30 Jun 2026

June 2026 – A Year of Notable Anniversaries

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

Prelude

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

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

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

This Month at CRAVE Guitars…

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

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

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

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

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

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

The Rationale for the Article

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

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

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

The United States of America at 250 and Counting

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

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

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

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

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

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

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

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

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

Historically, 1776 has become widely regarded as the birth of the United States of America, founded on the principles of liberty, equality and rule of law. While independence was declared in 1776, the process to establish a stable federal government, with its fundamental structures and ideology took another 15 years. That foundation has evolved and continues to the current day, 250 years later. A 250th anniversary is properly denoted as a ‘semiquincentennial’ (NB. half of a 500th anniversary).

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

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

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

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

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

Feature – 1976 Gibson Firebird Bicentennial

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

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

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

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

Fender at 80 and Counting

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

The Fender Telecaster at 75 and Counting

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

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

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

US Patent Application – Fender Telecaster 1951

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

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

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

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

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

Fender FMIC Telecaster History

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

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

… Among many, many others

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

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

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

The Fender Precision at 75 and Counting

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

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

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

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

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

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

US Patent Application – Fender Precision 1952
US Patent Application – Fender Precision 1959

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

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

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

Fender Precision 75th Anniversary Promotion

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

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

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

Feature – 1977 Fender Precision Fretless Bass

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

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

The Music Man Stingray Bass at 50 and counting

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

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

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

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

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

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

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

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

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

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

Feature – 1978 Music Man Stingray Bass

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

Final Thoughts on ‘A Year of Notable Anniversaries’

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

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

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

Other Notable Anniversaries in 2026

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

1947 Gibson ES-150

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

1965 Gibson SG Junior
1968 Gibson SG Standard

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

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

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

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

The CRAVEman Celebrating Anniversaries

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

The CRAVEman American Independence Day Anniversary
The CRAVEman Fender Anniversary
The CRAVEman Fender Telecaster Anniversary
The CRAVEman Fender Precision Anniversary
The CRAVEman Music Man Stingray Bass Anniversary

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

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

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

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

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

Johnny Cash – At Folsom Prison (1968) + At San Quentin (1969)

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

BELIEVE IN MUSIC!

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

Tailpiece

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

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

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

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

© 2026 CRAVE Guitars – Love Vintage Guitars.

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30 Jun 2025

June 2025 – Challenging Vintage Guitar Snobbery: A Cautionary Tale

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

Prelude

GOOD TO ‘SEE’ YOU HERE AGAIN DEAR READERS and thank you for popping in. Well, obviously, I can’t actually ‘see’ you but you hopefully get the spirit of the idiom. So, half of the year two thousand and twenty five according to the calendar of Pope Gregory XIII (1502‑1585). One criticism about his modifications to the preceding Julian calendar from 46BCE (thanks Gaius Julius Caesar 100‑44BCE) is that the pope didn’t ‘fix’ the date of Easter. It would have been easy to pick a suitably theological date and stick to it. Staying on topic, the world welcomes the new Pope Leo XIV (1955‑) to the head of the Catholic Church. However, I don’t think that the date on which Easter falls each year is a core part of his doctrinal manifesto. He probably has just a few other things to deal with. A missed opportunity, maybe. It does make a refreshing change to pass comment on religion instead of politics. I am certain that Pope Leo will add his influential voice to the masses praying for peace across our sadly savagely scarred planet.

Vintage Guitar Snobbery

This month’s subject is a pervasive and distasteful trait amongst the vintage guitar community, the ornery subject of snobbery. Few will admit to being a vintage guitar snob; they put their opinions down to years of experience and therefore their rhetoric is valid and credible while, at the same time, putting others down for their ignorant inexperience either directly or indirectly. Now, whether intended to be ironic or not that, to me, is a prime example of snobbery. How to spot a vintage guitar snob…

It may be straightforward snobbery, i.e. “mine’s bigger than yours”, “mine’s worth more than yours”, or “is that all you’ve got?” Other clear examples are the sweeping generalisations such as, “anything made after 1965 is total crap”, claiming that the only guitars worth bothering with are pre‑CBS Fenders or pre‑Norlin Gibsons, thereby dismissing everyone who can’t compete in their elevated circles as hoi polloi (NB. Greek meaning ‘the many’) scum. Mention a 1980s Gibson Sonex‑180 to one of these self‑proclaimed elitists and you will not be taken seriously. Ever. These ultra‑competitive, and usually ultra‑rich, snobs won’t accept anything other than a museum‑grade 1958 Gibson Explorer as worthy of their precious attention. Snobs want to stop someone else having something as much as they want something no‑one else can have. Whatever.

Alternatively, there is the case for inverse snobbery, a simple and dogmatic repudiation of the classic guitars hailed by the ordinary ‘pro‑snobs’ (see above), stating that anything that pristine, that rare and costing that much must, by default, be overrated and unattainable – instruments way too exclusive for a mere mortal to pick up and play, so must be imprisoned in a climate controlled vault. These so‑called ‘anti‑snobs’ are likely to reject the big American brands and proclaim that there is nothing better than a U.S.S.R.‑made ‘Ordjonikidze Tonika EGS-65’ from the late 1960s. To them, the accepted mainstream is no‑go zone. These snobs like playing in their own little sandpits, looking over at the big boys with bitter, resentful distaste. Whatever.

I realise fully that the last two paragraphs may provide prima facie proof that I am also a vintage guitar snob, even though I don’t fit neatly into either description. I have to confess that, unintentionally, I fall foul of vintage guitar snobbery from time to time but please don’t tell anyone about our dirty little secret. That in a (large) nutshell, dear friends, is what I’ll be exploring this month. Right. To work.

“There is simply no limit to the tyrannical snobbery that otherwise decent people can descend into when it comes to music” – Stephen Fry (1957‑)

Let’s get a simple definition out of the way first. A snob is a person with an exaggerated respect for elevated social position or overstated wealth who seeks to associate with social superiors and who rejects or looks down on those regarded as socially inferior or less wealthy. A snob is someone who believes that their opinions and tastes in a particular area are superior to those of other people. Snobbery, put quite simply, is what snobs do.

“We must never confuse elegance with snobbery” – Yves Saint Laurent (1936‑2008)

With the complicated world of vintage guitars, there are the musicians, enthusiasts, the ‘collecterati’, dealers, investors, onlookers, tyre‑kickers, etc. Each of these sub‑categories have their fair share of pro‑ and anti‑snobs. If one assumes that the ‘snobbery scale’ (Ed: good one) is a continuum from an absolute snob at one end to a genuine guitarist with integrity at the other, we are all somewhere along the scale, which, if plotted on a chart, the numbers would probably follow a standard deviation bell curve (a.k.a. a normal distribution).

It is all too easy to start off with a rational objective view about vintage guitars and then slip and slide imperceptibly down the slippery slope of snide snobbery (Ed: love the alliteration… for once). For those of us self‑aware enough to recognise the risk, we occasionally need a short, sharp reality check to bring us to our senses and restore our sense of perspective.

Well, recently, I undertook such a quick self‑examination. Then, after I did that, I did a quick check to see where I might be on the vintage guitar ‘snobbery scale’ (heehee). I am sad to say that recently I may have succumbed to one aspect of vintage guitar snobbery. That realisation brought my failings into rapid focus. Darn it!

“England is the most class-ridden country under the sun. It is a land of snobbery and privilege, ruled largely by the old and silly” – George Orwell (1903‑1950)

Is it OK to be a snob and keep it a hidden away? Well, yes and no. Psychologically, humans are inclined to believe that we are far better and far more sensible than we actually are. Basically, we are all biased and prejudiced to some degree, however slight. With pride (the bad sort) and self‑righteous indignation, we might well argue that we aren’t skewed. But we are. All these examples are in themselves a characteristic of a snob. None of us would stoop that low… would we? C’mon, be honest.

So, in an act of rampant redemption, I am confessing to the sin of falling into a trap of self‑denial. How on Earth did that happen and why did I not pick up on it sooner? The answer is that we don’t want to admit our own shady shortcomings, however small, to ourselves, let alone to anyone else. As I’m not a Catholic, so I don’t know how many ‘hail Marys’ to which I will now be condemned.

“It’s the people who transcend their backgrounds who are interesting to me. I have got a bit of inverted snobbery” – Viv Albertine (1954‑)

Where is all this leading you might well ask? Be patient, I’m just setting the scene in front of which the arch playwright’s tragedy will ultimately unfold. Aeschylus, Sophocles and Euripides would be proud. So, what are the capital vices of which I speak? You have a choice of seven (NB. lust, gluttony, greed, sloth, wrath, envy and pride – a.k.a. the Catholic Church’s seven cardinal sins). Well, recently, I faced a moral dilemma, a quandary and a predicament when considering a vintage guitar purchase. That conundrum exposed my own vintage guitar snobbery which, after considerable soul‑searching, resulted in having to make an economic decision. How well did I listen to the devil on one shoulder and the angel on the other? Which persuasive ‘voice’ did I eventually succumb to, and which side of the fence did I eventually fall off? Time to find out…

“Ah, beware of snobbery; it is the unwelcome recognition of one’s own past failings” – Cary Grant (1904‑1986)

Vintage Guitar Refinishing

Before we get to the specifics, what do I mean by a refinish? It may seem obvious but it is worth a quick clarification. At its simplest, a refinish means to apply a new surface covering to an object. The application may mean over‑spraying an underlying finish, for instance to obscure or protect the original surface. Alternatively, it may mean removing the entire original surface coating and replacing it with a new one. A finish may be ‘natural’, for instance a transparent lacquer to show the underlying wood grain, or painted in any colour – translucent or opaque. The superficial material used to refinish most guitars may be nitrocellulose lacquer, polyester or, more rarely, wax/oil finishes (usually only on bare wood). A refinish may attempt to mimic an original finish or it may be used to alter its appearance completely. A refinish may be purely cosmetic or it may be used to cover up damage or evidence of a previous repair.

For vintage guitars, a refinish may be on the body only (common with bolt‑on neck guitars), neck only (ditto) or a complete body and neck refinish (more common on set‑neck guitars). While the intention may be to restore or improve an object’s condition, it generally results in a reduction of the object’s value (for instance antique furniture). For many collectors, a refinish is therefore of economic as well as historical significance.

This article is essentially a story of three vintage guitars, all of which have been part of the CRAVE Guitars family over the years. As you might have guessed by now, the theme connecting these three instruments is the thorny subject of ‘refinishing’. The examples below comprise two full refinishes and one body‑only refinish. In each example the decision‑making process about whether to refinish or not was different, thereby giving a different perspective for each one. Convenient, eh?

Example Number One: 1975 Gibson Les Paul Standard – Regular readers will probably be aware that CRAVE’s 1975 Gibson Les Paul Standard was originally tobacco sunburst. When I bought it second hand c.1978 it had extensive buckle rash and I wasn’t over keen on the tobacco sunburst, so I had it refinished in natural nitrocellulose. Years later, being dissatisfied with how the natural finish was aging, I had it refinished again to its current dark cherry sunburst. At the time, it wasn’t an issue because it was still relatively new and I had no intention of keeping the guitar. I now cherish that refinished 1975 Les Paul, even though its value is probably between 30% and 60% of what it would be worth if it still had its original finish. In fact, it has become CRAVE Guitars’ chosen signature instrument despite its history.

1975 Gibson Les Paul Standard (Refinish)

In retrospect, had I been aware of how things would turn out, I probably wouldn’t have had it refinished. Mind you, its original condition would have deteriorated further over time. I’ve also kinda come around to tobacco sunburst, although I won’t have it refinished for a third time. Hindsight is a wonderful thing and I now know that once it had been done, it is permanent.

So it was that, with the creation of CRAVE Guitars as a serious concern, I vowed that I would avoid purchasing refinished instruments, regardless of whether there were justifiable and defensible reasons for doing so. I also vowed that I would not be guilty of refinishing any instruments while in my care. Until now, that 1975 Les Paul has been the only refinished guitar belonging to CRAVE Guitars.

For this example, the decision to refinish the Les Paul was mine to make. Regrettably, I took the decision to refinish and did it (twice!). Doh!

“Snobs are people who look down on other people, but that does not justify our looking down on them” – Frederick Buechner (1926‑2022

Example Number Two: 1984 Gibson Explorer – This tale starts off with what may seem a fairly straightforward question. What would I say now to someone now who wanted to refinish a vintage guitar? The immediate reaction would be to say, “don’t do it”. Simple? Nah. Shades of grey, as usual. As it turns out, this isn’t just a hypothetical situation. Such a circumstance actually occurred only a couple of years ago.

1984 Gibson Explorer (Original Finish)

I reluctantly sold a black 1984 Gibson Explorer to fund another. The buyer was a Metallica fan and he wanted a ‘cheap’ 1984 Explorer which he said he was going to refurbish and refinish to match James Hetfield’s cream one. The original black finish was in reasonable condition with a lot of nitro crazing. As it wasn’t pristine, I sold it at less than it was worth (I’m not a dealer). A refinish was not an imperative and everything else was 100% original (including the case). I mentioned to the buyer that a refinish would be irreversible and it would significantly reduce its value on the vintage market. Originality wasn’t his priority, so he went ahead and did it anyway. It wasn’t my place either to tell someone what (not) to do or to refuse to sell it on those grounds. Once it was his, he was free to do whatever he wanted with it. I’d done my bit by giving him the information and he could use it (or not) to make an informed decision. The refinish was done well and he was pleased with it. Personally I wouldn’t have done it but, as Mark Twain said, “You pays your money and you takes your choice!” (from, ‘Huckleberry Finn’, 1885).

Unlike example number one, the decision to refinish the Explorer was not mine to make. The person who bought it took the decision to refinish and did it.

Example Number Three: 1966 Fender Electric XII – Now… rolling the clocks forward, in February 2025, I was confronted by a vintage guitar opportunity, which put me in an awkward decision‑making situation. It is also the example that prompted this article.

1966 Fender Electric XII (Refinish)

I purchased a 1966 Fender Electric XII. With my hyper‑modest income and lack of disposable capital, the only way I could afford this uber‑cool and rare item was to purchase a refinished example at between a third and a half the price of a similar model with an original finish. The vast majority of Fender Electric XIIs were in sunburst finish and the one I bought was a very fetching faded Olympic White. At first, I thought it might be original and a bargain, as it wasn’t advertised as a refinish. Once I had ascertained that it had been refinished, I found myself in a bit of a Catch‑22 because, in principle, I would not buy a refinished instrument (see above). It is an old refinish and the quality of the work is (just about) adequate. Although it might benefit from it, I am not tempted to refinish it again. Generally speaking, I appreciate a guitar’s originality and believe that instruments are better for proudly showing the scars of their trade. A refinish, arguably obscures its visible journey through time but that just starts a new period of its existence.

“Snobbishness is the desire for what divides men and the inability to value what unites them” – Joseph Epstein (1937‑)

So… I accepted that, if I wanted to own a vintage Electric XII, this was the only way I could realistically do it and I would have to revoke my own long‑held prejudicial principle. The dilemma was resolved and the Electric XII is now part of the CRAVE Guitars family. Having taken the plunge, I felt that I needed to challenge previously held bigotries and attempt to justify the refinished Fender Electric XII’s addition to CRAVE Guitars. It is only the body of the Electric XII that has been refinished. The neck retains its original natural finish.

I realised that these internal machinations might possibly make for an interesting debate in the public domain, hence this article. Would I reaffirm my dogma (NB. called confirmation bias) or would I be pragmatic, contest my own predisposition and come to terms with, and accept, the outcome? Furthermore, would I be content with the Electric XII despite it being abundantly obvious that it is not all‑original?

“You must not judge hastily or vulgarly of snobs: to do so shows that you are yourself a snob” – William Makepeace Thackeray (1811‑1863)

Beneath the surface (sic!) there is no doubt that the Electric XII is a fascinating and innovative guitar for its time and is experiencing a renascence in the 21st Century. Its heritage is not in doubt, even though it was not a great success once the 12‑string craze ended in the late 1960s. Therefore, if one accepts that it is a legitimate guitar and the only difference between this and an all‑original Electric XII is the thin layer on the surface. Does it really matter? Should a paint job be the deciding factor? It also made for the crunch question of why a refinish devalues a guitar by c.50%.

I don’t usually talk about filthy lucre but it may help in this instance. To put it in absolute terms, my 1966 Fender Electric XII cost me £3,000GBP. Converting $ to £ is approximately 1:1 once exchange rates, fees, custom charges and taxes are taken into consideration. The ‘The Official Vintage Guitar Magazine Price Guide 2025’ (a bible for vintage guitar owners) values an original example at $8,500‑$12,000USD for an original common colour (i.e. not sunburst but also not a rare custom colour). Original sunburst examples are valued at $6,000‑$7,500USD. A guide, however, is only that, a guide, despite the level of research involved.

To compare market prices on Reverb, eBay and specialist vintage guitar retailers, equivalent Electric XIIs with original sunburst finish vary from £5,000‑£8,000GBP and rare custom colours up to c.£12,000GBP.

So, on the face of it, £3,000GBP is still a bargain, even with its refinish. I have long stated that monetary value is not a prime motivator for CRAVE Guitars and that remains true. However, such an ‘investment’ is still a considerable commitment for a single instrument, given my low fixed income, so purchase price is a relevant economic factor in this situation. Recognising that I would have to forgo other important things to get this one, the sacrifice was duly made.

“It’s a kind of spiritual snobbery that makes people think they can be happy without money” – Albert Camus (1913‑1960)

There are a couple of other factors affecting the price of this particular example. The tuners are replacements, the 4‑way Daka Ware pickup selector switch knob is not original and old ones are very hard to source (NB. Daka Ware is a type of compression moulded phenolic material and trade name for Davies Moulding in the 1960s). It also doesn’t have an original hard shell case, which is a shame, as they are unique (and therefore pricey) because of their odd size. However, £3,000GBP still seems worth it prima facie – I was getting a great guitar at a good price – what’s not to like?

My excitement about getting my grubby mitts on a cool and rare vintage Electric XII was tinged with apprehension about how I would connect with it, given my (warranted or not) judgemental predisposition about refinishes.

You can probably tell from this lengthy preamble that the issue is still galling me and, perhaps by openly articulating it, I can reconcile the polarising perspectives and achieve some peace of mind. This is clearly a first world problem. If that is all I have to worry about, then things can’t be too bad, eh? Time to apply some rational objectivity and criteria to test the issue.

Unlike either of the previous two examples, the decision to refinish the Electric XII was taken by someone else long before the guitar came into my possession.

“It is impossible, in our condition of Society, not to be sometimes a Snob” – William Makepeace Thackeray (1811‑1863)

Analysis

Given the trilogy of examples, it seemed to make sense to look at what difference a refinish really makes to a vintage guitar. For this section, I am using only the Fender Electric XII as the example. However, many of the observations against each of the five criteria may well apply equally to all three guitars covered here.

Functionality – Not affected. This Electric XII has been a working guitar, belonging to the owner of a London recording studio. It has had to earn its place, so it has been looked after. The Electric XII has always been more popular in the studio than on stage or TV. Given its primary role, it was vitally important that it was able to perform effectively whenever called upon. Less of a priority were its looks or originality. I have long said that vintage instruments should be played and this one clearly fulfils that particular criterion. Why it was refinished, I do not know but it certainly wouldn’t have affected its use as a pro‑grade guitar in a working environment. Its studio role may well explain the tuner replacement too, although it isn’t clear when it was done. In the 1970s and 1980s, it was common practice to ‘upgrade’ tuners for supposed tuning accuracy and stability. The same might also go for the original pickup selection lever.

Working professional instruments are often modified to ensure they are fit for purpose. Many ‘celebrity’ owned guitars that go to auction and reach six figures are often heavily modified to suit the owner’s demanding requirements. Those high profile mods don’t seem to affect provenance values, so why isn’t it the same for everyday workhorse vintage guitars? My predetermined principles may be crumbling under my fingertips. Does the refinish relegate a ‘collectable’ guitar to a ‘player‑grade’ by default? It seems so. In conclusion, the refinish does not negatively impact functionality.

Playability – Not affected. The guitar plays well for an almost 60‑year old 12-string electric. Such an instrument has compromises, although those compromises are more acceptable for a 12‑string Electric XII than, say, for a Rickenbacker of the same age. The maple neck is solid and the original frets are in very good shape (suggesting that it hasn’t been abused or over‑used). Nuts can be a problem accommodating 12 strings and, while this one has been well cut, strings can jump from slots if subjected to heavy‑handed use. That isn’t unique to this example, so we can discount that as an issue. The 4‑way selector switch can be a bit confusing but one just uses one’s ears (as one should). The shape of the selector switch helps with positioning.

Before Leo Fender sold his company to CBS in 1965, he had designed the Electric XII from the ground up, including its unique 12 saddle bridge and its equally unique split coil pickups reminiscent of a Fender Precision bass. So, in conclusion, the refinish does not negatively impact playability.

Tone – Not affected. The signal chain from the fingers, through the strings to the the tuners & bridge, neck & body, and ultimately to the pickups, selector switch, volume & tone controls and the output jack are completely original. Now there are many vintage guitar snobs who will tell you that the finish affects tone. They profess that a thin nitrocellulose finish is far superior to, say Fender’s 1970s’ polyester finish. In practical day‑to‑day terms for a professional working guitar, I believe that to be hogwash and there are plenty of other factors that affect tone more than the type or age of finish on the body, so I am proclaiming an element of ‘emperor’s new clothes’ in this instance. So, in conclusion, the refinish does not negatively impact tone.

Looks – Varies depending on taste. There are probably only two main reasons for refinishing a guitar. One is to cover up something egregious and the other is to improve its looks. Going back to the Les Paul in c.1978, it was to improve its looks. While I have no insight into why the body (only) of the Electric XII was refinished, I can only assume it was for a similar reason. There does not appear to be any damage or ill‑advised irreversible modifications being obscured. Everything else (bar tuners and switch knob) are original, so it appears to have been done for aesthetic reasons. Whether it is better or worse than the original finish (I don’t know what colour it was) is moot – it is what it is. It has been done. It can’t go back. The finish isn’t wonderful; it was clearly stripped, painted and lacquered but not to a thick shiny flat surface. It looks pretty old and well‑faded. The studio owner had the guitar for 30 years and it was done before he got it, so it makes sense that it is an old refinish. Because of this, I don’t want to double down on the ‘issue’ by refinishing it again. Its refinish is part of this guitar’s story and it should stay that way.

I don’t know what you think but I reckon it is best left alone. However, as it doesn’t affect other aspects of the guitar, so the refinish can best be described as cosmetic only. Whether the aesthetic negatively impacts looks is up to each individual to decide. In conclusion, the refinish does fundamentally affect the physical appearance of the guitar body (and thereby, the whole instrument).

Value – Disastrous. As mentioned earlier in the article, a refinished 1966 Fender Electric XII in a non‑sunburst colour has significantly devalued the instrument for the purist collector. However, as you may have gathered over the years, I am not your conventional ‘collector’. Where I struggle at this point is, if the refinish is purely cosmetic and doesn’t affect functionality, playability or tone, why is so much value lost.

Looking at a different category altogether, classic cars and motorcycles, while an original finish may be rare and important to some, many vehicle collectors place a high value well‑restored vehicles, so why not guitars? I can understand why a guitar refinish may be considered less preferable but it doesn’t make a guitar less than half as good, just because of a thin coat of paint. In many ways, it could be argued that it might improve a guitar (but I can’t say that because it is heretical and potentially seditious). Now, I cannot do anything about the entire vintage guitar collector market, so I have to accept that CRAVE’s 1966 Fender Electric XII has been corrupted irreversibly. I have to conclude that the refinish substantially affects value.

“Inverted snobbery is just as dangerous as snobbery itself, you know – that pride in having nothing” – Pete Doherty (1979‑)

A Famous Example: Jeff Beck’s ‘Oxblood’ Gibson Les Paul

Heck, if Jeff Beck can live with a refinished guitar, who am I to be snobbish about it? Beck’s famous Gibson Les Paul was originally a 1954 Les Paul Model Gold Top. According to legend, the original owner of the guitar had it modified by replacing the original P90 pickups with humbuckers, re‑profiling the neck and swapping the nickel metal parts with gold plated bits. It was also refinished in a ‘deep red’ (‘oxblood’) opaque colour to help hide repairs and modifications. The guy who commissioned the changes apparently didn’t like it, so it went up for sale. Beck was apparently unfazed by the changes and bought it in Memphis, TN in 1972. The guitar became a principal guitar for Beck, featuring on many recordings and touring with him. The modifications certainly did not appear to affect Beck’s ability to make great sounds from it. In addition, the guitar was featured on the album cover of Jeff Beck’s album, ‘Blow By Blow’ (1975) – see below.

As a testament to the fact that refinishing may actually add some mystique (and value) to an otherwise standard Les Paul Gold Top, Jeff Beck’s original ‘Oxblood’ sold at Christie’s auction on 22 January 2025 for a record‑setting $1.3m. OK, so it was refinished and modified but that didn’t stop it making its mark and positioning it as an iconic part of vintage guitar and rock music heritage.

Jeff Beck’s ‘Oxblood’ guitar has since been re‑issued as signature Epiphone, Gibson and Gibson Custom (2009 limited edition of 50) models. Coincidentally, Fender issued a press release on 25 June 2025, just a few days before this article was published announcing. “His heavily modified 1954 Les Paul, known to millions as the Oxblood due to its unique chocolate brown/oxblood finish… Now, Epiphone, in collaboration with the Jeff Beck Estate and Gibson Custom, is very proud to introduce the Jeff Beck Oxblood 1954 Les Paul, based on his iconic 1954 Les Paul”. How’s that for timing?

“Laughter would be bereaved if snobbery died” – Peter Ustinov (1921‑2004)

Another Famous Example: Neil Young’s ‘Old Black’ Gibson Les Paul

Neil Young’s famous ‘Old Black’ is another icon of rock music. It was originally a 1953 Gibson Les Paul Gold Top, which had been refinished (before Young got it) and has been extensively modified over the decades. Apart from the refinish, ‘Old Black’ was fitted with a Bigsby vibrato, a Gibson Firebird bridge mini‑humbucking pickup, ABR‑1 bridge, a bypass selector switch, Schaller tuners, aluminium parts and a maple ‘pin‑stripe’ to the back of the neck. Neil Young acquired the Les Paul in c.1968 from Jim Messina of Buffalo Springfield in exchange for a 1958 Gretsch 6120. ‘Old Black’ has long been Young’s go-to guitar up to the present day. Neil Young’s headlining set at Glastonbury 2025 featured ‘Old Black’ along with other guitars. This guitar is so well known it even has its own Wikipedia page.

In 2005, Gibson wanted to release a Neil Young ‘Old Black’ signature model. Neil Young refused permission for an official replica. However that didn’t stop Gibson. Although not officially acknowledged, Gibson released a limited number of tribute guitars commissioned by Japanese Gibson dealer Yamano, with certificates describing it as an ‘Aged Historic Reissue’ and a checklist showing ‘LP Neil Young’. The short run was stopped after Neil Young’s lawyers sent a ‘cease and desist’ letter to Gibson. There is plenty of evidence though that a small number of ‘Old Black’ replica models (strangely based on a 1956 Les Paul) reached the market, with an even smaller number of guitars expertly aged by Tom Murphy. These very rare unofficial replica ‘refinished’ instruments have now become highly collectable.

“The educated elite is not without their own actual snobbery. And I kind of an anti‑elitist in that regard” – Neil deGrasse Tyson (1958‑)

Final thoughts on Vintage Guitar Refinishing

As a naïve teenager getting my hands on my first non‑vintage Fender Strat and Gibson Les Paul, did I ever think that some five decades later that I would still have those two now‑vintage guitars and I would still be besotted with the instrument? Nope. Neither did I think that by refinishing the Les Paul, I would be arguing the pros and cons of the practice five decades later. Nowadays, I wouldn’t dream of doing any modifications that aren’t 100% reversible unless it was absolutely unavoidable (e.g. a refret).

The do‑or‑don’t‑do dichotomy has certainly caused a disproportionate level of reflection and analysis. Fundamentally, I have to say that this 1966 Fender Electric XII genuinely remains a wonderful vintage guitar. I like the look of it, although it is a shame that it has been refinished. I like the sound of it, I like the playability of it (for a 12‑string) and it is perfectly functional, so it isn’t all a ‘bad thing’.

A refinish may reduce the value of a vintage guitar by 50% (or more) of what it would be worth if it was all‑original. As mentioned, for two of the three examples, I could not have afforded an all‑original guitar, so a refinish was my only means to acquire them. Yes, a refinish undoubtedly affects resale value but, as I do not intend to dispose of the remaining two refinished CRAVE Guitars any time soon, their value now becomes irrelevant. I did not buy them as an investment looking for profit, so I can live with that aspect. The Electric XII deserves to be cared for as much as any other vintage guitar.

Regular readers will know that I also have an anathema for modern finishes, including faux finishes and distressing (a.k.a. relicing) an otherwise unblemished finish. While it may give a passing impression of being ‘old’, it is not authentic and doesn’t have a genuine patina of having been played for decades. In short, they lack real ‘mojo’. Now that is a clear admission of snobbery. Guilty as charged.

As I was in the process of writing this article, Gibson Custom Select (i.e. the Gibson Custom Shop), announced a series of “painted over” guitar finishes. Essentially, this a base gold top finish followed by solid colour (either Pelham Blue or Ebony) finish applied over the gold, then ‘aged’ (i.e. reliced) by (Tom) Murphy Lab. Gibson are charging a stonkingly high premium price for artificially aged, refinished ‘new’ guitars. Gibson actually stress (sic!) that the main feature of these instruments is “guitar refinishing” (an actual quote from the Gibson press release). Now that is ironic! It is also impeccable timing. Perhaps this fundamental turnaround will provide a precedent for increasing the value of refinished guitars! Hhmm. What do you think?

Just four days earlier than the Gibson press release, Fender actively promoted “The Benefits Of Modifying Your Guitar”, which could open up another whole can of worms about guitar snobbery. As mentioned, the Electric XII has non‑original after‑market tuners, which only adds to its devaluation now it is a vintage guitar. I acknowledge that there are plenty of people out there who delight in modifying guitars, regardless of the long‑term ramifications of doing so. My stance on that is like refinishing, i.e. don’t do it (unless totally reversible). Don’t worry folks, I’m not going to repeat this article focusing on the snobbery towards modifications rather than refinishing. Once again, though, I hope you get the underlying pattern here without me having to be explicit.

NB. Yes, I know that ‘relic’ is a noun and not a verb, as used in the previous paragraphs. Yes, it annoys me too. However, that is symptomatic of the English language being bastardised by marketing departments of the major guitar manufacturers. Please don’t blame me for others’ grammatical transgressions. You can, though, criticise me for reiterating the odious blaspheme.

As mentioned above, the Fender Electric XII may be the ‘newest’ refinished CRAVE Guitar but it isn’t the first and may well not be the last. The Explorer has gone and is now out of my purview. Where does this leave the refinished 1975 Gibson Les Paul Standard? It changes nothing at all; my feelings about the LP remain the same.

Will this period of reflection change my views about refinishes for future CRAVE Guitars acquisitions? Well, it’s made me think very hard about the issues with a more open mind. The conclusion reached is that judgements aren’t as black and white as I had previously considered, meaning that, from now on, I will have to assess each one carefully on a case‑by‑case basis, balancing priority, availability, originality and, of course, cost.

Ultimately, though, vintage guitar snobbery undermined one of my own criteria for selecting a CRAVE Guitar. By doing so, I have had to challenge my preconceptions and have arrived at a state of mind that says, “so what?” It doesn’t affect anyone else, so that’s not an issue. Can I accept it, live with it and enjoy it for what it is? Yep. Is the recently‑acquired Fender Electric XII less than half of a decent guitar because of its non‑original paint job? Nope. Where it really matters, I would say it is 85%‑90% of a great guitar. Perhaps vintage enthusiasts might do well to re‑evaluate such factors and dispense with some of that hyped up judgemental vintage guitar snobbery we so easily fall into. It goes to show that we can always keep learning and it is hubris to think otherwise.

I actually feel a little sad for the Electric XII. Through no fault of its own, it has been irrevocably relegated to a lowly status from which it can never recover, simply because of a thoughtlessly applied refinish years ago. It is now up to me to care for it as best I can while I’m still here. The same goes for the Les Paul.

By sharing this internal debate with the wider public, I will now lay myself open to scrutiny, prejudice, bias, dogma, derision and… yes… vintage guitar snobbery. Others may well look down upon me and scorn me for my misfortune and/or stupidity. That’s their prerogative, even if I may disagree with it.

While I can expose the degree to which snobbery affects vintage guitars, I do not think that it is up to me to place myself within the definition of a snob, as defined at the start of this article. The little bit of me that is a vintage guitar snob might wish that it was an all‑original example but that was never going to happen.

What I can say with some certainty is that vintage guitar snobbery is not a good thing and we should be cautious of falling into its divisive dogmatism. It is tempting and easy to become snobbish. No big surprise there. Personally, I have learned a valuable lesson and have been subject to a timely and appropriate reality check. Am I a hypocrite? It seems that I may well be. Hey, no‑one can be perfect all the time, right? I throw myself on the mercy of the court m’lud. Case closed. For now.

“Hypocrisy is the essence of snobbery, but all snobbery is about the problem of belonging” – Alexander Theroux (1939‑)

In Other News

Amidst uncertain and volatile operating environments, two bits of sad news from the UK music retail industry. The first is the closure of Play Music Today (PMT). All physical UK stores and the online store have been shut down with redundancies after all other options to find a rescue plan failed. All stock was sold to rival chain Gear4Music for just £2.4m. Also, Brighton’s iconic south coast retail store GAK (The Guitar Amp & Keyboard Centre) was also sold to Gear4Music, also for £2.4m. GAK was one of the UK’s largest independent guitar retailers (and frequented often by me). If a guitar shop cannot be viable in a creative music city like ‘Be Right On’ of all places, it is clearly a bad situation.

Can retailers like Gear4Music in the UK compete with the massive online sellers like Sweetwater in the US and Thomann in Europe? Are these recent high street closures one‑offs or further signs of the worrying trend in the decline of bricks and mortar guitar shops located within local communities? I don’t believe in coincidence. Note to all: use them or lose them.

Finally ‘in other news’, a hopefully positive move. The online marketplace Reverb has been sold by American e‑commerce company Etsy to two investment firms in April 2025. Reverb was owned by Etsy for six years between 2019 and 2025. Reverb, originally founded in 2013, is now once again a privately owned, independently operated business. One of the investors, Servco Pacific, is the majority shareholder of Fender Musical Instruments Corporation (FMIC), while the other, Creator Partners, is a minority Fender shareholder.

CRAVE Guitars’ ‘Album of the Month’

Given that one of the world’s most recognisable modified guitars is Jeff Beck’s ‘oxblood’ 1954 Gibson Les Paul (see above), it makes sense for this article to give pride of place to a specific ground breaking album by a ground breaking guitarist. Beck’s famous Les Paul is even featured on the album’s front and rear cover art. Cool.

Jeff Beck – ‘Blow By Blow’ (1975): Blow By Blow was the debut solo studio album by the late English guitarist Jeff Beck (1944‑1923), recorded at AIR Studios in London and released in March 1975 on Epic Records. The instrumental album comprises 9 tracks covering 45 minutes. The album was produced by the legendary George Martin. The album includes one of Beck’s most memorable tracks, ‘Cause We’ve Ended As Lovers’ (5 mins 41 secs). The platinum certified album (in the US) reached Number 4 on the American Billboard 200 – not bad for a milestone instrumental rock album by a British musician.

Jeff Beck – Blow By Blow (1975)

‘Blow By Blow’ may, however, not be my favourite Beck album, that probably goes to ‘Jeff Beck’s Guitar Shop’ (1989) but that has a Strat on the cover. Jeff Beck was a one‑of‑a‑kind guitarist and history will probably regard him as a guitarist’s guitarist. He was a genuinely authentic guitar hero for many aspiring guitarists. His exceptional talent is greatly missed and we may never see his like again. RIP Jeff.

“Just ’cause something’s popular, it can still be good. In fact, if more people are buying it, then you must be doing something right. People look down on stuff that sells. What do you call that? Downward snobbery, I guess” – Lemmy Kilmister (1945‑2015)

BELIEVE IN MUSIC!

Tailpiece

Well, that’s another article and the first half of 2025 put to bed. I hope you enjoyed it and it provided a few minutes of distraction from the insanity of real life. Sometimes something that seems so black & white ends up being anything but.

It is now time to move onto another subject and another demanding schedule to get it published by the end of July. For its subject matter, well, you’ll just have to wait and see, won’t ya?

Once I had completed this article, I did have a whimsical moment of reflection. I wondered what would happen if I deleted these c.7,000 words and started over again from scratch, effectively ‘refinishing’ this article. Thankfully, the thought didn’t last long and I am happy to say that this is the original finish. Heehee.

Truth, peace, love, and guitar music be with you always. Until next time…

CRAVE Guitars’ ‘Quote of the Month’: “If yesterday was tomorrow, what would you do differently?”

© 2025 CRAVE Guitars – Love Vintage Guitars.

 

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