secure and bank revenue before the catastrophe strikes. Things are bad enough as they are (remember ‘Rip off Britain’?) and we don’t need any further unnecessary pecuniary pressures. After the severance has occurred and whatever the outcome is of the disastrous ‘deal or no deal’ shenanigans, import barriers, tariffs and currency speculation will affect Britain’s international trade relationships without question. The risk of further recession and national isolation rank high on the concerns of many British businesses. Given the fragile nature of the UK music industry, any weaknesses and threats will be heightened and only those that are able to adapt will survive. Hypocritical UK politicians, pedalling their own prejudices while protecting their personal interests should be ashamed of the damage that will result in the short‑term and aftershocks will continue to impact on the prosperity of the country for generations to come. What is regrettable is that there will be recourse to hold the inept self‑seeking minority accountable for engineering this chaos in the first place and having no idea about how to deliver it successfully. On this basis, I am not optimistic in the slightest. I hope, however, that I am proved wrong. Personally, my view is that there can be no backtracking and we need to get on with making the most of a bad situation. End of whinge!

Repatriation Update

I covered the long‑overdue reunion of a significant proportion of CRAVE Guitars’ vintage instruments in the last article. What I didn’t do is say much about what actually came back. So… if only for completeness, here is the full list of the (42) returnees:

  • 1966 Epiphone Olympic
  • 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 Precision Fretless Bass
  • 1977 Fender Stratocaster
  • 1983 Fender Stratocaster Dan Smith Era
  • 1972 Fender Telecaster Thinline
  • 1973 Fender Telecaster Deluxe
  • 1974 Fender Telecaster Custom
  • 1988 Fender Telecaster
  • 1983 Gibson Corvus II
  • 1963 Gibson ES-330 TDC
  • 1985 Gibson ES-335 Dot
  • 1982 Gibson Explorer E2
  • 1983 Gibson Explorer
  • 1984 Gibson Explorer
  • 1984 Gibson Explorer Custom Shop Edition
  • 1984 Gibson Explorer ‘Union Jack’ Graphic
  • 1966 Gibson Firebird III
  • 1976 Gibson Firebird Bicentennial
  • 1980 Gibson Flying V2
  • 1975 Gibson Les Paul Standard
  • 1977 Gibson Les Paul Deluxe Gold Top
  • 1989 Gibson Les Paul Custom
  • 1998 Gibson Les Paul Standard DC
  • 2002 Gibson Les Paul Standard
  • 1961 Gibson Melody Maker D
  • 1964 Gibson Melody Maker
  • 1982 Gibson Moderne Korina Heritage
  • 1981 Gibson RD Artist
  • 1965 Gibson SG Junior
  • 1968 Gibson SG Standard
  • 1962 Gretsch 6120 Chet Atkins Double Cutaway Hollowbody
  • 1965 Gretsch 6135 Corvette
  • 1978 Music Man Stingray Bass
  • 1974 Rickenbacker 480
  • 1964 Silvertone 1449 ‘Amp in Case’

Some of the guitars have only been ‘stored’ for a short period of time but many have been incarcerated for nearly 8 years!!! It is these ‘long‑termers’ to which I will probably need to pay most attention in the coming weeks and months. While they were safe and secure, a domestic loft space is definitely not an ideal environment in which to keep vintage guitars for any length of time. The fluctuations in temperature and relative humidity over an extended period are far too great to do them any good at all. Given the circumstances at the time (back in 2011), it was a necessary urgent solution borne out of a severe predicament and I had no practical alternative. I never anticipated that it would take over 7 years to get them all back – I was clearly naïvely deluded in thinking that it would take ‘about’ 6 months at the most to sort things out! Essentially, completely rebuilding one’s entire life from scratch took considerably longer and it has been an extremely arduous journey. Still, we are where we are, none of us can turn the clock back, so one has to be positive, forward looking and take it from here. At least the precious cargo has been rescued and they are now finally back where they belong and, primarily, that is what really matters.

At the moment, the only tangible evidence of the little treasure trove listed above is several stacks of dusty guitar cases. Excitement about the potential is also tinged with an element of guarded apprehension about what will be found when the contents are properly ‘exhumed’ and examined for need of repair and sensitive renovation. If at all possible, any replacement parts needed during restoration will be of the appropriate vintage. That presents a major quandary in 2019-2020. For instance, finding and procuring period‑correct components will be both time consuming and costly. While one could be practical and use modern replacement parts, I prefer to conserve these precious historically significant instruments with genuine components that are as close as possible to the originals as I can find (and afford). Only if that approach fails will I resort to pragmatic use of new stock items. Back in the pre‑recession boom, there was little difficulty in sourcing these useful bits and pieces. Now, however, it has become considerably more difficult.

Not only are vintage spare parts and accessories hard enough to find on the usual hinterwebby platforms, decent vintage guitars and amps also seem to be increasingly scarce, at least in the UK. I’m not sure why this should be. Perhaps people are hanging onto their instruments, perhaps there’s a mistrust/dislike of the usual web sites and the way they are run, or perhaps the post‑recession/pre‑Brexit uncertainty is still suppressing supply. The laws of economics dictate that continued demand combined with a shortage of (finite) supply means only one thing… increased prices. Wading through eBay is bad enough at the best of times but UK sourcing is particularly hard work at the moment. Disadvantageous exchange rates with the USA now seem to be a permanent fixture and, on top of that, CITES is a real bane. In addition, eBay searches are flooded with Japanese items that you just know are bogus. All round it’s not much as much fun as it should be when hunting down scarce ‘most wanted’ artefacts.

I am not treating the repatriation project with any sort of hysterical urgency. The guitars have been exiled for so long that a few more weeks in their new home before I get round to them won’t do any harm. In the first month, I have only attended to 2 out of 42 guitars (1964 Gibson Melody Maker and 1966 Fender Coronado) and I have to be cautiously optimistic that there is no lasting compromise to their integrity. Phew! I hope I don’t get any nasty surprises lurking in the remaining 40 to be uncovered.

Vintage guitars really need to be played. That may be ‘stating the bleeding obvious’ but the difference after a bit of TLC and playing for a few days is phenomenal. There is a transformational change in their playability, sound, feel and looks. I wonder if this may be one reason why some people pick up a (possibly neglected) vintage guitar and find it dull, lifeless and uninspiring. When they magically come back to life again, it is both a relief and a delight. The journey of rediscovering these instruments may well explain why I’m taking my time and not getting very far very quickly. Well, that and the fact that there isn’t a local guitar tech on whom I can rely when more extensive remedial works are required. I know my limitations and any attempt on my part to mess around with repairs and adjustments that are best left to experts would almost certainly be a regrettable mistake.

Another interesting observation is that, while I wasn’t overly attached to some of the guitars all that time ago – a proportion were originally intended to become the staple of a start‑up business – I have now developed an emotional connection to them because of everything I and they have been through over the intervening years. That may be a good thing because I now value them more for what they are than what they may be worth. Also, I simply wouldn’t be able to afford many of them on today’s market, so I’m just glad to have them now. However, it means that I may well have a struggle with my conscience if CRAVE Guitars does become an economic entity and I have to break those newfound relationships. Until that time, the guitar ‘collection’ is an integral part of the family and they are definitely not for sale in the short to medium‑term. My philosophy and attitude mean that the guitars still represent a not‑for‑profit conservation of the musical heritage, rather than any sort of potential gold mine.

As previously mentioned, a pressing priority over the next few months is to provide them with proper accommodation. This means that I need a competent builder to ‘tank’ the cellar and make a suitable home for the guitars. After that, I can possibly start thinking positively about what the future of CRAVE Guitars might one day become. One step at a time.

New in at CRAVE Guitars

So that I don’t fall into the same trap as last year, here’s a quick ‘new arrival’ section. As I predicted back in December 2018, things got off to a slow start this year. In fact, there has been only one purchase in the first 2 months of 2019. Surprisingly, it was an item that was actually on the ‘wanted in 2019’ shortlist.

CRAVE Effects is a relatively modest side venture that runs alongside the guitars and amps. The Cool & Rare American Vintage Electric’ acronym doesn’t actually work 100% in this context because CRAVE Effects comprises a diverse selection of stomp boxes from around the world. Whatevs! I can break my own rules.

One of the ‘classic’ effect pedals that was notably absent was the venerable Ibanez TS‑808 Tube Screamer Overdrive Pro from Japan. This was partly because availability of both the right pedal and the resources needed to acquire it were in short supply. Good ones are few and far between and, when they do come up, they go for silly money. So when an original 1981 TS‑808 turned up on eBay UK for an aforementioned silly price, but arguably not exorbitantly so, it had to be pounced upon. Thus, the notable gap has at long last been duly filled. To think that I could have added another ‘budget’ vintage guitar for the same price as the Tube Screamer puts things into perspective.

As is often the case with vintage Tube Screamers, this example shows typical signs of use (good) but not abuse (bad), so it has just the right amount of mojo, otherwise known as ‘wear and tear’, needed to be confident that it was a safe purchase. Thankfully, apart from a replacement battery snap, it is in all‑original condition and it works very well indeed for a 38‑year old pedal, which is testament to their durability.

As anyone acquainted with my opinionated drivel (or should that be overdrivel in this case?) will know, my heretical views don’t always accord with those of the self‑appointed ‘establishment’. The original TS‑808 is good but I don’t believe it really deserves its insanely elevated and almost mythological status in the minds of many guitarists. Like numerous effects from the late 1970s and early 1980s, it can sound great or grim depending on how it’s used. It is player, guitar, effect and amp dependent, so it needs to be carefully matched in order to make it sound its best. Although new TS‑808 and TS9 reissues are not the same as the old ones, they are still very good overdrive effects. Therein lies a fundamental truth that applies equally for any stomp box made at any time – you pays your money and make your choice. Regardless of my biased view, the much‑imitated and often re‑issued Tube Screamer has become the de facto benchmark for overdrive pedals and there is no getting away from it.

The web site feature on the TS‑808 has already been prepared but, like most gear purchases over the last year, it hasn’t yet been published on the web site. Sigh! Yet another job waiting in the pipeline. Watch this space…

Sign‑off

That’s about it for February 2019. This has been a necessarily short soliloquy compared to many of my verbose outpourings. Inspiration, motivation and time have been in limited supply so far this year and articulating much of any interest at all has been a bit like hard work. Therefore, there is no point in proverbially flagellating a deceased dobbin and it is probably best to stop here for now.

That means that I can get back to the immediate task in hand, which is looking after a few vintage guitars and, hopefully, playing some of them along the way. I’m sure there will be more on this particular topic in coming months. Until next time…

CRAVE Guitars ‘Quote of the Month’: “Conscience dictates that we understand right from wrong. Imagine what mankind might achieve if we could work together rather than conflict, and what good could be done if we stopped the immense and irreparable harm we cause.”

© 2019 CRAVE Guitars – Love Vintage Guitars.

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December 2018 – What A [Deleted] Year That Was

posted in: Opinion | 0

Welcome to the 50th monthly article and the inevitable end-of-year roundup and a look back at the last 12 months. As usual with retrospective roundups, it’s a time for lists and reflective hindsight. As one year ends, another is about to kick off, so it is also an opportunity for a tentative look forward. I hope all readers had a great 2018 and have the opportunity to look forward to a positive 2019.

Overall, 2018 was a very difficult and challenging year for CRAVE Guitars. I’m not about to go into personal circumstances; suffice to say that it was immensely testing and an experience I never want to repeat. That said and out of the way, let’s get onto the end‑of‑year summary.

2018 departures:

As is forlornly inevitable, all things come to pass and this year, like every other before it, has seen the demise of some truly inspirational musicians. At this time of year it is customary to take a few moments to contemplate those guitarists that we have lost in 2018 and recall what musical treasures they have left us. Their talents will be sorely missed and it is sad to think that there will be no more distinctive music from these guys (no gals this year). Rest in Peace and forever rock the big stage in the sky. Sad losses over the last 12 months include:

  • ‘Fast’ Eddie Clarke (Motörhead), on 10th January, aged 67
  • Danny Kirwan (Fleetwood Mac) on 8th June, aged 68
  • Alan Longmuir (Bay City Rollers) on 2nd July, aged 70
  • Ed King (Lynyrd Skynyrd) on 22nd August, aged 68
  • Otis Rush on 29th September, aged 83
  • Pete Shelley (Buzzcocks) on 6 December, aged 63

Plus, there were many notable non-guitarists who are no longer with us, including:

  • Dolores O’Riordan (The Cranberries) on 15th January, aged 46
  • Mark E. Smith (The Fall) 0n 24th January, aged 60
  • Aretha Franklin on 16th August, aged 76

While nothing to do with music, I also wanted to mention that the great granddaddy of comic books, Mr. Marvel himself, Stan Lee passed away on 12th November at the age of 95. We also lost one of the world’s foremost scientists when Stephen Hawking died on 14th March, aged 76.

2018 arrivals at CRAVE Guitars

This may come as a bit of a surprise but, in the background, there were actually a number of music gear purchases during 2018. Normally, I would have covered these under ‘New In at CRAVE Guitars’ articles during the year as they happened. However, with the ‘Potted History of the Guitar’ series dominating the output, coverage of their arrival got side‑lined. Depending on how things pan out in early 2019, I may give the new arrivals a bit more of a deserved coverage. In the meantime, here is a flavourless list of what came in over the last 12 months.

Gear purchases:

Guitars (4)…

  • 1971 Fender Bronco
  • 1978 Fender Musicmaster
  • 1989 Gibson Les Paul Standard
  • 1988 PRS Standard
Guitars 2018

Amps (1)…

  • 1978 Fender Champ
1978 Fender Champ

Effects (12)…

  • 1980 BOSS CE-2 Chorus
  • 1986 BOSS PSM-5 Power Supply & Master Switch
  • 1970s Colorsound Swell (volume pedal)
  • 1998 Electro Harmonix Small Stone Phase Shifter (Russian)
  • 1999 Electro-Harmonix Big Muff p (Russian)
  • 1980 Electro-Harmonix Zipper Envelope Follower
  • 1981 Ibanez AF-201 Auto Filter
  • 1981 Ibanez GE-601 Graphic Equalizer
  • 1983 Ibanez SD9 Sonic Distortion
  • 1976 MXR Phase 45
  • 1980 MXR Six Band Graphic Equalizer
  • 1960s VOX Volume/Expression
Effects 2018

Plus… 3 pedals were also replaced during the year:

  • 1979 BOSS PH-1 Phaser
  • 1982 Ibanez AD9 Analog Delay
  • 1975 MXR Blue Box
Effect Replacements 2018

The last two years of planned and unplanned purchases seems to indicate that CRAVE Guitars is increasingly specialising in 1960s to 1980s gear. The 1960s are getting increasingly expensive for me, hence the lack of recent purchases from that particular decade. The 1970s and 1980s are often seen as an unpopular period for vintage guitars, so… for me, that’s a very good reason to focus on this period and prove the naysayers wrong. There are plenty of VERY good guitars to be had from both the 1970s and 1980s. The spotlight still accords very closely with the principle of ‘Cool & Rare American Vintage Electric’ Guitars, so I’m happy with that as a modest ambition. I’m still not running it as a business, so it is still very much a not‑for‑profit enterprise about conserving the heritage for the future.

I haven’t sold any guitar equipment this year, as is perfectly normal with a deep‑seated guitar‑affliction. However, the plan is that if planned plans go to plan, I will be selling some equipment to reinvest in the heritage, either by trading up to older/better guitars/amps/effects or perhaps just getting something new and unanticipated. Watch this space…

2018 Live concerts (2):

2018 was a sparse year for live music, so the list is short…

  • BST Hyde Park (The Cure, Interpol, GoldFrapp, Editors, Slowdive, The Twilight Sad, Pale Waves)
  • Looe Saves The Day music festival (various)

That’s it. Still, better than nothing at all.

2018 Album releases purchased (20):

2018 has proved relatively moribund at times and searching out great new music seemed harder than it should have been. There was, though, a diverse range of music from all sorts of genres. I’m always looking for cool new music to sit alongside the greats (and not so greats). Quality is variable, which is to be expected in this day and age, but there is much fun to be had discovering music both old and new, good and bad – after all, how do we recognise the greats if we don’t have the rest to compare them to? Here are the new albums from the last 12 months gracing CRAVE Guitars’ iTunes:

  • Courtney Barnett – Tell Me How You Really Feel
  • Black Label Society – Grimmest Hits
  • Buddy Guy – The Blues Is Alive And Well
  • Confidence Man – Confident Music For Confident People
  • Gaz Coombes – The World’s Strongest Man
  • The Cure – Mixed Up (Deluxe Edition – original standard release in 1990)
  • Editors – Violence
  • Tommy Emmanuel – Accomplice One
  • Ghost – Prequelle
  • Goat Girl – Goat Girl
  • Jon Hopkins – Singularity
  • Lance Lopez – Tell The Truth
  • Low – Double Negative
  • Nightmares On Wax – Shape The Future
  • Dan Patlansky – Perfection Kills
  • The Prodigy – No Tourists
  • Ry Cooder – The Prodigal Son
  • Shame – Songs Of Praise
  • Various Artists – This Is Trojan Dub (reggae)
  • Wilko Johnson – Blow Your Mind

Plus… Black Stone Cherry – Black To Blues (E.P.)

These weren’t the only purchases. They are only the 2018 album releases – I also bought quite a few albums from previous years, not included above.

Social Media

Over the last 4 years, CRAVE Guitars has posted almost 29,000 posts on social media. On 12th September 2018, CRAVE Guitars reached (and exceeded) 4,000 followers on Twitter (4,515 at the time of writing), which has taken an immense amount of hard work doing the research and building up reputation and credibility.

A big shout out to everyone who has shown an interest in the lighter entertainment side of CRAVE Guitars’ social media output. THANK YOU all! In addition to Twitter, CRAVE Guitars also has guitar‑related content on Google+, Facebook, LinkedIn, Instagram, YouTube, Pinterest, Flickr and Tumblr. Check it out.

Here are some genuine comments from Twitter followers that made me think that all the effort has been worthwhile…

“I love Crave Guitars !!!”

“… there are many who greatly appreciate your expertise and your encyclopaedic knowledge around your calling. Thank you for sharing your passion.”

“… thanks for the inspiration CRAVE Guitars.”

“Thank you for sharing your knowledge & all the beautiful guitars”

“… you post great stuff. Thanks, makes my day”

Plus… there are the usual dicks that populate the various platforms. They go with the territory I guess.

Over the year, CRAVE Guitars has showcased guitars by over 200 different guitar manufacturers working hard every day and from around the globe. The brands covered range from the famous global brands right down to individual luthiers who you may not have heard of because they make very small numbers of guitars in home workshops. I will continue to highlight the diverse range of craftsmen and women, all of whom deserve exposure in today’s highly competitive and challenging economic climate.

‘A Potted History of the Guitar’ Articles

The ‘Potted History’ series of articles took over the blog in 2018, using up 9 of the 12 months, leaving little room for other ramblings. Still, it was different from previous years and probably unlike future ones too. Variety is good.

During the year, I got some really nice unprompted testimonials on the series, so a big “Thank You” to everyone who read the blog articles and made all the research and writing meaningful. In addition, I learned a lot from doing it too. Here are some genuine comments received – thanks for your feedback…

“Thanks a million for the personal gift of your writing and pics of gorgeous guitars… You’re cool. Thanks!”

“Brilliant article, I have learnt so much.”

“Really epic article.”

“Finally read the whole series yesterday. You should turn this into a book… It was certainly worthwhile, one of those reads when you’re sorry when it ends. Hat off to you Sir for the effort.”

The ‘Potted History’ was originally intended as an entertainment piece for those that might have an interest in the general subject matter, while also having enough detail for the keen enthusiast but not so dry that it would only appeal to the clinical expert (whimsically described as ‘someone who knows more and more about less and less’). It wasn’t a forensic academic thesis, so it may not have had the requisite degree of nerd‑fodder for some. I didn’t allow comments on the articles, as I simply couldn’t cope with the interaction needed to respond to them properly.

In order to make the series more accessible and coherent, I may try to turn them into a feature on the web site. I don’t have the resources to publish them as a ‘book’, so that seems the best format, at least for the time being.

CRAVE Guitars Web Site

The CRAVE Guitars’ web site has, unfortunately been neglected this year and has hardly been updated at all, a failing that really needs to be rectified. About 15%-20% of the content needs something entirely new and about another 60% of it warrants considerably updated material. In most instances, most of the basic feature narrative has already been written and just requires finessing and the time to do it. New photos are needed for around 50% of the guitars but that requires them firstly to be relocated to ‘here’ and secondly, many of them will require essential refurbishment after a prolonged period of storage. That’s before I even begin to think about creating exciting new and creatively different ways of doing things. It’s all on the ‘to do’ list for 2019.

CRAVE Guitars Website

[Deleted] Whinge

Now that the web site is generating a lot more traffic and social media is picking up, I am getting overwhelmed by [deleted] idiots deluging my CRAVE Guitars’ e‑mail inbox with [deleted] spam and other [deleted] rubbish. I don’t [deleted] care who the [deleted] you are, if you are not interested in Cool and Rare American Vintage Electric Guitars and you are just trying to sell me your [deleted] rubbish, I will not even acknowledge your pathetic [deleted] existence so, if you [deleted] are stupid enough to read this, you know who you are, [deleted] stop wasting my life you [deleted] [deleted]. I have one very short message to you all, [deleted] off!

*Insert your profanities of choice to suit.

Home renovation

As 2018 was an extremely difficult year, no progress was made on converting the dark, damp and grotty cellar into a safe and secure home for CRAVE’s guitars. Most of the other serious structural work has, however, now been completed, so improving the cellar is the next major job on the priority list, funds permitting of course. Converting the cellar into a ‘guitar room’ is still an intention, so maybe in 2019 some headway can be made.

Looking forward to 2019

Overall prospects for 2019, sadly, look even bleaker than for 2018 with little in the way of ‘light at the end of the tunnel’. Quite what this means for CRAVE Guitars, I have no idea and, frankly, I do not wish to speculate. I will, however, endeavour to continue as long as possible and trust that things will one day turn around.

On a more positive note, what music gear tops CRAVE Guitars’ affordable vintage ‘most wanted’ list for 2019? This coming year, I will once again have to go for something modest and realistic on a tight budget. I don’t expect to get what’s on the list but, just for the sake of putting it out there, it includes…

Guitars:

  • 1960s Danelectro (no specific model)
  • 1970s Fender Stratocaster
  • 1960s Gibson Melody Maker (type 3)

Effect Pedals:

  • 1970s Electro-Harmonix Bad Stone
  • 1980s Ibanez PT9 Phaser
  • 1980s Ibanez TS-808 Tubescreamer Pro
  • 1970s MXR Micro Chorus

Amps:

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

I may have to sell one or more existing bits of gear in order to fund any purchases in 2019, which looks like it’s going to be another financially challenging 12 months.

Perhaps more importantly, many of the guitars in the ‘collection’ have been stored with a close friend for far too long while I got our act together. I am hoping that the ones that are not already here may get repatriated very soon. Even if the cellar may not be ready for them yet, the intention is to bring them home and reunite the ‘family’ again early in 2019.

Music

For 2019, I have managed to secure tickets to see Bob Dylan and Neil Young co‑headlining at Hyde Park in London for July 2019, assuming that it will be possible to go. I’ve seen Neil Young before, and very impressive he was too, but this will be my first time for Bob Dylan. The pair may be rock’s ‘old guard’ but it should still be a unique event worth witnessing.

There are no specific albums that are eagerly anticipated for 2019, so let’s just see what happens.

Musings

Much depends on capacity and resources but I am still contemplating an appropriate companion piece to the ‘Potted History’ series for 2019. All will, I hope, be revealed at some point in the New Year, ceteris paribus (but I’m not committing to exactly which New Year!). Such endeavours take up an incredible amount of time and effort. Is it really worth it? I really don’t know and it is probably not up to me to judge. The prospective audience is very limited, not only in total numbers who might read and get something from it but also whether it is pitched at the right level on the right medium to make it popular.

Conclusion

So, that just about wraps it up for another year of CRAVE Guitars’ enthusiastic and obsessive approach to conserving underdog vintage heritage guitars and generally promoting the world’s favourite instrument. It was, on the whole, a [deleted] year but one has to remain thankful for what one does have and make the most of it. Wishing you all a healthy and prosperous 2019.

If you and I are still around and still interested in 12 months’ time, why not pop back this time next year to find out if there’s been anything noteworthy to report.

I really ought to spend more time playing guitars, so perhaps it’s time to pick one up and make some noise. Until next time/next year…

CRAVE Guitars ‘Quote of the Month’: “What is so wrong about believing that peace, love and music are essential ingredients for ensuring humanity’s successful future?”

© 2018 CRAVE Guitars – Love Vintage Guitars.

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