29 Sep 2026

September 2026 – A Timeline of Guitar History in 400+ Snippets: Part II

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

Prelude

SCOOBY‑DOOBY‑DOO, WHERE ARE YOU? Time to break out the Scooby Snacks, Shaggy.Yup. It is time for another CRAVE Guitars’ grand tour. I trust that all is well with you and yours wherever you are and whatever you’re doing. A warm early autumn greeting from CRAVE Guitars. This year has passed very rapidly. Time flies (N.B. From the Latin, ‘tempus fugit’, literally meaning, ‘time flees’. Roman Poet Virgil (70‑19BCE) used it in his epic poem, ‘Georgics’ (29BCE)). Come on people, admit it, you don’t get popular culture (Scooby Doo) and Roman classical literature (Virgil) used in a single paragraph very often. Come with me. You have entered into the weird and wonderful alternate dimension of CVG, a.k.a. CRAVE Vintage Guitars.

“You don’t play a guitar with your fingers, you play it with your heart” – Carlos Santana (1947‑)

This Month at CRAVE Guitars…

Previously on… (NB. A ‘recap’ is commonly used by TV series at the start of a programme to review key moments from one or more previous episodes and to set up the episode being watched. Recaps are often complemented by a ‘next time on…’ sequence at the end of a programme. The first documented use of the ‘recap’ was the American ABC TV series, ‘The Life and Legend of Wyatt Earp’ (1955‑1961)). I digress. Again. Now, where was I? Oh yes. Previously on…

Last month, I set out the first part of a guitar history timeline from ancient times (c.3500BCE) to the end of the 19^th Century (1899). The main exposition to the subject matter was also set out last month, so there is little point in reiterating it here, as what was said then applies equally to this article. Follow the link below to view/review the preceding article should you so desire (opens a new browser tab)…

August 2026 – A Timeline of Guitar History in 400+ Snippets: Part I

“Guitars – what more can I say? They rule!!!” – Zakk Wylde (1967‑)

I should mention at this point that the timeline originally comprised 400 entries. Between the first and second parts being published, this had increased to 400+ after further intensive research. A lot more had to be ditched to keep it close to the original plan. The articles’ title now read “A Timeline of Guitar History in 400+ Snippets”.

Also, Part II was originally intended to be the concluding article covering the last 125 years. However, given the size and density of the project, as well as the fact that the 20^th Century in particular was an incredibly eventful period in guitar history, the decision was taken to split the entries into two roughly equal parts. Ultimately, now, the three parts together will represent a continuous piece of work, broken down for easier accessibility.

As with Part I, no AI was used in researching and writing this article; it is the result of authentic analogue biological processes. Quotes continue the theme from last month of insights into the guitar. Only a tiny smattering of images again this month.

“To stand up on a stage alone with an acoustic guitar requires bravery bordering on heroism. Bordering on insanity” – Richard Thompson (1949‑)

The Rationale for the Article

Easy one this. As you might expect, Part II is a direct continuation of the previous article and Part III will follow on next month, so no further justification is necessary.

Up to the end of the 19^th Century, classical and folk music were predominant, largely determined by one’s place in the social hierarchy we call the class system. The dawn of the 20^th Century saw musical genres transformed beyond all recognition, reflecting significant shifts in modern civilisation taking place globally. Democratisation of music opened up much broader access for ordinary people to experience the new musical trends emerging from the grass roots of society.

“I believe every guitar player inherently has something unique about their playing. They just have to identify what makes them different and develop it” – Jimmy Page (1944‑)

New musical genres enabled the guitar to transition from just an accompanying acoustic instrument to become central as a lead instrument, especially with the introduction of resonator and then electric guitars. The instrument became prevalent across most, if not all, modern musical forms, becoming the world’s favourite instrument in the process.

For many readers, this more contemporary period will be of more topical interest. I hope so. If you’ve read this far, I don’t want to lose you now.

“I don’t know of a guitar player that has only one guitar. They’re never happy with one. I’m never happy with just one of them. I woke up and ended up with six, even if you can only play one at a time!” – Les Paul (1915 2009)

A Timeline of Guitar History: Part II – 1900‑1959

So, without any further ado, let’s delve straight into the timeline covering the first chunk of the 20^th Century with the next 150 entries. As with the last article, for those with an attention deficit, the infographic below provides a significantly abbreviated alternative version.

1902	Five businessmen backed Orville H. Gibson to form the Gibson Mandolin‑Guitar Mfg. Co. Ltd. in Kalamazoo, Michigan, USA. The new company introduced its first archtop guitar, the L‑1 model. In 1926, the L‑1 name was re‑used as a flat top acoustic guitar
1902	C.F. Martin & Co. introduced the ‘OOO’ (Auditorium) model, a small‑bodied flat top acoustic guitar with a slightly shorter 24.9″ scale length (rather than Martin’s usual 25.4″ scale)
1903	Luthier Anastasios Stathopoulo and his family emigrated from Izmir in Turkey to settle in Long Island City, Queens, New York City, USA where they established a musical instrument business
1904	Chicago‑based harp manufacturer, Lyon & Healy acquired the Regal Musical Instrument Manufacturing Company
1906	Stromberg Guitars was founded by Swedish immigrant Charles A. Stromberg (1881‑1956) making banjos and mandolins in Boston, Massachusetts, USA
1907	Anastasios Stathopoulo opened a shop in New York City making banjos and mandolins. The shop was called the ‘House of Stathopoulo’
1908	American luthier Chris Knutsen (1862‑1930), born Johan Christian Kammen in Norway, known for his harp guitars between 1895 and 1906, started making Hawaiian steel guitars in Seattle, Washington, USA. Knutsen relocated to Los Angeles, California in 1914 and began to make harp ukuleles as well as Hawaiian guitars to meet popular demand
1909	Anastasios Stathopoulo filed his only US patent for a bowl back mandolin musical instrument. The patent was granted the same year
1909	Clarence Leonidas ‘Leo’ Fender (1909‑1991) was born in Anaheim, California, USA. He would become one of the industry’s greatest pioneers and a hugely influential figure
1915	Anastasios Stathopoulo died and his son, Epaminondas (‘Epi’), took over at the company that would later become Epiphone in 1928
1915	American department store and mail order giant Sears, Roebuck and Company introduced the Silvertone brand, used by the company until 1972. Silvertone guitars, basses and amps were manufactured for Sears by Harmony, Danelectro, Valco, Kay and Teisco
1915	Lester William Polsfuss (1915‑2009), a.k.a. Les Paul, American jazz, country, and blues guitarist, songwriter, luthier and inventor was born in Waukesha, Wisconsin, USA
1916	Fred Gretsch Jr. relocated Gretsch to a spacious 10‑story building in Williamsburg, Brooklyn, New York City, USA
1916	Sears, Roebuck and Company acquired the Harmony Company to supply ukuleles and guitars for their retail and mail order business
1916	C.F. Martin began building guitars for Oliver Ditson Co. of Boston, Massachusetts and New York, USA, including the first ‘dreadnought’ acoustic guitar named after the British Royal Navy ship, HMS Dreadnought. Martin wouldn’t use their own name on a dreadnought guitar until 1931
1917	The first jazz track was recorded – ‘Dixie Jass Band One‑Step’ by the Original Dixieland Jass Band (ODJB) for the Victor Talking Machine Company
1918	Orville H. Gibson died of chronic endocarditis (a form of heart disease) in New York, at the age of 62
1920	Chicago Musical Instrument Company (CMI) was founded by Russian immigrant Maurice Henry Berlin (1895-1984), based in Chicago, Illinois, USA making guitars, brass instruments and electronic organs. CMI would later acquire Gibson Guitars in 1944
1920	The first blues vocal track was recorded in New York City by an African American singer Mamie Smith (1891‑1946) – ‘Crazy Blues’ for OKeh Records
1921	Stromberg‑Voisinet was formed by Henry ‘Kay’ Kuhrmeyer (1894‑1956), Charles G. Stromberg (1873‑1960) and Frank C. Voisinet (1876‑1937) in Chicago, Illinois, USA to build mandolins and guitars. The company would be renamed Kay in 1931
1921	American designer and sound engineer, Lloyd Loar (1886‑1943) started working for Gibson Mandolin‑Guitar Mfg. Co. Ltd. Loar helped to design and refine the Gibson carved archtop mandolins and guitars with the aim of increasing flagging sales
1921	Gibson employee and engineer Thaddeus ‘Ted’ McHugh (1859‑1945) was credited with inventing the adjustable truss rod. A US patent was filed in 1921 and granted in 1923. McHugh also designed the height‑adjustable bridge
1922	Gibson introduced the Lloyd Loar‑designed L5 acoustic archtop jazz guitar, one of the first guitars to use f‑holes. Gibson also introduced the F5 mandolin, also designed by Lloyd Loar in the same year
1923	The first commercial country & western track was recorded in New York City by Alexander Campbell ‘Eck’ Robertson (1887‑1975) – ‘Fiddlin’ John Carson’ for OKeh Records. Robertson had recorded several tracks for Victor Talking Machine Company the previous year but these were not widely available
1923	Italian guitarist, inventor and luthier, Mario Maccaferri (1900‑1993) established his reputation as a classical guitarist and maker of classical and gipsy jazz guitars
1923	Musician, designer and engineer, Lloyd Loar began working on an experimental electrostatic pickup at Gibson before he left the company in 1924
1923	Chicago‑based mail order and department store retailer, Montgomery Ward & Co. introduced Airline as one of its house brands. A range of Airline electric and acoustic guitars were sold between 1958 and 1968 to tap into the explosion in popular guitar‑based music. Airline is now an independent family‑owned business based in Chicago, Illinois, USA since 2024
1923	As part of Sears, Roebuck & Company, Harmony became the largest manufacturer of musical instruments in the USA, producing over 250,000 units in a year
1924	Austrian‑Hungarian immigrant and musician, Sam Ash (1897‑1956) opened the first Sam Ash Music Store in W 48^th Street in Manhattan, New York City, USA. The location became the famously so‑called ‘Music Row’. The Sam Ash retail chain went out of business in 2024 after 100 years
1925	Swiss immigrant Adolph Rickenbacher (1886‑1976) founded Rickenbacher Manufacturing Company, manufacturing metal and plastic products. The company would later become Rickenbacker
1925	Hagström was founded by Albin Hagström (1905‑1952) in Älvdalen, Dalecarlia, Sweden to make accordions from 1932. The company didn’t start making electric guitars until 1958 and basses in 1961. Hagström ceased production in 1983 (revived in 2004)
1926	Gibson introduced the flat top L‑1 acoustic guitar, famously used by legendary American delta blues guitarist and singer, Robert Johnson. The moniker L-1 had previously been used for Gibson’s first archtop guitar
1927	The National String Instrument Corporation was founded by vaudeville entertainer George Beauchamp (1899‑1941) and luthier John Dopyera (1893‑1988) in Los Angeles, California, USA to make resonator guitars
1927	John Dopyera filed for a US patent for the tricone resonator guitar. The patent was granted the same year
1928	The first signature guitar, based on the Gibson L‑1 acoustic with a deeper body, was released to recognise popular American jazz singer and guitarist, Nick Lucas (1897‑1982)
1928	Epaminondas Stathopoulo changed the name of his company to the ‘Epiphone Banjo Company’. The Epiphone name combined Epaminondas’ nickname, ‘Epi’ and the Ancient Greek word phōnē, meaning sound or voice. Epiphone stared making acoustic guitars, followed by archtop guitars from 1931 and amplifiers from 1935
1928	American luthier, John Dopyera left National and founded the Dobro Manufacturing Company with four of his brothers. The name Dobro is a contraction of ‘DOpyera’ and ‘BROthers’
1928	Clayton Orr ‘Doc’ Kauffman (1901‑1990) filed the world’s first patent for a mechanical vibrato unit (often erroneously called tremolo), the Vibrola. Kauffman’s US patent for an “Apparatus for producing tremolo effects” was granted in 1932
1929	Chicago‑based Stromberg‑Voisinet advertised the first commercial electric guitar, although none are known to exist. The company ceased trading in 1931
1930	C.F. Martin announced the OM (Orchestra Model) flat top acoustic guitar and introduced their first guitar featuring 20‑frets and a 14^th fret neck‑to‑body joint. The ‘14/20’ design became widely adopted by Martin from 1934
1930	While still working at National, George Beauchamp filed a US patent for a Dobro acoustic guitar with a single inverted resonator cone. The patent was granted in 1932
1930	American brand Harmony Musical Instruments, part of Sears, Roebuck & Company, sold over 500,000 units, a record at the time
1931	Ro‑Pat‑In Corporation was founded by engineer Adolph Rickenbacher and inventor George Beauchamp in Los Angeles, California, USA. The company would become Rickenbacher from 1934 and Rickenbacker from 1950
1931	Gretsch started manufacturing acoustic guitars in Brooklyn, New York City, USA
1931	Kay Musical Instrument Company was formed from the demise of instrument manufacturer Stromberg‑Voisinet by founder Henry Kay ‘Hank’ Kuhrmeyer, based in Chicago, Illinois, USA to make guitars, mandolins, banjos and ukuleles
1931	C.F. Martin started selling dreadnought 6‑string flat top acoustic guitars under its own name. Martin introduced the D‑1 and D‑2 (later renamed the D‑18 and D‑28). Martin had been making dreadnought acoustic guitars for Oliver Ditson Co. since 1916. The dreadnought rapidly became an industry standard and Martin’s design has been widely emulated today
1932	Prototyped in 1931, Ro‑Pat‑In Corporation started to manufacture a Hawaiian lap steel guitar with an electromagnetic horseshoe pickup, the Electro A‑22 (a.k.a. the ‘frying pan’, nicknamed because of its circular aluminium body and long neck). A US patent was filed in 1934 and granted in 1937. The guitar became the first solid body electric lap steel guitar. The model was discontinued in 1939
1932	The earliest examples of mains powered guitar amplifiers started appearing following the introduction of electrolytic capacitors and rectifier vacuum tubes (valves)
1932	Renowned luthier John D’Angelico (1905‑1964) opened a workshop in Manhattan, New York City, USA to make premium acoustic jazz guitars
1932	Henri Selmer partnered with luthier Mario Maccaferri to produce acoustic ‘gypsy jazz’ guitars (closely associated with virtuoso jazz guitarist Django Reinhardt). Maccaferri designed the ‘Modèle Jazz’ with an internal resonator, steel reinforced neck, D‑shaped sound hole and a single lower squared‑off cutaway. Selmer continued production until 1952 (with oval sound holes) after Maccaferri left in 1934
1933	Adolph Rickenbacher renamed the Ro‑Pat‑In Corporation to Electro String Instrument Corporation and instruments were re‑branded ‘Electro’
1933	George Beauchamp was sacked by the board at National String Instrument Corporation and joined Adolph Rickenbacker at Electro String Instrument Corporation
1934	National String Instrument Corporation and Dobro Manufacturing Company merged to form the combined National Dobro Corporation
1934	The Gibson factory at Kalamazoo, Michigan, USA resumed full‑time instrument production after the height of the Great Depression
1934	American musician and inventor Paul Tutmarc (1896‑1972) founded Audiovox Manufacturing Company to manufacture lap steel guitars
1934	Gibson introduced the Super 400 (priced at $400) acoustic jazz guitar. The design heavily influenced both Stromberg and D’Angelico archtop jazz guitars, as well as Gibson’s direct competitor Epiphone
1934	Gibson launched a line of lower‑priced instruments under the Kalamazoo brand name for musicians adversely impacted by the Great Depression
1935	Gibson hired American jazz guitarist Alvino Rey (1908‑2004) to work on the design of a prototype electric guitar pickup. Gibson appointed electrical engineer Walter Fuller (1917‑1997) to develop the electromagnetic bar pickup, often called the ‘Charlie Christian’ after the jazz guitarist
1935	Epiphone introduced the Emperor Masterbuilt acoustic jazz guitar, larger than the Gibson Super 400, fuelling stiff competition for high‑end archtop jazz guitars in the US
1935	Rickenbacker introduced the solid body electric Electro‑Spanish Model B guitar made from Bakelite with a bolt‑on rounded neck, as opposed to the square necks used on Hawaiian lap steel guitars. The Model B was considered the world’s first production, solid body electric guitar
1935	Paul Tutmarc developed the first electric fretted bass guitar, the Audiovox Model 736 Bass Fiddle, some 16 years before Fender introduced the Precision bass
1935	Supro guitars was launched as a low‑cost in‑house brand by its parent, National Dobro Corporation. Supro was discontinued in 1968 when then‑parent company Valco went bankrupt. The Supro brand was revived in 2014
1935	American salesman, Manny Goldrich (1904‑1968) founded the famous Manny’s Musical Instruments & Accessories Inc. retail store on ‘Music Row’, W 48^th Street, Manhattan, New York City, USA. In 1999 Manny’s was sold to competitor Sam Ash Music
1936	Gibson introduced the Advanced Jumbo flat top acoustic guitar with Sitka spruce top and rosewood back and sides The guitar was designed by American country & western singer/songwriter Raymond Otis Whitely (1901‑1979). Only 300 were produced before Gibson replaced it with the J‑200 Super Jumbo in 1937
1936	Gibson introduced the EH‑150 6‑string lap steel guitar and amplifier for $150, the company’s first production electric Hawaiian steel guitar
1936	Gibson released the (Electric Spanish) ES‑150 and EH‑150 amplifier for $150. The ES-150 was the first commercially available electric ‘Spanish’ guitar. The ES‑150 was basically a modified Gibson L‑50 archtop fitted with a single ‘Charlie Christian’ bar electromagnetic single coil neck pickup
1937	US Patents were granted to George Beauchamp for his electromagnetic horseshoe pickup design, originally filed in 1933 and 1934
1938	Leo Fender, a qualified electronics technician, opened the Fender Radio Service in Fullerton, California, USA to repair radios, phonographs, amplifiers and PA systems
1939	Harry DeArmond (1906‑1999) developed the first commercially available detachable guitar pickups, the RH/RHC for ‘round hole’ flat top guitars and the FH/FHC for ‘f‑hole’ archtop guitars. DeArmond worked with Rowe Industries to bring the pickups to market. Other DeArmond pickups include the Rhythm Chief, Dynasonic and Gold Foil, popular in the 1950s‑1970s. DeArmond pickups were used on Guild, D’Angelico, Epiphone, Fender, Martin, Airline and Silvertone guitars
1939	Les Paul began building his homemade experimental electric guitar prototype, called ‘the log’. The instrument comprised a 4”x4” strip of pine, onto which he attached a neck, bridge, pickups, Epiphone hollow guitar body ‘wings’ and a ‘Doc’ Kauffman Vibrola. Les Paul presented it to the Gibson board in 1941, who rejected the concept as too unusual
1940	Les Paul signed an endorsement deal with Gibson, which included him appearing with the ES‑300 electric archtop jazz guitar in the company’s advertisements
1940	Gibson introduced the first electromagnetic pickup with adjustable pole pieces and Alnico magnets, designed by in‑house engineer Walter Fuller, intended to supersede the bar pickup. The P13 pickup was the predecessor to the P‑90 introduced after the end of WWII in 1946
1940	Valco was formed following a restructuring of the National Dobro Corporation by a stakeholder group of former owners Victor Smith, Al Frost and Louis Dopyera. Valco manufactured guitars and amplifiers under a variety of brand names including National, Airline and Supro, as well as making guitars for other companies such as Sears Roebuck and Montgomery Ward using Harmony, Kay and Silvertone brands
1943	Leo Fender joined forces with former Rickenbacker engineer and inventor of the Vibrola tailpiece, ‘Doc’ Kauffman to create K&F Manufacturing Corporation to build lap steel guitars and amplifiers in Fullerton, California, USA
1944	Chicago Musical Instrument Company (CMI) acquired Gibson
1945	Les Paul invented and pioneered the use of echo‑delay and multi‑track studio recording techniques
1945	Schaller GmbH was founded by toolmaker and mechanic, Helmut Schaller (1923‑1999) in Postbauer‑Heng near Nuremberg, Bavaria, Germany. Schaller is a musical instrument hardware manufacturer
1946	Ampeg was founded by Everett Hull and Stanley Michaels in Linden, New Jersey, USA to manufacture transducer pickups (the ‘AMplified PEG’) for upright acoustic basses. Ampeg would later build specialist bass amplifiers
1946	‘Doc’ Kauffman and Leo Fender parted ways and the latter founded a new business to build guitars and amplifiers called Fender Electric Instrument Company
1946	Gibson introduced its premium P‑90 single coil pickup following the end of WWII. Gibson didn’t file a US patent for the P‑90 until 1955. P‑90s came in two forms depending on mounting, the ‘dog ear’ and ‘soapbar’ variants
1946	Fender introduced the ‘woodie’ series of valve amplifiers, built up to 1948 and Fender ‘tweed’ series amplifiers, built up to 1960
1946	Framus (Fränkische Musikinstrumentenerzeugung) was founded by Fred A. Wilfer (1917‑1996) in Erlangen Germany to resettle displaced workers from post‑WWII Luby in Czechoslovakia. The company was formed to make stringed instruments. Framus closed in 1975 and was resurrected in 1995 as part of Warwick GmbH & Co Music Equipment KG
1946	Following WWII, nylon strings widely replaced traditional gut strings on most classical instruments, including classical acoustic guitars
1946	Carvin Corporation was founded by Lowell Kiesel (1915‑2009), based in San Diego, California, USA to manufacture guitar pickups
1946	What would become the Teisco brand in 1964, Aoi Onpa Kenkyūjo was founded by guitarist Atswo Kaneko and electrical engineer Doryo Matsuda in Tokyo, Japan
1946	American former motorcycle racer, mechanic and inventor/designer, Paul Bigsby (1899‑1968) formed The Bigsby Electric Guitar Company, based in Downey, California, USA to build lap/pedal steel guitars, solid body electric guitars and accessories
1947	Gibson’s introduced the GA‑50T valve amplifier, the first amp to feature a built‑in tremolo effect
1947	Danelectro Corporation (short for ‘Daniel electric‘) was founded by electrical engineer, Nathan ‘Nat’ I. Daniel (1912‑1994), based initially in Red Bank and then in Neptune City, New Jersey, USA
1948	Gibson hired American businessman Ted McCarty (1909‑2001) from the Wurlitzer Company. He became vice president in 1949 and president of the company in 1950. McCarty rapidly expanded Gibson’s design and manufacturing capability during 1950s
1948	Paul Bigsby built a bespoke solid body electric guitar for country music artist Merle Travis. It was widely regarded as a milestone in solid body electric guitar design and was said to have heavily influenced Leo Fender’s guitars. Bigsby built two other guitars for George Grohs and Tommy ‘Butterball’ Paige
1948	Epiphone introduced the Emperor hollow body electric archtop guitar, associated with legendary jazz guitarist Joe Pass (1929-1994)
1948	Fender introduced its Champ valve amplifier, initially called the Champion 800, rated at 5W into an 8” speaker. Also widely introduced was the Princeton valve amp with 4W into an 8” speaker
1948	The Japanese brand, Teisco was introduced to sell affordable musical instruments. Teisco was one of the Japanese companies that imported budget instruments into the US and UK from 1960. In 1967, the brand was discontinued and, in 1969, the name was acquired by Kawai Musical Instruments Manufacturing Co., Ltd. The brand was revived in 2018
1949	Leo Fender and George Fullerton started developing a prototype for a new solid body electric guitar design that would initially be called the Broadcaster. The guitar was formally re‑named the Telecaster in late 1951
1949	Gibson introduced the hollow body ES‑175 electric archtop jazz guitar. It featured f‑holes, a single Florentine cutaway and, initially, a single P‑90 pickup
1949	Watkins Electric Music (better known as WEM) was founded by brothers Charlie and Reg Watkins in London, England to manufacture PA systems, guitar amplifiers and electric guitars. WEM also became famous for its portable Copicat tape echo effect unit
1950	Fender appointed V.C. Squier Company to supply strings for the company’s new electric guitar models
1950	Fender introduced the first mass produced solid body electric guitar, the forerunner of the Fender Telecaster, the single and dual‑pickup Fender Esquire. Fender renamed it the Broadcaster before they were forced to remove the name (the so‑called ‘Nocaster’) due to a legal dispute with Gretsch. The model was officially renamed the Telecaster in 1951. The model has been in continuous production since
1950	Gibson president, Ted McCarty was heavily involved in many pioneering guitar design innovations during Gibson’s ‘golden age’ between 1950 and 1966. McCarty oversaw the introduction of the Gibson Les Paul Model, ES‑335, Flying V, Explorer, SG and Firebird, as well as the humbucking pickup and tune‑o‑matic bridge
1950	Jennings Musical Instruments (JMI) Ltd. was founded by Thomas Walter Jennings (1917‑1978) in Dartford, Kent, England to make guitar amplifiers. The company changed its name to Jennings Musical Industries in 1956. The company would formally become VOX in 1957
1951	Leo Fender’s Fender Electric Instrument Company was incorporated in Fullerton, California, USA
1951	Fender introduced the revolutionary solid body electric fretted Fender Precision Bass guitar alongside the newly re‑named Telecaster guitar
1951	Gibson introduced the Super 400CES (standing for Cutaway Electric Spanish), a high‑end 18”‑wide electric archtop jazz guitar
1952	Gibson introduced the Ted McCarty‑designed solid body electric guitar, the Les Paul Model gold top with a carved maple top over a mahogany body, a set mahogany neck, dual P‑90 single coil pickups and a trapeze tailpiece
1952	Jimmy D’Aquisto started work as an apprentice to master luthier John D’Angelico in Manhattan, New York City, USA
1952	Valco introduced its first solid body guitars under its National and Supro brand names. The Valco brand name never appeared on an instrument
1952	The Guild Guitar Company was founded by guitarist and music retailer Avram ‘Alfred’ Dronge (1911‑1972) in Manhattan, New York, USA. Guild employed many former Epiphone employees after the latter moved to Philadelphia following a damaging industrial dispute
1952	Fender introduced the famous Twin combo valve amplifier with two 12″ speakers and two 6L6 valves and a rated output of 25 watts. Fender also introduced the Bassman series, the first dedicated bass amplifiers
1953	Engineer and inventor, Paul Bigsby filed a US patent for the innovative Bigsby vibrato tailpiece. The patent was granted in the same year
1953	Ted McCarty designed the Tune‑O‑Matic adjustable bridge with wire retainer, first used on the Gibson Super 400 archtop jazz guitar
1953	Gretsch introduced the single cutaway 6128 Duo Jet with a chambered mahogany body, intended to compete with Gibson and Fender
1954	After a brief spell with Gibson, German luthier Roger Rossmeisl (1927‑1979) was appointed by Rickenbacker to design their electric guitars and basses
1954	Fender introduced the innovative 3‑pickup Stratocaster solid body electric guitar designed by Leo Fender, George Fullerton and Freddie Tavares. The Stratocaster has remained in continuous production to‑date
1954	Leo Fender filed a US patent for the Fender Synchronized Tremolo (vibrato). The patent was granted in 1956
1954	Gibson introduced the upmarket black (ebony) and gold Les Paul Custom using Ted McCarty’s adjustable Tune‑O‑Matic bridge
1954	Gibson introduced the entry‑level single‑cutaway, slab‑bodied Les Paul Junior guitar with a single P‑90 bridge pickup. The Junior’s body was changed to a double‑cutaway in 1958 and was discontinued in 1963
1954	Danelectro started production of a line of guitars using its distinctive ‘lipstick’ pickups, with covers made from actual cosmetic lipstick tubes
1954	Gibson introduced the J‑160E acoustic/electric 6‑string flat top guitar. The model was later made famous by John Lennon of The Beatles
1955	Valco introduced the National 1104 Town & Country solid body electric guitar. The Town & Country also appeared under the Airline brand
1955	Fender introduced the Tremolux valve amplifier, the first Fender amp with a built‑in tremolo effect. The design was patented in 1956
1955	Gibson introduced the intermediate‑level single‑cutaway, slab‑bodied Les Paul Special and TV guitars with dual P‑90 pickups. The Special’s body was changed to a double‑cutaway in 1958 until it would be replaced by the Les Paul SG (Solid Guitar) Special from 1961 and SG Special from 1963
1955	Gibson introduced their first thinline guitar model, the hollow‑body carved archtop Byrdland, named after guitarists Billy Byrd and Hank Garland. The Byrdland was based on the deeper L‑5CES and with a short 23½” scale. The guitar was available in both Florentine and Venetian cutaway form
1955	Prototyped in 1954, Gretsch introduced the single cutaway 6120 Chet Atkins Hollow Body with endorsement by American country guitarist Chet Atkins (1924‑2001). The body was changed to a double cutaway thinline design in 1962 and re‑name as the ‘6120 Nashville’ in 1964
1955	Zemaitis guitars was founded by London‑born luthier Tony Zemaitis (1935‑2002) based in London, England. He was born as Antanas Kazimeras Žemaitis, of Lithuanian descent
1956	Fender introduced the short scale single pickup solid‑body electric Musicmaster ‘student’ guitar. It would be followed by the Duo‑Sonic (also 1956), the Mustang (1964) and the Bronco (1967)
1956	Danelectro introduced the world’s first 6‑string electric bass guitar (a.k.a. the Tic‑Tac Bass)
1956	Hartley Peavey (1941‑) built his very first amplifier constructed from surplus parts. He would later go on to found Peavey Electronics in 1965
1956	Mosrite guitars was founded as Mosrite of California by Semie and Andy Moseley with investment from Reverend Ray Boatright. Mosrite started out to build electric guitars initially in Bakersfield and then in Los Angeles, California, USA. Mosrite went bankrupt in 1968
1956	Aria Guitars Co. was founded by Shiro Arai (1930‑2019) in Nagoya, Japan. Aria initially retailed acoustic guitars before they started to manufacture acoustic guitars from 1964 and electric guitars from 1966
1957	Wandrè Guitars was formed by artist and luthier, Italian Antonio Vandrè Pioli (1926‑2004). The instruments, known for their futuristic eccentric and experimental features, were sometimes referred to as ‘sound sculptures’. Wandrè guitars ceased production in 1968
1957	Epiphone was acquired by Gibson’s parent company, Chicago‑based CMI (Chicago Musical Instruments) and the two companies were merged
1957	Gibson introduced the milestone P.A.F (Patent Applied For) humbucking pickup designed by American electronic engineer Seth E. Lover (1910‑1997)
1957	Gretsch introduced the Filter’Tron humbucking pickup designed by American inventor and engineer Joseph Raymond Butts (1919‑2003)
1957	Rickenbacker introduced the iconic 4000 series bass guitar with its distinctive neck‑through body and ‘cresting wave’ body shape, designed by Roger Rossmeisl
1957	The Ibanez brand was created in Nagoya, Aichi, Japan as a subsidiary of Hoshino Gakki Kabushiki, a.k.a. Hoshino Musical Instruments
1957	Jennings Musical Industries (JMI) was renamed VOX Amplification Ltd. The rebrand was widely regarded as the founding of VOX in the UK
1958	British amp manufacturer VOX introduced the legendary AC30 combo valve amp, rated at 30W
1958	Fender introduced the upmarket Fender Jazzmaster offset solid body electric guitar, intended to attract conservative jazz guitarists from major rival, Gibson
1958	Gibson changed the gold top Les Paul Model to the cherry sunburst Les Paul Standard with dual PAF humbucking pickups. Arguably, the iconic Les Paul Standard ‘burst is Gibson’s most famous and desirable model. It was replaced in 1961 by the Les Paul Standard SG, renamed simply as the SG in 1963 after Les Paul’s endorsement agreement with Gibson ended
1958	Gibson introduced the ES‑335 semi‑hollow thinline electric guitar with an innovative solid centre block intended to reduce feedback in high gain situations. The semi‑acoustic centre block design ironically imitated Les Paul’s failed ‘the log’ prototype (1939‑1941)
1958	Gibson introduced the ground‑breaking and futuristic Modernistic series of guitars comprising the Flying V and Explorer solid body electric guitar models. A third model was proposed (and patented), the Moderne, although no known originals are known to exist. The Moderne was finally released in 1982‑1983 (with just 143 sold)
1958	The budget Gibson Les Paul SG Junior, Special and TV models were redesigned with new slab body, double‑cutaway guitars, replacing the original single cutaway ones
1958	Airline guitars, manufactured by Valco, sold through the Montgomery Ward department store and mail‑order business, were introduced and remained for sale until 1968 when Valco went bankrupt
1958	Rickenbacker introduced the semi‑acoustic 300 series guitars designed by German luthier Roger Rossmeisl
1958	British string manufacturer Rotosound was founded by brothers James and Ron How in Blackfen, Kent, England, although the Rotosound brand name wasn’t used until 1963
1958	Swedish manufacturer, Hagström started making electric guitars and basses
1959	Gibson introduced the lower priced Melody Maker solid‑body electric ‘student’ guitar, initially based on the outline of the Les Paul and using new covered single coil pickups
1959	Fender introduced the ‘Brownface’ series of valve amplifiers, manufactured until the style was discontinued in 1963
1959	Burns Guitars London was founded by Alice Farrell and Jim Burns (1925‑1998) in London, England to build electric guitars and basses
1959	Japanese brand Takamine – inspired by Mount Takamine – was founded as Ozhone Musical Instrument Manufacturing in Sakashita, Gifu, Japan to make acoustic guitars. The company was renamed Takamine Musical Instruments Manufacturing Co. Ltd. in 1962

For those who prefer a purely visual interpretation of guitars as a counterpoint to either the infographic or the chronological listing, here is a graphical illustration of 18 key milestones in guitar evolution from 1900 to 1959.

“Doesn’t matter what guitar you play, as long as you’ve got passion!” – Eric Johnson (1954‑)

Final Thoughts on ‘A Timeline of Guitar History in 400+ Snippets: Part II’

Like the film, ‘Star Wars Episode V: The Empire Strikes Back’ (1980), this article is the meat in a timeline sandwich, so there aren’t any ‘final’ thoughts at this stage. A retrospective critique will now be reserved for the end of Part III. While it isn’t the beginning and it isn’t the end, it remains a crucial part of the guitar’s story and the validity of the entries are just as important as the other parts.

I have to admit that 1959 feels like a less than ideal intermission point. It would have been better to break at, say 1949 instead of 1959 but that would then imbalance the overall topic. In some ways, though, the end of the 1950s was a watershed in cultural, social and musical change. It is also a relevant year for the author, experiencing the world that would by home for the first time. So, 1959 it is.

“Guitars have been the obsession of my life. I first picked one up at the age of four and I’ve been a guitar junkie ever since” – Johnny Marr (1963‑)

CRAVE Guitars’ ‘Album of the Month’

This could be pretty much any album from the history of guitar music recordings. However, one had to be chosen, so I have gone for something that represents both a landmark in both guitar music as well as recording. The pick wasn’t actually an album at the time but it has become an essential collection of tracks for most guitar aficionados and for anyone with an interest in guitar history. I reckon it’s a fitting choice for this article, deriving from the first half of the 20^th Century. Drum roll please. This month’s accolade goes to…

Robert Johnson – The Complete Recordings (1990): Given the expansive mythology surrounding Robert Johnson (1911‑1938), in the real world he only recorded 29 songs with 13 alternate takes in two separate occasions. The first recording sessions took place between 23 and 25 November 1936, in San Antonio, Texas, USA. The second recording sessions took place on 19 and 20 June 1937, in Dallas, Texas. This compilation album comprises 41 tracks, which represents all but one known tracks, covering a total of 107 minutes. It therefore represents a definitive milestone in the history of the blues and guitar music.

There isn’t room here to go into all the fascinating truths, myths, legends and fictions surrounding American delta blues guitarist, singer/songwriter and Mississippi native Robert Leroy Johnson and his trusty Gibson L1 acoustic guitar. Despite his limited recording portfolio recorded during his short life (he died in mysterious circumstances at the age 27, thereby unwittingly founding the infamous ’27 club’), he has become one of the most celebrated and influential of all guitarists, transcending the acoustic blues tradition of which he was part. Other virtuoso instrumentalists like jazz guitarist Charlie Christian (1916‑1942) and gypsy jazz guitarist Django Reinhardt (1910‑1953) can also be regarded as similarly influential in terms of early recorded guitarists. Without these guys, we wouldn’t have the diversity of guitar music we enjoy today.

BELIEVE IN MUSIC!

“Hello Satan, it’s time to go. Me and the devil, walkin’ side by side” – Robert Johnson (1911‑1938)

Tailpiece

Wow, this is turning into a genuine epic. It was as I was editing the original full Part II, it became obvious that it was just too much for a single article. If I was struggling to edit it due to its enormity, then readers would also have a hard time wading through so much information. There was little point in being counter‑productive. It was only very close to publication date that I decided to make the change. Without a great deal of time to reflect, I can only trust that the outcome hasn’t been overly compromised.

“Some people tell me that the worried blues ain’t bad. Worst old feelin’ I most ever had” – Robert Johnson (1911‑1938)

Please come back next month and join me for the third and now‑final part of the esteemed guitar’s timeline. Adiós por ahora, mis amigos.

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’: “Unwise people all too often confuse power, money and information with wisdom, wealth and knowledge. Wise people understand the difference and live wisely”

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29 Jun 2020

June 2020 – Whazzup at CRAVE Guitars

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

Prelude

WELCOME BACK ONCE again guitar fans and hello to any new visitors. We are now half way through an extraordinary 2020 and the world is still turned upside down in so many concerning ways. While there may be glimmers of light at the end of the tunnel for COVID‑19, there is still a long way to go and there will be profound ramifications that it will leave in its sizeable wake. At the end of last year, we had no inclination as to what was about to befall, yet here we are now. Perhaps us hooman beans really aren’t as clever as we seem to think we are (shock, horror – hold the front page!). It seems that we also still have some way to go before all people are deemed equal and can live their lives freely, responsibly and peacefully. The first half of 2020 has passed by very quickly and, frankly, good riddance to it. I don’t like wishing life away but it has been 6 months that I’m sure we could all have done without, everything being on‑hold.

Well, here we are and no more historical facts, quotes or predictions on which to ponder this month. I said at the very end of the last article that I would get back to pontificating about ‘cool & rare American vintage electric’ guitars and, at last, I can deliver on that promise/threat (delete as applicable).

There are 3 themes on which I’d like to embark this month. Firstly, I mentioned in my December 2019 article that I had bought some gear (big surprise… not) during last year but I didn’t go any further than to list what they were, without any indication as to the whys and wherefores behind the spending spree. Secondly, after 18 months, most of the 42 repatriated guitars have now been properly assessed and worked through as far as I am able. So far, I haven’t given any real sense about what I found and what I learnt from the exercise. Thirdly, there have been a number of purchases during the first half of 2020 and in due course I can reveal what those are and how they relate both to the existing ‘collection’ and to the ‘wanted’ list from that same December 2019 end‑of‑year/look‑forward roundup.

I think that there is more than enough material to occupy one article, so without further ado, let us begin at the beginning. Sitting comfortably? Good. Then, we’ll begin…

2019 CRAVE Guitars’ Purchases

An Introduction to the 2019 CRAVE Guitars

2019 was certainly an interesting year. Due to circumstances, I started out not anticipating much in the way of guitar purchases. The relatively modest vintage guitar ‘wanted’ list from December 2018 included a Danelectro of some sort, a Fender Starcaster and a Gibson Melody Maker. These had all featured on the target list for more than one year, so it seemed a fairly realistic expectation. What actually happened was a bit more fruitful than I foresaw and I think it deserves some rationale to indicate why they weren’t random purchases. In fact, 2019 resulted in nine new additions to the CRAVE Guitars family, spanning five decades (1940s‑1980s with at least one from each). I couldn’t really afford the outlay but, although it meant sacrifices in other areas, it has probably been worth a bit of hardship. I hope you find this array of short stories moderately interesting.

1982 Fender Bullet H2

This is what happened when esteemed Fender designer John Page was tasked with creating a low cost student model to carry the ‘Made in U.S.A.’ decal and replace the outgoing Mustang and Musicmaster? The result was the Fender Bullet. I’d already acquired a 1981 Fender Bullet which was essentially a Telecaster‑on‑a‑budget model. Several aspects of the first iteration intrigued me and I set about looking for a second generation model, with the more Stratocaster‑like body outline. Initially, I was looking for a ‘standard’ one with twin single coil pickups and the integrated bent steel pick guard and bridge assembly, just like the ‘Tele’ Bullet. Instead, I found a cool Fender Bullet H2 in great all‑original condition in very smart red and white with a maple neck. This version has a more robust standard integrated hardtail bridge/tailpiece with through‑body stringing. The H2 features what at first glance appear to be standard twin ‘humbuckers’. However, looks can be deceiving. The pickups aren’t actually traditional humbuckers – they are actually 4 single coil pickups arranged as two pairs in humbucking configuration. In addition to a normal 3‑way pickup selector switch, the H2 has two additional buttons that ‘split’ the humbucking pickup pairs to give a wide range of tonal options including genuine single coil sounds (unlike most tapped or split humbuckers). When it arrived, one of the 4 pickups wasn’t working and it had to be sent to a pickup expert to fix. Thankfully, it was a weak connection between the coil and pickup lead, so easily sorted. Like the earlier Bullet, the H2 has a very nice standard Telecaster neck. The diverse sounds available from this guitar are nothing short of remarkable and it makes me wonder why this particular unique configuration hasn’t been widely used since. The early USA‑made Bullets were misunderstood and tend to attract a lot of unfair criticism from purists. As a result, like the Fender Leads of the time, they weren’t manufactured for long. Judging it on its own terms, this is really not the cheap Stratocaster imitation it may seem at first glance. I realised that the Fender Bullet H2s are both cool and quite rare, so fit the CRAVE criteria. I never envisaged that it would be so fascinating and collectable while still being affordable. This Bullet H2 came with its original (if battered and stickered) Original Hard Shell Case (OHSC).

1975 Fender Starcaster

The Fender Starcaster (and, no, that isn’t a spelling error) has been a long‑standing ‘wanted’ guitar, ever since I got a 1960s Coronado. There is very little similarity between the two models but as there are very few semi‑acoustic electrics in the brand’s history, I was once again curious. Unusually, I bought this one from a retailer, so I probably paid more than I normally would have considered but it was worth it. Where the Coronado is fully hollow, the Starcaster has a solid centre block running under the pickups and the massive hardtail bridge/tailpiece assembly. Surprisingly, the Starcaster has through‑body stringing like a Telecaster. While the Coronado has DeArmond single coil pickups, the Starcaster uses the sublime Seth Lover ‘wide range’ humbuckers as used on several Telecaster variants from the 1970s. While both the Coronado and the Starcaster use bolt on maple necks, they are, again, very different and the latter is unique to the model with a maple fingerboard. Both the Coronado and Starcaster were reissued by Fender in 2013 although neither are a patch on the originals. The vintage Starcasters are instantly recognisable because of the distinctive bridge assembly and the 5 controls (2 volume, 2 tone plus master volume). When going over the guitar on arrival, I found it was a rare very early 1975 (pre‑production?) model. It has been well used but is still in remarkably good condition with the sort of genuine patina that only age can bestow. The tobacco sunburst and sunburst flame maple is just gorgeous. It is also a fantastic guitar to play with a great neck and I really like the (in‑vogue) offset body shape. Even better, it doesn’t play or sound like any other Fender, ever made. The Starcaster didn’t prove popular on its original release and wasn’t produced for long before being quietly discontinued in 1982. I can understand why it didn’t sell in large numbers but that misses the point about its exclusive charms. Make no mistake, the Starcaster is a high quality instrument just waiting to be rediscovered. This beauty is not to be confused with cheapo far‑eastern Strat imitations from the 2000s that unfortunately carried the ‘Starcaster by Fender’ moniker. The case, while vintage, is not an original Fender Starcaster case. Obtaining a Fender Starcaster was a long‑standing aspiration achieved, which can now be removed from the ‘wanted’ list. These babies are now becoming extortionately expensive on the vintage market, as the ‘collectorati’ are now cottoning onto them. Seems I got this one just about in time‑ish.

1979 Fender Stratocaster Anniversary

I already have a 1977 Stratocaster hardtail and I was kinda looking around for one from the early 1970s with a vibrato before they become unaffordable (rapidly heading that way now). Along the way, I became distracted by the 1979 Anniversary Stratocaster. I missed out on a couple before I finally attained one (once again at a higher price than I intended, unfortunately). The Anniversary is distinctive in that it was Fender’s first foray into limited edition commemorative models, celebrating 25 years since the original Stratocaster’s introduction in 1954. I was attracted by the classic look of silver, black and maple fingerboard. Whether one can regard a massive 10,000 examples as a ‘limited edition’ is debatable. It also comes with a very unsubtle ‘Anniversary’ logo emblazoned on the bass horn plus a much more understated 25^th anniversary neck plate which carries its serial/issue number. This one comes with its original certificate of authenticity and most (but not quite all) of its case candy, as well as its ABS OHSC, all of which is nice to have. Like all Anniversary models, this one is heavy at 10lbs (4.6kgs) but I can live with that because of the part this model plays in electric guitar heritage. It looks cool, sounds great and plays very nicely, although the action is a little high. Fundamentally, though, it is essentially a standard Stratocaster with a few aesthetic embellishments. This guitar is in excellent, almost mint condition, which suggests that it was kept as a memento rather than an instrument to be played, which in my view is sacrilege. These aren’t especially rare instruments and many purists would say they aren’t cool. Well, I’m going to stand my ground and say that I like it, which is why it now has a safe home here at CRAVE Guitars.

1983 Fender Stratocaster Elite

This is the first of a pair of Fender Elites that I bought in 2019 (and the second Stratocaster!), both of which I think are quite desirable. As background, the Elite series was only produced in 1982 and 1983 before it was withdrawn shortly before CBS sold Fender in 1984. It is the innovative electronics that really set the Elites apart. The signal chain starts with 3 ‘noiseless’ single coil pickups including an additional dummy coil to reduce hum. These pickups are distinguishable by the Fender logo covers with no visible pole pieces. Instead of a 5‑way pickup selector switch, there are 3 on/off buttons, 1 for each pickup, giving 8 permutations in all (including all ‘off’). This arrangement provides easy access to more sounds than the standard Stratocaster of the time. The switching is unusual but also very intuitive (far better than Fender’s current S‑1 switching). The signal then passes through an on‑board active pre‑amp powered by a 9V battery. The controls are different too and not just the nice soft‑touch logo knobs. There is the usual single master volume complemented by two master tone controls, comprising Fender’s propriety MDX (MiD‑range eXpander) boost and TBX (Treble/Bass eXpander) circuit. The Strat’s iconic jack plate is also absent, with the output moved to the body edge. The bridge assembly is also unique, here it is a top‑loading hardtail Fender Freeflyte bridge. In use, it plays just like a Strat, although it is a touch on the heavy side. The sounds though are, as you might expect, quite different from a normal Stratocaster. Before the purists clamour with cries of sacrilegious iconoclasm, the electronics went on, albeit modified, to be used in both the Eric Clapton and Buddy Guy signature guitars, so the Elite wasn’t an abortive experiment. This example looks particularly cool in creamy Olympic White with a lovely rosewood fingerboard. This Elite is in lovely all‑original excellent condition and comes with its ABS OHSC. Like many 1970s and 1980s Fenders, these are now becoming more desirable on the vintage market. These original Elites are not to be confused with the similarly named but otherwise standard Elite series instruments issued by Fender between 2016 and 2019.

1983 Fender Telecaster Elite

More?! OK then. Onto the second in the pair of Fender Elites. This one is a 1983 Telecaster Elite in lovely translucent Sienna Burst with a gorgeous rosewood fingerboard. Like the Stratocaster Elite, it is a fascinating variant on the classic design. The electronics here comprise dual‑coil noise‑cancelling Alnico 2 pickups routed through an on‑board active 9V preamp with 2 volume controls allied to the same MDX (mid‑range) and TBX (high‑range) tone controls as found on the Stratocaster Elite. Like its sister model, it has the unique top‑loading hardtail Fender Freeflyte bridge. The body has cool single binding on the top edge, similar to the original Custom Telecaster from the 1960s. For some inexplicable reason, the designers at Fender felt that a Telecaster would look good with a Les Paul‑like scratchplate. They were wrong, it doesn’t. Fortunately, the scratchplate was provided in the case, rather than being attached and even then, it could be stuck on with double‑sided tape. Personally, I prefer it without the scratchplate, revealing the woodgrain through the finish. Like the Stratocaster, the Telecaster is a touch on the heavy side but I can forgive that because of its unique position within the Fender canon. This little beauty is in near mint condition and includes its OHSC. The Elite is far from your average Telecaster and, on my unending quest for something cool and rare, it has found a good home here at CRAVE Guitars. Both Elite models (and there was also a Precision bass in the range as well) are harder to come across than standard models, so the prices tend to reflect their relative scarcity. The Elites are unequivocally ‘curio’ guitars from the last dying days of Fender’s notorious CBS era, so they tend to be frowned upon by purists, which makes them all the more appealing to the maverick side of my enduring addiction to the quirky and idiosyncratic guitars from a generally unloved period of guitar history.

1947 Gibson ES-150

Thus, we move onto the ‘Big G’. The author sadly hit one of those dreaded ‘big birthdays’ in 2019 and without much else to celebrate, I figured that I would mark my passing years with something self‑indulgent. I had been keeping my eyes peeled for a vintage Gibson ES‑150 for several years and watching as the prices escalated to, frankly, silly levels. I couldn’t afford one of the carved top pre‑war models with the Charlie Christian pickup, so I was looking around for a newer model, which would be cheaper. For those that may not know, the Gibson ES‑150 was introduced in 1936 and is acknowledged as the first commercially successful electric Spanish guitar. I eventually found a lovely 1947 ES‑150 from the first year of post‑war production and sporting a single P90 pickup. This one was way, way more expensive than I could normally justify so, because of my impending mortality, I was tempted to go for it. In fact, it is the most I’ve ever spent on a single instrument to‑date. This ES‑150 was residing in Italy, so I imported it before Brexit shuts down all opportunities to access vintage fare from our European colleagues. Owning a really old hollow body non‑cutaway jazz guitar is new territory for me, so it was with some trepidation and excitement that I was delving into this particular art form. The guitar itself is in fine all‑original condition with just surface crazing to the lovely sunburst nitrocellulose finish. There is no serial number or Factory Order Number (FON) which, along with the features, dates it to 1947. Playing it is a different experience altogether, as it needs heavy semi‑flat wound strings to get the laminated top vibrating. Then there is the limited upper fret access to contend with, so it takes some time to acclimatise to the technique. Being deep‑bodied and fully hollow, this one actually works quite well as an acoustic jazz guitar too. As you may know, I really like single pickup guitars, so there is less to get in the way of pure P90 tone. The ES‑150 is currently a bit of an outlier within the CRAVE Guitars family. One thing is for sure, it isn’t going anywhere anytime soon. Definitely not the ideal guitar of choice for metal heads though.

1965 Gibson Melody Maker

This 1965 Melody Maker was a bit of a gap filling exercise. Between 1959 and 1971, Gibson released four versions of their ‘student’ guitar, the Melody Maker. The first was a single cutaway Les Paul shape (1959‑1961), the second was a unique and really cute double cutaway model (1961‑1965), the third iteration was a somewhat crude and short‑lived double cutaway model (1965‑1966) and the final generation was SG‑shaped (1967‑1971). This is one of the rather ‘ugly duckling’ models from 1965 (weirdly often called the ‘type 2’, even though it’s the third body shape), which completes the set. The Melody Maker comprises a slab mahogany body with double cutaways, a set mahogany neck with the typical narrow headstock, one single coil pickup, and comes in a reserved cherry nitrocellulose finish. Unsurprisingly, this model has never been reissued by Gibson, although there has been a Joan Jett signature guitar. The Melody Maker name has re‑appeared a number of times since the 1960s. This example is not in pristine shape but is all‑original and it comes with its OHSC. At least this one hasn’t been butchered over the years unlike many. I was shocked that a recent guitar magazine article (which I won’t name but they really should know better) was recommending that the vintage Melody Maker body should be routed and the pickup replaced with a P90 or humbucker! Unbelievable and indefensible! I think that the narrow single coil pickups give the Melody Maker a distinct tone, which is very underrated by purists. Melody Makers are unique in the Gibson history books and unmolested examples deserve much more credit in my view. They are made from the same materials in the same Kalamazoo factory by the same people as other highly prized models and should be regarded (and treated) as worthy vintage instruments in their own right. They are very light and resonant, making them really easy to pick up and play. Compared to many Gibsons from the 1960s, Melody Makers are still relatively affordable on the vintage market and represent a good starting point for people interested in collecting vintage guitars from a major American brand. Personally, I have to admit that I am not a huge fan of this pointy body shape but now that I own one, it is growing on me.

1989 PRS Classic Electric

Having dipped my toes into the world of Paul Reed Smith (PRS) guitars with an elegant 1988 PRS Standard, I was looking around for other early hand‑finished guitars that were made in PRS’s original facility in Annapolis, Maryland. These early, so‑called ‘pre‑factory’ models are becoming increasingly collectable, especially as they are now beginning to get to vintage age (and price!). The early PRS Customs are becoming incredibly expensive, so my eyes settled on an early PRS model that was initially called the Classic Electric when introduced in 1989. The model was swiftly renamed as the CE after a legal dispute with Peavey over the original name. NB. The CE is not to be confused with the far Eastern PRS SE (‘Student Edition’) guitars. I also had my sights set on the early solid Electric Blue metallic finish, which I think is stunningly beautiful. This example is a very early Classic Electric, being only the 473^rd guitar off the production line, distinguished by its 24‑fret, bolt‑on maple neck and the plain headstock carrying the block ‘PRS Electric’ logo (soon to change to the familiar modern ‘Paul Reed Smith’ signature script logo). There are quite a few marks including one significant ding to the body and the finish on the back of the neck has worn down. The wear indicates that it has been well played, which is often a sign of a soundly put together instrument. OK, it doesn’t have the flashy flame or quilted maple cap, faux binding, bird inlays or set neck but it is still a very creditable guitar that plays very well and sounds great. The CE is one of those under‑the‑radar PRSs that the collectors tend to overlook, although genuine owners praise them very highly. PRS finally got around to re‑releasing the bolt‑on CE model in 2016 but the new ones really aren’t the same as these early ‘handmade’ examples. Despite the wear and tear, it is all‑original and comes with its OHSC but no case candy. You can’t have everything. A vintage PRS Custom to add to the Standard and Classic Electric sadly has to remain on the wish list for the time being.

1959 Silvertone 1304

I had a bit of a mad spell towards the end of the year when I was buying several guitars for the sake of it. I was looking for a vintage Danelectro and came across this funky little 1959 Silvertone 1304 with its single cutaway and dowdy brown finish. It is very similar to the Danelectro U1 (differentiated by pickup position and headstock logo), which is no surprise seeing that Danelectro manufactured Silvertone guitars for the Sears & Roebuck retail and mail order company at the time. The 1304 is actually a pretty rare model being only available in Sears & Roebuck’s ‘Wish Book’ Christmas catalogue and related advertising of 1958, 1959 and 1960. The neck and familiar ‘coke bottle’ headstock is also rare, being finished in natural, rather than colour matched to the body, apparently due to supply shortages at the time. It also has the circular electrics cover on the back and the squared off neck joint that confirms its age and lineage. The ever present Lipstick pickup and body‑edge tape will be familiar to Danelectro fans. It also feels, plays and sounds just like you’d expect a vintage Danelectro from the 1950s, i.e. great. This was the last of the Danelectro single cutaway body shapes before they moved to double cutaways in the 1960s. The single pickup and simple controls let you focus on playing and getting the most out of a very cool and groovy (and lightweight due to semi acoustic construction) instrument. It is a lot of fun to pick up and play and hard to put down. The action is a little high but that resistance actually forces one to play differently compared to a more ‘refined’ guitar. Like others in this résumé, it is in fine all‑original condition, although it sadly doesn’t come with an original 1950s case. These cool Silvertone and comparable Danelectro guitars are still amazingly affordable for vintage guitars from the so‑called ‘golden era’, perhaps because they were (generally) made in large numbers and sold to a largely undiscriminating ‘student’ audience at the time.

2019 CRAVE Amps? What Amps?

Right, that’s the 2019 guitars covered, so what else was new? Well CRAVE Amplifiers didn’t achieve anything at all in 2019 – no new additions and no losses. Nada. As it turned out, I was quite happy running two relatively similar modest little units as daily go‑to amplification during the year, a 1978 Fender Champ and a 1978 Fender Vibro Champ both in ‘silverface’ livery. Don’t underestimate these diminutive 5W Class A valve amps, they are really great for what they are. I acknowledge that I’m not a vintage amp specialist, so they are not hugely abundant here at CRAVE Guitars. Owning vintage valve amps demands space, time and effort as well as oodles of filthy lucre, so I’m not in a huge rush to buy up large numbers of vintage amps.

An Introduction to the 2019 CRAVE Effects

CRAVE Effects did a little better during 2019, although there were only five new pedals to join the clan. Having said that, two of those were outstanding examples of the type. As with amps, because I am not a vintage effect expert, I’m sticking to a few well‑known global brands from the 1960s to 1980s, rather than go too far into the realms of the unique, idiosyncratic and unusual.

1987 BOSS RV-2 Digital Reverb

It may seem heretical to many but this is the first vintage digital effect to join the CRAVE club. This Japanese BOSS RV‑2 was sought out principally because there are few vintage compact analogue reverb pedals out there. Yes there are the bulky (and expensive) vintage valve reverb tanks from the likes of Fender but I wanted something small and convenient to add an extra special dimension to the aforementioned Fender Champs, neither of which have on‑board reverb. So, a digital reverb was the way to go with this rather plain looking but flexible 1987 BOSS RV‑2. It provides a range of reverbs and it sounds quite natural without too many sibilant digital artefacts, although not quite the soft and cuddly warm tones of traditional analogue reverbs. Still, it does its job very well and it is from the right era (pre‑1990s), which is why it’s here. Interestingly, the high current draw of the digital circuitry in the RV‑2 means that it cannot be powered by batteries and requires a BOSS PSA power supply in order to do its ‘0’ and ‘1’ digi‑thing.

1969 Dallas Arbiter Fuzz Face

This is the first of two iconic classic pedals acquired in 2019. The humble but fabled English Dallas Arbiter Fuzz Face rose to stardom mainly because of none other than Jimi Hendrix. This isn’t one of the earliest Fuzz Faces that used germanium transistors but one of the first to use silicon transistors, this one dating from c.1969. It is amazing what a few cheap electronic components can end up being turned into. Truth be told, I didn’t actually intend to get this pedal. It came along via an eBay auction and I decided to take a punt and put on a (relatively) low bid and… what happened? No‑one came along at the last minute to beat me and I ended up getting it. Yikes! Yes, it was hideously expensive but not as bad as it could have been. Therefore, while it was not exactly a bargain, I suppose it was still a reasonable price for what it is. Fortunately, it delivers its fuzzy glory in all the right ways, so that’s OK then. It is in excellent all‑original condition and in perfect working order, so my initial reticence was soon overcome. It actually looks pretty cool in red too. By today’s standards, its circular form factor does take up a disproportionate amount of pedalboard real estate but, c’mon, it is a vintage fuzz pedal – what’s not to like? The original Fuzz Face was definitely a batteries only zone back in the 1960s and neither is there an LED status light to indicate when it’s on. Great though it undoubtedly is, this is clearly not one of those pedals you’d want to gig with down the local pub, that’s for sure.

1982 Ibanez PT9 Phaser

At totally the other end of the value scale from the Fuzz Face, we have a fairly widely available and averagely collectable 1982 Ibanez PT9 Phaser. CRAVE Effects has somehow accumulated more phasers than any other kind over the years and that’s probably because the late 1970s and early 1980s experienced a surfeit of these simple analogue modulation effects. Let’s be honest, your average phaser really isn’t the most exciting of guitar effects compared to what else is out there, especially in these days of ubiquitous boutique eccentricities. The PT9 is pretty utilitarian and sounds OK, but not necessarily exceptional, which is probably to damn it with faint praise. I’m guessing that Ibanez chose to change their colour scheme from the previous blue/white PT‑909 Phase Tone to the orange/black PT9 in order to compete on looks with the all‑dominating and very orange MXR Phase 90 of the time. I had been on the track of a PT9 to fill a gap in the collection for a while, so the gap was duly filled. Original PT9s are still relatively affordable phasers and they are, perhaps, a good entry point for neophytes to get into vintage effects before getting into more exclusive and expensive fare. Time to move on… Next!

1981 Ibanez TS-808 Tube Screamer Overdrive Pro

… and here is the second iconic classic pedal procured in 2019. The otherwise ordinary green Ibanez TS-808 Tube Screamer Overdrive Pro rose to hallowed status via another guitarist association, this time with the inimitable Stevie Ray Vaughan. Like the Fuzz Face, the original vintage TS‑808s are now inordinately expensive on the vintage effect market, with prices increasing all the time. This was one of those times when I felt a ‘now or never’ moment and bagged a reasonably good one dating from 1981 at just below average price. At this point, I’m going to proclaim ‘emperor’s new clothes’ and say that, while it is undoubtedly a very competent pedal, does it really deserve the unchallenged accolades above all the other competent overdrive pedals out there? Just why we guitarists spend thousands of pounds/dollars on vintage instruments and vintage valve amps and then rely on some dirt cheap solid state components to make them sound ‘better’ is beyond me. To some extent, the same goes for the Fuzz Face but at least that is a down ‘n’ dirty fuzz pedal! I understand all the well‑rehearsed arguments about compensating mid‑boost and clean low gain drive into the front end of an already cooking valve amp. Perhaps I’m missing something else obvious but I really don’t think so. I also know that it goes against the grain to defer from perceived wisdom and to test the TS‑808’s seemingly unassailable reputation. Don’t get me wrong, I’m not knocking the Tube Screamer and what it does. I just believe it is somewhat overrated for the crazy market prices being asked. Anyhow, one of the green meanies is here now and is part of the growing ranks alongside other Ibanez ‘0’ and ‘9’ series pedals. At least I no longer have to keep scanning the market endlessly for a good one at a reasonable price.

1980 MXR Micro Amp

… and right back to the other end of the value scale again with a humble 1980 MXR Micro Amp. Essentially, all a boost pedal does is to increase the signal level hitting the front end of a (valve) pre‑amp, therefore not only adding a bit of volume, but also hopefully some natural compression and a bit of smooth distortion without affecting the underlying tone. Once again, there is something of a question mark about relying on a few cheap bits of electronics to make vintage gear ‘sing’. Having said that, the Micro Amp does its job perfectly well and it can be a really useful tool in the right circumstances. However, let us be clear that it is not exactly the most exhilarating or far out stomp box out there. As an idle observation, it is funny how things come round again given long enough. Outboard pre‑amp pedals are now a ‘big thing’ in the 2020s, albeit a bit more complex than this little MXR. There are many modern‑day compact pedal pre‑amps out there, including the Hudson Electronics Broadcast, Catalinbread Epoch Pre and Fredric Effects 150 Preamp. At least the unassuming little white MXR Micro Amp doesn’t take up much pedalboard space and is oh‑so simple in operation with only a single ‘Gain’ control. Like most un‑modified MXR pedals back in 1980, the Micro Amp only eats batteries for breakfast and doesn’t come with either an LED status light or DC input.

Help Needed

Vintage guitars, effects and amps need attention from time to time to keep them working at their best. While I can undertake basic maintenance, set ups and general TLC, I know that my skills are finite. I am looking for a guitar tech or luthier who can, from time to time, take on a vintage guitar and do some sympathetic remedial work, whether it involves fretwork, electrics, repairs or whatever. I’m also looking for someone who can do occasional work on effects and amps, which is basically electronics, switches, leads, soldering, etc. With over 60 vintage guitars, more than 50 vintage effects and 6 vintage amps, I need some expert help every so often. If there is someone out there with the requisite skillset for any or all of the above, and who is local to SE Cornwall in the UK, I would be interested in making a connection. Anyone interested? Please contact me at the e-mail address at the bottom of every page on the website.

Tailpiece

Actually, I think this is a good place to pause, so I’ll stop there for now. Nine guitars and five effect pedals is enough for one month.

At this point, I must stress that I did not buy any of these items as a pecuniary investment – anyone familiar with CRAVE Guitars will know that is not my motivation. However, given that savings accounts in the UK are currently offering just 0.01% interest rate, I would prefer to be broke and have great vintage guitars, amps and effects to play with and look at. The last recession that began in 2008 apparently saw 30% wiped off the value of vintage guitars, albeit temporarily. To me, it’s still a no brainer, when funds become available, eBay here I come for some vintage gear hunting. The other thing I would add is that all of the new additions are consistent with CRAVE Guitars larger strategic grand plan to conserve ‘Cool & Rare American Vintage Electric’ guitars, amps and effects as important musical and cultural heritage. Oh, and it’s also an unhealthy obsessive addiction as well but I guess you’ve sussed that out already.

At the top of this article I mentioned that there are three themes to work through and I’ve only covered one of them. I am conscious that the ‘History of Modern Music…’ series resulted in lengthy articles and this is, compared to them, quite short. I’m also a bit fatigued by the demands of lengthy researching and writing exercises. Thus, I’ll leave the rest for future article(s). I reckon that it is best to keep these reflective articles relatively consumable. Besides, there really is no rush, is there? Are we going anywhere, anytime soon? No, I thought not.

Believe me, there is still plenty of stuff to be getting on with here at CRAVE Guitars, so I guess I’ll be getting on with stuff then. Who knows what the world will be like in the coming months. Despite the continuing stresses and challenges of COVID‑19 et al, I hope that you’ll return here in due course for your prescribed diet of diversionary diatribes. Stay home, stay safe and stay (in)sane. Remember this simple but important mantra while civilisation unravels around us, Peace, Love & Guitar Music. Until next time…

CRAVE Guitars’ ‘Quote of the Month’: “I can see where this is going because I’ve been where it went.”

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29 Oct 2016

October 2016 – The South of England Guitar Show 2016

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

Here’s a change of tack for CRAVE Guitars this month and not something I would normally pontificate about. Yes, there is still some pretentious waffling, so October 2016’s article is not a complete volte face on my part. Before I get going, though, a wee bit of background in 3 points…

My adult working life started in the music industry many, many years ago with very well-known UK south coast musical importer and distributor, which is still in business (and present at the titular event). The only point in mentioning this is that I’ve seen the world of guitar business from both sides of the tracks for a long time.
I have also been to many trade shows over the years and, like many, they become pretty ‘so what’ after a while, especially those where the big manufacturers predictably roll out their shiny new stock and their professional sellers push to move product to eager consumers (or dealers). This is a necessity in any sector and is just par-for-the-course in the world of music trade. The only point in mentioning this is that, over several decades, I’ve become jaded and the anticipatory excitement of pretty new toys at these gatherings has long-since faded. As a result, I haven’t been to a sales/exhibition event for a very long time.
I have also shifted away from new guitars, amps, pedals, etc. and refocused on older and vintage stuff. This passion for vintage guitars ‘n’ things germinated because I hung on to some nearly-new gear back in the day and it has now, inevitably and rather obviously, became old. New equipment rapidly lost its superficial gleam and, like me, the relic patina gained through years of continual use began to shine through in a very different way. The only point in mentioning this is that what I’m looking for now is very different to what appealed to me as a naïve teenager, when new=good, old=bad.

Beyond the cyclical round of big trade shows, I became aware of some regional shows also taking place in the calendar, clearly run by enthusiasts passionate about the subject matter, rather than sterile accountants obsessed with maximising the contribution to the bottom line. These ‘boutique’ events looked much more alluring to me because they encapsulated the desire for guitar music, rather than the drive for mere cash profit. To my chagrin, though, most of these provincial events took place around the north of England. Now, I have nothing against the north other than my own innate laziness to travel and the demands of a full working/family life, so these events came and went without me.

I have, though, campaigned for a while on social media to bring guitar shows down south. Let’s face it, the urbanised south east is where a lot of the country’s filthy lucre is stashed away, so the vacuum down here was a bit perplexing. This may be because of the prohibitive costs of putting something on anywhere near London, especially during recessionary times.

My ‘prayers’ were to be answered. Roll forward to October 2016. Peter and Gail from Northern Guitar Shows (notice the name) thankfully saw an opportunity to address the issue and hosted the South Of England Guitar Show at Kempton Park Racecourse in Surrey this year. Even better, they put me on the guest list – so a big “thank you” to them. Now there was an additional incentive to get out of bed and haul my lazy fat arse over the county boundary and go see what was on offer.

My jaundiced and sceptical view of the music instrument industry (colloquially known as M.I.) has been reinforced by my recent experiences of arrogant vintage and new guitar retailers in both London and the south east. Restoring a little faith, the South Of England Guitar Show was very busy with ordinary folks keen to partake and it looked to be a major success. It also turned out to be an enjoyable experience for a weary, road-worn music veteran. All credit to Northern Guitar Shows for taking the risk with us fickle softy southerners.

Yes, there were the usual trade exhibitors, which one accepts, but none of the corporate big boys – no Gibson, Fender, Marshall, etc. For some, that may have been a disappointment, to me it was a blessing. To many stallholders, exhibitors and performers, it was probably run-of-the-mill and part of the annual trade circuit. Again, to me, it was refreshingly ‘intimate’ and, mostly, friendly. There were, of course, the usual dickheads who come out of the woodwork to frequent these things and make their presence known but, like bad weather, one just has to put up with them.

I was pleasantly surprised at the diverse range of smaller companies making the effort to extract my (sadly hard-earned, rather than ill-gotten) currency. Of note were some up-and-coming guitar makers presenting their wares, including among many others, Palm Bay Guitars, Stone Wolf Guitars and Flaxwood Guitars, all of whom make very pretty and practical musical instruments.

I was also pleasantly surprised by the number and variety of vintage instruments for sale including some VERY nice, but expensive, pieces – too many to mention here. The mix of new and vintage was something that has clearly come about since the last time I trudged around exhibition halls – thinking about it, there probably wasn’t a mainstream ‘vintage’ market way back then, at least not in the way there is now.

There was also decent live music on offer and a host of fringe stuff to maintain broader interest. Of note was The John Verity Band – to those that remember, he was in the band Argent and is a very good blues/rock guitarist. Also worth a listen was industry veteran Phil Harris commentating provocatively about the obsession with vintage authenticity by suggesting that reproductions can not only be as good as the originals but in many cases better. It was refreshing to hear someone who has profited considerably from the vagaries of the vintage market arguing to the contrary in very pragmatic terms. He is quite a nifty guitarist too. The objectionable high-net worth collector market aberration is something that I have also tried to articulate in my blogs but, heh, who listens to me?

Not only did I wander the aisles academically looking for a variety of desirable bits and pieces, I actually shelled out some dosh on a selected vintage item. I had made the effort to be there and so had the sellers, so I wasn’t about to leave empty‑handed. Was I tempted by the usual array of vintage Strats, Teles, Les Pauls, ES‑335s, et al, all going for what I still think is silly money? Hell yes, of course I was – don’t be ridiculous! Even though the art of haggling is still accepted at these events, the prime guitars were all (sadly) way out of my price range, especially during my current period of enforced purchasing abstinence.

So, you may ask, what did I come back with? My eye had been caught by a very modest and reasonably priced cute little guitar… a 1964-ish black sparkle Silvertone 1449 complete from Terry’s Guitars. Terry is selling much of his guitar collection and this baby was up for sale. For those who may not know, Silvertone guitars were made by Danelectro in the ‘60s for the American Sears & Roebuck department stores and were sold as a set with their ‘amp-in-case’ as an ‘all-in-one’ solution for beginners. The Silvertone is pure Danelectro, complete with twin ‘lipstick’ pickups and vinyl tape body edging. The 1449’s sweet 5-watt valve amp features a tremolo circuit and 8” speaker, all of which is cleverly integrated into the slim (and heavy) guitar case. While not the first or last, as an offering to the mass market, it was a genius idea from half a century ago and a move that proved very successful for Sears and Danelectro.

The guitar was very competitively priced because the headstock has a crack in it which, while relatively common, had been poorly ‘repaired’ (with screws – yikes!). This will need professionally seeing to and I feel a trip to see Dave at Eternal Guitars coming on. However, the guitar was otherwise very clean and all-original, and the ‘amp-in-case’ was working (albeit with a new Weber speaker to replace the original). In fact, the valve amp sounds VERY good for what was originally a budget practice amp. So, 52 years after it was made, this particular Silvertone has found a new home at CRAVE Guitars. One wonders where it might be in another 52 years’ time. Who knows?

I was interested in this particular guitar because I have been looking for a vintage Danelectro for ages; CRAVE has a 2008 Chinese-built Dano ’63 which is a modern interpretation of the 1449 (but no case), so this seemed an ideal match. The Silvertone also fits with CRAVE Guitars’ core ethos – Cool & Rare American Vintage Electric guitars (that’s what the acronym CRAVE stands for after all) – and the meek little hybrid ticked all 5 essential criteria. After a short haggle, Terry let me have it for a reasonable price, including the step-down transformer for the amp’s 110V power supply, which all works perfectly. Thanks Terry. What a cool guy! Striking a great vintage deal was the icing on the cake for a Sunday out with a difference.

So, kudos to all concerned. The good news is that the South of England Guitar Show will return to Surrey on 29^th October 2017. My advice? Why not give it a go if you like the idea. Until next time…

CRAVE Guitars ‘Music Quote of the Month’: “Age does not stop a guitarist, death does.”

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