30 Jun 2019

June 2019 – The Story of Modern Music in 1,500+ Facts – Part IV

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

Introduction

Welcome once again all guitar and music aficionados. We are now half way through 2019 and not only are the evenings once again beginning to draw in but also the end of the ‘noughties’ is just a few months away. What a sobering thought. One wonders whether the 2020s will match the exhilarating heights (and lows) of the ‘Roaring Twenties’ of last Century. Sometimes, I doubt it and there are too many ‘harbingers of doom’ for optimism and hope to reign too strongly but perhaps it was ever thus – I hope I’m wrong. However, that sort of future speculation is for another place an time, as this month we are looking back to some 70‑80 years’ ago.

We are here in the midst of a series of articles chronicling the story of modern music by way of numerous guitar‑oriented facts and events. If you’ve been following the series so far, you’ll already know that, so I won’t bang on about it any longer.

If you would like to (re)visit the first three parts (and nearly 300 years) of the story to‑date, you can do so here (each link opens a new browser tab):

The Story of Modern Music Part IV 1940-1949

There are so many facets to the 1940s that to cover the 1950s as well would make for an overlong article, so for the sake of our mutual sanity, let’s take it one step (and decade) at a time. So… this month, we concentrate solely on the 1940s, a watershed decade during which epochal change was increasing in both pace, scale and scope. Without further ado, assuming you know the routine and format by now, let us dispatch our ‘boots on the ground’ and get on with the show. Onward to the fascinating Forties…

Historical Context 1940-1949

The 1940s was known simply, and rather unimaginatively, as ‘The Forties’. During the first half of the decade the world was dominated by major conflict and brutal warfare. As if the world had not already seen enough, almost as soon as WWII ended, the Cold War began, again raising international political and military tensions between the capitalist west and communist eastern blocs, a struggle that would last for several decades. Ordinary people in many countries suffered on‑going economic austerity, adversity and disadvantage for many years as a consequence of WWII. Socially, concerns over the possibility of widespread post‑war friction sat at odds with hopes for long‑term peace. Technological progress was closely linked to competitive military advances and many major innovations spawned during the 1940s would ultimately benefit future generations.

Year	Global Events
1940	Conservative MP Winston Churchill became British Prime Minister and would remain in power to lead Britain to victory in WWII. The mass evacuation of more than 330,000 allied soldiers from the beaches of Dunkirk in northern France to England took place during WWII. In WWII, the German Luftwaffe carried out the ‘Blitz’, the massive air bombardment of London, UK. The WWII aerial Battle of Britain took place in the skies over Britain and Europe.
1941	Russia entered WWII when German‑led Axis forces crossed the area covered by the German–Soviet Nonaggression Pact, thereby effectively invading the Soviet Union. The classic motion picture film, ‘Citizen Cane’ directed by and starring Orson Welles was released. After 14 years of labour, the Mount Rushmore National Memorial in Black Hills, South Dakota was opened to the public, depicting the massive sculptures of four American presidents; George Washington, Thomas Jefferson, Theodore Roosevelt and Abraham Lincoln. America joined WWII after the Japanese attacked Pearl Harbor in Hawaii.
1942	The classic movie, ‘Casablanca’ was premiered, starring Humphrey Bogart and Ingrid Bergman.
1943	The world’s largest office building and headquarters of the United States Department of Defense, The Pentagon, was completed in Virginia.
1944	Operation Overlord (commonly known as ‘D-Day’) saw 150,000 allied troops successfully storm the beaches of Normandy in France against German defences.
1945	Germany surrendered to the allied forces, effectively ending WWII in Europe. U.S. atomic weapons testing was undertaken at the Trinity nuclear test site in New Mexico as part of the research & development programme known as the Manhattan Project. Two American atomic bombs were dropped on Hiroshima and Nagasaki in Japan leading to unconditional surrender and the formal end of WWII. Over 60 million people were killed during the conflict. The United Nations (UN) organisation was formed, with a mission to maintain international peace and security. Democrat Harry S. Truman became 33^rd President of the U.S.A. following the death of Franklin D. Roosevelt. The Nuremburg Trials began; a military tribunal established to prosecute the most prominent political and military leaders of Nazi Germany for war crimes during WWII.
1946	ENIAC (Electronic Numerical Integrator and Computer), the first programmable electronic computer was unveiled at the University of Pennsylvania.
1946/ 1947	The Cold War between Russia with its neighbouring Eastern Bloc states and America with its western allies started and lasted until the collapse of Communism and the Soviet Union between 1889 and 1991. The transistor semiconductor was developed by American technology company, Bell Labs in New Jersey.
1947	Italian motor company Ferrari started production of luxury sports cars in Modena. American test pilot Captain Chuck Yeager became the first person to break the sound barrier in level flight in a rocket-propelled Bell X-1 aircraft that he nicknamed ‘Glamorous Glennis’, achieving a recorded top speed of Mach 1.06 (807.2mph) at an altitude of 45,000 ft.
1948	British author George Orwell wrote his prophetic dystopian novel, ‘1984’. The independent state of Israel was established after the British pulled out of Palestine. The British National Health Service (NHS) was founded and would become the model for universal health care in the country. The NHS was part of the wider liberal welfare state system reforms that were implemented the UK.
1949	The Communist People’s Republic of China was proclaimed by Chairman Mao Zedong. The North Atlantic Treaty Organisation (NATO) was formed comprising 29 independent member states committed to mutual defence in response to an attack by any non‑member countries.

Well that is where the world was at, at the time. Now to refocus our attention onto the matter in hand, musical history.

Musical Genre Development 1940-1949

Music of the 1940s built on the sustained popularity of jazz, bebop and swing/big band music to provide upbeat positivity against the background of WWII, as played by Duke Ellington, Count Basie and Artie Shaw. Electric blues had spread to the west coast of America, particularly California, performed by artists such as T-Bone Walker and B.B. King. Chicago also became a vital locus for electric blues, as played by Buddy Guy, Howlin’ Wolf and Muddy Waters, as did Detroit with the likes of John Lee Hooker, and Indiana with Albert King and Jimmy Reed. Blues remained strong in the southern states, including artists like Lightnin’ Hopkins and Freddie King. Country and western music also became popular again with ‘singing cowboys’ such as Gene Autry and Roy Rogers. Wartime songs would feature across many musical genres and many entertainers helped to support the allied forces at home and abroad, including Vera Lynn, Gracie Fields and The Andrews Sisters. It was also during the 1940s that the influence of Latin music began to be felt across other genres, popularised by the likes of ‘The Brazilian Bombshell’, Carmen Miranda brought to western cinemagoers by film director Busby Berkeley.

Around 1945, bluegrass began to make its mark. Bluegrass fused many American, European and African roots styles culminating in a unique blend of country, folk, traditional and Appalachian mountain music incorporating blues and jazz influences. The music is usually played on acoustic string instruments including fiddle, five-string banjo, guitar, mandolin, and upright bass. Bluegrass was particularly popular for dancing, including dance styles such as buckdancing, flatfooting and clogging. The term ‘bluegrass’ arose not only from a type of grass in the region near Kentucky but also from the name used by pioneers of the genre, Bill Monroe and the Blue Grass Boys. Monroe is often called the ‘Father of Bluegrass’ and his band notably featured Earl Scruggs on banjo and Lester Flatt on guitar. In the early days, bluegrass was categorised along with country & western, hillbilly and folk music before being defined as a discrete genre that remains popular today.

Traditional popular music is generally defined as having broad appeal for a wide audience and has existed throughout time and across the globe. While the ‘pop song’ originated in the 1920s, modern popular music is largely accepted to be Anglo‑American in origin and arose during the 1940s as the big bands declined and before rock & roll music took off in the mid‑1950s. Popular music was notable for structured song writing, often comprising repeated verse and chorus with a middle bridge section. Popular music was often based on musical standards, sung by ‘crooners’. In addition, popular music was also often composed by professional songwriters, which was then performed by a vocalist accompanied by a backing band or orchestra. Success was characterised by record sales and chart position as a measure of achievement. Perhaps the most famous popular music artists of the early popular music era were Frank Sinatra and Bing Crosby who achieved enormous commercial success. The familiar term ‘pop music’ actually appears to have its origins in Britain in the mid‑1950s. Popular music is often referred to as, but not synonymous with, ‘pop’ music; however, pop music developed as a major separate genre during the 1960s and has largely remained so to the current day. Another characteristic is that popular music is constantly evolving into many different formats and styles to keep pace with social and cultural changes, including aging western populations. Traditional popular standards were being released well into the 1950s by the likes of Perry Como, Tony Bennett, Nat King Cole and Dean Martin.

During the late 1940s, there was already indicative evidence of the sounds that would coalesce and become what we now call rock ‘n’ roll during the 1950s, particularly by blues/R&B artists such as Sister Rosetta Tharpe. That fundamental step-change is now for the next article.

Musical Facts 1940-1949

Many legendary artists that we now take for granted as part of today’s musical landscape were not yet born or still mere fledglings yet to make their indelible mark on our collective consciousness. As with last month’s article, a large proportion of the musical facts relate to births of future stars.

Looking down the long list of nearly 200 musical events during the 1940s, it could quickly become repetitive, e.g. American/English blah‑de‑blah was born in blah, blah. However, just a scan of the names and places gives a sense about what these youthful individuals were experiencing as teenagers during the ‘big bang’ of rock ‘n’ roll and the tsunami of the ‘British Invasion’, just a few years later. Just think of the exposure they had to sweeping new music crazes and how the fads might have inspired and stimulated these curious youngsters on to great music careers that they could never have foreseen. Some of these fabulous flames would burn brightly and briefly, while others would endure as wizened veterans still working hard and influencing today’s generations. As time passes, the balance between births, lifetime achievements and, sadly, deaths will shift considerably.

Day	Month	Year	Music Fact
–	–	1940	American blues/rock guitarist, singer and songwriter, Seasick Steve was born c.1940 or 1941 (date not disclosed) in Oakland, California.
27	July	1940	Billboard magazine published its first Music Popularity Chart. Topping the chart at No. 1 was Tommy Dorsey with his hit song, ‘I’ll Never Smile Again’.
9	October	1940	Massively influential of English singer, songwriter, guitarist, former member of The Beatles and successful solo artist, John Lennon MBE (1940-1980, 40) was born in Liverpool.
26	November	1940	Hugely influential English folk guitarist, Davey Graham (1940-2008, 68) was born in Market Bosworth, Leicestershire.
21	December	1940	Prolific genius, American guitarist, singer, songwriter and composer, the one and only Mr Frank Vincent Zappa (1940-1993, 52) was born in Baltimore, Maryland.
9	January	1941	Legendary perennial American folk/protest singer, songwriter, guitarist, and political activist, Joan Baez was born in Staten Island, New York.
15	January	1941	Influential American rock singer, songwriter and musician, Don Van Vliet (better known as Captain Beefheart) was born in Glendale, California.
24	January	1941	Acclaimed American singer, songwriter, guitarist and actor Neil Diamond was born in Brooklyn, New York.
24	January	1941	English folk singer, songwriter and guitarist Michael Chapman was born in Leeds, Yorkshire.
14	February	1941	Prolific English studio session guitarist Big Jim Sullivan (1941-2012, 71) was born in Uxbridge, Middlesex. Sullivan appeared on about 750 chart singles including 54 chart toppers.
24	April	1941	Australian virtuoso classical and contemporary guitarist, as well as one-time member of instrumental fusion rock group SKY, John Williams was born in Melbourne.
24	May	1941	Nobel prize-winner for literature, American folk/rock singer, songwriter and guitarist, Bob Dylan was born in Duluth, Minnesota.
18	July	1941	Influential country/blues/rock guitarist and singer songwriter, Lonnie Mack (1941-2016, 74) was born in West Harrison, Indiana.
14	August	1941	American singer, songwriter and guitarist, founder of The Byrds and Crosby, Stills & Nash, Hall of Famer, David Crosby was born in Los Angeles, California.
20	August	1941	The ‘grandfather of space rock’, English guitarist, singer, songwriter and co-founder of psychedelic rock band Hawkwind, Dave Brock was born in Isleworth, Middlesex.
13	October	1941	Living legend, American singer, songwriter, guitarist, formerly half of Simon & Garfunkel and a successful solo artist, Paul Simon was born in Newark, New Jersey.
21	October	1941	Multi-Hall of Famer, American guitarist, songwriter, record producer and member of Stax Records’ house band Booker T. & the MG’s, Steve Cropper was born in Dora, Missouri.
28	October	1941	English guitarist, singer and songwriter, best known for his uniquely distinctive work with The Shadows, Hank Marvin was born in Newcastle upon Tyne.
2	November	1941	English guitarist, singer, songwriter and producer, best known as an original member of instrumental pop/rock band The Shadows, Bruce Welch OBE was born in Bognor Regis, West Sussex.
20	November	1941	Great American singer, songwriter, pianist and occasional guitarist Dr John was born in New Orleans, Louisiana.
4	January	1942	English jazz/rock fusion guitarist, composer, solo artist and member of Mahavishnu Orchestra, John McLaughlin was born in Doncaster, South Yorkshire.
28	February	1942	English guitarist and founding member of rock band The Rolling Stones, Brian Jones (1942-1969, 27) was born in Cheltenham, Gloucestershire.
2	March	1942	Legendary American virtuoso jazz guitarist Charlie Christian died from tuberculosis in New York at the age of just 25.
2	March	1942	American singer, songwriter and guitarist with The Velvet Underground and as a successful solo artist, Lou Reed (1942-2013, 71) was born in Brooklyn, New York.
24	April	1942	Oscar-winning American singer, songwriter, actress and film maker Barbra Streisand was born in New York City.
17	May	1942	Hugely influential American blues guitarist, singer and songwriter, Taj Mahal (a.k.a. Henry Saint Clair Fredericks, Jr) was born in Harlem, New York.
1	June	1942	Highly influential virtuoso Spanish flamenco guitarist, Paco Peña was born in Cordoba.
18	June	1942	English bass guitarist, singer, songwriter and former member of pop/rock bands The Beatles and Wings, as well as a successful solo artist, Sir Paul McCartney MBE was born in Liverpool.
13	July	1942	American singer, songwriter, guitarist and co-founder of rock band The Byrds, Roger McGuinn was born in Chicago, Illinois.
1	August	1942	Influential American singer/songwriter and guitarist with Grateful Dead, Jerry Garcia (1942-1995, 53) was born in San Francisco, California.
27	November	1942	A true music legend, American rock guitarist, singer and songwriter, the one and only James Marshall Hendrix (1942-1970, 27) was born in Seattle, Washington.
31	December	1942	English guitarist, composer, member of rock band The Police and successful solo artist, Andy Summers was born in Poulton-le-Fylde, Lancashire.
10	January	1943	American folk/rock singer, songwriter and guitarist, Jim Croce (1943-1973, 30) was born in Philadelphia, Pennsylvania.
19	January	1943	Legendary American psychedelic blues/rock singer Janis Joplin was born in Port Arthur, Texas.
25	February	1943	English singer, songwriter, guitarist and member of The Beatles, George Harrison (1943-2001, 58) was born in Liverpool.
22	March	1943	Influential American jazz/soul/R&B guitarist, singer and songwriter, George Benson was born in Pittsburgh, Pennsylvania.
2	April	1943	American jazz guitarist, the ‘Godfather of Fusion’, Larry Coryell (1943-2017, 73) was born in Galveston, Texas.
14	May	1943	Scottish bass guitarist, singer, songwriter and former member of blues rock super group Cream, Jack Bruce (1943-2014, 71) was born in Bishopbriggs, Lanarkshire.
5	July	1943	Canadian guitarist, songwriter, composer, producer and former member of Americana rock group The Band, Robbie Robertson was born in Toronto, Ontario.
26	July	1943	English singer, songwriter and occasional guitarist, a founding member of rock band the Rolling Stones, Mick Jagger was born in Dartford, Kent.
28	July	1943	Renowned American blues guitarist and Hall of Famer, Mike Bloomfield (1943-1981, 37) was born in Chicago, Illinois.
24	August	1943	American guitarist and founder of west coast rock bands Quicksilver Messenger Service and Copperhead, John Cipollina (1943-1989, 45) was born in Berkeley, California.
6	September	1943	English bass guitarist, singer, songwriter and co-founder of progressive rock band Pink Floyd, Roger Waters was born in Great Bookham, Surrey.
5	October	1943	American guitarist, singer, songwriter and bandleader, Steve Miller was born in Milwaukee, Wisconsin.
3	November	1943	Sublimely talented Scottish guitarist and founding member of folk revival band Pentangle, Bert Jansch (1943-2011, 67) was born in Glasgow.
7	November	1943	Highly influential Canadian folk, jazz, rock and pop guitarist, singer and songwriter Joni Mitchell was born in Fort Macleod, Alberta.
28	November	1943	Highly acclaimed American singer, songwriter and composer of numerous film scores, Randy Newman was born in Los Angeles, California.
8	December	1943	Iconic American singer, poet, counter-culture rebel and front man of rock band, The Doors, Jim Morrison was born in Melbourne, Florida.
12	December	1943	American guitarist, singer, songwriter, composer and founding member of rock band The Allman Brothers Band, Dickey Betts was born in West Palm Beach, Florida.
18	December	1943	Legendary English guitarist, singer, songwriter and co-founder of rock band The Rolling Stones, Keith Richards was born in Dartford, Kent.
21	December	1943	Hugely talented English guitarist and songwriter known for his country/rock hybrid picking style, Albert Lee was born in Lingen, Herefordshire.
31	December	1943	American singer, songwriter, guitarist and producer, John Denver (1943-1997, 53) was born in Roswell, New Mexico.
9	January	1944	English musical innovator and legendary guitarist, best known for his work with hard rock band Led Zeppelin, the highly influential Jimmy Page OBE was born in Heston, Middlesex.
23	February	1944	Great American blues guitarist and Blues Hall of Famer, Johnny Winter (1944-2014, 70) was born in Beaumont, Texas.
1	March	1944	English singer, actor, founder and long-term front man of rock group The Who, Roger Daltrey was born in London.
23	March	1944	Trailblazing English guitarist and founder of blues/rock band Groundhogs, Tony McPhee was born in Humberston, Lincolnshire.
15	April	1944	Welsh rock guitarist, singer, songwriter and producer Dave Edmunds was born in Cardiff.
28	May	1944	American Motown legend and award-winning ‘Empress of Soul’, the formidable Gladys Knight was born in Atlanta, Georgia.
7	June	1944	American bluegrass and country rock guitarist who was a member of rock band The Byrds and an accomplished session musician, Clarence White was born in Lewiston, Maine.
8	June	1944	American singer, songwriter and guitarist, former member of the Steve Miller Band and a successful solo artist, Boz Scaggs was born in Canton, Ohio.
17	June	1944	Respected, versatile and prolific English session guitarist, singer and producer, Chris Spedding was born in Staveley, Derbyshire.
21	June	1944	English singer, songwriter, guitarist and former front man of pop/rock band The Kinks, as well as solo artist, Sir Ray Davies CBE was born in London.
24	June	1944	Outstanding and prolific English instrumental guitar genius, as well as former member of blues/rock band The Yardbirds, Jeff Beck was born in Wallington, Surrey.
8	August	1944	Renowned English guitarist and songwriter, known for his work with Bert Jansch and folk revival group Pentangle, John Renbourn (1944-2015, 70) was born in London.
16	August	1944	English singer, songwriter and guitarist with psychedelic rock band Soft Machine, as well as a successful solo artist, Kevin Ayers (1944-2013, 68) was born in Herne Bay, Kent.
9	October	1944	Legendary English bass guitarist with rock band The Who, nicknamed ‘The Ox’, John Entwistle (1944-2002, 57) was born in London.
19	October	1944	Jamaican reggae guitarist, singer and songwriter, a member of Bob Marley & The Wailers and a successful solo artist, Peter Tosh was born in Grange Hill, Jamaica.
15	December	1944	Famous American big band leader and musician Glenn Miller was killed when the plane in which he was flying disappeared in bad weather over the English Channel during WWII at the age of 40.
18	December	1944	British guitarist, best known as member of progressive rock band Man, Deke Leonard (1944-2017, 72) was born in Llanelli, South Wales.
19	December	1944	Highly regarded English guitarist, singer, and member of blues/rock group Ten Years After, Alvin Lee (1944-2013, 68) was born in Nottingham.
3	January	1945	American guitarist, singer and songwriter, famous for his work with Buffalo Springfield and Crosby, Stills, Nash & Young (CSNY), Stephen Stills was born in Dallas, Texas.
6	February	1945	A true legend as well as a great ambassador for Jamaica and reggae music with The Wailers, Rastafarian singer, songwriter and guitarist Bob Marley (1945-1981, 36) was born in Nine Mile, Jamaica.
9	March	1945	English blues/rock guitarist who came to fame as a member of rock band Procol Harum, before embarking on a long and successful solo career, Robin Trower was born in London.
11	March	1945	American guitarist, member of Canned Heat amongst others, and one of the first to popularise the two-handed tapping playing technique, Harvey Mandel was born in Detroit, Michigan.
30	March	1945	Highly renowned English blues/rock guitarist, singer, songwriter and Hall of Famer, Eric Clapton CBE was born in Ripley, Surrey.
13	April	1945	Great American guitarist, singer and songwriter with Little Feat, Lowell George (1945-1979, 34) was born in Hollywood, California.
14	April	1945	Hugely influential English guitarist and co-founder of hard rock bands Deep Purple and Rainbow, as well as folk rock duo Blackmore’s Night, Ritchie Blackmore was born in Weston-super-Mare, Somerset.
6	May	1945	American rock singer, songwriter, guitarist, pianist and leader of the Silver Bullet Band, Bob Seger was born in Detroit, Michigan.
19	May	1945	English rock guitarist, singer, songwriter and member of The Who, Pete Townshend was born in London.
28	May	1945	American rock singer, songwriter, guitarist and former member of Creedence Clearwater Revival, John Fogerty was born in Berkeley, California.
1	July	1945	American singer, songwriter, actress and founding member of rock band Blondie, Debbie Harry was born in Miami, Florida.
31	August	1945	Northern Irish rhythm & blues singer, songwriter and producer, Sir Van Morrison OBE was born in Belfast.
4	September	1945	Amazing American ‘Redneck Jazz’ guitarist, Danny Gatton (1945-1994, 49) was born in Washington D.C.
10	September	1945	Prolific Puerto Rican guitarist, singer and songwriter, José Feliciano was born in Lares.
11	September	1945	Extraordinary American multi-genre acoustic guitarist and a true master of his instrument, Leo Kottke was born in Athens, Georgia.
26	September	1945	English singer, songwriter and former front man of glam art rock band Roxy Music, Bryan Ferry CBE was born in Washington, County Durham.
3	October	1945	American singer Elvis Presley made his first public performance at the age of 10 when he sang ‘Old Shep’ at the Mississippi/Alabama Dairy Show talent competition. Reports say he came 2^nd and won $5, while Elvis later recollected coming 5^th and not winning a prize.
31	October	1945	English guitarist, singer, producer and one time member of rock band Argent, Russ Ballard was born in Waltham Cross, Hertfordshire.
26	November	1945	English bass guitarist with rock bands John Mayall’s Bluesbreakers and then Fleetwood Mac, John McVie was born in London.
30	November	1945	Welsh bass guitarist, songwriter and producer, best known as a member of heavy rock bands Deep Purple and Rainbow, Roger Glover was born in Brecon, Powys.
24	December	1945	English bass guitarist, singer, songwriter and founder of rock band Motörhead, Ian ‘Lemmy’ Kilmister (1945-2015, 70) was born in Stoke-on-Trent, Staffordshire.
25	December	1945	English bass guitarist and member of the Jimi Hendrix Experience, Noel Redding (1945-2003, 57) was born in Folkestone, Kent.
3	January	1946	English bass guitarist, songwriter, former member of hard rock band Led Zeppelin, solo artist as well as a member of Them Crooked Vultures, John Paul Jones was born in Sidcup, Kent.
6	January	1946	English singer, songwriter, guitarist and founding member of psychedelic/progressive rock band Pink Floyd, Syd Barrett (1946-2006, 60) was born in Cambridge.
8	January	1946	American guitarist, singer and songwriter, best known as a key member of rock band The Doors, Robby Krieger was born in Los Angeles, California.
19	January	1946	Larger-than-life American country music legend, successful business woman and actress, Dolly Parton was born in Pitman Center, Tennessee.
20	February	1946	American guitarist and leader of The J. Geils Band, John ‘J’ Geils (1946-2017, 71) was born in New York City.
6	March	1946	English guitarist, singer, songwriter, and former member of Pink Floyd, as well as a successful solo artist, the incomparable David Gilmour was born in Cambridge.
12	March	1946	Oscar-winning American singer and actress, Liza Minelli was born in Los Angeles, California.
1	April	1946	English bass player, singer, songwriter and founder of rock bands the Small Faces and the Faces, Ronnie Lane (1946-1997, 51) was born in Plaistow, Essex.
4	April	1946	English guitarist and member of pop/glam rock band Slade, Dave Hill was born in Holbeton, Devon.
16	May	1946	One of the great experimental English guitarists of our time and member of progressive rock band King Crimson, Robert Fripp was born in Wimborne Minster, Dorset.
26	May	1946	Great English rock guitarist and close companion of David Bowie, Mick Ronson (1946-1993, 46) was born in Kingston upon Hull.
7	June	1946	Welsh guitarist and co-founder of progressive/psychedelic rock band Man, Micky Jones (1946-2010, 63) born in Merthyr Tydfil.
15	June	1946	English guitarist and singer with glam pop/rock group Slade, Noddy Holder MBE was born in Walsall, Staffordshire.
6	August	1946	Extraordinarily talented English virtuoso fusion/rock guitarist Allan Holdsworth (1946-2017, 70) was born in Bradford.
23	August	1946	Influential and eccentric English drummer and member of rock band The Who, Keith Moon, was born in Wembley, Middlesex.
5	September	1946	Flamboyant English singer with rock/pop band Queen, Freddie Mercury (real name Farrokh Bulsara) was born in Stone Town in the Sultanate of Zanzibar (now Tanzania).
14	October	1946	English singer, songwriter and guitarist with rock band The Moody Blues, Justin Hayward was born in Swindon, Wiltshire.
29	October	1946	Highly acclaimed and influential English guitarist and co-founder of blues/rock band Fleetwood Mac, Peter Green was born in London.
5	November	1946	American country rock guitarist with The Byrds, Gram Parsons (1946-1973, 26) was born in Winter Haven, Florida.
17	November	1946	Great English guitarist, best known as a long-term member of rock band Jethro Tull, Martin Barre was born in Birmingham.
20	November	1946	Legendary American guitarist and co-founder of the Allman Brothers Band, nicknamed ‘Skydog’, Duane Allman (1946-1971, 24) was born in Nashville, Tennessee.
22	November	1946	Jamaican bass guitarist and producer who played with reggae bands Bob Marley & The Wailers and The Upsetters, Aston ‘Family Man’ Barrett was born in Kingston.
24	December	1946	Dutch progressive rock and jazz fusion guitarist best known for his work with rock band Focus, as well as a long solo career, Jan Akkerman was born in Amsterdam, Netherlands.
30	December	1946	Influential American singer, poet and activist, part of the vibrant New York punk movement, Patti Smith was born in Chicago, Illinois.
–	–	1947	American session guitarist and collaborator, best known for his work with Steely Dan, Elliott Randall was born (exact date not known).
8	January	1947	A true legend, English singer, songwriter, occasional guitarist and actor, the one and only David Bowie (1947-2016, 69) was born in London.
22	January	1947	English punk pioneer, the manager of New York Dolls and the Sex Pistols, as well as a solo music artist, Malcolm McLaren was born in London.
30	January	1947	English ‘mod’ guitarist with rock bands Small Faces and Humble Pie, Steve Marriott (1947-1991, 44) was born in London.
3	February	1947	English guitarist, singer and songwriter who, along with his older brother Ray, provided the driving force behind pop/rock band The Kinks, Dave Davies was born in London.
14	February	1947	American multi-genre singer, songwriter and guitarist, Tim Buckley (1947-1975, 28) was born in Washington D.C.
15	March	1947	American musician, composer, songwriter and phenomenal slide guitarist, Ry Cooder was born in Los Angeles, California.
25	March	1947	Flamboyant multi-award-winning English pop singer, songwriter and pianist, Sir Elton John CBE was born in Pinner, Middlesex.
8	April	1947	Great English guitarist, songwriter and producer best known as a long-time member of progressive rock group Yes, Steve Howe was born in London.
1	June	1947	English guitarist with rock band The Rolling Stones and previously the Faces and the Jeff Beck Group, Ronnie Wood was born in Hillingdon, Middlesex.
5	June	1947	American guitarist, singer, co-founder of funk band Sly And The Family Stone, and now a Christian pastor, Freddie Stone was born in Vallejo, California.
9	June	1947	English guitarist and long-time member of rock band Uriah Heep, Mick Box was born in Walthamstow, East London.
12	July	1947	Influential English guitarist, singer, songwriter and former member of pub rock band Dr. Feelgood, Wilko Johnson was born in Canvey Island, Essex.
19	July	1947	Award-winning English guitarist, astrophysicist, animal rights activist and co-founder of rock/pop band Queen, Dr. Brian May CBE was born in Hampton, Middlesex.
20	July	1947	Highly acclaimed Mexican/American guitarist, songwriter and main man for Latin/jazz/fusion/rock group Santana, Carlos Santana was born in Autlán de Navarro, Jalisco.
3	September	1947	Northern Irish blues/rock guitarist and founder of rock group Thin Lizzy, Eric Bell was born in Dublin.
30	September	1947	Massively influential English glam rock pioneer Marc Bolan of Tyrannosaurus Rex and then T.Rex (1947-1977, 29) was born in London.
1	October	1947	English bass guitarist, singer and founding member of rock band Wishbone Ash, Martin Turner was born in Torquay, Devon.
8	November	1947	English guitarist, singer, songwriter and former member of pop/rock bands The Move, Electric Light Orchestra (ELO) and Wizzard, Roy Wood was born in Birmingham.
10	November	1947	English bass guitarist, singer and songwriter, famous for his work with progressive rock bands King Crimson and ELP, as well as a successful solo artist, Greg Lake (1947-2016, 69) was born in Poole, Dorset.
10	November	1947	American guitarist best known for working with the original Alice Cooper band, Glen Buxton (1947-1997, 49) was born in Akron, Ohio.
12	November	1947	American guitarist with rock band Blue Öyster Cult since its formation in 1967, Buck Dharma (a.k.a. David Roeser) was born in Long Island, New York.
20	November	1947	Great American guitarist, singer, songwriter, solo artist and member of country rock band Eagles, Joe Walsh was born in Wichita, Kansas.
8	December	1947	American guitarist, singer, songwriter and co-founder of the Allman Brothers Band, Gregg Allman (1947-2017, 69) was born in Nashville, Tennessee.
21	December	1947	Highly influential Spanish virtuoso Flamenco guitarist, Paco de Lucíá (1947-2014, 66) was born in Cadiz.
12	January	1948	English jazz fusion guitarist supreme and long-term member of progressive rock band Soft Machine, John Etheridge was born in London.
15	January	1948	American singer and frontman of Southern rock band Lynyrd Skynyrd, the great Ronnie Van Zant was born in Jacksonville, Florida.
2	February	1948	American guitarist, songwriter, producer and ex-member of funk band Earth Wind & Fire, Al McKay was born in New Orleans, Louisiana.
4	February	1948	Theatrical American rock singer, songwriter, actor and presenter, Alice Cooper was born in Detroit, Michigan.
19	February	1948	English rock guitarist with Black Sabbath and the ‘Godfather of Heavy Metal’, Tony Iommi was born in Birmingham.
2	March	1948	Legendary Irish blues/rock guitarist, singer and songwriter Rory Gallagher (1948-1995, 47) was born in Ballyshannon, County Donegal.
2	March	1948	American jazz fusion guitarist, composer and prolific multi‑genre session musician, the great Larry Carlton was born in Torrance, California.
4	March	1948	Renowned English bass guitarist and co-founder of progressive rock band Yes, Chris Squire (1948-2015, 67) was born in London.
6	April	1948	Talented English multi-genre guitarist and composer, Gordon Giltrap was born in Brenchley, Kent.
30	April	1948	American guitarist, singer, songwriter, producer, composer and co-founder of rock band MC5, Wayne Kramer was born in Detroit, Michigan.
15	May	1948	Pioneering experimental English composer, producer, musician and founding member of glam rock band Roxy Music, Brian Eno was born in Melton, Suffolk.
18	June	1948	Columbia Records began mass producing the 33RPM long‑playing (LP) record. The original concept of the vinyl ‘album’ has endured and has undergone a retro revival in the digital age.
19	June	1948	Highly respected English singer, songwriter and guitarist, Nick Drake (1948-1974, 26) was born in Rangoon, Burma (now Myanmar).
20	June	1948	Scottish bass guitarist and founding member of 1970s pop group, The Bay City Rollers, Alan Longmuir (1948-2018, 70) was born in Edinburgh.
22	June	1948	American singer, songwriter, guitarist and producer, solo artist and founding member of progressive rock band Utopia, Todd Rundgren was born in Philadelphia, Pennsylvania.
17	July	1948	American guitarist and songwriter with Iggy Pop and the Stooges, Ron Asheton (1948-2009, 60) was born in Washington D.C.
2	August	1948	Welsh singer, songwriter, guitarist and founding member of rock band Amen Corner, Andy Fairweather Low was born in Ystrad Mynach.
24	August	1948	French electronic composer, instrumentalist and producer, Jean-Michel Jarre was born in Lyon.
31	August	1948	German rhythm guitarist, songwriter and founder of hard rock band Scorpions, Rudolf Schenker was born in Hildesheim.
11	September	1948	Hugely influential and innovative British singer, songwriter and guitarist, John Martyn (1948-2009, 60) was born in London.
8	October	1948	Pioneering American punk rock guitarist and songwriter with the Ramones, Johnny Ramone (1948-2004, 56) was born in New York.
12	October	1948	English guitarist and long-term member of rock band Status Quo, Rick Parfitt (1948-2016, 68) was born in Woking, Surrey. ‏
6	November	1948	American guitarist, singer, songwriter, actor and founding member of country rock band Eagles, Glenn Frey (1948-2016, 67) was born in Detroit, Michigan.
3	December	1948	English singer, songwriter, TV personality and member of heavy metal rock band Black Sabbath, nicknamed ‘The Prince of Darkness’, Ozzy Osbourne was born in Birmingham.
13	December	1948	American guitarist, best known for his work with Steely Dan, The Doobie Brothers and Spirit, Jeff ‘Skunk’ Baxter was born in Washington D.C.
13	December	1948	Controversial American singer, songwriter and guitarist, known for his ultra-conservative political views, the ‘Motor City Madman’, Ted Nugent was born in Redford, Michigan.
18	December	1948	English guitarist, singer, songwriter and producer best known for his work with experimental rock band Be-Bop Deluxe, Bill Nelson was born in Wakefield, Yorkshire.
22	December	1948	American guitarist, singer and songwriter with rock band Cheap Trick, Rick Nielsen was born in Elmhurst, Illinois.
17	January	1949	English guitarist and former member of blues/rock bands John Mayall’s Bluesbreakers and The Rolling Stones, Mick Taylor was born in Welwyn Garden City.
19	January	1949	English pop/rock singer and songwriter and member of rock bands Vinegar Joe and the Power Station, Robert Palmer was born in Batley, Yorkshire.
7	February	1949	English bass guitarist and founding member of pop/rock band Status Quo, Alan Lancaster was born in London.
31	March	1949	Record company, RCA Victor released their first 45RPM 7″ single, ‘Texarkana Baby’ by Eddy Arnold… on green vinyl.
3	April	1949	English guitarist, singer, songwriter, solo artist and former member of folk rock band Fairport Convention, Richard Thompson was born in London.
4	May	1949	Scottish guitarist, best known for his work with The Sensational Alex Harvey Band in the 1970s, Zal Cleminson was born in Glasgow.
17	May	1949	English guitarist, singer, composer and founder of progressive rock band Camel, Andrew Latimer was born in Guildford, Surrey.
19	May	1949	American bass guitarist and long-term member of southern blues/rock band ZZ Top, Dusty Hill was born in Dallas, Texas.
29	May	1949	English singer, songwriter and guitarist with rock/pop band Status Quo, Francis Rossi OBE was born in London.
17	July	1949	Great English bass guitarist with heavy metal rock band Black Sabbath, Terence ‘Geezer’ Butler was born in Aston, Birmingham.
12	August	1949	British guitarist, singer, songwriter, producer, composer and co-founder of rock band Dire Straits, Mark Knopfler OBE was born in Glasgow.
20	August	1949	Irish bass guitarist, singer, songwriter and founding member of rock group Thin Lizzy, Phil Lynott, (1949-1986, 36) was born in West Bromwich, Staffordshire, England.
25	August	1949	Israeli/American bass guitarist, singer, actor, businessman and co-founder of rock band KISS, Gene Simmons, nicknamed ‘The Demon’ was born in Tirat Carmel, Haifa, Israel.
28	August	1949	English guitarist, singer, songwriter and ex-member of punk rock pioneers, The Stranglers from 1974-1990, Hugh Cornwell was born in London.
5	September	1949	English guitarist with rock bands Colosseum, Humble Pie and a successful solo artist, Clem Clempson was born in Tamworth, Staffordshire.
14	September	1949	American guitarist with southern rock band Lynyrd Skynyrd, Steve Gaines (1949-1977, 28) was born in Seneca, Missouri.
14	September	1949	American guitarist and bass guitarist with southern rock band Lynyrd Skynyrd, Ed King (1949-2018, 68) was born in Glendale, California.
23	September	1949	American living legend that is ‘The Boss’, Mr. Bruce Springsteen was born in Long Branch, New Jersey.
3	October	1949	American guitarist, singer and songwriter primarily with rock band Fleetwood Mac and now solo, Lindsey Buckingham was born in Palo Alto, California.
8	November	1949	American blues, rock, Americana roots and with a hint of country guitarist, singer, songwriter and activist, Bonnie Raitt was born in Burbank, California.
6	December	1949	American blues/folk guitarist and singer, Lead Belly (Huddie William Ledbetter) died of motor neurone disease in New York at the age of 61.
7	December	1949	Prolific and hugely influential American singer, songwriter, composer and actor, Tom Waits was born in Pomona, California.
13	December	1949	American singer, songwriter and guitarist with alternative post-punk rock band Television, Tom Verlaine was born in Denville, New Jersey.
16	December	1949	American guitarist, singer and songwriter with blues/rock band ZZ Top and solo artist, Billy F. Gibbons was born in Houston, Texas.
23	December	1949	American guitarist and singer with a long solo career and known for his work with British progressive rock band King Crimson and a host of others including Frank Zappa, David Bowie and Talking Heads, Adrian Belew was born in Covington, Kentucky.

Tailpiece

Well, that’s it for another month – that is a veritable roll call of rock ‘n’ roll, all packed into just 10 years. The thing that struck me most about this article is the overwhelming focus on America and Britain as the drivers for musical change in the 20^th Century. Today, we readily accept a much more diverse, global infusion of styles and influences. One can pontificate that it had to start somewhere and these two countries largely made it happen bilaterally; maybe not exclusively but certainly predominantly. Unsurprisingly, perhaps given the period, it is also male dominated.

Just how quickly we proceed from here depends entirely on the volume of the content. At this rate, we could be at this for a while yet. I didn’t realise when I started, what a colossal exercise it was going to be. However, I have found it fascinating to focus on musical evolution through this lens and I hope that you have found something of interest along the way. Maybe the Forties were not a great deal of interest to you, they were certainly before my time. We will get around to other periods that may motivate your attention span in a different way, I promise… eventually.

We are now well past the chronological midway point but we haven’t yet reached half way in terms of content. The massive upsurge of musical events that took place over the latter part of the 20^th Century has still to unfold fully, raising the anticipation of plenty more to come… and, boy, is there plenty more! The ambitious effort to bring an interrelated bunch of musical factoids to life within the context of the broader human condition continues unabated. I hope you will join me on the rest of the journey, hopefully reconvening here‑ish next month. Until next time…

CRAVE Guitars ‘Quote of the Month’: “Material things feed the vanity of the ego, while music nourishes the spirit and sustains the soul.”

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29 May 2017

May 2017 – 50 Albums of the Last Half-Century(-ish)

by CRAVEGuitars | posted in: Observations, Opinion | 0

A little while ago, someone looked at the development of heavy metal from the 1970s to the 2000s and exemplified it by listing one album per year. Of course, this was just one perspective but, more generally, I thought it might be interesting to do something similar across all modern music genres.

This is only my catalogue of 50 years (actually 52 years but who’s counting?) of modern musical history. It is, of course, value-laden and massively subjective, with many great artists and albums excluded by the ruthless application of selection criteria, which included:

Must be an original album, not an EP or single
Only 1 album from each year (no reissues – original release date applies)
Only 1 album by any artist (band or solo)
The album must include some guitar work (i.e. no pure electronica)
Albums may come from any modern music genre
No compilations, ‘best of’ or various artist collections
They must be appreciated and owned by the author (i.e. not just made up or copied from elsewhere)

The resulting compendium is not representative of popularity, perceived wisdom, other people’s opinion or commercial success. It is simply my choices for a timeline covering over half a century of great music.

Why pick these 52 years? My age makes it difficult to go back further than the mid‑1960s for a start, so there aren’t any selections from the ‘birth’ of rock ‘n’ roll in about 1954 to the ‘dawn of rock’ in about 1965 – to be honest, I don’t own and am not particularly familiar with pre-’65 albums. I’ve brought it right up to date with 2016 being the last full year at the time of writing. However, anything beyond about 2010 is probably too recent to really place any kind of enduring significance to the entries – historical retrospective can be beneficial that respect. Arguably, the longer the intervening time period, the more consolidated, reliable and credible that hindsight becomes within context (discuss…).

Feel free to make up your own timeline over whatever period you like, using your own criteria. This is just my perspective; I can guarantee that anyone reading it will disagree with it and would produce a VERY different route through the roadmap of time. Actually, that’s both the point and the fun of it – if we all ended up with the same journey, we would live in a very dull world.

So… here we go, in chronological order…

The 1960s(-ish):

1965 Bob Dylan – Highway 61 Revisited

1966 John Mayall’s Blues Breakers – Blues Breakers With Eric Clapton

1967 Jimi Hendrix – Are You Experienced

1968 The Velvet Underground – White Light/White Heat

1969 King Crimson – In The Court Of The Crimson King

The 1970s:

1970 Black Sabbath – Black Sabbath

1971 The Doors – L.A. Woman

1972 David Bowie – The Rise And Fall Of Ziggy Stardust And The Spiders From Mars

1973 John Martyn – Solid Air

1974 Lynyrd Skynyrd – Second Helping

1975 Led Zeppelin – Physical Graffiti

1976 Thin Lizzy – Jailbreak

1977 Bob Marley & The Wailers – Exodus

1978 AC/DC – Powerage

1979 The Clash – London Calling

The 1980s:

1980 Talking Heads – Remain In Light

1981 The Cramps – Psychedelic Jungle

1982 Bruce Springsteen – Nebraska

1983 ZZ Top – Eliminator

1984 Iron Maiden – Powerslave

1985 Dire Straits – Brothers In Arms

1986 Metallica – Master Of Puppets

1987 Guns n’ Roses – Appetite For Destruction

1988 Cowboy Junkies – The Trinity Session

1989 The Cure – Disintegration

The 1990s:

1990 Megadeth – Rust In Peace

1991 Nirvana – Nevermind

1992 Rage Against The Machine – Rage Against The Machine

1993 Dinosaur Jr – Where you BEEN

1994 Portishead – Dummy

1995 Sonic Youth – Washing Machine

1996 Nick Cave And The Bad Seeds – Murder Ballads

1997 Rammstein – Sehnsucht

1998 Massive Attack – Mezzanine

1999 Suede – Head Music

The 2000s:

2000 The White Stripes – De Stijl

2001 The Strokes – Is This It

2002 Beck – Sea Change

2003 Placebo – Sleeping With Ghosts

2004 Kasabian – Kasabian

2005 Editors – The Back Room

2006 Johnny Cash – American V: A Hundred Highways

2007 Seasick Steve – Dog House Music

2008 The Black Keys – Attack & Release

2009 The Horrors – Primary Colours

The 2010s (so far):

2010 Warpaint – The Fool

2011 The Kills – Blood Pressures

2012 Richard Hawley – Standing At The Sky’s Edge

2013 Savages – Silence Yourself

2014 Band Of Skulls – Himalayan

2015 Wolf Alice – My Love Is Cool

2016 Leonard Cohen – You Want It Darker

So… how many of these do you own and/or like? What course would you take through the last 5 decades? I’m sure that readers will be up in arms about what’s missing.

As with other CRAVE Guitars’ challenges, this exercise wasn’t as easy as when it was first envisaged. Reflecting on the list and making a few observations…

The albums listed are not necessarily my favourites; just ones that carry some meaning within the context of the topic. See my rant of July 2016 for my suggested top 20 most influential albums, some of which also appear in this list. There were many beloved albums (and favourite guitarists – see CRAVE Guitars’ February 2017 article) that didn’t make the final list. There are some great albums by great artists that don’t appear. Some albums on the list may not be the pinnacle of achievement by the artist but they appear because of the way the selection criteria worked.

The widely-regarded, guitar-dependent and ‘important classics’ on the timeline tend to come from the 1960s and ‘70s. These albums have stood the test of time and still have relevance today. Some represent ground-breaking events and their appearance on the timeline will be of no great surprise. Why no Rolling Stones or The Beatles on this list? Well, I’m not a Beatles fan and the Stones came close for a number of years including 2016 but got pipped at the post elsewhere. No Pink Floyd? Surprisingly not. No watershed albums like, for instance, Fleetwood Mac’s ‘Rumours’, Mike Oldfield’s ‘Tubular Bells’ or Sex Pistols ‘Never Mind The Bollocks’? Not on this occasion. No manufactured boy/girl bands from the formulaic TV ‘talent’ production line (or their heinous celebrity-driven ilk)? Heck no! Real music only, please.

While the available choice of albums seemed to increase significantly from the mid‑1990s, the quality of output seemed to become more homogenous with the increase in quantity, meaning that it was harder to pick outstanding entries and, by the time the new millennium arrived, it becomes increasingly difficult to pick out the exemplary future classics from amongst the multiplicity of also-ran material. This doesn’t mean that quality deteriorated, simply that the market became increasingly saturated and tour de forces became more difficult to define. Time will tell as to which ones (if any) will have the longevity to stand out as true masterpieces.

Some years were spoilt for choice and it was a VERY hard task to select just one entry from a wealth of great albums, while other years were very sparse and it was a case of selecting from the ‘best of the rest’. For some years, there was an obvious shoo-in, while for others years it was actually quite difficult to pick a ‘winner’ from an amorphous morass of uninspiring averageness.

Within modern western popular music, it is probably not a surprise that the majority of artists in the timeline are British or American, with a smattering from elsewhere (Canada, Jamaica, Germany and Australia). Perhaps increased globalisation and geographical dispersion may introduce new influences, especially from those areas with different musical cultures, e.g. the middle east, far east, Africa and South America. Perhaps these influences, generally categorised as ‘world music’, will become more mainstream, especially as the Internet provides greater access to hitherto niche markets.

In terms of diversity, certainly the older music was male/white dominated. While a few more females populate the latter years, there is still a general shortage of female musicians in the industry. Ethnicity is predominantly white, which was a bit of a surprise and it certainly wasn’t a conscious choice. Music is one of those industries where artists from diverse backgrounds have been able to succeed and influence successive generations. As in other forms of 21^st century life, ensuring equality of opportunity for everyone and the music industry depends on the best talent, rather than to segregate on the basis of specific upbringings.

Many genres were evenly distributed. However, a number of genres were under‑represented including rap/hip-hop, reggae, dance/funk/disco, etc. Surprisingly, indie music seems to have taken more of a centre stage in the noughties and tweenies, at least in this exercise. How these albums age over time will be interesting. Bands tended to feature, rather than solo artists, which was notable.

There is some pretty impressive album artwork over the half-century. It is amazing how effective musical packaging design has been. We are, sadly, long past the heyday of album art integrated with popular cultural references. I can’t see that changing with current and future media delivery systems. Why should credible artists and designers stake their reputation on, say, the latest download fad?

The rigorous application of the selection criteria was particularly challenging and may well account for some of the more obvious anomalies. A different approach might have led to a more balanced (and perhaps more predictable) result.

A slight grammatical oddity; there are 3 albums on the list whose titles are clearly prima facie questions and none of them end in a ‘?’ (1967, 1993 and 2001). Weird or what?

A number of albums on the list were debut or sophomore albums, perhaps indicating that for many artists, the pool of inventive material is more furtive early on in the limelight and, for some, success actually seems to dilute the fire of creativity, resulting in shortened professional careers. There are relatively few who have the longevity of a lifelong career. Sadly, a large proportion of the artists are no longer with us and their potential is lost forever. We miss their imagination.

When thinking about future direction within the context of the past, the outlook appears healthy and increasingly disparate, despite the broadcast media’s obsession with exploitative ‘talent’ drivel. The days when a single type of music would dominate the ‘air waves’ (remember them?) looks increasingly unlikely, simply because of the volume of new music and the ways in which it is made available to the listening public.

What will be ‘the next big thing’ and will there be any (counter-)culturally significant new genre developments like metal, new wave, punk, rave, grunge, etc.? Major mainstream step changes are possibly unlikely; the musical landscape is now so varied that anything fundamentally new is likely to be genre-specific, for example dancehall and dubstep, rather than a mass‑market popular revolution.

The emergence of completely new trends becomes less likely over time, as it can also be argued that most original ideas have pretty much been used up by now. There can only be a finite number of combinations of existing musical patterns to fuel experimentation and ultimate acceptance. The number of plagiarism litigations suggests that the future will increasingly have to recycle and re-use existing ideas, rather than create new ones. Existing genre conventions, once they have become well‑established, also tend to constrain further creativity within that particular genre. Perhaps we will see more genre cross-overs in an attempt to find that spark of innovation and inspiration.

So there you have it. It has been another interesting little challenge that has also raised a few more peripheral questions. While it doesn’t really add anything to humanity’s collective knowledge, it passes time and the task makes one think (again).

Finally, seeing as CRAVE (Cool & Rare American Vintage Electric) Guitars is all about the venerable instrument, think of all the great guitars and the guitarists that wielded them that feature on not only all the albums listed above but also all the ones that have been missed out.

This is the final monthly article before the ‘big move’ and, hopefully, things beginning to get back on track. Proverbially, I’ll see you on the other side. Until next time…

CRAVE Guitars’ ‘Quote of the Month’: “If actions speak louder than words, why can’t people hear what I’m doing?”

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28 Jan 2017

January 2017 – Why music affects us in the way it does

by CRAVEGuitars | posted in: Observations, Opinion | 0

Welcome to a brand new(-sh) and shiny(-ish) 2017. One hopes that humanity comes to its senses and delivers progress towards a better, fairer, more peaceful world in the year to come. Given indications so far, I doubt it but we shall see. I hope that I’m wrong.

What will be different for CRAVE Guitars in 2017? Other than the complete change of lifestyle to a more modest form of living and the absence of any funds to take forward the vintage guitar business, it will be a year of contemplation and formation of thoughts about the future. I have to remain optimistic that CRAVE Guitars will metamorphose (again) and will flourish in some splendid new form.

Anyway… back to the present and this month’s topic, in the absence of new gear. One of the things that has fascinated me over many years is why people choose, like, and are affected by, the music they listen to. My iTunes library runs into several tens of thousands of songs, predominantly but not exclusively from the last 5 decades, so the topic is pertinent. This article tries to understand why you might like one song while I might hate it and vice versa, or why we both might like or dislike the same one. While reading, please bear in mind that my roots are completely in modern music, which comprises a massively diverse smorgasbord of contemporary music from the 1960s onwards, right up to the latest releases. While I can appreciate (some) classical or traditional music, it doesn’t impact my life in the way that ‘modern popular’ music does.

The cultural revolution (no, not the Chinese uprising of 1966-1976) that began in the early 20^th century led up to the seemingly sudden introduction of rock ‘n’ roll in the mid-1950s. However, ‘modern’ rock and pop music didn’t appear fully formed overnight and its roots in blues and jazz go much further back. What the explosion in supply and demand that has occurred over the last 6 decades has done is to open up range of musical types in such a way that defining current genres and sub-genres has become increasingly difficult. In addition, technology (for instance to facilitate composition, recording, production and distribution) provides us with convenient access to types of music that hitherto might have been difficult to reach, let alone appreciate.

When I was young, my parents listened predominantly to classical and traditional music. However, this background does not appear to have influenced my personal preferences. So what did shape my listening habits while growing up in a rapidly changing world? The ‘nature versus nurture’ dichotomy doesn’t appear to be a determinant of taste and passing years don’t appear to have modified my listening behaviour significantly. Certainly my musical choices have not been passed to the next generation either, which is more than capable of making up its own mind, helped no doubt by convenient availability of music like never before. Perhaps I am unusual, which may be why I posed the rhetorical question in the first place.

You may think that this may be a ‘heavy’ topic for the start of the year (no pics either for copyright reasons! Sorry). However, I am going to try and get inside your head a little bit, so bear with me. The focus is not only on the things we tend to like collectively but also why some of the differences in musical preference between individuals can be so profound. Exploring the foundations of musical preference a bit further provided few satisfying answers and a lot of frustrating dead ends along the way. Although he may have been biased, Beethoven said it more succinctly than I can, “Music is a higher revelation than all wisdom and philosophy”.

To try and get to the bottom of this particular theme and gain some greater insight, I decided to delve a bit deeper into the subject matter. There is an awful lot of pure science behind music, especially the physics and mathematics of music ‘law’. While the scientific aspects are interesting in their own right, it was the psychological impact of music that provoked my curiosity. Let’s begin by breaking it down a bit…

One arm of musical science is called musicology. The word stems from the Greek meaning the ‘study of music’, so this seemed like a sensible starting point. Musicology, as it turns out, is largely formed of three different areas of study:

Historical musicology – which is often referred to as music history (in a similar way to art history) and looks at the way that music has developed over a significant period of time. However, while this may explain the main epochs of music, it does little to explain how we ‘feel’ about the music we listen to in the current era. However, it does tend to outline what musical styles were popular through the ages and the access that ordinary people had (or didn’t have) to experience performance music
Ethnomusicology – this area of music study looks at music within a cultural and/or societal context. While this may explain a bit about musical expression described by the generally common behaviours of large groups, e.g. western or far eastern music, it is very broad and doesn’t really get to the basis of individual musical preference (except within the context of a large society)
Systematic musicology – is a term that covers many aspects of music including general questions about the importance of music right through to the specifics of music theory, varying in discipline, ranging from qualitative to quantitative studies

There is also a branch of musicology called cognitive musicology, although this looks more at mathematical modelling to explain how the brain processes and interprets music in a similar way to how it might process language, including learning, attention, planning and memory. Empirical studies have shown that there is a correlation between musical training and intellectual growth and a whole branch of neuropsychology has developed around this area. Functional MRI scans have shown that the brain actively responds to musical stimulus – no surprise there. Neuroscience, though, focuses primarily on biological processes, rather than emotional, responses.

Music, like language, is an integral part of our cognitive development, which might explain why musical expression is just as important as linguistic expression to nearly everyone on the planet, and has done for thousands of years. However, examining intellectual development does not explain how we, as individuals, respond to music in such a fundamental way. It also doesn’t explain the unifying force of fandom and mass hysteria, i.e. why we congregate in large groups then react disproportionately and often very rapidly to a particular movement in taste (fads?) – anyone remember Beatlemania?

Our brains generally respond to sound in a similar way. The auditory cortex works in association with the cerebellum and frontal cortex, and is responsible for processing ‘organised sound’, including music and language. While music also affects many other parts of our brains, scientists have pinpointed the areas deep in our brains that are activated by and cause emotional responses to music, primarily the amygdala and nucleus accumbens. The amygdala determines whether our bodies need to take some form of conscious action according to the sounds we hear, while the latter regulates the release of the hormone dopamine as part of the brain’s ‘reward system’ and plays a part in rhythmic timing. Dopamine is important as it makes us feel arousal and pleasure so, perhaps, music is a drug after all. Medically, our wellbeing can benefit from using music to reduce anxiety or stress, as used, for instance, in music therapy. Our reaction to music may be divided into emotions that are ‘perceived’ or ‘felt’, which might explain why, for instance, why some people enjoy listening to sad music.

Conversely, whether consciously or unconsciously, music can also be intrusive and distracting, for instance in public places or call centre queues (e.g. ‘Muzak’), when forced to listen to music we don’t like, or exposed to music inappropriately out of context, it can be linked to production of the stress hormone cortisol within the adrenal gland. One example of cortisol production as a result of an auditory stimulus may be the brain’s reaction to fingernails scraping a blackboard causing a significant antipathetic response.

Our clever brains are constantly trying to predict what comes next (technically, the anticipatory response). Many musicians have exploited this characteristic over centuries to tease us and then maximise the ‘crescendo’ effect. Auditory and visual acuity is strongly linked, which perhaps partly explains why we like to go out and watch live music or are drawn to music videos. Closing our eyes while listening to music can suppress the visual stimulus and concentrate the auditory stimulus.

So… does a better understanding of musicology or neurology help with this particular conundrum? Unfortunately, no it doesn’t. However, it does provide a broader framework within which further questions can be asked. There are clearly links between the physical mechanics and the psyche of music, so some further delving was required. Where to look next?

Music psychology was my next point of call. Music psychology is a different approach that attempts to explain musical behaviour and experience, including how we perceive music (e.g. pitch, rhythm, harmony and melody) and our ability to learn, play and perform music. Why is it, for instance, that some people are content to listen to music (i.e. be affected by it), while others are driven to acquire the skills of musical technique and perform in front of audiences (i.e. to affect others through it)?

While the answer to the question above is beyond the scope of this article, emotion is as vital for those making music as it is to the majority of us who listen to what they create. March Bolan once said, “Emotion has to be foremost. When I feel emotional I’m equipped to express myself”, and Debbie Harry also commented, “I do know the effect that music still has on me – I’m completely vulnerable to it. I’m seduced by it”. Jimi Hendrix went a bit further by saying that, “Music is my religion”. To many, musical appreciation is as strong as faith, if not synonymous with it. Suffice to say, music is a powerful medium. Keith Richards expressed music in more survivalist terms, “Music is a necessity. After food, air, water and warmth, music is the next necessity of life”. How strongly do you feel about music’s professed omnipotence?

Perhaps a more relevant approach is to look at what psychologists refer to as ‘affective responses to music’. An ‘affect’ in basic psychological terms is how an organism interacts with stimuli including, amongst other things, the experience of feeling or emotion. Music is one such stimulus that leads to patterns of behaviour and regulation of our emotions. When looking a bit more deeply, even this area tends to break down into a number of factors that academics have attempted to measure. For instance, in relation to emotional music, the following formula has been postulated:

Experienced emotion = structural features x performance features x listener features x contextual features

While expressing emotion as an equation cannot hope to capture the nuances, it does indicate that the way we feel about music is actually a complex interrelationship between a number of human actions and situations. Studies have, unsurprisingly, repeatedly shown that music consistently elicits emotional responses in its listeners (duh!), so what is actually going on?

Why does some music make the hair on the back of our necks stand up? Psychologists refer to the ‘chill’ effect as ‘arousal’, which is a non-conscious physiological response to an environmental stimulus, caused by the hormone dopamine (again). How strong this reaction is depends on, as you might have guessed by now, a number of variables.

The psychology of music and the way it helps shape our genre preferences, again, tease us with answers. However, all it does is to identify that there are notable differences between us but not how or why these differences occur in the first place or why the emotional responses can be so varied and profound.

Perhaps delving into the characteristics of personality and self‑expression may provide some insight that has so far eluded my investigations? Some psychologists point to the ‘Big Five Personality Traits’ to explain and measure our ‘personality’. The ‘Big Five’ categories that shape our personality are:

Openness to experience
Agreeableness
Extraversion
Neuroticism
Conscientiousness

The first two are called ‘plasticity’ traits (i.e. they tend to vary according to changes in context), while the latter three are called ‘stability’ traits (i.e. they tend to be relatively unchanging in adulthood). In relation to musical genre preferences, the plasticity traits are the ones that have greatest effect on our choice of musical gratification. In particular, researchers have found a link between openness, self‑assessed intelligence and preference for more complex music such as classical or jazz. I would argue, however, that this misrepresents the picture as there is a significant sociological and circumstantial connection going on here. Openness, however, does have an affinity for emotional response from music, as does agreeableness. Openness is also associated with ‘intense and rebellious’ music (including rock, rap, alternative and heavy metal). Extroverts also tend to prefer upbeat and energetic music (including dance, reggae and electronic music). Neuroticism is linked to the use of music for emotional regulation (including slow and sad or upbeat and happy ‘pop’ music, as well as indie music). Conscientiousness tends to be associated with an affinity for up-tempo, driving, powerful and defiant music.

Breaking things down into just five discrete factors has been criticised as simplistic, with other sub-traits tending to be incorporated within these five personality ‘dimensions’. There are also a number of other variables that co-exist interdependently of the ‘Big Five’. Psychologists have explored how individual musical preferences are affected by, for instance, age, gender, ethnicity, seasonality, familiarity, peer influence, and self‑perception. To me, location and mood are also key factors that motivate what music I listen to at any given time. What this area of study does is link personality, rather than emotions, to genre choices.

As with other studies mentioned above, investigations still focus on what the variances are but not how or why they drive our listening tastes. Clearly, all of these personality, demographic and contextual factors may help to influence genre preference but it is highly unlikely that any of them will ultimately determine it. In my opinion, the various hypotheses tend to generalise, rather than differentiate.

Personality studies get a bit closer to the core of the issue. However, it still doesn’t explain why two individuals with a similar personality and societal circumstances can still have completely opposing tastes or respond to the same piece of music in fundamentally diverse ways. Also, does our taste in music change as we age? When I was young, I assumed that I liked popular music because it was a given as part of the prevailing youth culture at the time. I also assumed that, as I got older, my musical tastes would mature into the ‘grown up’ genres such as classical or jazz. Nope. It didn’t happen and it probably won’t now. Neither do I listen predominantly to the soundtrack of my youth, although one cannot avoid the occasional reminiscence. I listen to a lot of new music as well and crave (sic!) emerging and fresh musical experiences. The same applies to guitar playing – perhaps there is a link there. As John Cage once pointed out, “I can’t understand why people are frightened of new ideas. I’m frightened of the old ones”.

In a previous article, I covered personal preference in relation to guitars. In that topic, I likened the emotional response to guitars as similar to the instinctive response that we have to attractiveness of the opposite sex. There is something about that unconscious, instantaneous and very strong, often compulsive, sensual appeal that exists but is very hard to define and articulate. To me, the same applies to music, as well as art, architecture and design. Some music has that ‘love at first sight’ written all over it and has a certain consistency of perceived aesthetic appeal, while others have a ‘grow to appreciate its deeper qualities that aren’t immediately apparent’ characteristic. Quite why some music requires multiple listens to in order to grow appreciation while other music immediately slaps you around the face is not clear. Both have their place; it isn’t a case of one is better than the other, it’s just different.

In addition, why does overfamiliarity sometimes reinforce affection in some situations while breeding contempt in others? Why do we sometimes just get bored by repeated exposure while there is some music we simply cannot tune into, no matter what? Why do we sometimes have extreme (positive and negative) reactions to what is, after all, just a piece of music? Why, also, do we adopt often very dogmatic defence of our personal preferences when challenged by others who feel equally strongly about theirs? I would also like to know why we have ‘guilty pleasures’, those potentially embarrassing tracks we really shouldn’t like but for some reason we do.

So… after all that, none of the above really gets to the root of why music evokes a strong empathetic sense of deep emotion or nostalgia (as opposed to simple familiarity). What does it say, for instance, about my personal preferences? Not a lot, actually – it’s interesting but in relation to the question in hand, it’s also a bit ‘so what?’ Where do we go from here and what more can we do to understand what makes our preferences very much our own? None of the academic disciplines or studies that I’ve looked at seem to get to the fundamentals of individual predilection.

As mentioned at the beginning, my amateur research provided few answers and raised a lot of frustrating questions. I would have expected some sense of surety (and reassurance) about my emotional state of mind. I also expected to discover that millennia of human learning would lead to a more satisfactory (or at least adequate) conclusion.

In summary, I have no easy answer in response to the title of this article. Darn it! Academia may provide a lot of informed opinion and (in my view, some refutable) evidence but it does little to satisfy my ardent curiosity. Perhaps a glib qualitative ‘because I like it’ is sufficient after all, despite its crude ambiguity and subjectivity. I therefore challenge the learned professions to come up with something better. I defy anyone to predict my preferences on the basis of the academic studies covered here. Conversely, however, it is probably relatively easy to predict my personality based on my extensive iTunes library. Perhaps we are looking through the wrong end of the proverbial telescope?

So, in the absence of incontrovertible proof, I tried to identify 20 tunes that constitute the playlist of my emotional existence. At the time of writing, the list comprises (in no particular order and excluding multiple songs from a single artist):

The song that makes me go all warm and fluffy inside: The Cure – ‘Love Song’ (1989)
The song that makes me sob uncontrollably like a girl: Death Cab For Cutie – ‘I Will Follow You Into The Dark’ (2005)
The song that makes me want to scream with hatred: Buggles – ‘Video Killed The Radio Star’ (1980)
The protest song that makes me feel like an angry young man (again): Rage Against The Machine – ‘Killing In The Name’ (1992)
The song that makes me grin like an idiot: Nick Cave & The Bad Seeds – ‘O’Malley’s Bar’ (1996)
The song that makes the hairs on the back of my neck stand on end: Ben E. King – ‘Stand By Me’ (1961)
The song that makes me think profoundly: The Clash – ‘London Calling’ (1979)
The song that makes me want to hope: Johnny Nash – ‘I Can See Clearly Now’ (1972)
The song that makes me head bang like in Wayne’s World: Blur – ‘Song 2’ (1997)
The track to play air lead guitar to: Led Zeppelin – ‘Kashmir’ (1975)
The groove that makes me want to get up and boogie: Chic – ‘Le Freak’ (1978)
The song that I wish I could have written: Louis Armstrong – ‘What A Wonderful World’ (1967)
The song that I’d like to cover live: Rolling Stones – ‘It’s Only Rock ‘n Roll (But I Like It)’ (1974)
The best song to get stoned to: Pavement – ‘Range Life’ (1994)
The song that I can chill out to: John Martyn – ‘Small Hours’ (1977)
The song that makes me depressed: Sex Pistols – ‘Pretty Vacant’ (1977)
The song that lifts me out of depression: The Beloved – ‘The Sun Rising’ (1990)
The song that makes me long for a balmy summer’s day: DJ Jazzy Jeff & The Fresh Prince – ‘Summertime’ (1991)
The chart single from my youth: T. Rex – ‘Metal Guru’ (1972)
The album track from my youth: Pink Floyd – ‘One Of These Days’ (1971)

Like many of CRAVE’s topics, it seemed an easy task on the face of it, however, as usual it turned into anything but. While contemplating the mix, I kept changing my mind depending on how I felt, which just proves how impulsive, volatile and value‑laden the subject matter is. I am not going to divulge why these particular tracks stir my sentiments, suffice to say that they do. I must stress that these aren’t necessarily favourite songs (especially no. 3!), just ones that evoke some sort of emotive response. What would be your 20 lifestyle tunes? What about all those millions of tracks that one hasn’t even discovered yet? I am not a betting person but I would propose quite confidently that it is highly unlikely that many people would share exactly the same list, and thank heaven for that… but why?

In conclusion, and as a final parting shot, I will say that extensive diversity and continual evolution in music are inherently good things. Only through variety and innovation can we closely match the way we feel with the music we listen to. Frank Zappa once stated that, “Music is always a commentary on society”. Indeed, when considered in those terms, culturally, it is problematic to separate the two. While some people are happy caught in that time warp of a certain period or are captivated by a specific genre, others like me are inquisitive and intrigued by what has been as well as what is yet to come. I look forward to ‘the next big thing’. My quest for new musical experiences is prominent and my personal choice is strongly shaped by disposition and attitude at any one point in time.

Existentially, I believe that music is essential for the healthy sustenance of the human condition, while the music you or I like is a very, very personal thing that contributes to our overall wellbeing. Leonard Cohen observed, “Music is the emotional life of most people”, while Robert Plant asserted similarly, “Music is for every single person that walks the planet”. The compromise between global and individual musical engagement is relevant or we wouldn’t have anything to talk (and argue) about. The similarities and, perhaps more importantly, the differences between us continually drive musical development and invention. After all, that is what motivates us guitarists to come together and create our own interpretation of music after all.

Anyhoo… I’m off to plink my planks (again) as a cathartic exercise while leaving my subconscious to attempt to unravel the mysteries of personal preference (again). Yay for the former, Sigh for the latter.

This month, I’ll finish with a quote by the late, great Ian ‘Lemmy’ Kilmister, who said, “If you think you’re too old to rock ‘n’ roll then you probably already are”. Until next time…

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24 Jul 2016

July 2016 – Personal Top 20 Most Influential Guitar Albums

by CRAVEGuitars | posted in: Observations, Opinion | 0

In previous articles, I’ve touched on various personal aspects of guitars and guitar playing, including:

‘why’ – the reason I picked up and played guitar
‘how’ – the way that my relationship with the guitar developed from first contact to the current day
‘what’ – the actual bits of wood, metal and plastic that keep me enthralled and passionate about the electric guitar as a musical instrument

This month, it’s a bit about more about the ‘who’ – no, not the band but the artists that made albums which have in some way motivated me to keep playing guitar over the years and perhaps most influenced the type of music I still listen to regularly

Just think of the great guitars, many of them now vintage, that were used by talented musicians to create the music in the first place. It is worth saying that these recordings probably wouldn’t have perpetuated as well as they have without these artists also working incredibly hard to play live music in front of ticket-paying audiences. The point is that it is really important to keep music live.

So… here is CRAVE Guitars’ Top 20 Guitar Albums that have been most influential to me. They aren’t necessarily ones you might think of as great guitar albums and many don’t have guitars as the focal point, so the impact has been subtle but profound. Flashy, flamboyant fretwork may be impressive but it is not enough on its own to make the grade.I have never been artist obsessed; I just don’t have guitar idols or role models so there is no celebrity reverence involved in the choices. Unlike many people, my tastes are also not fixed to one particular period of time or genre of music.

It was very hard to compile the list, knowing that it would not be representative of the wealth of great guitar music over the last 60+ years. The eventual ones that made it haven’t been ranked, so are presented in date order – just too difficult. Does the list represent the pinnacle of guitar playing? No, it doesn’t and it isn’t intended to; it’s a very personal list. Is the whole album great? No, there are no ‘perfect’ albums but they are, in my opinion, particularly notable – that’s all. What about the ones missed out? Too many to mention, including many that are ‘better’ for so many reasons, just not to me as part of this exercise. In addition, there are many, many great albums that don’t feature guitars at all, which naturally excludes them from this list.

What is it about these albums that makes them stand out above the average and, perhaps more tellingly, why they usurped other, perhaps more traditionally fashionable ‘great guitar albums’. The criteria (the first is a killer!) included:

There could only be one album from any artist
They could come from any period of modern music
They must feature guitar playing, not necessarily front-and-centre but somewhere in the mix
Live albums are included, hoever ‘best of’ collections and compilations are not
They had to be ones I own and listen to, not just ones with a strong reputation
They had a major ‘wow’ factor on first listen and, importantly, they have stood the test of time
There is an emotional connection with the music, not just band credibility
They transcend mood and can actually change one’s attitude
Enrich one’s existence to some degree and make life worth experiencing

Here are the albums presented in chronological order, each with a short explanation as to why each is here:

Santana – Abraxas (1970) – amongst the many classic Latin-tinged songs is the sublime leisurely instrumental ‘Samba Pa Ti’, which stood out for Carlos’ exquisite and nuanced guitar phrasing and tone
Black Sabbath – Black Sabbath (1970) – nothing else like it before or, frankly, since; the album that started metal, especially with the archetypal doom-laden opening title track
The Doors – L.A. Woman (1971) – such great song writing including, amongst others, the insistently driving title track and the massively moody laid-back ‘Riders On The Storm’
T. Rex – Electric Warrior (1971) – Marc Bolan’s shift of style signalled the birth of glam rock. Who could have seen this coming or imagined the legacy it would leave. Familiar chart hits include ‘Jeepster’ and ‘Get It On’
Pink Floyd – Meddle (1971) – my very first album purchase after hearing it premiered on John Peel’s radio show. It transfixed from start to end. Just amazing at the time, especially ‘One Of These Days’ and the epic ‘Echoes’
David Bowie – Aladdin Sane (1972) – less pop-like than other obvious alternatives. Some striking musical innovation and some astounding avant garde moments. The chart hits included the title track and ‘The Jean Genie’
John Martyn – Solid Air (1973) – Martyn had been experimenting with processed guitar and was pushing the boundaries of what it could do, resulting in this very special landmark album including the achingly cool title track and the desperately melancholic ‘May You Never’
Lynyrd Skynyrd – Second Helping (1974) – no ‘Freebird’ here, but the album that brought the Florida wild boys to the UK’s attention. A really solid sophomore album that is so much more than the now clichéd ‘Sweet Home Alabama’, for instance the simple but effective riff on ‘Working For MCA’
Bob Marley & The Wailers – Live! At The Lyceum (1975) – sometimes, a live album captures the essence of an artist’s best work in a single time and place, this is one, topped by the passionate and evocative ‘No Woman No Cry’
Led Zeppelin – Physical Graffiti (1975) – not any of the first 5 iconic LPs but the double album that came out when I went to see them play live in London as a teenager. The colossal ‘Kashmir’ instantly blew me away, ‘nuff said
Rory Gallagher – Against The Grain (1975) – another artist who came across better live than in the studio. Rory released this around the time that I saw him play in Brighton, so it beat ‘Irish Tour ‘74’ to the list
Steve Hillage – L (1976) – a highly underrated guitarist and a post-Gong solo album that epitomised the alternative trippy-hippy, effect-laden space rock of the era. No chart material here but lovely guitar, clearly ‘in the zone’
The Clash – London Calling (1979) – the title track nails the social context of the immediate post-punk period, articulating deep social unrest, the country’s polarised economic divisions and a generation’s frustrations with pre‑Thatcherite politics. Both timeless and very much of its time
Talking Heads – Remain In Light (1980) – it starts with David Byrne’s complex, overlaid upbeat grooves and distinctive vocals, then descends into deep dark interwoven ambient territory. Go beyond the familiar hits and explore the brooding and intense ‘Listening Wind’ and ‘The Overload’. Scary
ZZ Top – Eliminator (1983) – Texas boogie-blues morphs into mega-pop extravaganza with the now overplayed massive chart hits and much more, like ‘TV Dinners’ and ‘Bad Girl’. Ignore the sexist whinging and just enjoy the hot‑rodded road trip
Stevie Ray Vaughan – Couldn’t Stand The Weather (1984) – kicks off with the frenzied instrumental ‘Scuttle Buttin’’, homages and almost upstages Hendrix’s ‘Voodoo Chile’ and then caps it with the knock-out slow blues of ‘Tin Pan Alley’. Pure blues genius
Dire Straits – Brothers In Arms (1985) – consistently great song writing with some natty guitar work too, including the classic riffing of ‘Money for Nothing’ and closing with the poignant title track. Personally significant as this was my very last vinyl purchase, so ushering in the digital age
The Cure – Disintegration (1989) – my all-time favourite album (so far) and as close as Robert Smith came to a coherently perfect recording. Contrast the heartfelt warmth of ‘Love Song’, with creepy ‘Lullaby’ and the deeply dark and sinister ‘Fascination Street’. Understated guitar work, compelling and hard to beat over a quarter of a century later
Metallica – Metallica (1991) – migrating from thrash genre roots to full-on heavy metal rock stardom, the shift of tone resulted in massive commercial success. Now regarded as an all-time classic, which belies its original achievement, including the ubiquitous guitar-shop riff, ‘Enter Sandman’. Go beyond and admire
Rage Against The Machine – Rage Against The Machine (1992) – the genre‑busting aural assault fused highly politicised rap lyrics and Tom Morello’s stunning guitar work to create something genuinely ground‑breaking. Never bettered, the eponymous debut album includes the storming ‘Killing In The Name’ and ‘Bullet In The Head’. Still edgy today

Nothing really from before 1970 you say? Well, only because it was a bit before my time and many of the gems from that era were discovered later, Hendrix, Cream, Velvet Underground, etc. Nothing newer than 1992 you ask? It is disappointing that the most recent album is now 24 years old, begging the question, “Where are the great guitar albums of the 21^st century?” This is lamentable, especially as there are so many excellent guitarists out there. Clearly, it is time to do something about it guys and gals.

If that list is too exclusive, here are some close runners up (also in date order):

Jimi Hendrix – Electric Ladyland (1968)
King Crimson – In The Court Of The Crimson King (1969)
Neil Young – After The Goldrush (1970)
The Rolling Stones – Sticky Fingers (1971)
Genesis – Nursery Cryme (1971)
Deep Purple – Made In Japan (1972)
Thin Lizzy – Jailbreak (1975)
801 – 801 Live (1976)
Burning Spear – Garvey’s Ghost (1976)
Fleetwood Mac – Rumours (1977)
Nirvana – Never Mind (1991)
Beck – Odelay (1996)
Kasabian – Kasabian (2004)
The Kills – Blood Pressures (2011)
Richard Hawley – Standing at the Sky’s Edge (2012)

So, there you have it – my personal top 20 guitar albums… so far. These are not recommendations and it doesn’t prescribe essential listening. It is just one individual’s biased choice. I Have to say that it was more difficult than I thought to justify my limited selection. What inspires you is, of course, for you to decide for yourself. I hope there’s something in my list that provides a refreshing change, while also acknowledging the recognised greats. Doing this has made me review my longer ‘Top 100’ list on the CRAVE Guitars web site, take a look (click here to see the long list…).

What next? I am always looking to the future and curious about what’s yet to come. I hope that future great guitar albums can match the excellence of the past. Here’s anticipating. Until next time…

CRAVE Guitars ‘Music Quote of the Month’: “Over think music and it becomes sterile. Under think music and you have probably been sterilised”

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