29 Apr 2026

April 2026 – CRAVE Island Castaway Part II: Music Playlist

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

Prelude

HEY UP PEEPS. HOW DO? SUP? WHAT’S COOKIN’? HOWDY PARTNERS. Super salutations! I come in peace. It seems unbelievable but we are already one third of the way through 2026 already. I trust you enjoyed the Easter celebration early in April as a harbinger of spring with lighter evenings and warmer days. Despite all the media‑fuelled doom and gloom, there is still plenty to look forward to in 2026. Let’s make this year better than its predecessors. There is no better time than the present. If one thinks about it, the present is all we have. The future we can hope for. As Nike say, ‘Just Do It’ (NB. From the company’s advertising campaign 1988‑1998).

“My childhood did not prepare me for the fact that the world is full of cruel and bitter things” – Julius Robert Oppenheimer (1904‑1967)

Regular readers will know my unwavering calls for comprehensive concord. I cannot emphasise enough that peace should be a profound ambition for everyone on this one and only planet of ours. Peace is not optional. Without it, humanity will ultimately be doomed. With it, we may just stand a chance. Personally, I hope we stand a chance but that requires significant change. We have to change. Peace matters, probably more than anything else for civilisation’s survival and advancement. This is not political, religious or even humanitarian, it is just plain old common sense.

“When the power of love overcomes the love of power, the world will know peace” – Jimi Hendrix (1942‑1970)

This Month at CRAVE Guitars…

Back to more prosaic matters. I haven’t written much on musicology recently, so I thought I’d return to the subject this month. As this isn’t my first rodeo, I thought a quick recap on what has gone before might be in order. I compiled a, ‘Personal Top 20 Most Influential Guitar Albums’ way back in 2016 and ‘50 Albums of the Last Half‑Century(‑ish)’ in 2017. I also covered ‘The Story of Modern Music…’ in 14 parts from March 2019 to May 2020 (bar December 2019). In addition, there have been four major CRAVE Guitars genre articles (‘Dub Reggae Revelation’, ‘Adventures in Ambient’, ‘Heavy Metal’ and ‘Get Up and Dance to the Music!’) in 2023 and 2024. Last but not least, there was the article, ‘Musical Machinations’ in 2023 about access to music, so there is already a great deal of foundation to work from for this particular article. Time to take an alternative perspective.

“If music be the food of love, play on, give me excess of it; that surfeiting, the appetite may sicken, and so die” – William Shakespeare (1564‑1616)

This month’s piece is definitely another one for the list‑o‑philes out there. I must re‑stress as usual that this is entirely for entertainment purposes only and has no intrinsic value beyond mild amusement for both author and reader. As usual, no AI has been used in researching and writing this article, just hard brain work. The CRAVEman images, however, are AI generated out of necessity. This month’s quotes are a relevant mix of islandic observations and musical wisdom.

“We live on an island surrounded by a sea of ignorance. As our island of knowledge grows, so does the shore of our ignorance” – John Archibald Wheeler (1911‑2008)

The Rationale for the Article

Last month, in Part I of this two‑parter, I looked at what 10 pieces of vintage guitar gear that I might like to take with me to CRAVE Island. This month, I contemplate as to what playlist of music tracks one might like to listen to, when not playing vintage guitars, on the very same secluded idyll of CRAVE Island. As last month, The CRAVEman has been used to introduce and present this month’s line‑up. If you want serious vintage guitar topics, why not head off to the web site proper or watch this space for the next non‑fiction article.

IF you want to (re‑)visit Part I of this CRAVE Island extravaganza, follow the link below (opens a new browser tab)…

March 2026 – CRAVE Island Castaway Part I: Vintage Gear

For readers who may not be familiar with the concept, the format used here is loosely based on the long‑running BBC Radio 4 programme, ‘Desert Island Discs’. Guests on the show select eight audio recordings (usually music), one book and one luxury item that they would have with them if they were to become a castaway, stranded on the metaphorical desert island. The BBC radio programme was first broadcast in January 1942 (that is 84 years ago in 2026!) and there have subsequently been nearly 3,500 episodes and counting. I depart from the archetype but retain the spirit of the original programme.

“After silence, that which comes nearest to expressing the inexpressible is music” – Aldous Huxley (1894‑1963)

Now, here’s a thing… I started off this idea thinking about what might constitute a ‘perfect’ pop song, in the knowledge that there is no such thing. The two exemplars that immediately sprang to mind and started this whole shebang were, ‘Blur – Song 2’ and ‘Blondie – Hanging on the Telephone’. Then it sort of ran away from me at that point, and here we are now.

How far does one go? Top 10, top 20, top 30, top 50, top 100 and so forth. What to include, what to leave out? Does one go by merit or popularity? Does one go with sales or star status? Does one go by genre or gender? Does one go with vocals or instrumentals, groups or solo artists? Does one go with guitar‑‑centric or electronic? Does one go pure pop or not? Does one go with singles or album tracks? Does one go with personal preference or industry reputation? Does one go with British/American or global? My‑oh‑my, I had started something that was just gonna blow my brain or at least make it hurt a bit. What a conundrum. What a dilemma. How on Earth does one go about manoeuvring safely through this massive musical minefield?

Selecting such a small sample of just eight tracks of music to play on a desert island simply wouldn’t be enough for The CRAVEman. Even 100 would be cutting it thin but a ceiling has to be set somewhere. Despite the immense volume of available music (running into hundreds of millions on streaming platforms!), I’m always searching for ‘new’ music to listen to, so this was a challenging task. One presumes, at least for this exercise, that The CRAVEman doesn’t have access to Apple Music (or an alternative) while on CRAVE Island.

“I’ve been asked over the years to compile a list of desert–‑island discs. I couldn’t do that. If I was trapped on a desert island, I don’t think I’d want 10 songs to bring with me” – John Lydon (1956‑)

Defining the Selection Process

So, initially, one has to determine scale and scope. First – put an absolute limit on the list. Easily sorted, 100 it is. Second – come up with a set of ten sensible criteria through which one can select/eliminate a whole bunch of stuff (see below). Third – work on my own fallible subjectivity – it is my wish list after all. I abhor the idea of people including things just because they are ‘worthy’, rather than pleasurable (Oscar, take note!). Fourth – present it in a way that makes sense without being too arbitrary or confusing. That, on the surface, seems a sensible approach. Let’s see what the process came up with.

I decided from the start not to utilise any sort of ranking; selecting is one thing, ranking is a nightmare. I am 100% certain that readers will disagree with both the process and the outcome. However, it’s my article, so you can make up your own rules/lists to compensate for my perceived shortcomings and omissions.

“And those who were seen dancing, were thought to be insane, by those who could not hear the music” – Friedrich Nietzsche (1844‑1900)

In order to generate a diverse playlist, the main criteria used were:

Only one track per artist
A wide spread of genres
A wide spread of decades/years
A mix of singles and album tracks
No dependence on commercial sales numbers
No reliance on industry structure, record labels or marketing
Not just the BIG names or celebrity status
Ignore others’ opinions of ‘best’, ‘essential’ or ‘quality’
No geographical restrictions
No ‘novelty’ songs

“Let’s hope I never end up on a deserted island, because I could never make a decision on which three CDs to take with me” – Willem Dafoe (1955‑)

As it worked out, the date range covered the 1960s to the 2010s inclusive. Six decades seems a helpful bracket for evaluating contemporary music and one that has been used before. The most frequent decades were the 1970s to the 1990s inclusive. This is perhaps because I was too young to appreciate fully the rock & roll (and earlier) era(s) and because I am too old (!?) to appreciate the most recent musical trends… or perhaps these were the peak decades for creative modern music.

“Music is a moral law. It gives soul to the universe, wings to the mind, flight to the imagination, and charm and gaiety to life and to everything” – Plato (c.428‑348BCE)

Now… 100 songs seems almost too easy and not in the real spirit of a ‘Desert Island Disc’ playlist, especially as last month the ‘Desert Island Vintage Guitar Gear’ was limited to just 10 items. In order to placate and pre‑empt that easy criticism, I have emboldened a ‘top 10’. If I was forced to choose, those are the ones I could most easily live with in the spirit of the article. It isn’t enough, of course, but this is just a hypothetical exercise after all. I also assume that the music is available on physical media, as Internet connection may prove particularly problematic on CRAVE Island.

Alternatively, if I could take anything with me to CRAVE Island, it would be my entire collection of reggae music but that now comprises at least a couple of thousand albums, so I don’t think it will be allowed to make the trip. Why reggae? The genre is so rich and diverse that there is always something different to appreciate, depending on mood. There, that is my underlying bias declared for your scrutiny. Oh, and reggae suits the hypothetical location well.

“A bird, music and food – desert island items” – Michael Johnson (1967‑)

To avoid the debatable value of ranking, I’ve gone for a chronological approach. Where there is more than one song from a year, they are presented in alphabetic order. Time for the waffle to end, let’s dive straight in and take a retrospective musical swim…

The CRAVEman’s ‘Top 100/10’ CRAVE Island Playlist

The 1960s (7):

Ben E. King	Stand by Me	1961
Del Shannon	Runaway	1961
Louis Armstrong	What a Wonderful World	1967
Velvet Underground	Venus in Furs	1967
Captain Beefheart And His Magic Band	Dropout Boogie	1967
Jimi Hendrix	All Along the Watchtower	1968
Fleetwood Mac	Albatross	1969

The 1970s (30):

Black Sabbath	Paranoid	1970
James Brown	Get Up (I Feel Like Being A) Sex Machine	1970
Neil Young	After the Gold Rush	1970
The Doors	Riders on the Storm	1971
Pink Floyd	Echoes	1971
Johnny Nash	I Can See Clearly Now	1972
T.Rex	20^th Century Boy	1973
The Isley Brothers	Summer Breeze	1974
Rolling Stones	It’s Only Rock ‘n Roll (But I Like It)	1974
Bob Dylan	Hurricane	1974
Bob Marley & the Wailers	No Woman, No Cry (full live version)	1975
Roberta Flack	The First Time Ever I Saw Your Face	1975
Max Romeo	War Ina Babylon	1976
David Bowie	Heroes	1977
John Martyn	Small Hours	1977
Patti Smith	Because the Night	1977
Sex Pistols	Pretty Vacant	1977
The Stranglers	Peaches	1977
The Undertones	Teenage Kicks	1977
Blondie	Hanging on the Telephone	1978
Buzzcocks	Ever Fallen in Love (With Someone You Shouldn’t’ve)	1978
Dire Straits	Sultans of Swing	1978
Funkadelic	One Nation Under a Groove	1978
Kraftwerk	The Model	1978
Lee “Scratch” Perry	Roast Fish & Cornbread	1978
Steel Pulse	Klu Klux Klan	1978
Bauhaus	Bela Lugosi’s Dead	1979
The Clash	London Calling	1979
Joy Division	She’s Lost Control	1979
The Ruts	Babylon’s Burning	1979

The 1980s (22):

The Brothers Johnson	Stomp!	1980
Motörhead	Ace of Spades	1980
Orchestral Manoeuvres in the Dark (OMD)	Enola Gay	1980
Talking Heads	Listening Wind	1980
The Specials	Too Much Too Young	1980
Siouxsie And The Banshees	Spellbound	1981
The Teardrop Explodes	Reward	1981
George Thorogood	Bad to the Bone	1982
Gregory Isaacs	Night Nurse	1982
Robert Wyatt	Shipbuilding	1982
Rockers Revenge	Walking on Sunshine	1982
New Order	Blue Monday	1983
Public Image Ltd	This Is Not a Love Song	1983
ZZ Top	Bad Girl	1983
Pet Shop Boys	West End Girls	1984
Echo & The Bunnymen	People Are Strange	1988
Happy Mondays	W.F.L. (Wrote For Luck)	1988
Cowboy Junkies	Blue Moon Revisited (Song for Elvis)	1988
Transvision Vamp	I Want Your Love	1988
The Beloved	The Sun Rising	1989
The Cure	Love Song	1989
Stone Roses	Fool’s Gold	1989

The 1990s (26):

Depeche Mode	Enjoy the Silence	1990
Orbital	Satan	1990
DJ Jazzy Jeff & The Fresh Prince	Summertime	1991
Nirvana	Smells Like Teen Spirit	1991
U2	Until the End of the World	1991
Radiohead	Creep	1992
Rage Against The Machine	Killing in the Name	1992
Stereo MC’s	Connected	1992
Cypress Hill	Insane in the Brain	1993
Portishead	Wandering Star	1994
Edwin Collins	A Girl Like You	1995
Everything But The Girl	Missing	1995
Garbage	Only Happy When It Rains	1995
Massive Attack	Karmacoma	1995
Pavement	Range Life	1995
The Prodigy	Breathe	1996
Blur	Song 2	1997
Nick Cave & The Bad Seeds	Into My Arms	1997
PJ Harvey	The Wind	1998
Placebo	Pure Morning	1998
Stardust	Music Sounds Better With You	1998
Chemical Brothers	Hey Boy Hey Girl	1999
Eminem	My Name Is	1999
Moby	Natural Blues	1999
Moloko	Sing it Back	1999
Suede	Electricity	1999

The 2000s (12):

Spiller	Groovejet (If This Ain’t Love)	2000
Afroman	Because I Got High	2001
Four Tet	No More Mosquitoes	2001
Kylie Minogue	Can’t Get You Out of My Head	2001
Roger Sanchez	Another Chance	2001
Beck	Lost Cause	2002
X‑‑Press 2	Lazy	2002
Kasabian	Club Foot	2004
LCD Soundsystem	Daft Punk is Playing at My House	2005
Hot Chip	Ready for the Floor	2008
The Low Anthem	Charlie Darwin	2008
The xx	VCR	2009

The 2010s (3):

Warpaint	Undertow	2010
The Kills	Satellite	2011
Kurt Vile	Baby’s Arms	2011

“The only truth is music” – Jack Kerouac (1922‑1969)

That, my friends, is one heck of a varied mixtape, whether you agree with it or not. No doubt there are many obvious inclusions but also a few surprises. Everyone will have a different upbringing and, therefore, a different soundtrack to their lives. That is just as it should be. I don’t have any music heroes, so there is no artist veneration going on here. This is not purely a nostalgic exercise, it is also about the timelessness of great music that can still evoke emotions regardless of when it was created, who created it or when/where it is experienced. Music is inextricably linked with social change and is an integral part of human progress over the years. This article is but one miniscule attempt to document modern western culture through a selection of musical signposts.

You may well ask, “What, no Elvis Presley, The Beatles, The Who, Bruce Springsteen, Michael Jackson, Madonna, Prince, Fleetwood Mac, Queen or R.E.M.?” or, “What, no Tom Petty, Oasis, Coldplay, Taylor Swift, Adele or Ed Sheeran?” Heresy! I hear you shriek indignantly! Nope. Not for this exercise. I am unrepentant. I will acknowledge that I’m in a minority and that the omissions mentioned are very highly renowned popular and commercial artists. They just didn’t make my final cut. Apologies for your irate infuriation but I’m afraid that’s your issue, not mine.

So, so many fantastic tracks didn’t make the final 100. Great tracks from artists like, Led Zeppelin, Genesis, Marvin Gaye, Beastie Boys, Killers, and many, many more came in and out again, right up to the last minute before publication. It was almost an impossible task to represent a selection that I could live with in total isolation on an unidentified tropical island for an unknown period of time.

“Without music, life would be a mistake” – Friedrich Nietzsche (1844‑1900)

To be totally honest, even 100 tracks wouldn’t satisfy a prolonged period of personal reflection on CRAVE Island. My passion for music isn’t just about repeating the past; it is also about discovering great new music from whatever period and looking to the future. Maybe a lot of that music won’t stand the test of time but it is great for ephemeral escapism. If that’s the case, how many tracks would be enough? Who knows? I don’t.

Even restricting the selection to a ‘top 10’ doesn’t bring the 21^st Century into much of a focus. No tracks from the last 15 years in fact. Sorry millennial musicians, you can’t quite make the grade. It doesn’t mean that there isn’t great music being made in the 2000s‑‑2020s, just that there is such strong competition from the last half of the 20^th Century.

“How I wish that somewhere there existed an island for those who are wise and of good will” – Albert Einstein (1879‑1955)

Final Thoughts on the ‘Top 100/10 CRAVE Island Playlist’

As mentioned up front, this particular ‘Top 100’ and its ‘Top 10’ subset is entirely my own creation and constantly changing in the real world, so best regarded as a ‘moment in time’ snapshot. I don’t expect anyone to approve it and I’m not trying to influence anyone based on it. It is just a bit of harmless fun to bring some cathartic levity to a dangerously scary world.

One interesting observation is the proportion of songs that are guitar‑centric. Now that may not be surprising given my predilection for vintage guitars. However, it isn’t quite that simple. Much of the 1980s synth pop boom, the 1990s sampled hip‑hop explosion and the 1990s‑2000s EDM tsunami featured large in my own personal musical evolution but had little contribution from the humble guitar. Another observation is the low proportion of Jamaican reggae on the list, given my overt preference for the genre more generally. The aim here was for variety.

“One good thing about music, when it hits you, you feel no pain” – Bob Marley (1945‑1981)

The 2010s and 2020s are woefully unrepresented in this list. Perhaps this is my age or perhaps it is just a reflection on the banal sterility of much modern music in the 21^st Century. Probably a bit of both. Time, as ‘they’ say, will tell.

Going back to the spirit of ‘Desert Island Discs’, it only seems fair to contemplate what book and what luxury item one would also take. I guess I have to exclude anything to do with CRAVE Guitars and ‘The Distortion Diaries’, as that would be too easy and too contrived. So, what are the two things that one might pack for that hypothetical trip to CRAVE Island?

The CRAVE Island Book – The CRAVEman doesn’t have written language, so I’ll have to substitute. No pretention here. In a senseless, cruel world, I will return to the pure innocence and naiveté of childhood when adult failures had not yet corrupted one’s life experience. I am neither embarrassed nor ashamed to suggest a children’s book. There were several children’s books about which I can reminisce fondly, including the Moomin novels by Tove Jansson. On this occasion, I’m going with, ‘Gobbolino the Witch’s Cat’ (1942) by Ursula Moray Williams – the original version with illustrations by the author, not modern adaptations that have diluted the impact of the story. It is a simple tale of a witch’s cat that longs to be an ordinary kitchen cat. There is a lot that adults can learn from the moral lessons within this story, if we open our minds to accept them. I am a voracious reader of fiction and there are many examples of pretentious ‘worthy’ literature as well as entertaining popular novels that could be chosen. However, we all had to start that halcyon passage to open the doors of adult imagination somewhere. Simplicity epitomised.

“There are two means of refuge from the miseries of life: music and cats” – Albert Schweitzer (1875‑1965)

The CRAVE Island Luxury Item – Seeing as The CRAVEman already has his vintage guitar gear with him, he needs something on which to listen to his selected playlist. Music is useless unless there is something on which to store, replay and listen to it. Remember the venerable Apple iPod (2001‑2022)? The iPod was the spiritual successor to the iconic Sony Walkman. Seeing as there must be an electrical supply for vintage guitar gear, I am assuming that it is possible to recharge said portable music listening device. I was tempted to use the same principle to justify a fully–loaded laptop that would provide music replay, as well as all the other things that a laptop can be used for, such as write my own books, record my own music, etc. The fundamental notion here is about going back‑‑to‑‑basics so, if I can’t have the multi‑purpose computing device, a humble iPod (with earbuds of course!) would be invaluable. I wish Apple would reissue the iPod for a new generation with a decent amount of storage.

“Music expresses that which cannot be said and on which it is impossible to be silent” – Victor Hugo (1802‑1885)

A quick reflection on the idea of a solitary existence while contemplating being castaway on a deserted island. Some people cannot exist without other people and some cannot function without the external validation by others. Some people manipulate others or are manipulated by them. For some, other people are the means to establish and impose their status and material wealth. Some seek control and power over others. Some seek an audience, some are just desperate for attention and emotional attachment. I cannot abide competition or conflict (I am profoundly non‑confrontational). I abhor political mind games and trivial time wasters. In which case, I (and The CRAVEman) are the antithesis of all these things. I don’t care for social structures, I don’t seek tangible wealth or human companionship. To me, the desert island castaway way of life would be blissful seclusion, away from the wants, needs, demands, responsibilities and obligations of others. Whilst not quite exhibiting the severity of hikikomori, I am very content in the absence of other humans, in fact, I would prefer it. I believe in something bigger than myself, expressed by the infinity of the universe. Who needs people? Besides, I don’t like people very much. Seriously, I would sincerely be satisfied in serene solitude on my own isolated island. Bring it on.

Time for The CRAVEman to pack up his vintage gear as well as his CRAVE Island playlist gear and get back on the CRAVE Airlines plane back to ‘civilisation’ and CRAVE Town.

“No man is an island, entire of itself; every man is a piece of the continent, a part of the main” – John Donne (1571‑1631)

CRAVE Guitars’ ‘Album of the Month’

As The CRAVEman is still cast away on a tropical desert island this month, it seems apt to stick with a recording that evokes a sense of music that originated on a real tropical island. It also doesn’t feature in the list above. OK, so this example was actually by a UK band recorded in Belgium but it’s the music that really matters. This month’s accolade goes to…

Misty In Roots – Live At The Counter Eurovision 79 (1979): Misty In Roots is a British roots reggae band formed in 1975 in London, England. The live album was the band’s debut release and comprises seven tracks covering 37 minutes. It was recorded during the ’Counter Eurovision’ event, which was intended as a creative alternative to the popular mainstream Eurovision Song Contest (NB. hosted and won by Israel). The Counter Eurovision event took place in Brussels, Belgium on 31 March and 1 April, 1979. The album is widely regarded as one of the best live reggae albums of all time (up there with Bob Marley & The Wailers, ‘Live!’ (1975)). In 2025, a special edition was released to commemorate the album’s 50^th anniversary, followed by the band’s 50^th anniversary tour in 2026.

I have to admit that this particular album was played frequently after it was released and it remains a firm favourite today. I don’t believe that Misty In Roots has made a better album since, sadly. The production of subsequent studio albums couldn’t capture the raw passion of the band giving 100% on stage. It may not be strictly authentic Jamaican roots but it’s a darned fine reggae album nevertheless. Well worth tracking down.

BELIEVE IN MUSIC!

“The wise man makes an island of himself that no flood can overwhelm” – Buddha (Siddhārtha Gautama – c.480‑400BCE)

Tailpiece

Another month, another article. I hope you found something in there to entertain you, just a little bit. We all need something to motivate us, to make us get up every morning, to keep going day after day in this brutal, fractured perverse world. If music has the power to heal, to evoke emotions and help to maintain our mental health, wellbeing and resilience, then it is something we all need right now, more than ever.

Once again, I have absolutely no idea what’s coming up next month. I guess we’ll all have to check in to find out, me included.

“Every island to a child is a treasure island” – P.D. James (1920‑2014)

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’: “Hope is based on progress, resulting in a future that will be better than both the past and the present. Faith is that we will do it well”

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30 Mar 2026

March 2026 – CRAVE Island Castaway Part I: Vintage Gear

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

Prelude

A WONDERFULLY WARM WELCOME to springtime great world citizens. Spring is my favourite season of the year. It signifies newness, rejuvenation, growth, freshness and the promise of warmer days and lighter evenings for a few months (at least here in the cool temperate region of the northern hemisphere). Nature is a wonderful thing and something not only to be valued but also marvelled at for its diversity and perpetuity. Without it, we’d be doomed. Talking of which…

Just when you thought the outright insanity of conflicted malevolent states couldn’t get any worse, wholesale recklessness won out and we have even worse devastation, many more dead innocents, instability and incalculable money irrevocably wasted on killing and destruction. I would argue that such precious resources should be used to advance humanity and solve the world’s inequalities. I am beginning to doubt that common sense will prevail any time soon, if ever. Yes, I am angry and, unfortunately, I am powerless to do anything about it. Civilisation needs civilised leaders. Humanity needs humane leaders. Society needs sane leaders. Communities need caring leaders. What we have in 2026 are not leaders, they are monsters; very, very real and very, very dangerous monsters. Take heed before it is too late for us all.

“Never think that war, no matter how necessary, nor how justified, is not a crime” – Ernest Hemmingway (1899‑1961)

This Month at CRAVE Guitars…

This time around, I had to do some simple soul‑searching and reach some sort of selection about what vintage gear I would choose if I only had a limited number of options.

For the record, I don’t like having to divide vintage gear into favourites and not favourites. It’s a bit like having to choose your favourite child. Each CRAVE instrument has been selected for its individual characteristics and each has its merits. Each one also has its detriments. I do not believe that there is a ‘perfect’ guitar. However, I set this challenge simply as a hypothetical exercise and the outcome may well be different tomorrow, next month, next year, etc.

From CRAVE Guitars’ modest vintage guitar gear ‘collection’, there are a few choice picks – guitars, a bass and effects that I keep going back to, enjoy playing, love the sound of, gaze at longingly just because they are beautiful objects and, importantly, ones that I have developed a particular and deep connection with over the years.

This article is a bit of a reprise. Kind of. Way, way back in September 2015, not long after CRAVE Guitars became a virtual as well as a real entity, I published an article, ‘My Top 10 Vintage Guitars (So Far)’. It is that bracketed pair of words that gives an entry point into reviewing that selection and updating it now, over a decade later. Back in 2015, I narrowed guitars down to makes and headline models, not specific variants, for instance Gibson Les Paul or Fender Stratocaster. Here is the link to the original 2015 Article (link opens in new browser tab)…

Article – September 2015 – My Top 10 Vintage Guitars (So Far)

This time, I’m going to be a bit more specific and a bit harsher. Now, the Top 10 covers not just guitars but also vintage guitars, basses, effects and amps. This article represents a narrower selection from a broader assortment. I couldn’t tell you how many items I had back in 2015 (or even now), but the overall totals have probably doubled – give or take – over the last 11 years.

“Make an island of yourself, make yourself your refuge; there is no other refuge. Make truth your island, make truth your refuge; there is no other refuge” – Buddha (Siddhārtha Gautama – c.480‑400BCE)

The Rationale for the Article

I have chosen the ‘marooned on a tropical desert island’ approach here because it provides for a more positive decision‑making process, rather than the desperately negative ‘in a burning building, which one(s) would you save’. The latter, by definition, means that I would have to sacrifice the rest to irrevocable destruction (please forgive the split infinitive on this occasion), which I just couldn’t contemplate.

A tropical desert island may not be an ideal environment for conserving vintage gear, and securing a reliable and consistent electrical supply might prove challenging. This is therefore purely a case of conjecture and an exercise in entertainment. Welcome to CRAVE Island.

I’m sticking to a cap of 10 pieces of kit, simply as an arbitrary number. Choosing less would be overly restrictive, choosing more would basically be a broad reflection of the CRAVE Guitars family. A figure had to be set, so 10 it is.

Assuming that there are no perfect guitars means that all of the ones listed have their idiosyncrasies. So it is personal predilection that promotes the ‘chosen few’ to a considered conclusion. A selective approach may raise the question of whether the rest of CRAVE Guitars could be divested? Nope. I may consider trading up in a few cases because I want to, not because I have to.

Although I didn’t need to, I have used The CRAVEman as a vehicle to emphasise the nonsense of the concept in the first place. Rather than carry out this task at his home community of CRAVE Town in CRAVEland (see the November 2025 article, ‘The CRAVEman Cometh… Back’), The CRAVEman is embarking on a two‑month solo offshore excursion to the remote tropical desert destination of CRAVE Island. Ridiculous? Of course! Delusional? Obviously! C’mon, what did you expect?

As usual AI was used to generate The CRAVEman’s images this month. No AI was used for the narrative and the vintage guitar images are 100% genuine. This month’s ‘quotes of wisdom’ are about desert island life.

“You can’t totally rebel, otherwise you have to go live on your own, on a desert island. It’s as simple as that” – Patrick McGoohan (1928‑2009)

The CRAVEman’s Top Ten Desert Island Vintage Gear

So, with just 10 pieces of gear to pack and transport to the metaphorical paradise of CRAVE Island, it was as difficult job deciding what to take and what to leave behind. However, having determined the criteria, one has to comply with the rules. Without further ado, here are ‘the chosen few’ (in alphabetic order – links open in new browser tab)…

1965 Fender Jaguar – There is something gloriously captivating about Fender’s offsets whether the Jaguar or its sibling the Jazzmaster, and even the Electric XII or Bass VI. Leo got it spot on with this design. It was a very close run between the Jaguar and Jazzmaster. The Jaguar edged ahead because of its more striking aesthetic and, because I have short stubby fingers, the shorter scale just suits my hands better. The Brazilian rosewood fingerboard is sublime. Oh, it feels so good to play and it sounds exquisite, edging out the Jazzmaster for me… just. While I’d love a custom colour, the standard 3‑colour sunburst still looks gorgeous. It is a bit on the heavy side and the vibrato/bridge takes a bit of getting used to but such foibles are easily tolerated.

Feature – 1965 Fender Jaguar

1972 Fender Telecaster Thinline – The original mass produced solid body electric guitar launched in 1951, the Telecaster, is an undoubted and enduring classic. This year is its 75^th anniversary and the archetype remains largely unchanged to this day. The 1970s saw several variants like the Telecaster Deluxe, Custom and the utterly stunning Thinline, my personal favourite. It just looks so ‘right’ with its single f‑hole (it is only part hollowed out), the natural finish, a groovy pearloid pickguard and those amazing wide range Seth Lover‑designed humbucking pickups. The latter really make the Telecaster Thinline sound grown up and fundamentally different from its workhorse progenitor. I prefer rosewood fingerboards but on this guitar, maple works very nicely thank you and it feels just as right as it looks and sounds. It’s light, functional and organic as well as beautiful.

Feature – 1972 Fender Telecaster Thinline

1963 Gibson ES‑330 – Gibson has released several ES (Electric Spanish) guitars over the decades (going back to the original ES‑150 in 1936). However, it was the thinline ES‑335 that really broke the semi‑acoustic into the contemporary mainstream, where it is considered a flexible workhorse suited to most styles. However, for my money, it is the 335’s close relative, the fully hollow ES‑330 that won me over. It is lighter and more resonant than the heavier centre‑block 335 and its pair of wonderful P90 pickups set it apart with its own distinctive voice. OK, so the neck joins the body at the 16^th rather than the 335’s 19^th fret but who cares when the rest of the package is so wonderful. It is a breeze to play. Even the factory Bigsby vibrato suits the image and it stays in tune. It may feedback in high gain, high sound pressure level environments but those don’t really exist anymore. As a result, the ES‑330 is rightly being re‑evaluated. Oh and it looks the part – one of the prettiest guitar designs out there.

Feature – 1963 Gibson ES‑330

1982 Gibson Explorer CMT – I have said on many occasions that the Gibson Explorer is probably my favourite solid body guitar. They are far better than the one‑trick pony image that one might think them to be. Original Explorers from the 1950s and early 1960s are mouth wateringly expensive, so it is the subsequent reissues that make the grade here. CRAVE Guitars has five (!) Explorers and they are all great in their own ways. My choice, though, is the first one I acquired, the stunningly beautiful CMT (not E2, as on the truss rod cover) with its single piece flame maple sunburst top and ebony fingerboard. It is seriously heavy, which is possibly its only notable drawback. It is probably not a go‑to guitar for a function band but for that’s an irrelevancy. Just as well I don’t play in one then. The renowned Gibson ‘Dirty Fingers’ humbucking pickups balance power and finesse spectacularly well. If this were a car, it would be a V8 Ford Mustang.

Feature – 1982 Gibson Explorer CMT

1968 Gibson SG Standard – Back in 2015, I selected CRAVE Guitars’ Gibson SG Junior with its wonderfully gritty single P90 pickup and baseball bat neck. Now, in 2026, the Junior was up against the SG Standard, another guitar that looks so ‘right’ and feels even better. The Standard doesn’t deliver the raw, visceral inspiration of the Junior but what it does bring to the table is more refinement and versatility. The ‘devil horns’ are still evocative and modern looking over 60 years after it was introduced as a Les Paul Model replacement in 1961. Upper fret access is possibly the best of any mainstream Gibson, making the mahogany neck potentially vulnerable. The SG Standard is light, resonant and, while a touch neck heavy, it is a joy to play, sounds fabulous and looks the part with its great cherry finish. For all of that, the Standard edged out the Junior. Just.

Feature – 1968 Gibson SG Standard

1962 National Glenwood 95 – Sometimes a guitar comes along that breaks the rules in more than one way. In the early 1960s, National released a fibreglass (Res‑o‑Glas) hollow body with single coil pickups and a stunning futuristic/retro design, loosely based on the outline of the lower 48 US states. Just look at those ‘butterfly’ fingerboard inlays too. Purists will condemn it for its lack of a tone wood body and ‘classic’ pickups, but they are missing the point. National dared to be different and, in my view, succeeded. It was brazen and radical and all the better for it. Not only does it look superb, it also plays very nicely despite not having an adjustable truss rod. No tone wood. No problem. Not here anyway. Perhaps the pickups can sound a bit lean compared to the best (not great for heavy metal!) but who’s arguing? Stunning.

Feature – 1962 National Glenwood 95

1978 Music Man Stingray Bass – Onto CRAVE Basses. 2026 is the 50^th anniversary of the Music Man Stingray bass. Yep, almost unbelievable. Music Man is what Leo Fender did after he sold the company that bears his name and had fulfilled his contractual obligation not to do anything else for 10 years after selling Fender to CBS. The Stingray may bear some resemblance to the Fender Precision but it is a very different beast with its single humbucking bridge pickup and active on‑board electronics. After a brief period, Leo moved on to G&L and Music Man was bought out by Ernie Ball. The Stingray, however is still going strong today with a solid and enviable reputation amongst professional bass players and enthusiasts alike. It is a great funky bass that still stands out from the crowd and sits head and shoulders above many of its peers. I bought this one from the UK importer before it ever reached retail, so I am still the original owner. Very cool.

Feature – 1978 Music Man Stingray Bass

1977 Electro-Harmonix Big Muff Pi – Moving onto CRAVE Effects, my all‑time favourite effect pedal is probably the EHX Big Muff Pi. I have owned this one from new and its all‑out manic signature fuzz is just insane with massive amounts of awesome personality. There was, and still is, nothing quite like a (vintage) Big Muff. It sounds just superb and suits my weird musical tastes to a tee. Subtle it is not. It sounds even better when it interacts with other effects like a cool (Electro‑Harmonix) flanger and echo (a.k.a. analogue delay – see below). Think of Ernie Isley’s guitar solo from, ‘Summer Breeze’ (1974) by The Isley Brothers and you begin to get the idea. Marvellously mad and crazily kooky from Electro‑Harmonix’s pioneering founder Mike Matthews, based in New York City since 1968.

Feature – 1977 Electro-Harmonix Big Muff Pi

1977 Electro-Harmonix Deluxe Memory Man – Like the EHX Big Muff Pi above, I have owned this superb all‑analogue ‘bucket‑brigade device’ Deluxe Memory Man delay pedal since new. It pairs with the fuzz in an almost symbiotic fashion. This list is limited, otherwise I would also have included the Electro‑Harmonix Electric Mistress flanger. If you want far out psych, organically natural echo or dubby atmospherics, the Memory Man is there for you. It is easily pushed into OTT regeneration. OK, so the delay is limited to around 300‑400ms – short by today’s digital standards. It sounds organic and doesn’t provide pristine digital delay but when it sounds this good, it’s not really an issue. For me, the Deluxe Memory Man is an indispensable creative tool in a hypothetical desert island situation.

Feature – 1977 Electro-Harmonix Deluxe Memory Man

1973 Fender Princeton Reverb – While the diminutive single channel hand‑wired valve amp with its 10” speaker is almost perfect for guitar, it isn’t really robust enough to take on the Music Man Bass. However, as this is a make‑believe scenario, that’s kinda irrelevant. The Fender Princeton has a long history dating back to 1946 and it came with or without reverb. For me, the reverb is a ‘good to have’ facility along with the (rather weak) tremolo (erroneously called vibrato). I don’t care that it has the 1970s’ ‘silverface’ control panel, I really don’t. For me, it is the ideal small amp and only just beats the Music Man 210 Sixty‑Five. It is small, (relatively) light and sounds absolutely fantastic. Pushing a small Fender valve amp into overdrive can sound just as satisfying as a Marshall stack in the right setting and far more portable. It may not be the loudest amp out there but it is an organically dynamic masterpiece.

Feature – 1973 Fender Princeton Reverb

So there you go, a worthy ‘Top 10’ of vintage gear comprising 6 guitars, 1 bass, 2 effects and 1 amp. While I would have preferred to take all of CRAVE Guitars’ vintage gear to CRAVE Island, the selection arguably represents the pinnacle of the ‘collection’, at least at the time of writing. I expect that the selection would be different at a different time and will no doubt be different(‑ish) at some point in the future when this exercise is (possibly) repeated in another decade or so. In the meantime, I’d better start looking for a power socket.

Interestingly, things haven’t changed that much from 2015. Back then, I selected the following 10 guitars:

Gibson SG
Gibson Explorer
Fender Telecaster
Gibson Les Paul
Fender Jazzmaster
Fender Mustang
Gibson Firebird
Fender Stratocaster
Gibson Melody Maker
Gibson ES‑330

A little bit of consistency was probably to be expected and quite notable. This time, it was even harder as there was a smaller number of guitars selected from a much larger number of possible options. Back in 2015, the article was all about guitars and didn’t cover basses, effects or amps. Eleven years ago, there simply wasn’t CRAVE Basses, CRAVE Effects or CRAVE Amps, so things have definitely moved on a bit and for the better.

The ‘top ten’ aren’t the rarest or most valuable CRAVE Guitars. That wasn’t the objective or one of the criteria used. Cool and rare to a point – monetary value simply isn’t important to me, except when buying of course. Many critics might condemn the selection because there isn’t a Fender Stratocaster, Gibson Les Paul or Fender Bass. I’m OK with that – after all, it is my selection. No blasphemy here folks. Make up your own scenarios to satisfy your own predispositions.

“Living in a society, instead of on a desert island, does not relieve a man of the responsibility of supporting his own life” – Ayn Rand (1905‑1982)

Final Thoughts about The CRAVEman’s Top Ten Desert Island Vintage Gear

This article has focused on guitars, basses, effects and amps drawn from CRAVE Guitars’ ‘collection’. This might not reflect what my ‘top ten’ might be if the pool from which the selection was made was much, much larger. What if I could choose any ten items regardless of whether I owned them or not? What would that ‘top ten’ be? How would it differ?

Well, that is speculative and therefore irrelevant to this exercise, so I’m not going there at this point. How could I possibly say what would be my ideal when I don’t have access to the items or have the opportunity to build a working relationship with them? One might have some ideal aspiration, only to find out that there would be no synergy with it. Relying on some sort of unjustified anticipation of what something may be like is no guarantee of anything at all. An ideal might turn out to be a great disappointment, while something seemingly innocuous may turn out to be a complete revelation. That, my good people, is part of the fascination with vintage guitar gear and why I love it as much as I do.

“The heart of a man is very much like the sea, it has its storms, it has its tides, and in its depths, it has its pearls too” – Vincent Van Gogh (1853‑1890)

There are plenty of instruments on CRAVE Guitars’ ‘most wanted’ list but just how essential are those desirables to achieving some sort of nirvana or personal actualisation? I would posture that it is impossible to say definitively. I am very content with what I have and very grateful to be in the fortunate position to possess what I already own. I am humble in the midst of abundance. Any further additions to CRAVE Guitars/Basses/Effects/Amps, I would now regard as ‘icing on the cake’.

Thus, I don’t think I want to enter into any sort of speculation as to what any sort of theoretical ‘top ten’ might be or whether it would be hugely different anyway. I might return to explore the whys and wherefores of some ‘most wanted’ vintage gear at some point in the future.

Just a thought… How did The CRAVEman end up on a desert island in the first place, you may well ask? Why? And how did he get home again? Well, if you’ve seen The CRAVEman in action before, you’ll know that the concept of the Stone Age Rock God requires a significant suspension of disbelief on the part of the onlooker. The foundational basis of The CRAVEman is plainly ridiculous in the first instance, so how could anyone be surprised in the slightest about what el jefe does?

As previously mentioned, the hyper‑fictional escapades of The CRAVEman are presented purely for your amusement, even if the core basis of the article is more serious, factual and impartial. The CRAVEman images may be AI generated and all the errors and inconsistencies within them are part and parcel of his fanciful virtual existence. Just go with the flow and it’s more fun. Please. Everything else is real.

“What a splendid king you’d make of a desert island – you and you alone” – Sophocles (c.497/496‑406/405BCE)

CRAVE Guitars’ ‘Album of the Month’

In Part II of this series, I will be exploring what music The CRAVEman might listen to on his tropical desert island. What I don’t want to do is to pre‑empt that exercise now, so here I shall select an album that exudes the almost‑spiritual and evocative vibes that would be fitting for the confinement and solitude of CRAVE Island. Given that premise, it was quite easy to select some appropriate Jamaican reggae. Desert island music, I believe, needs something upbeat, positive, uplifting and profoundly conscious in its underlying messages. It is a very familiar album for once – I don’t usually go for popular, commercially successful mainstream albums – and still a great one. This month’s accolade goes to…

Bob Marley & The Wailers – Exodus (1977): ‘Exodus’ was the ninth studio album from Robert Nesta Marley (1945‑1981) and his band, released in June 1977 on Island Records. It may not be a perfect studio album but one with so many highpoints that the overall impact is entirely positive. The original album is slight, at just 10 tracks covering 37 minutes. The opening track, ‘Natural Mystic’ provides a sublime entry point, leading into many other gems of faith, political and emotional treasure. The title track closes the first ‘half’ of the album. Marley’s close associates, Peter Tosh and Bunny Wailer had left the band in 1974, leaving Bob Marley as the main focus. Strangely, ‘Exodus’ was not recorded in Kingston, Jamaica but in London, UK, following a failed assassination attempt in 1976 when Marley was shot in a home invasion that forced him to leave his homeland temporarily. It was this album that effectively launched Bob Marley to international stardom, creating a genuine legend in the process.

An atmospheric album that is just right for a balmy desert island beach at dusk after the sun has set and just as the stars begin to blink into visibility, the sky prismatic and incandescent above the horizon of a tranquil moonlight‑reflected sea. Some reggae can be transcendent and that is the case with this month’s masterpiece from a genuine Jamaican icon. The author was lucky enough to visit Jamaica in 2008 and can testify to the idyll, as well as to the day‑to‑day challenges that the Jamaican population face. Irie mon.

BELIEVE IN MUSIC!

“The sea, once it casts its spell, holds one in its net of wonder forever” – Jacques Cousteau (1910‑1997)

Tailpiece

I hope you’ve enjoyed a reflective trip into a fabricated tropical paradise where The CRAVEman passes his time with some of his precious vintage gear for company. Personally, it is a situation that I wouldn’t mind experiencing myself. Seclusion as a lifestyle choice is something to be treasured and protected. I would relish it. The reality of survival on a deserted island in the tropics, as one might expect, is not the heaven‑on‑Earth utopia one might wish for. Thus, it is purely a notional creation for your enjoyment.

“Nature once determined how we survive. Now we determine how nature survives” – David Attenborough (1926‑)

As the title of this article suggests, this is part one of two complementary pieces. While this one looked at vintage guitar gear, used to create music, the next one will take a selection of existing music and use it to compile a desert island playlist for The CRAVEman to enjoy when he isn’t playing his own compositions. We will return to CRAVE Island and I hope you’ll return for part two.

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’: “And so the wind blows and the rain pours down on the wicked and good alike”

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31 Dec 2025

December 2025 – It’s That Time of Year Again: CRAVE Guitars 2025 in Review

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

Prelude

FESTIVE FELICITATIONS FINE FAIR FOLK. Maybe it is just a little too late to celebrate Christmas (or alternative) and just a little too early to celebrate New Year but generous greetings nevertheless. To be honest, I don’t like winter and I’m definitely in the humbuggian camp (NB. “Bah! Humbug!”, an exclamation uttered by the character Ebenezer Scrooge in Charles Dickens’ novella, ‘A Christmas Carol’ (1843)). A brief lull in activity at the end of an arduous calendar year (atrociously called ‘Twixmas’ by some) is, though, an opportunity to take a temporary time out from seasonal periodic pecuniary profligacy and reflect on things that really matter.

So, you may ask, what really matters? The answer to that thorny little question is probably different for every soul on the planet. For me, it is a determined attempt to improve our shared communities and to reject all that is wrong with our society. We all have a duty to sustain the good and to dispel the bad. We must not abrogate our responsibilities by assuming that it is up to others to benefit us. Humanity definitely needs better humans and it is the duty of all (well, most) of us to realise that hope. How long will good people look on and do nothing?

I also cannot let this article or this year slip into history without the usual earnest plea to work relentlessly for a better world. We should look after our ecological environment by respecting nature in all its precious diversity. It’s the only one we’ve got. We should look after our crumbling civilisation through renewed integrity, honesty and by securing a determined path to peace, security and harmony. You may think these ‘big picture’ aspirations are pretentious hogwash or maybe not. They are, though, what I believe. Didactic sermonising over… for now.

All the quotes (bar the usual CRAVE quote at the end) this month are all drawn from the vast well of wisdom that is the teachings of the Buddha (Siddhārtha Gautama – c.480‑400BCE). After more than two millennia, there is still a great deal that we can learn from the Buddha to help us cope with the modern world. NB. Buddha literally means “the awakened one”. The quotes used are some of those that resonate with my personal cultural frame of reference and which suit the tone of the article. These words are not about religion or faith; they are messages of wisdom and truth.

Buddha (Siddhartha Gautama c.480-400BCE)

“I do not believe in a fate that falls on men however they act; but I do believe in a fate that falls on them unless they act” – Buddha

I know it’s predictable at this time of year and some may see it as an easy article to publish. However, it still takes a fair amount of time and effort to produce. As with previous years, the format of the article remains relatively static. If it ain’t broke ‘n’ all that. This is probably one for the list‑o‑philes out there. No AI was used in researching or writing this article. AI was, however, used to prepare The CRAVEman images – it is the only way I can bring him to an audience.

As the shutters of 2025 draw to a close, the door of 2026 is opening. Our friendly neighbourhood guitar god, The CRAVEman recognises that this is a time for change with, “The End (of the Year) is Nigh. Grunt!”

“The secret of health for both mind and body is not to mourn for the past, nor to worry about the future, but to live the present moment wisely and earnestly” – Buddha

Some of those that left the building in 2025 (41):

It is that part of the annual review that is always a sobering and melancholy section. My goodness what a shockingly bad year 2025 has been for those departing this mortal coil. A horrendous amount of loss. Not only the sheer number of souls but also the immense contribution they made to our culture and society while alive and rocking.

“Even death is not to be feared by one who lived wisely” – Buddha

The inevitable obituary list comprises too many artists that have provided humanity with some truly great music over many decades. They were all with us at the start of the year and are sadly no longer with us at the year’s end. Our thanks, respect and admiration go to the following, may you Rock In Peace (RIP).

Date Died	Name	Of…	Born	Age
1 January	Wayne Osmond	Osmond Brothers	1951	73
10 January	Sam Moore	Sam & Dave	1935	89
15 January	David Lynch	Film director and composer	1946	78
30 January	Marianne Faithfull	Singer and actress	1946	78
24 February	Roberta Flack	Singer and pianist	1937	88
28 February	David Johansen	New York Dolls	1950	75
11 March	Cocoa Tea (a.k.a. Calvin Scott)	Dancehall reggae singer	1959	65
5 April	Dave Allen	Gang Of Four	1955	69
6 April	Clem Burke	Blondie	1954	70
11 April	Max Romeo (a.k.a. Maxwell Livingston Smith)	Reggae singer	1944	80
15 May	Junior Byles (a.k.a. Kenneth Byles Jr.)	Reggae singer	1948	77
26 May	Rick Derringer	Guitarist The McCoys	1947	77
9 June	Sly Stone (a.k.a. Sylvester Stewart)	Sly & The Family Stone	1943	82
11 June	Brian Wilson	The Beach Boys	1942	82
20 June	Patrick Walden	Babyshambles	1978	46
23 June	Mick Ralphs	Mott The Hoople/Bad Company	1944	81
26 June	Lalo Schiffrin	Film & TV composer	1932	93
11 July	Vic Savage (a.k.a. David Kaff)	Spinal Tap	1946	79
13 July	David Cousins (a.k.a. David Hinson)	The Strawbs	1940	85
16 July	Connie Francis	Pop singer	1937	87
22 July	Ozzy Osbourne (a.k.a. John Michael Osbourne)	Black Sabbath/solo	1948	76
24 July	Cleo Laine (a.k.a. Clementine Bullock)	Singer and actress	1927	97
20 August	Brent Hinds	Mastodon	1974	51
6 September	Rick Davies	Supertramp	1944	81
8 September	Allen Blickle	Baroness	1983	42
16 September	Tomas Lindberg	At The Gates	1972	52
23 September	Danny Thompson	Richard Thompson/John Martyn	1939	86
25 September	Chris Dreja	Yardbirds	1945	79
28 September	Steve Whalley	Slade/Sad Café	1950	75
10 October	John Lodge	Moody Blues	1943	82
16 October	Ace Frehley	KISS	1951	74
18 October	Sam Rivers	Limp Bizkit	1977	48
22 October	Dave Ball	Soft Cell/The Grid	1959	66
20 November	Gary ‘Mani’ Mounfield	Stone Roses/Primal Scream	1962	63
24 November	Jimmy Cliff (a.k.a. James Chambers)	Singer and actor	1944	81
3 December	Steve Cropper	Booker T. & The M.G.’s	1941	84
15 December	Joe Ely	Country singer/songwriter	1947	78
19 December	Mick Abrahams	Jethro Tull/Blodwyn Pig	1943	82
22 December	Chris Rea	Pop/blues singer/songwriter and guitarist	1951	74
24 December	Perry Bamonte	The Cure	1960	65

Also, notorious convicted paedophile Ian Watkins, former member of Lost Prophets, b.1977, was murdered on 11 October while in prison, aged 48.

These are just a few of the more famous/familiar names. There have been many other deaths in the music industry, far too many to mention. CRAVE Gutiars’ thoughts go out to all who have been affected by loss during 2025.

“Life is uncertain; death is certain” – Buddha

CRAVE Guitars Vintage Gear purchased in 2025 (11)

It hasn’t been a great year for CRAVE Guitars’ acquisitions. The cause was partly threefold. The first was a general lack of funds in a challenging economic climate. I think most readers will have been negatively impacted to some extent by the on‑going economic ‘cost of living crisis’, low growth, high inflation/interest rates, etc. The second was simply a lack of space at home in which to keep the extended family of guitars, basses, effects and amps. The third is a limited supply of interesting candidates keen to obtain the CRAVE Guitars badge of honour.

“Happiness will never come to those who fail to appreciate what they already have” – Buddha

However, there was a modicum of ‘new’ old gear to celebrate in 2025 (with links to existing features where applicable at the time of writing – each opens a new tab).

Guitars & Bass:
1966 Fender Electric XII
1984 Guild X‑79 Skyhawk
1983 Kramer ‘The Duke’ Deluxe Bass

Effect Pedals:
1990 DOD FX50‑B Overdrive Plus
1992 DOD FX52 Classic Fuzz
1991 DOD FX54 Attacker (compression/distortion)
1988 DOD FX65 Stereo Chorus
1988 DOD FX80‑B Compressor Sustainer
1980 MXR Micro Chorus
1975 MXR Noise Gate Line Driver
1977 MXR Phase 90 (‘Block Logo’)

Plus:
Non‑vintage guitar case for the 1966 Fender Electric XII
Vintage guitar case for the Guild X‑79 Skyhawk

“An idea that is developed and put into action is more important than an idea that exists only as an idea” – Buddha

The keen sighted among you may notice that there are three additions to the CRAVE Effects family that date from 1990‑1992. This prima facie undermines one of CRAVE Guitars’ ‘rules of attraction’ that has, to‑date, relied on an arbitrary cut‑off of 1989 as ‘vintage’ for many years. This ‘rule’ is basd on the manufacturing techniques used for guitars, basses and amps, as well as to effect pedals. Automation introduced increased levels of consistency and accuracy that tended to dilute all the quirks and idiosyncrasies that make vintage gear so fascinating and desirable. In some ways, the ‘1989 rule’ has already been broken by many of the modern guitar cases that protect genuine vintage guitars in the absence of original hard shell cases.

However, as we move into 2026, I feel more and more inclined to re‑assess and stretch that 1989 rule, starting with the effects listed above. The ‘1989 rule’ still applies to guitars, basses and amps, although I anticipate that the rule may well be relaxed there too in due course. I certainly have some gear from the 1990s that feel ‘vintage’ to me. If one takes the 25‑year baseline for describing ‘vintage’, then everything from the 1990s could now be included. However, if one takes a 30‑year baseline, it would include gear from the first half of the 1990s but exclude the latter half of the decade. Both baselines are widely publicised as a means of determining what is or isn’t ‘vintage’. Irritatingly, there really is no definitive answer and this isn’t the place to resurrect that particular debate (yet again).

I think the answer to this particular conundrum is for CRAVE Guitars to evaluate the validity of ‘vintage’ gear on a case‑by‑case basis. This means that there will be no absolute ‘1989 rule’ going forward but it is way too premature to introduce a ‘1999 rule’. Personally, I detest such a lack of clarity, however one also has to be pragmatic and realistic. Let’s see how things go in 2026. I think that passing the milestone into the second quarter of the 21^st Century is an appropriate time to test CRAVE Guitars’ fundamental operating principles.

In the meantime, the feature articles accompanying the five DOD FX series effect pedals mentioned above aren’t on the website… yet. The features should appear under the CRAVE Effects part of the website early in 2026 when all the content has been prepared. Only some links to follow at the moment (see above). Keep an eye on the website in due course.

“Do not overrate what you have received, nor envy others. He who envies others does not obtain peace of mind” – Buddha

2025 album releases purchased (6):

There seems to be a trend to this article. Too many passed away, too little vintage gear and it continues with too few 2025 album releases purchased.

One of the weird outcomes from COVID‑19 (2020‑) is that there was a surge in creativity that seemed at odds with the pandemic’s effect on social and cultural affairs. That inspirational ingenuity lasted until last year, give or take a few months. This year, though, seems to have been the trough after the peak. Either that or I’m missing something important. The tangible result is that I only bought six 2025 albums. Of those, one was a remix album and another was a compilation of tracks from c.1970.

“Thousands of candles can be lighted from a single candle, and the life of the candle will not be shortened. Happiness never decreases by being shared” – Buddha

I keep looking for new music but this year, that search has been a bit of a thankless task. Perhaps you’ve fared better. I hope so. Anyhoo… the measly six were:

The Cure – Mixes Of A Lost World Deluxe
Cymande – Renascence
Dub Spencer & Trance Hill – Synchronous
The Mighty Rootsmen – The Mighty Rootsmen
Omar Perry – Channelling Lee “Scratch” Perry
Various Artists – Lee “Scratch” Perry & Friends – Land Of Kinks: The Jamaican Upsetter Singles 1970

Of course, quantity does not necessarily equate to quality. However, a healthy equilibrium is undoubtedly a preferred state of affairs, I think you’ll agree. I sincerely hope that 2026 is a more productive and fruitful year for new recorded music.

“Fashion your life as a garland of beautiful deeds” – Buddha

2025 Gigs (2)

Well, this is getting tediously repetitive. It was also a bad year for attending concerts with only two notable gigs in 2025. Like many, I enjoy live music and it is generally being regarded as the saviour of creative music amid the blandness of corporate commercial crap put out by ‘the industry’. The choice of artist was largely down to my son, a die‑hard metalhead. I am always open to new music and new experiences so I happily went with the flow.

Cattle Decapitation (support: Shadow Of Intent, Revocation, Vulvodynia) January 2025
The Birthday Massacre (support: Lesbian Bed Death, Diamond Black) November 2025

The sentiment about new recorded music is reiterated here about live music in 2025. It is such an important component of the vitality and vibrancy that underpins the musical landscape. We need to support it, as well as enjoy it.

KEEP MUSIC LIVE!

“Through zeal, knowledge is gotten; through lack of zeal, knowledge is lost” – Buddha

CRAVE Guitars’ Web Site

During 2025, there have been many changes to the web site. The visual aesthetic has not changed and I think the look remains fresh and stylish. The overall structure also hasn’t really changed either. However, the content is continually updated or new material is added when there is something new to include, improve or amend. Many visitors may not notice the changes but they are there. More to come in 2026.

CRAVE (Cool & Rare American Vintage Electric) Guitars

“Work out your own salvation. Do not depend on others” – Buddha

I have been pushing CRAVE Guitars relatively hard for a part‑time amateur and that shows in the web site statistics. Visitors struggled to show an increase in traffic over the previous year (2024) but this year (2025) has shown a significant increase in visitors. I am not certain why this may be. I don’t think it is down to the many minor changes or new content on the site. I don’t think it’s because of the monthly articles, as they haven’t changed in frequency. I don’t think it’s because of social media activity, although that has been consistent and focused over the last 12 months.

“In the sky, there is no distinction between east and west; people create distinctions out of their own minds and then believe them to be true” – Buddha

The total number of visitors (at the time of writing) in 2025 was 70,333, while in 2024 it was 43,176, an increase of 27,157 (38.6%). The number of visitors hasn’t changed significantly year‑on‑year but the number of views has. From my perspective, I don’t know if this is good or bad – it is just a number without comparable context. While 70,333 seems high to me, it only equates to just over 192 visits per day. I am, however, encouraged by the growth of interest in CRAVE Guitars as a ‘thing’ and what it stands for. I am also encouraged by unsolicited feedback, for which I am extremely grateful. One thing is certain, 2025’s achievements will be very hard to beat in 2026, especially without a lot more content and different ways of looking at it.

“I never see what has been done; I only see what remains to be done” – Buddha

CRAVE Guitars’ Social Media

As mentioned above, social media output has been consistent across most platforms (Facebook, X, Instagram, LinkedIn, Pinterest, Bluesky Social and Flickr). I vehemently refuse to use TikTok on political security principles. I post content most days with at least one each day. The exception is that I haven’t posted much on Tumblr during the year. Due to issues over copyright that arose in 2020, I now only post my own material and nothing off Google Images as others do. This is limiting but manageable.

“The only real failure in life is not to be true to the best one knows” – Buddha

The newbie in CRAVE Guitars’ social media output is Bluesky Social, chosen as an alternative and competitor to X. I still post to X despite my anathema for its owner, simply because that is where CRAVE Guitars has its largest following. That following on X has remained largely static or even declining slightly, hovering at just over 6,500 all year, which suggests that social media interest isn’t growing in the same way as the website and there is little or no interdependence between the two. Bluesky Social, on the other hand is building followers from scratch on a relatively under‑used platform at the time of writing – CRAVE has less than 100 followers at year’s end (88 to be exact). There is also not a great deal of vintage guitar content generally on Bluesky Social as at the end of 2025, something that I’m working to improve.

CRAVE Guitars Blue Sky Social

“Hatred does not cease by hatred, but only by love; this is the eternal rule” – Buddha

Contact Update

The web site e‑mail address is constantly inundated with innumerable prospective messages from all sorts of ‘businesses’ offering the world. My blanket policy is never, ever to respond to such egregious unsolicited communications, even if I wanted such services – which I don’t! Their e‑mails are usually lazy and amateur at best. Even worse, they keep contacting me back, seemingly somewhat surprised and querying why they haven’t heard from me. Then, they start chasing me, like I owe them something. What the…?

The ‘contact’ page on the website is absolutely clear about my position…
“Please note that I will not respond at all to any unwanted spam or unsolicited messages from web design, SEO, sales or job speculators. While I am tolerant, I will not be taken in by such a crude and blatant lack of professionalism and respect. I won’t hassle you and waste your time, so please don’t do it to me.”

Judging by site stats, CRAVE Guitars seems to be doing very nicely without their questionable ‘expertise’. If they took just a few seconds to check my website (which they often suggest has been thoroughly evaluated and audited), they would be aware that I will not give them the time of day. If they can be bothered to get my e‑mail address, my contemptuous silence should be expected without question. To each and every one of these abhorrent time wasters, RTFM (of sorts) and [deleted] off!!! Genuine contact only, people.

“Three things cannot be long hidden: the sun, the moon, and the truth” – Buddha

The Distortion Diaries Update

There has been little material progress since the August article. Follow the link below for the most recent published update (opens in a new tab).

August 2025 – ‘The Distortion Diaries’: A Teaser Trailer

Having said that, there is certainly a very strong determination to bring Terry Wilder’s story to the world, as well as that of his band, The Imaginary Transtemporal Affair (TITA) and the Women in his gravitational field. Terry really wants to jump off the page and meet y’all.

Work on the book’s narrative is on‑going, not necessarily as a coherent approach. I write notes every day for possible inclusion in the final version. I am certainly not short of ideas or material. It just needs sustained intense focus, which is not very easy fitting in on a day‑to‑day living basis. However, I am resolute to undertake a major edit/rewrite of The Distortion Diaries in 2026 and, hopefully, get it out there for everyone to judge. All two of you! Lol! Still, the point is that I must try harder.

“The secret of happiness is not in doing what one likes, but in liking what one does” – Buddha

State of the Music Industry and the Vintage Guitar Market

Commensurate with other observations concerning 2025, I am sad to report that there appears to be a continual and irrevocable decline overall. Well‑known retailers in the UK have gone to the wall and the outlook for those that remain looks bleak. Almost every week, some relevant business goes to the wall. Many sellers seem to have abandoned physical outlets and have retreated to the Internet for sales in order to cut the operational costs of bricks and mortar retail property. This trend is deeply disappointing and potentially terminal for many businesses trying hard to eke out a living. Tragically, the best one might hope for in 2026 might well be a low plateau of stagnation. Not a good place to be.

“There are only two mistakes one can make along the road to truth; not going all the way, and not starting” – Buddha

One recent stark example: Long‑standing guitar manufacturers are not immune to the harsh times. Sadly, the German company Höfner recently filed for bankruptcy. Höfner was founded in 1887 by German luthier Karl Höfner in what is now the Czech Republic. Unfortunately, longevity doesn’t ward off inevitable decline. Sigh.

In the UK, names like Professional Music Technology (PMT), Guitar Amp & Keyboard Centre (GAK) and Black Dog Music all went out of business in 2025 and that’s just the tip of the very precipitous iceberg.

“Everything changes, nothing remains without change” – Buddha

The state of the vintage guitar market remains unpredictably volatile. Over the last decade, there has been very little in the way of supply and what there is attracts undeservedly high prices – the unfortunate consequence of economic supply and demand. Collector interest seems staunchly conservative with the safe ‘classics’ attracting constant value (and therefore investment) increases, while the rest (i.e. the ones in which CRAVE Guitars is most interested) vary significantly with quality and values all over the place. It looks like 2026 is going to be another unpredictable year.

It isn’t just vintage guitars affected, the impact also covers vintage basses, effects and amps, as well as for parts and accessories. Not only have I been forced to buy less due to funding constraints but also there is less good quality product available at a reasonable price to tempt buying activity. I cannot see this changing any time soon.

“Those who are free of resentful thoughts surely find peace” – Buddha

The UK market has shrunk into insular isolation. Disastrous Brexit consequences have pretty much prohibited purchasing anything from the EU. Trade uncertainty and restrictions (yes, you, USA) mean that transatlantic purchasing is simply no longer economic. So the story goes onward. If the negative effects impact CRAVE Guitars, it is far, far worse for businesses trying to make a living.

As mentioned above, the recording and performance side of the industry seems to be going through a patch of post‑COVID creative doldrums. No‑one wants another pandemic.

Clearly a ‘perfect storm’ of global trade instability, pointlessly destructive military conflict, political mayhem, social insecurity and cultural conservatism are just some of the interweaving impactful influences going on here.

Strategically, businesses will face a very challenging operating environment as we move into 2026. Moreover, it is going to be difficult to evaluate and implement options for a successful medium‑long‑term future strategically, tactically and operationally. I know that sounds depressingly negative. I don’t want it to be. However, it is hard to see much in the way of light at the end of the current tunnel.

“Change is never painful, only the resistance to change is painful” – Buddha

Seasonal Greetings from The CRAVEman

The CRAVEman wishes all readers a belated Merry Christmas and a premature Happy New Year. The CRAVEman has issued two portraits for you to end the year, one for each seasonal celebration. Grunt!

“Teach this triple truth to all: a generous heart, kind speech, and a life of service and compassion are the things that renew humanity” – Buddha

Final Thoughts on 2025 and Looking Forward to 2026

While many of my layman observations seem negative, it is with deluded confidence that one has to look forward to the New Year and the potential opportunities it provides. If only irrational optimism and positivity was a self‑fulfilling prophecy, then we’d all be in a much better place. Hope springs eternal (NB. An idiom that derives from the poem, ‘An Essay on Man’ (1733) by Alexander Pope (1688‑1744)).

I would like to take this opportunity to say a big “Thank You” to everyone who has had anything to do with CRAVE Guitars over the last 12 months. If it wasn’t for y’all, there wouldn’t be a CRAVE Guitars, there’d be no point. So, it seems, we must now welcome in the New Year. We can’t avoid it, so we might as well go with the flow and take 2026 as it comes. As American poet Ogden Nash (1902‑1971) once said, “Duck! Here comes another year!”

Given the tonal balance that this yearly review has set out, I shall not make things any worse by continuing with the negativity. Nuff said then. Bring on 2026!

“Have compassion for all beings, rich and poor alike; each has their suffering. Some suffer too much, others too little” – Buddha

CRAVE Guitars’ ‘Album of the Month (and Year)’

Last year, CRAVE Guitars’ ‘Album of the Month’ was also the ‘Album of the Year’. Despite the paucity of material from which to draw, I am going for the ‘sequel’ to last year’s pick. This year’s Blue Riband award (NB. An accolade given to the passenger liner that achieved the fastest recorded crossing of the Atlantic Ocean from Europe to America – held by the SS United States (1952). Now a term more widely used to signify distinction and excellence) goes to…

The Cure – Mixes of a Lost World: After far too long without a studio album, 2024 saw the long‑awaited release of ‘Songs of a Lost World’. While it wasn’t quite up with ‘Pornography’ (1982) or my favourite all‑time studio album, ‘Disintegration’ (1989), it was a monumental achievement for Robert Smith and the band.

While many decry ‘remix’ albums, I actually appreciate the best of them, albeit being a mixed bag overall. The 3‑CD deluxe edition of ‘Mixes of a Lost World’, released in June 2025 on Universal, comprises 24 remixes of tracks covering 148 minutes. The original album tracks have been remixed by a wide variety of credible artists including Four Tet, Paul Oakenfold, Orbital, Daniel Avery, Craven Faults, 65daysofstatic, The Twilight Sad, Mogwai and many others. Some of these are traditional variations on a theme, while several take a more radical approach of genre‑shifting immersive soundscapes. To be honest, it was a far better album that it could have been, so kudos to The Cure for being bold and not resting on well‑earned laurels.

In addition, all royalties from the sale of the album, go to War Child, a charity supporting children directly affected by war and conflict. They also challenge the unethical and unscrupulous tactics of ‘dynamic pricing’ for live concert tickets and despicably immoral scalping outlets. Thank goodness there are still some sincere philanthropic artists in the industry. Well done The Cure.

There is also a live version, ‘Songs of a Live World’ and a cinematic version of the live concert, ‘Show Of A Live World’. The album goes to prove that The Cure is a band still innovating, challenging preconceptions and delivering the goods. Thanks Robert.

BELIEVE IN MUSIC!

“The world indeed is like a dream and the treasures of the world are an alluring mirage like the apparent distances in a picture. Things have no reality in themselves but are like heat haze” – Buddha

Tailpiece

Well, I think we can all probably agree that 2025 was generally a mix of ups and downs for everyone, so let us bid adieu to it. It seems that the worst of the Covid‑19 pandemic is behind us; largely gone but not forgotten. Hopefully, though there has been an opportunity to value and appreciate the good fortunes that we are able to enjoy. We should not underestimate just what the benefits of peacetime and freedom mean in our culture.

“Better than a thousand hollow words, is one word that brings peace” – Buddha

Let us look forward to 2026 and make it the best 2026 that we can achieve. To build a safe, secure and prosperous civilisation, we have to unite to eradicate hatred, conflict and division. Nobody is saying it is easy but it is worth it and good only comes from unwavering endeavour. For me, I’m already thinking about CRAVE Guitars’ article content for next year. No peace for the wicked (NB. A phrase derived and adapted from the Book of Isiah in the Christian Bible). Rock on 2026!

“What we are today comes from our thoughts of yesterday, and our present thoughts build our life of tomorrow: our life is the creation of our mind” – Buddha

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’: “Great music cleanses one’s spirit, washes away one’s pain and removes the dirt that obscures one’s harmony with the universe”

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30 Mar 2024

March 2024 – Artificial Intelligence takes on Vintage Guitars: Part I

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

Prelude

GOOD DAY AND GREETINGS, MUSIC‑MINDED CITIZENS. For this month and for the next two we’re taking a 3‑part sojourn in uncharted lands (as medieval cartographers once denoted, ‘terra incognita’) and what monstrosities may inhabit those unexplored territories (‘hic sunt dracones’, literally translated as ‘here be dragons’). Yes folks, it is time for CRAVE Guitars to explore a current‑day innovation that once seemed surreal but is rapidly becoming increasingly real; a phenomenon that the original makers of what we now know as vintage guitars could never have envisaged (probably).

Whether we like it or not, the faddish fuss around Artificial Intelligence (AI) is a ‘BIG THING’ at the moment. At the forefront of the debate are the societal dilemmas posed by sophisticated systems potentially becoming more intelligent than human beings (in my experience, not particularly difficult in many cases!).

“I’d rather see artificial intelligence than no intelligence” – Michael Crichton (American author)

In a worst case scenario, how does a supposedly civilised society prevent malicious actors using AI technology for nefarious means? A profound question indeed. Prescient Hollywood film director James Cameron’s bleak vision of Cyberdyne Systems, Skynet and Terminators can, perhaps, be taken as an extreme but stark lesson. The rise of the machines, taking over the world and resulting in the potential obliteration of humanity is a chilling proposition. It seems we already have too many twisted tyrants willing and attempting to achieve that end right now with and without AI and robotics as the means. Just spare a moment to think what deranged despots could do with the technology and what the consequences may be for everyone in the very near future. AI’s potential demands that collectively we address the challenge of what needs to be done to avoid the annihilation of civilisation through unhindered autonomous technological advance.

“Throughout human history, we have been dependent on machines to survive. Fate, it seems, is not without a sense of irony” – the character Morpheus from ‘The Matrix’ (1999)

What on Earth does this divergent dystopian diatribe (apologies, folks) have to do with vintage guitars and music you may well be justified in asking? Very little, other than as an existential context. From here on, we’ll be taking a far more parochial and prosaically pedestrian path.

Like many people, I have become curious about what AI means for culture and specifically for the creative crafts. Given my obsession with vintage guitars and music, I thought I’d turn my attention to what AI might have to say on the matter. So… that is the basis of this month’s article. For once, I can say, quite legitimately, that AI was used to research and write this article. This interesting (?) examination will not change the world but, then again, neither will it jeopardise it.

Artificial Intelligence Part I

“Choice is an illusion created between those with power and those without” – the character Merovingian from ‘The Matrix’ (1999)

Before we get to vintage guitars and what wisdom (or not) AI has to impart, we have to do some homework about AI so that the rest of the article makes sense. We’ll start with an English hero and take it from there.

Alan Turing and the Turing Test

The following description of one of the world’s most influential geniuses in the world of computers and artificial intelligence, comes direct, courtesy of Wikipedia… “Alan Mathison Turing (1912‑1954) was an English mathematician, computer scientist, logician, cryptanalyst, philosopher and theoretical biologist. Turing was highly influential in the development of theoretical computer science, providing a formalisation of the concepts of algorithm and computation with the Turing machine, which can be considered a model of a general‑purpose computer. He is widely considered to be the father of theoretical computer science and artificial intelligence.”

During World War II, civilian Alan Turing worked as a codebreaker based at the Government Code and Cypher School at the Bletchley Park country estate in Buckinghamshire, England. While there, Turing devised complex techniques for breaking German ciphers used by the Nazi’s military encryption device, the Enigma Machine, which had been invented by a German engineer Arthur Scherbius (1878‑1929) shortly after WWI. The Germans were confident that the system could not be broken. However, in 1942‑1943, Turing and his colleagues played a vital part in successfully cracking intercepted German encoded messages transmitted using the Enigma Machine. Turing’s historic achievements enabled the Allies to defeat the Axis powers in, particularly, the Battle of the Atlantic (1939‑1945).

After the end of the war in 1945, Turing invented the Automatic Computing Machine the world’s first digital computer capable of using stored programs. By 1950, Turing developed an experiment to gauge the ‘intelligence’ of a computer. His simple test requires that a human being should be unable to distinguish the machine from another human being by evaluating replies to questions put to both. The Turing Test, as it was known, is still regarded as a fundamental benchmark for assessing machine intelligence.

“Artificial Intelligence is what we don’t know how to do yet” – Alan Kay (American computer scientist)

Defining Artificial Intelligence

Now for the techy bit… Sorry, bear with me. The term ‘artificial intelligence’ was first used in 1956 at a Summer Research Project on Artificial Intelligence held at Dartmouth College, a private Ivy League research university based in Hanover, New Hampshire, USA. The conference was organised by computer scientist and Assistant Professor of Mathematics at Dartmouth College, John McCarthy (1927‑2011). The project proposed, “that every aspect of learning or any other feature of intelligence can in principle be so precisely described that a machine can be made to simulate it”.

In 1958, American psychologist Frank Rosenblatt (1928‑1971) outlined what he regarded as “the first machine which is capable of having an original idea”. Rosenblatt’s concept was the ‘Perceptron’, a program inspired by the way the human brain works, which ran on a state‑of‑the‑art IBM mainframe computer. The Perceptron was a rudimentary version of a neural network, comprising interconnected nodes (neurons) that process and learn from data, enabling tasks such as pattern recognition and decision making. Rosenblatt was regarded as ‘the father of deep learning’.

As early as the 1960s, computer scientists and neuroscientists were already teaching computers how to mimic human decision‑making processes, which developed into research around what is known today as ‘machine learning’.

“If the human brain were so simple that we could understand it, we would be so simple that we couldn’t” – Emerson M. Pugh (American physicist)

In 1997, IBM’s ‘Deep Blue’, an expert chess program running on a unique, purpose‑built IBM supercomputer, beat the Russian chess grandmaster, Garry Kasparov, leading to the description of rules‑based ‘Traditional AI’. While Deep Blue may have been excellent at playing chess, its talents were capable of little else.

“AI is the most exciting tech of our time” – Tim Cook (CEO, Apple Inc.)

Artificial Intelligence is now a mainstream branch of computer science that refers to IT systems capable of performing complex tasks that attempt to replicate human thought and intelligence. AI’s systematic tasks include analysing data, identifying patterns, recognising speech, solving problems, proposing solutions and taking decisions.

“Artificial intelligence is one of the most profound things we’re working on as humanity. It is more profound than fire or electricity” – Sundar Pichai (CEO, Google and Alphabet Inc.)

As of early 2024, not all AIs are created equal. Traditional AI (a.k.a. Weak AI or Narrow AI) is an umbrella term for computer systems that employ supervised learning and discriminative models to solve specific tasks using predefined rules, Natural Language Processing (NLP) and Large Language Models (LLMs).

“Denial is the most predictable of all human responses” – the character The Architect from ‘The Matrix’ (1999)

The category of AI that we will be looking at in this article is called Generative AI, also referred to as GenAI or GAI, which is a relatively new subset of AI. Generative AI allows users to input a variety of prompts to generate content, such as text, images, videos, sounds, 3D designs and other types of media.

“We’re living in the golden age of AI” – Jeff Bezos (founder, Amazon)

The distinctive aspect of GAI is that it uses unsupervised deep machine learning models to generate new material based on patterns of data acquired from existing sources. GAI models work on large unlabelled data sets that require complex mathematical algorithms and a great deal of computing power to analyse and build constructs.

“While AI has tremendous potential to transform industries, we must not forget the impact it could have on society and must work to mitigate potential risks” – Elon Musk (CEO, Tesla and SpaceX)

Generative AI models don’t stand still; they continue to evolve at an increasingly rapid rate, as they learn from additional data as it becomes available. It is the quality of the data sets that enable the AI to predict responsible outcomes and undertake a range of cognitive tasks in the same way that a human might.

“The question is not whether intelligent machines can have any emotions, but whether machines can be intelligent without any emotions” – Marvin Minsky (American computer scientist, MIT)

Over time, it is inevitable that GAI’s ability will catch up with, and ultimately surpass, that of humans. The nature, pace and potential of GAI is causing concern among some experts and policy makers because of the moral and ethical issues it raises, particularly if AI’s unbridled behaviour is not moderated in some way by responsible human intervention. The risks of uncontrolled or poorly controlled AI models are swiftly becoming both tangible and potentially unsafe.

“We should not be afraid of AI. Instead, we should hope for the amazing amount of good it will do in the world” – Mark Zuckerberg (founder, Meta Inc.)

So, the next question is, what comes after GAI? Well, GAI still has a long way to go and that will keep innovators such as OpenAI and Deep Mind hard at work pushing the boundaries of what is possible for some time yet. After that, the most likely development would be Artificial General Intelligence (AGI) or Artificial General Superintelligence (AGS). The aim is to build a device that can do anything the human brain can do (and more) and to integrate that with the rapidly developing parallel field of advanced robotics to create a machine that can do anything the human body can do (and more). Scary? Super intelligent super robots may well finally demonstrate that yesterday’s science fiction is becoming today’s science fact.

“I am in the camp that is concerned about superintelligence. But I don’t think we need to be fatalistic about it” Bill Gates (founder, Microsoft)

However, let’s not get bogged down by credible or fanciful conspiracy theories and get back to the matter in hand.

Applying Artificial Intelligence to the world of vintage guitars

Phew! Back to basics and more familiar territory. After all that preliminary exposition, I think we can all probably agree that AI is one of topical themes of the first half of the 2020s. Not wishing to be left behind, I thought CRAVE Guitars should try to get AI to respond to a series of questions about my favourite topic, vintage guitars. From my experience so far, all that the easily accessible public AI (as opposed to military‑grade AI) can do is to extract information that is already available on the Internet (whether right or wrong) and to compose it into straightforward responses to an input.

Before we start, I will lay my cards on the table and state my starting position, which, may or may not change by the time this article has concluded. My naïve biological brain came up with eight statements that set out what AI does not (or cannot) currently do. In my view, AI struggles…

To understand a question correctly without over‑specificity (i.e. it can’t deal with vague ambiguity)
To interpret and extrapolate relevant information objectively within a wider context (i.e. the bigger picture)
To present a cogent argument that can adequately be judged and/or challenged
To form a genuine opinion from scratch without relevant information being readily available in the first place, in the same way that a person might do in the case of uncertainty (i.e. its ability to make genuinely informed assumptions from limited information)
To debate the initial result to achieve a potentially better outcome (i.e. to learn from the interaction on the spot and adjust its responses accordingly)
To produce a creative response that improves on the original information input by humans
To remember what it has already output (i.e. as part of a continuous ‘dialogue’ – as here – each question is treated as a new subject with no memory of previous questions)
To understand fully what humans want or expect from ‘intelligence’ (i.e. something coherent and interesting)

Assessing AI’s responses against those eight points is this article’s main challenge.

Below, I pose 20 (plus 2) questions to AI and present its verbatim response to each question (bar correcting the occasional heinous ‘typo’ or bad grammar, which in itself is a bit ironic!), so that you can judge for yourselves just how close AI might be to succeeding at transcending its silicon‑based electronic components (‘deus ex machina’ – god from the machine – if you will). More importantly, you can gauge whether AI can make any sense of the intricately complex subject of vintage guitars. So… can AI pass the CRAVE Guitars Test? We’ll see.

There are no images in the main part of this article. AI did not present any pictures to support its answers, so I haven’t embellished the words with anything additional, as it might skew the results. What you see below is what I got, no more, no less; untainted in any way.

The material presented here is not appropriated as belonging to, or being the view of CRAVE Guitars in any way; it is presented here solely for information, intellectual evaluation and critique.

“Change is never painful, only the resistance to change is painful” Buddha (Siddhārtha Gautama ‑ c.480‑400BCE)

Right. That’s my involvement pretty much at an end for now. I’m off to make a cup of tea or ten. See you again at the end of the article with my appraisal of how I think AI did.

20 Questions about vintage guitars posed to AI

Question #1 – What is the definition of a vintage guitar?

AI Response #1 – A vintage guitar is an older guitar that is usually sought after and maintained by avid collectors or musicians. The term can indicate either that an instrument is merely old or that it is sought after for its tonal quality, cosmetic appearance, or historical significance. While there is no strict chronological definition for what makes something vintage, guitars around 30 years old or older typically fall into this category. Even newer instruments are often labelled as vintage by sellers. So, if you come across a beautifully aged guitar with a rich history, it just might be a vintage gem!

Question #2 – Why should I be interested in vintage guitars?

AI Response #2 – Vintage guitars have a unique appeal and charm due to their age and history. They often possess a certain character and sound that cannot be replicated by newer guitars. In addition, vintage guitars can appreciate in value over time, making them a valuable investment. However, they can be expensive and require careful maintenance. Understanding the vintage guitar market, knowing what to look for when buying, and appreciating the unique sound and playability of these instruments are key to making a worthwhile purchase. Ask professional guitar dealers on how to navigate the vintage guitar market.

Question #3 – What are the best things about vintage guitars?

AI Response #3 – Vintage guitars have several unique qualities that make them highly desirable for musicians and collectors alike:

Tonal Character: Vintage guitars often have a distinct and rich sound that sets them apart from newer instruments. The aging of the wood, hardware, and electronics contributes to their unique tonal character. Musicians appreciate the warmth, resonance, and depth of vintage guitar tones.
Craftsmanship: Many vintage guitars were meticulously handcrafted by skilled luthiers. These instruments showcase exceptional attention to detail, fine workmanship, and quality materials. The craftsmanship of vintage guitars reflects the artistry and dedication of their makers.
Historical Significance: Vintage guitars carry a piece of musical history. They have witnessed decades of music, performances, and cultural shifts. Owning a vintage guitar connects you to the past and allows you to be part of a musical legacy.
Collectability: Vintage guitars are sought after by collectors and enthusiasts. Their scarcity and historical value contribute to their collectible status. Some iconic models, such as the Gibson Les Paul or Fender Stratocaster, have become legendary in the music world.
Investment Potential: While not all vintage guitars appreciate significantly in value, some rare and sought‑after models can be excellent investments. If you choose wisely and maintain the instrument well, it may appreciate over time.
Visual Appeal: Vintage guitars often exhibit beautiful designs, unique finishes, and intricate inlays. Their aesthetics evoke nostalgia and admiration. Whether it’s the graceful curves of a vintage hollow‑body or the simplicity of a vintage Telecaster, these guitars are visually captivating.
Playing Experience: Many musicians find that playing a vintage guitar is a special experience. The feel of the neck, the responsiveness of the fretboard, and the way the guitar resonates under their fingers create a connection that transcends mere functionality.
Story and Provenance: Each vintage guitar has a story to tell. Who played it? Was it used on famous recordings? Did it travel the world with a touring band? Uncovering the history and provenance of a vintage guitar adds to its allure.

Remember that owning a vintage guitar requires careful consideration. Factors like condition, authenticity, and playability matter. Whether you’re a seasoned guitarist or a collector, the allure of vintage guitars lies in their blend of art, history, and music.

Question #4 – What are the worst things about vintage guitars?

AI Response #4 – While vintage guitars have their allure, there are some potential downsides to consider:

Condition and Maintenance: Vintage guitars may have endured decades of use, wear, and aging. Their condition can vary significantly. Some may require extensive repairs, refrets, or replacement parts. Regular maintenance is essential to keep them playable.
Fragility: Older guitars can be delicate. The wood may have dried out, making it more susceptible to cracks or warping. Vintage finishes are often thin and prone to chipping. Handling them with care is crucial.
Cost: Authentic vintage guitars can be expensive. Rare models or those associated with famous musicians command high prices. If you’re on a budget, acquiring a well‑preserved vintage instrument may be challenging.
Limited Availability: Truly exceptional vintage guitars are scarce. Finding the right one—especially in good condition—can be time‑consuming. Patience and persistence are necessary.
Playability: While vintage guitars have character, not all of them are easy to play. Neck profiles, fret sizes, and action may differ from modern standards. Some vintage instruments may feel less ergonomic.
Incompatibility with Modern Gear: Vintage guitars may lack features found in contemporary models. For example, they might not have versatile pickup configurations, tremolo systems, or locking tuners. Compatibility with modern amplifiers and effects can be an issue.
Weight: Some vintage electric guitars, especially solid‑body models, can be heavy. Prolonged playing sessions may strain your back and shoulders.
Risk of Fakes and Forgeries: The vintage guitar market attracts counterfeiters. It’s essential to verify authenticity and provenance. Consult experts or reputable dealers to avoid purchasing a fake.
Investment Uncertainty: While some vintage guitars appreciate in value, it’s not guaranteed. Market trends fluctuate, and economic factors play a role. Buying solely for investment purposes can be risky.
Sentimental Value: Owning a vintage guitar with historical significance can be emotionally rewarding. However, if you’re purely focused on practicality, the sentimental aspect may not matter to you.

Remember that each vintage guitar is unique, and what some consider drawbacks, others may view as part of their charm. Consider your preferences, playing style, and budget when deciding whether a vintage guitar is right for you.

Question #5 – What are the most desirable vintage guitar brands?

AI Response #5 – Vintage guitars have a rich history, and some lesser‑known brands have become highly desirable among collectors and musicians. Here are a few vintage guitar brands worth exploring:

Bartell: Although less known, Bartell guitars gained attention when one of their models was associated with Jimi Hendrix’s collection. The Black Widow is one of their notable guitars. Bartell was a Californian‑based company that produced around 2000 guitars between 1964 and 1969.
Electra: Active during the 1970s and early 1980s, Electra guitars were made in Japan and sold in the United States. They gained popularity for their good quality and reasonable prices. Notably, Electra introduced the MPC (Modular Powered Circuits) guitars, which featured replaceable effect modules—a unique concept at the time.
Hondo: Often mistaken for the automobile brand Honda, Hondo was an American guitar company founded in 1969. They aimed to produce quality entry‑level instruments in Korea and Japan while maintaining consistency with U.S.‑made guitars. Hondo’s steel‑string acoustics and electric guitars gained recognition. In 1978, they even used DiMarzio pickups, making them pioneers among overseas guitar manufacturers.
Airline: Airline guitars, popular in the 1960s, were produced by Valco and later Harmony. Their quirky designs, including the ‘Jetsons’ look, make them sought after by collectors today.
Supro: Supro guitars were part of the Valco family and gained prominence in the 1960s. Their unique tone, often associated with blues and rock, appeals to vintage enthusiasts.
Teisco: Teisco, a Japanese brand, flooded the market with budget‑friendly guitars in the 1960s. Their funky designs, including offset bodies and unusual pickup configurations, have a cult following.
Hagstrom: Hagstrom, a Swedish brand, produced guitars with innovative features like the ‘resinator’ fingerboard. Their vintage models are prized for their playability and distinct sound.

Remember that desirability varies based on personal preferences, rarity, and historical significance. Exploring these vintage brands can lead to hidden gems and unique instruments that resonate with your musical style.

Question #6 – What instruments are the most desirable vintage guitars?

AI Response #6 – Vintage guitars hold a special allure for collectors and musicians alike. Let’s explore some of the most desirable vintage guitars based on their historical significance, rarity, and iconic status:

1958‑’59 Gibson Explorer:
- Value: Between $250,000 and $310,000.
- Why: The Explorer, with its futuristic design, initially received little attention from buyers. However, its African limba (marketed as ‘Korina’) body and unique sound have made it highly sought after by collectors.
1936‑’42 Martin D‑45:
- Value: Ranging from $250,000 to $400,000.
- Why: Martin dreadnoughts are revered, and the D‑45, adorned with Brazilian rosewood back and sides, ivory binding, and intricate fretboard inlays, remains a pinnacle of steel‑string acoustics.
1958‑’60 Gibson Les Paul Standard:
- Value: Approximately $225,000 to $375,000.
- Why: Initially overlooked, the Les Paul gained prominence after Eric Clapton and Michael Bloomfield played it. Today, it’s not only a collectable solid body but also a symbol of guitar history.
1930‑’33 Martin OM‑45:
- Value: Estimated at $265,000 to $350,000.
- Why: Rarity drives its value; only a handful were made each year. The first‑year ‘Deluxe’ version commands the highest prices.
1958‑’59 Gibson Flying V:
- Value: Around $200,000 to $250,000.
- Why: Like the Explorer, the Flying V’s Korina body design was ahead of its time. Only 98 were produced, making it a prized collector’s item.

These guitars not only represent exceptional craftsmanship but also evoke the magic of music history. Whether you’re a player or an investor, vintage guitars continue to captivate enthusiasts worldwide.

Question #7 – Are American vintage guitars better than ones from other countries?

AI Response #7 – The quality of guitars is determined by a variety of factors, including the materials used, the craftsmanship, and the design. While American‑made guitars are often considered to be of high quality, it’s not necessarily true that they are better than guitars made in other countries.

In fact, many guitarists prefer guitars made in Japan, Korea, or Mexico, for example. These countries have a long history of producing high‑quality instruments, and many guitarists appreciate the unique sound and feel of guitars made in these regions.

Ultimately, the best guitar for you depends on your personal preferences and playing style. It’s important to try out different guitars and find one that feels comfortable and sounds great to you.

Question #8 – What is the state of the vintage guitar market today?

AI Response #8 – The vintage guitar market has been through ups and downs over the years. According to a 2009 article by Premier Guitar, the vintage market was down 20 to 30 percent from its 2007 peak, with oversaturated pockets of the market down even further. However, a 2021 report by Market Strides suggests that the vintage guitar market is expected to grow in the coming years, with key market trends and dynamics analysed for major geographies and countries.

If you’re interested in buying or selling vintage guitars, you might want to check out Reverb’s Price Guide. It records the sale price of used or vintage instruments sold on Reverb, providing a fair market range for buyers and sellers.

Question #9 – Are vintage guitars a worthwhile investment?

AI Response #9 – Vintage guitars, like a well‑aged wine or a classic novel, evoke a sense of nostalgia and craftsmanship. But are they a wise investment? Let’s explore the fretted path of vintage guitar investments:

Historical Appeal:
- Vintage guitars carry a piece of musical history. Owning an instrument that has been played by legendary musicians can be emotionally rewarding.
- Collectability: Rare models, limited editions, or guitars associated with iconic artists tend to appreciate in value over time.
Market Trends:
- The vintage guitar market has seen fluctuations. While some models skyrocket in value, others remain steady or decline.
- Research: Investigate trends, consult experts, and track auction results. Knowledge is your tuning peg.
Condition Matters:
- Originality: Unaltered vintage guitars fetch higher prices. Modifications can dampen their investment potential.
- Wear and Tear: Light wear adds character, but excessive damage affects value.
Supply and Demand:
- Scarcity: Limited supply drives up prices. Seek out guitars with low production numbers.
- Desirability: Popular brands (Gibson, Fender) and models (Stratocaster, Les Paul) remain sought after.
Playability vs. Investment:
- Play First: Buy a vintage guitar because you love its sound and feel. Enjoy playing it!
- Investment Second: While some vintage guitars appreciate, it’s not guaranteed. Don’t solely rely on them as financial assets.
Diversification:
- Portfolio Approach: If you’re investing, diversify. Don’t put all your strings in one guitar case.
- Other Instruments: Consider violins, mandolins, or rare basses.
Long‑Term Commitment:
- Vintage guitars require care, maintenance, and storage. They’re not a quick flip.
- Patience: Appreciation often takes years, not months.

In conclusion, vintage guitars can be a rewarding investment if you’re passionate about music, appreciate craftsmanship, and understand the risks. Whether you strum for profit or pleasure, let your heart and ears guide you.

Question #10 – Which vintage guitars are simply not worth investing in?

AI Response #10 – Vintage guitars can indeed be a rewarding investment, but not all of them are equally valuable. Let’s explore which ones might not be worth your investment:

Mass‑Produced Models:
- Guitar factories churned out many models in the past. Some of these are abundant and lack the rarity that drives up value.
- Avoid: Generic models with little historical significance.
Obscure Brands:
- Lesser‑known brands may not have the same collector appeal. Their limited demand affects their investment potential.
- Avoid: Guitars from obscure or defunct manufacturers unless they have unique features or historical context.
Poor Condition:
- Wear and Tear: Severely damaged or heavily modified guitars lose value. Repairs can be costly.
- Avoid: Instruments with extensive cracks, warped necks, or missing parts.
Overpriced Celebrity Associations:
- Be Sceptical: Some sellers inflate prices based on dubious claims of celebrity ownership.
- Avoid: Guitars with exaggerated stories unless there’s solid evidence.
Fads and Trends:
- Beware of Hype: Trends come and go. What’s hot today may not be tomorrow.
- Avoid: Investing solely based on current trends. Look for timeless appeal.
Non‑Original Components:
- Altered Guitars: Modifications decrease value. Originality matters.
- Avoid: Instruments with replaced pickups, bridges, or tuners.
Inflated Expectations:
- Patience Required: Vintage guitars appreciate slowly. Don’t expect rapid returns.
- Avoid: Assuming every old guitar will skyrocket in value.

Remember, research is your best ally. Seek advice from experts, explore reputable dealers, and play the guitars yourself. Whether you’re strumming for passion or profit, choose wisely!

Question #11 – What vintage guitars are likely to become more desirable in the next 5 years?

AI Response #11 – The world of vintage guitars is a fascinating blend of history, craftsmanship, and musical magic. While predicting the future is akin to tuning an old guitar by ear, here are some intriguing candidates that might appreciate in value over the next five years:

Gibson Les Paul Signature (1974):
- Often overlooked, the Les Paul Signature from the ’70s has hidden potential. Its versatility shines through various genres, especially when cranked through a Marshall amp. Keep an eye out for these criminally underrated semi‑hollow beauties.
Fender Starcaster (1976–80):
- Originally overshadowed, the Fender Starcaster has gained traction. Ted Turner of Wishbone Ash fame owned one, and its unique pickups contribute to its allure. Expect further value appreciation in the coming decades.
Silvertone 1446 (1960s):
- Crafted by Harmony, the Silvertone 1446 boasts Gibson‑made pickups with a distinct tone. It may not be the most refined instrument, but its sound and sexiness compensate. A vintage gem that could resonate with collectors.
Kay K775 Jazz II (1960s):
- Eric Clapton’s early learning ground, the Kay K775 Jazz II, is gaining recognition. Despite Kay’s quality control reputation, this bolt‑on neck thinline surprises with its laminated figured maple top, Bigsby vibrato, and Barney Kessel–designed Kleenex Box single‑coils. A naughty guitar indeed.
Supro and Kay Archtops:
- These old Supro and Kay guitars remain undervalued. While the overall vintage market fluctuates, these archtops haven’t fully rebounded. Their unique character and historical significance make them intriguing investments.

Remember, the guitar market dances to its own rhythm, influenced by players, trends, and nostalgia. Whether you strum for passion or profit, let your heart guide your choices.

Question #12 – What is the sort of return on investment that one might expect from collecting vintage guitars?

AI Response #12 – Collecting vintage guitars can indeed be a rewarding investment, combining passion for music with potential financial gains. Let’s explore why vintage guitars are an excellent strategy:

Tangible and Attractive:
- Vintage guitars provide more than just financial value. They’re tangible pieces of history, beautiful to display, and enjoyable to collect.
- Unlike stocks or bonds, you can admire and play them.
Stability and Appreciation:
- Vintage guitars have consistently outperformed the stock market in terms of stability.
- As they age, their value tends to appreciate, provided you maintain them well.
Superior Craftsmanship:
- Vintage guitars often surpass modern counterparts in quality. They were meticulously crafted using fine materials.
- Brands like Gibson Les Paul, Fender Telecaster, and CF Martin remain popular among collectors.
Guitar Brands to Consider:
- Gibson Les Paul: These older models, made of oak, mahogany, and other fine materials, are highly sought after.
- Fender: Look for ’50s and ’60s Telecasters, Stratocasters, and Thunderbirds.
- CF Martin: Known for their acoustic excellence, Martin guitars from the 1960s hold significant value.
- Guild: Although less famous, older Guild instruments are on par with Martin guitars of the same era.
Investment Potential:
- While not every vintage guitar will skyrocket in value, a well‑chosen collection can yield substantial returns.
- Research, learn about the models, and make informed decisions.

Remember, whether you’re a musician or simply appreciate the beauty of old guitars, vintage instruments offer a harmonious blend of passion and investment potential.

Question #13 – Are vintage guitars better than new guitars?

AI Response #13 – Vintage guitars and new guitars each have their own merits, and the answer depends on various factors. Let’s explore both sides:

Vintage Guitars:
- Historical Charm: Vintage guitars carry a sense of history and nostalgia. Owning an instrument that has been played by legendary musicians can be emotionally rewarding.
- Unique Tone: Some vintage guitars have aged tone woods that resonate differently. The wood dries out over time, leading to a more resonant tone with better sustain, especially in acoustic guitars.
- Collectability: Rare models or those associated with iconic artists tend to appreciate in value over time.
New Guitars:
- Advancements in Craftsmanship: Modern manufacturing techniques have improved significantly. CNC machines and precision tools allow for consistent builds.
- Reliability: New guitars are generally more reliable. They undergo rigorous quality control and benefit from advancements in materials and construction.
- Customisation: Custom shop guitars offer the best of both worlds. You can get a new guitar tailored to your preferences, combining vintage aesthetics with modern playability.
Quality Comparison:
- Subtle Differences: Vintage guitars may have unique quirks due to handcrafted processes. For example, old Les Pauls had smaller frets and thicker necks.
- Precision and Consistency: Modern CNC machines ensure precise fretwork and consistent results. Every Gibson today goes through a PLEK machine for levelling and crowning frets within micrometers.
Subjectivity:
- ‘Better’ Is Relative: The definition of ‘better’ varies. It’s subjective and depends on personal preferences.
- Playability: Some players prefer the feel of vintage necks, while others enjoy the sleekness of modern profiles.

In summary, both vintage and new guitars have their place. Whether you seek historical charm, unique tones, or cutting‑edge craftsmanship, choose based on your playing style, preferences, and budget.

Question #14 – Should vintage guitars be used or preserved in museums?

AI Response #14 – Vintage guitars, like ancient manuscripts or Renaissance paintings, straddle the delicate balance between utility and preservation. Let’s explore both perspectives:

Playing and Using Vintage Guitars:
- Sonic Legacy: Vintage guitars were crafted to be played. Their rich tones, unique characteristics, and historical significance come alive when strummed or picked.
- Musical Connection: Owning a vintage instrument allows musicians to channel the spirit of past players. It’s a bridge across time and genres.
- Art in Action: A vintage guitar’s true purpose is to create music. It yearns for fingers on frets, resonating strings, and melodies that echo through decades.
Preserving Vintage Guitars in Museums:
- Cultural Artefacts: Museums safeguard our collective heritage. Vintage guitars, like ancient artefacts, tell stories of creativity, craftsmanship, and musical evolution.
- Educational Value: Displaying vintage instruments educates visitors about music history, luthiery techniques, and the evolution of sound.
- Conservation: Museums provide controlled environments, protecting guitars from wear, humidity, and light damage.
A Harmonious Balance:
- Rotating Exhibits: Some museums allow playable vintage guitars in temporary exhibits. Musicians can strum them, and visitors appreciate their beauty.
- Replicas and Demonstrations: Museums can create replicas for hands‑on experiences while preserving the originals.
- Digital Archives: Recordings, videos, and virtual tours can complement physical displays.

In the grand symphony of cultural preservation, vintage guitars play a vital note. Whether they resonate in concert halls or rest behind glass, their melodies continue to echo through time.

Question #15 – Are collectors a good or bad thing for vintage guitars?

AI Response #15 – Collectors, like the silent guardians of a musical time capsule, wield both light and shadow upon the vintage guitar realm. Let us strum through their impact:

The Good Harmony:
- Preservation: Collectors cradle vintage guitars, shielding them from the ravages of time. These instruments whisper secrets of bygone eras.
- Curators of History: They curate private museums, preserving luthiery artistry and the soulful echoes of past players.
- Financial Support: By investing in rare models, collectors contribute to the market’s stability and encourage craftsmanship.
The Dissonant Notes:
- Inaccessibility: Some vintage guitars languish behind velvet ropes, yearning for calloused fingertips. Their music remains unheard.
- Price Inflation: Collectors can inflate prices, making it harder for musicians to acquire playable vintage instruments.
- Frozen Artefacts: When guitars become mere artefacts, their purpose shifts from music‑making to display.
The Ongoing Duet:
- Balance: Collectors must harmonize preservation with accessibility. Rotate exhibits, allow touch, and share the magic.
- Collaboration: Collaborate with musicians, luthiers, and enthusiasts. Let vintage guitars sing in live performances.
- Legacy: Remember that these guitars once graced stages, studios, and hearts. Their legacy transcends wood and strings.

In the grand symphony of vintage guitars, collectors play a vital role. May they strum chords of reverence and resonance, bridging past and present.

Question #16 – What is the best advice for someone considering collecting vintage guitars?

AI Response #16 – Collecting vintage guitars is a harmonious blend of passion, history, and craftsmanship. Whether you’re a seasoned collector or just starting out, here’s some valuable advice:

Do Your Homework:
- Know Your Instruments: Dive deep into the guitars you’re interested in. Understand their history, features, and quirks.
- Learn Anomalies: Beyond books and the internet, explore anomalies not widely documented. Sometimes, hidden gems lie in those details.
Connect with Experts:
- Trustworthy Sources: Build relationships with reputable dealers, collectors, and experts. Seek advice and learn from their experience.
- Avoid Shady Sellers: Beware of untrustworthy sources. Not everyone has the same integrity in this world of vintage guitars.
Brand Matters:
- Collectible Brands: Focus on heritage brands like Fender and Gibson. These classics tend to rise in value over time.
- Rickenbackers: Often overlooked, Rickenbackers (played by the Beatles, Byrds, and Tom Petty) offer great American‑made guitars at reasonable prices.
Avoid eBay Frenzies:
- While eBay is a treasure trove, it can also be a frenzy of bidding. Be cautious and aware of shill bidding.
- Consider other platforms and auctions for a more measured approach.
Budget Wisely:
- Set a Budget: Determine how much you’re willing to invest. Vintage guitars can range from affordable to astronomical.
- Quality Over Quantity: Rather than amassing many guitars, focus on quality pieces that resonate with you.

Remember, collecting vintage guitars is not just about financial gain; it’s about connecting with music history and craftsmanship. Let your heart guide your collection, and may each guitar sing its unique melody in your hands!

Question #17 – What are good criteria for evaluating whether to buy a vintage guitar?

AI Response #17 – When considering buying a vintage guitar, it’s essential to assess various factors to ensure you’re making an informed decision. Here are some valuable criteria to evaluate:

Check The Frets:
- Examine the condition of the frets. Worn frets can significantly impact playability.
- Consider the cost of refretting if necessary. Lacquer issues on maple fingerboards may also need attention.
Electrical Components:
- Don’t be alarmed by minor crackling or cutouts in the electronics.
- Vintage guitars often need a little love in this area. Budget for potential repairs.
Moving Parts and Hardware:
- Inspect tuners, bridges, and other hardware. Ensure they function smoothly.
- Some vintage parts may be hard to find or expensive to replace.
Cosmetic Condition:
- Don’t judge a book by its cover. Sometimes slightly worn or ‘cosmetically ropey’ guitars sound better.
- Look beyond surface imperfections and focus on playability and resonance.
Research and Knowledge:
- Understand the specific model you’re interested in. Learn about its history, features, and common issues.
- Read reviews, consult experts, and explore online resources.
Budget Realistically:
- Set a budget that considers not only the purchase price but also potential repairs or upgrades.
- Vintage guitars often require adjustments to optimize playability.

Remember, vintage guitars are more than just instruments; they carry stories, character, and a connection to music history. Let your passion guide you, and may your chosen guitar resonate with your soul!

Question #18 – How to detect a fake from an authentic vintage guitar?

AI Response #18 – When evaluating a vintage guitar for authenticity, keep these criteria in mind:

Weight:
- Authentic guitars have consistent weights based on their model and wood type.
- Compare the weight of the guitar you’re examining with the average weight for that model.
Guitar Logo:
- Download an image of the authentic model’s logo from the manufacturer’s website.
- Compare it with the logo on the guitar you’re considering. Look for differences in size, shape, position, font, and staining around the logo.
Components and Hardware:
- Inspect tuners, bridges, and other hardware. Authentic guitars use specific components.
- Be cautious if anything looks off or doesn’t match the original model.
Sound hole (for Acoustic Guitars):
- Authentic acoustic guitars have perfectly round and symmetrical sound holes.
- If the sound hole appears irregular or poorly crafted, it might be a fake.
Serial Number:
- Check the guitar’s serial number against databases or guides specific to the brand.
- Serial numbers can reveal the guitar’s production year and authenticity.
Consult Experts:
- Seek advice from reputable dealers, collectors, or luthiers.
- They can spot subtle details that indicate authenticity.

Remember, a genuine vintage guitar carries history and soul. Whether you’re a player or collector, choose wisely and let the music resonate!

Question #19 – Are vintage bass guitars worth collecting?

AI Response #19 – Vintage bass guitars, like the heartbeat of a rhythm section, resonate with their own allure. Let’s explore why they’re worth collecting:

Historical Significance:
- Vintage basses carry the pulse of music history. They’ve grooved through genres, recording studios, and live performances.
- Owning one connects you to the basslines of legends like James Jamerson, Jaco Pastorius, and Paul McCartney.
Tonal Character:
- Each vintage bass has a unique voice. The wood, pickups, and craftsmanship contribute to its signature sound.
- Whether it’s the thump of a Fender Precision Bass or the growl of a Rickenbacker 4001, vintage basses offer distinct tones.
Investment Potential:
- While not all vintage basses appreciate significantly, certain models do.
- Brands like Fender, Gibson, and Music Man have iconic basses that hold value.
Craftsmanship:
- Vintage basses were meticulously built by skilled luthiers. Their attention to detail and quality materials shine through.
- The patina of age adds character, like the lines on a seasoned musician’s face.
Collectability:
- Some basses are rare due to limited production runs or unique features.
- Collectors seek these gems, creating demand and driving up prices.
Playing Experience:
- Vintage basses feel different. Their neck profiles, weight, and balance offer a tactile experience.
- Whether you’re a player or a collector, the joy of plucking those strings transcends time.

In the rhythm of life, vintage bass guitars provide the low notes that anchor melodies. Let your passion guide your collection, and may your basslines resonate!

Question #20 – What is CRAVE Guitars?

AI Response #20 – CRAVE Guitars is a fascinating venture that celebrates and showcases vintage American electric guitars, effects, and amplifiers. Let me break it down for you:

Name and Acronym:
- The name ‘CRAVE’ is a clever play on words.
- As an acronym, it stands for ‘Cool & Rare American Vintage Electric’ guitars.
- Literally, it also means ‘to yearn for’ or ‘to want greatly’.
- All these meanings are fitting for the world of vintage guitars.
Mission and Focus:
- CRAVE Guitars aims to bring you some of the coolest American vintage electric guitars from iconic brands like Fender and Gibson, among others.
- These guitars aren’t necessarily the most expensive or desirable ones but definitely have that special something that makes them stand out.
Non‑Profit Approach:
- Unlike traditional dealers or collectors, CRAVE Guitars is a non‑profit enterprise.
- It celebrates vintage guitars both as important musical heritage and as real instruments meant to be used and played.
- The focus is on more affordable, underdog, and often quirky vintage guitars, effects, and amps.
- Instead of the exotic and rarely played classics, CRAVE Guitars delves into the heart of the vintage guitar world.
Wabi‑Sabi and Imperfections:
- CRAVE Guitars also embraces the Japanese concept of wabi‑sabi.
- Wabi‑sabi appreciates the imperfections in objects, finding beauty in their flaws.
- Vintage guitars, with their unique wear and history, embody this concept.
More Than Guitars:
- Beyond guitars, CRAVE features galleries and information on vintage effect pedals (from brands like Electro‑Harmonix, MXR, BOSS, and Ibanez) and a small collection of vintage American valve amplifiers.
- It’s a treasure trove for guitar enthusiasts and those who appreciate the magic of vintage gear.

So, if you’re curious or have a craving for all things vintage, explore the world of CRAVE Guitars and immerse yourself in the legacy of these remarkable instruments!

In addition, I also asked AI 2 supplementary questions relating to vintage amplifiers and vintage effects. Here is what AI put forward, very much in the same vein as the previous examples.

Question #21 – Are vintage amplifiers worth collecting?

AI Response #21 – Vintage amplifiers are like sonic time capsules, each carrying a unique story and tone. Here’s why they’re worth collecting:

Historical Significance:
- Vintage amps shaped the sound of countless recordings. They’re the secret sauce behind iconic guitar tones.
- Owning one connects you to the artists and eras that made music history.
Tonal Magic:
- Vintage amps have a warmth and character that modern counterparts often lack.
- Whether it’s the creamy overdrive of a Dumble Overdrive Special or the gritty blues of a Marshall JTM45, vintage amps offer distinct flavours.
Investment Potential:
- While not all vintage amps appreciate significantly, certain models do.
- Brands like Fender, Marshall, and Trainwreck hold value and continue to inspire players.
Craftsmanship:
- These amps were handcrafted with care, using quality components.
- The patina of age adds to their allure, like the wrinkles on a seasoned musician’s face.
Playing Experience:
- Vintage amps respond differently. Their tubes, circuits, and speakers create a tactile connection.
- Plug in and feel the magic—the way they react to your playing is unmatched.

So whether you’re a collector, player, or both, vintage amplifiers offer a symphony of history and sound.

Question #22 – Are vintage guitar effect pedals worth collecting?

AI Response #22 – Vintage guitar effect pedals are like hidden treasures waiting to be discovered. Let’s explore their allure:

Historical Gems:
- Vintage pedals offer a glimpse into the evolution of effects. They’re like musical fossils, preserving sonic eras.
- Owning one connects you to the creativity of past players and the birth of iconic sounds.
Tonal Mojo:
- Each vintage pedal has a distinct flavour. The analogue circuits, aged components, and quirks create magic.
- Whether it’s the warm fuzz of a Dallas Arbiter Fuzz Face or the psychedelic swirl of a Uni‑Vibe, vintage pedals offer sonic character.
Investment Potential:
- While not every vintage pedal appreciates significantly, some models do.
- Brands like Boss, Electro‑Harmonix, and Ibanez have cult classics that hold value.
Nostalgia and Inspiration:
- Vintage pedals evoke memories of classic albums and legendary performances.
- Plugging into a vintage pedal can spark creativity and transport you to musical moments.
Collectability:
- Some pedals are rare due to limited production or unique features.
- Collectors seek these gems, creating demand and driving up prices.

Remember, whether you’re a guitarist, collector, or sonic explorer, vintage pedals offer a symphony of history and sound.

“Strings whisper secrets,
Aged wood sings timeless stories,
Crave vintage echoes.”

Hhmmmm.

Human observation and verdict

Well, there you have it. 20+2 questions and 20+2 answers (and a haiku thrown in for good measure). What do you think? Apologies, that’s a rhetorical question. My thoughts on the matter are purely my own opinion based on what I was presented with. I am no expert on AI technology, so my observations are therefore, by nature, liable to organic fallibility and bias. I should state at this point that, in no way did I attempt to outwit or trick the AI models. The questions were very simple and the intent was purely to see what would happen. The results are uncorrupted by me in any way.

There are some truly cringe worthy phrases buried in amongst the relevant outputs – AI trying to be ‘clever’. AI can’t seem to master the human traits of irony, satire, wit, whimsy and sarcasm! Mind you, AI also doesn’t exhibit the less desirable human traits of arrogance, hubris, deceit (intentionally or innocently) or biased opinion, which is probably a good, although potentially less entertaining, thing. This jocular aspect, however, is a bit like the 17^th Century Spanish idiom, ‘the pot calling the kettle black’ (NB. from a 1620 English translation of ‘Don Quixote’ by Miguel de Cervantes), especially given my innate trademark penchant for pretentious prose and affinity for asinine alliterations (QED!).

Given that simulated responses draw directly on diverse material from a range of (human?) contributors, AI could be accused of plagiarism, as it simply extracts these sources of information and re‑presents them as a rational, objective summary. In terms of credibility, many of the responses make common sense, while others are less believable (see, particularly, the off‑kilter response to Questions #5 and #12).

Each question taken in isolation is one thing but when taken together, the repetitiveness of both content and presentation (and is a dead giveaway that this is not the sort of rational intercourse that would take place between, say, a knowledgeable human interviewer and interviewee. It simply wouldn’t be like that in practice.

Are there any factual errors exposed through this process? Not necessarily (although the reference to older Gibson Les Pauls being made of oak in response to question #12 is peculiar). However, this question does raise the issue of interpretation, i.e. the action of explaining the meaning of something. Inevitably, some perspective may be gleaned from information that is neither technically true nor false, especially where that information is dependent on subjective opinion and/or ambiguity that is difficult to corroborate or prove. The interpretation issue may constrain the ability of AI methodology to explore subject matter diligently and thoroughly in the way a human investigation might. While arguably forensic, it clearly isn’t ‘thoughtful’ in its approach.

The responses generally seem to be ‘playing it safe’, as though AI’s output was written by a committee to iron out any wayward emphases. The sanitised responses may well be useful as a starting point for a novice or someone lacking knowledge about the subject. It doesn’t, however, add anything over and above the basic level of human understanding. AI wouldn’t really impress someone who knows what they are talking about, let alone an expert.

“That’s how it is with people. Nobody cares how it works as long as it works” – The character Councillor Hamann from The Matrix (1999)

AI seems unable to extend a concept beyond the current boundaries of the question. It may be able to develop ‘vision’ at some point but clearly not yet. AI also seems unable to distinguish between poor, acceptable or high quality information – it is innately non‑sceptical of what it is fed with, leading potentially to unreliable outputs. AI currently depends heavily on humans to contribute and moderate content and that is another limitation at the time of writing, perhaps inhibiting its more creative potential. In some ways, AI avoids the question, again, the response to Question #12 doesn’t indicate the range of ROI that one might anticipate from investing.

What the responses do is to focus solely (unnaturally?) on the subject matter without even a hint of the possibility of a wider context. The ‘big picture’ omission struck me throughout the exercise. The current new gear market is strongly oriented – almost obsessively (and irritatingly) so – toward stressing the ‘vintage’ qualities, characteristics and specifications of brand new gear. Many new products are clearly aimed at imitating as closely as possible the idiosyncrasies and technological limitations of the past, frequently as if that is the only game in town. The current new guitar marketplace is not really progressive and, in many cases is clearly regressive. No reference to this marketing incongruity exists in the responses. The vintage past is not actually ‘authentically recreated’ in new products. AI therefore comes across as past‑oriented, not future‑focused.

One of the conundrums with AI at the time of writing is actually how these supposedly intelligible responses were compiled. Presumably, as AI simply mines information originally created by humans (expert or otherwise) in one form or another at some point in time, its generated outputs are not genuinely ‘new’. AI couldn’t possibly conjure a believable level of detail out of an information vacuum, it had to have something from which to start.

The ‘memory’ question is a big issue for AI. When asked basically the same question twice, either consecutively or separated by others, AI will respond to the second question as if the first had not been asked. A human would either, say “I’ve already answered that” or would respond in a slightly different way. AI lacks nuance and is totally oblivious of the regurgitation issue. It seems incapable of a continuing dialogue without tripping up.

The extent to which the human input has been manipulated by AI isn’t readily made clear. One therefore might wonder what was omitted (or added) and what was the result of machine intervention? Also, how did AI decide what should and shouldn’t be processed and the methodology by which it is output? What would AI come up with if it had nothing at all on which to base its algorithmic recipe?

Question – What will happen when AI starts building information based on the output of another AI over several iterations? It would be like a photocopy of a photocopy of a photocopy, etc. Does the integrity of information degrade significantly as it is repeatedly manipulated such that it bears little or no relationship to the authentic original (i.e. much like artificial Chinese whispers)?

“Perhaps we are asking the wrong questions…” – the character Agent Brown from The Matrix (1999)

Sometimes, less is more and getting something from AI can feel like being bombarded with a relentless barrage of words, rather than selective profound insight (hypocritically guilty as charged!). It is like the difference between learning by rote and repeating facts compared with genuinely understanding a subject matter through critical reasoning, or like reading a dictionary and expecting to comprehend the real world. The responses are more like a pre‑prepared structured lecture based on a text book exemplar, rather than a process of meaningful critical analysis and acute deductive reasoning.

AI is clearly getting a lot closer to human behaviour than simple search results from any standard Internet search engine and it will undoubtedly get better. However, it is not (yet) the last word on the matter. There is something to be gained from the responses, as long as they are taken as one of many inputs into a conclusion, rather than to be taken as a determining factor. My advice, for what it is worth, is to consider what AI presents you with but always take it with a figurative ‘pinch of salt’ (NB. yet another idiom; ‘a grain of salt’, from Pliny the Elder’s ‘Naturalis Historia’, 77CE). A genuine fascination with the subject matter – vintage guitars – is as much about subjective experience as it is about objective black and white bullet point facts. Currently, as far as I’m aware, that degree of authentic articulation of ‘shades of grey’ (i.e. sometimes reality is subtle and complex, and the boundaries are not always clear‑cut) cannot be gained readily from the Internet, AI or no AI.

“The deepest sin against the human mind is to believe things without evidence” – Aldous Huxley (American author, 1894‑1963)

While the AI processes are undoubtedly impressive, did AI inspire or stimulate curiosity as a skilled mentor might? Categorically not. Did I actually learn anything new about vintage guitars from AI? Nope. But then again, I believe, somewhat conceitedly, that I was already reasonably well informed on the topic.

“AI will be the most transformative technology of the 21^st century. It will affect every industry and aspect of our lives” – Jensen Huang of Nvidia Corporation

Final thoughts on AI

In conclusion, I would suggest that AI as it stands, at least on this specific subject matter fails the Turing Test as described at the start of this article. It comes across as ‘artificial’ and the sort of assignment a student might construct from prima facie sources without thought, genuine research, analysis, insight or intellect. The clincher for me was AI’s derivative description of CRAVE Guitars, which isn’t presented as a narrative and not at all how I would (and have) articulated it.

So… Cutting to the chase, how would I rate AI’s responses compared to say, the responses of a specialist to the same questions. Probably, I’d give it about a 5‑6 out of 10 and that is, I think, being generous. AI is leaps and bounds ahead of standard Internet search engine results but still a long way behind what I would expect a rational, knowledgeable human professional to say, not necessarily in terms of what is said but definitely in how it is said. AI could do better (and it definitely will, believe me). It may best be described as ‘work‑in‑progress’.

I posited my starting position at the top of this article, written before embarking on this extravaganza. Reading it again after disembarking, my view has not shifted substantially and I think those eight criteria remain relevant, at least as of March 2024. Perhaps I am falling foul of ‘confirmation bias’, another human flaw. My bad.

Putting it bluntly, AI comes across as having no personality. Some sort of identifiable persona is, I believe, a prerequisite for passing the Turing test. Without a sense of character, AI will always seem a dry, clumsy imitation of an average human. Arguably, AI just wasn’t convincing as being interested in the subject matter. For now, I’ll stick with ‘natural stupidity’, thanks.

Like the character Sarah Connor inaccurately forecast in James Cameron’s 1991 film ‘Terminator 2: Judgment Day’, AI didn’t quite get it right, “Three billion human lives ended on August 29, 1997”. Skynet hasn’t grown up… yet. Thankfully.

CRAVE Guitars’ ‘Album of the Month’

I am not going anywhere near the mechanistic and sterile AI for this section of the article. Consequently, I’m going for one of the most organic and natural sounding albums I know (and like). Once again, it is a fairly well‑known recording, so nothing obscure or inaccessible this time around.

Cowboy Junkies – The Trinity Session (1988) – The second album from the Canadian alt‑country band, recorded live in the Church Of The Holy Trinity in Toronto in November 1987 and released in 1988. Its atmospheric beauty is partly due to its imperfections and the natural reverb of the building, all captured by a single microphone. The raw recording was purportedly not adulterated, mixed, overdubbed or edited in any way. Interestingly, the sublime, ‘Blue Moon Revisited (Song For Elvis)’ wasn’t on the original vinyl release. While not to everyone’s tastes (and otherwise probably not normally to mine either), it represents fifty three minutes of exquisite alchemy. It is 100% human in all its gentle, fragile, ragged glory – in a good way. It is hard to envisage AI ever coming up with music like this, now or in the future.

Cowboy Junkies – The Trinity Session (1988)

Tailpiece

Phew! That is way more than enough from me and my erstwhile AI co‑author for now. Please don’t blame me for the majority of this outing, it is mostly down to the synthetic nature of its creation. I must admit that, while a very interesting little (?!?!) project, it was ultimately a bit (?!?!) of a long and arduous slog, bordering on boring (sorry folks). I trust you can discern what was written by me and what was produced by AI.

Finally, a word of sagely counsel. Whatever we do, humanity should always strive to harness the potential of output AI/GAI/AGI for good and to guard against the risks of it being exploited for evil.

I also stated at the beginning that is only Part I of this 3‑part AI adventure! Next month, we’ll take a look at another aspect of AI and vintage guitars. I can tell you are eagerly ‘champing at the bit’ (NB. another human idiom; from ‘Joseph, A Religious Poem’ by the Reverend Charles Lucas, 1810)!

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

CRAVE Guitars’ ‘Quote of the Month’: “Whoever thinks pets are non‑judgemental has clearly never been owned by a cat”

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28 Feb 2024

February 2024 – Zen and the Art of CRAVE Guitars Design

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

Prelude

HAPPY & HEALTHY FEBRUARY 2024 GUITAR MUSIC AFICIONADOS. Despite the world collapsing into increasingly dire crises at the behest of inept megalomaniac despots, I will endeavour to deliver some (hopefully) light entertainment as a non‑addictive antidote to the agonising anguish of day‑to‑day survival. As woeful soothsayers may predict, ‘the end of the world is nigh’. For once, they might just be right, at least for human civilisation. Time to repent and plead for redemption at the end of days? I think not. At least not yet. In the meantime… rock till you drop, I say. I digress, as usual. Apologies to one and all.

“Better than a thousand hollow words, is one word that brings peace” Buddha (Siddhārtha Gautama – c.480-400BCE)

Back to the business at hand. Pretentious pedantic prose. OK. Up front, forgive me, for there is an underlying understanding in, and a focus on, the simplicity of the here and now that runs through this article, hence the title. It is a contemplative and reflective narrative that draws on the creative essence of CRAVE Guitars over time.

A little while ago, I was doing some file management on my laptop and I came across a number of old documents that caught my attention. They were basically some very crude design ideas created in a transitional period of CRAVE Guitars’ history between 2007 and 2014.

‘Aha’. Lightbulb moment. The discovery might make a different and, perhaps (?), interesting basis for a matter‑of‑factual monthly musing, I thought. So, without further ado, let’s fire up the metaphorical DeLorean and drift back to 2007 to track the evolution of design elements that developed over a period of seven years and which have been a mainstay of CRAVE Guitars for the last nine years or so. A much shorter missive for you this month, you will probably be pleased to know. Some images too, to brighten up the virtual page.

The dawn of CRAVE Guitars: a reminder – 2007

A quick recap may be in order to provide context. I covered the birth and early years progression of CRAVE Guitars back on its 10^th anniversary article in July 2017. There is some inevitable overlap with this article. For those that wish to go into a bit more background detail (opens in a new tab)…

July 2017 – Happy Birthday: 10 Years of CRAVE Guitars

There is, though, a bit more to the design components than I covered at the time. The catalyst for establishing CRAVE Guitars as ‘a thing’ goes back to 2007 and the acquisition of a gorgeous 1989 Gibson Les Paul Custom. While this wasn’t actually a vintage guitar at the time, it had many of the beguiling characteristics that are present on many vintage guitars, including minor bumps, nicks, play wear yellowed binding, and a fading lustre resulting in a fine satin patina. The point of mentioning this here is that this event was the germination of an idea and a facilitator for what would become the CRAVE (Cool & Rare American Vintage Electric) Guitars ‘project’.

1989 Gibson Les Paul Custom

“An idea that is developed and put into action is more important than an idea that exists only as an idea.” Buddha (Siddhārtha Gautama – c.480-400BCE)

Once the project’s name was conceived, an initial task was to undertake some due diligence. I checked that no‑one else was using the titles, CRAVE Guitars, CRAVE Vintage Guitars, CRAVE (Cool & Rare American Vintage Electric) Guitars or C.R.A.V.E. Guitars. There was no trace of such a use anywhere in the world that I could readily identify, so I adopted it and everything from 2007 to today, relating to CRAVE Guitars, has carried the CRAVE Guitars © ‘copyright’ (including this article). Things rapidly coalesced from there, at least in my mind. Ping!

The original concept is stated on the home page of the web site, “The name ‘CRAVE’ is a play on words; as an acronym, it stands for ‘Cool & Rare American Vintage Electric’ guitars, while its literal meaning is ‘to yearn for’ or ‘to want greatly’. It may also be taken as a ‘call to action’.”

In addition, the six individual constituent words – cool, rare, American, vintage, electric and guitars – became the core criteria for identifying and acquiring instruments (and associated equipment) for the CRAVE Guitars ‘collection’.

Thus… CRAVE Guitars became more than just a vague notion. Sort of. It was shaping up into being ‘a thing’, although I’m still not quite sure what ‘thing’ it has become. However, it exists, whatever ‘it’ is. It struck me as notable how some things come from nowhere and then somehow develop a life of their own, becoming well‑established over time with no or little subsequent change. While the name stuck, the graphic design to support it did not appear fully formed at the time; the current brand image came along much later.

After the summer of 2007, the odd assortment of random guitar gear acquired over many years came under scrutiny and I quickly realised it needed radical rationalisation if it was to comply with the six core criteria of the project. Firstly my non‑American guitars were sold off, then my acoustic guitars and, finally, guitars newer than 1989 were also sold (bar two). What remained formed the basis of CRAVE Guitars as it is now. What was left were about 6‑8 guitars and 2 basses. Since 2007‑ish, all essential acquisitions have complied with the principle mission and entry criteria to create a rationally thought‑through, clearly defined ‘collection’. I don’t like the word ‘collection’ for all its negative connotations but for this exercise, I can’t think of a better one.

From 2007 to about 2010, the focus was on buying familiar classic guitars solely from Gibson and Fender. This reinforced the baseline from which to proceed. It turned out not to be a good time for buying, as it was just before the global financial meltdown of 2008, so vintage guitar prices were sky high. By 2010, the proverbial bubble had well and truly burst. Sigh. It is a good job that CRAVE Guitars is not financially motivated.

2010 to 2014 was a catastrophic period during which I lost almost everything, including my home, so we’ll bypass that quickly without further reference. What’s gone has gone. The subsequent recovery was painful, slow and laborious.

“Do not pray for an easy life, pray for the strength to endure a difficult one” Bruce Lee (1940-1973)

Since 2014, CRAVE Guitars has focussed more and more on quirky, unusual and interesting ‘affordable’ vintage guitars from other American manufacturers as well as the Big ‘G’ and ‘F’. It wasn’t until early 2019 that a significant proportion of the pre‑loss ‘collection’ was reunited with newer acquisitions after a friend had kept them safe for several years. Since 2019, CRAVE Guitars has been ‘a thing’ again.

The initial CRAVE Guitars designs – 2008‑2014

At this point, I must state that I am not a graphic designer and have no professional training in the craft, although my family does have artistic roots. I do, however, think I have a reasonably good eye for aesthetics. I might have liked to pursue an education and career in art, photography and design (as well as music) but, like most good citizens, I realised that I had to make a living, so my cultural aspirations were sacrificed at the altar of responsibility and any artistic credentials remain entirely amateur.

As the project grew, I proceeded to develop a Microsoft Access database to record each instrument in some detail. The database has been updated a number of times over the years (see below) and is still in use today.

CRAVE Guitars Database Screen Shots

Photographs of each instrument were taken to add to the database and were used in the early activities. Admittedly, the original photos were limited and not high definition by today’s standard so, from 2014, the guitars were re‑photographed in greater detail and quality.

Using the information from the database, a ‘brochure’ of the ‘collection’ was concocted, such as it was, using the early photographs and a basic narrative. The original Arabic‑style ‘logo’ text was a font used by the CorelDRAW graphics package at the time; unfortunately, I can’t recall the font’s name. The marron and yellow colour scheme was intended (arguably) to convey a sense of classy opulence (!?). I know, I know, the approach was very basic and hardly anything to be proud of now but at least it was a start.

“There are only two mistakes one can make along the road to truth; not going all the way, and not starting” Buddha (Siddhārtha Gautama – c.480-400BCE)

CRAVE Guitars Original Logo 2008

However, that is all it was back then; a start. A primitive and very limited run printed pamphlet of some vintage Gibson and Fender guitars from the 1960s to the 1980s inclusive. It was not widely ‘visible/available’ to anyone else who might share my interest, so it was essentially a creative dead end and only of interest in hindsight. It was also a learning exercise. CRAVE Guitars had come a long way, although the evidence may not seem like it.

CRAVE Guitars Catalogue Spread

I suspect that regular readers (if there are any!) will know that I have a principled anathema towards the heinous capitalist practice of accumulating vintage guitars for profit and hoarding them away. This benefits no‑one except the owner’s bank account. I didn’t want to fall foul of that accusation, so I had to find a way of sharing the results of the project with others who have similar interests. It is the sharing element that I feel is important and beneficial.

One way of sharing might have been to become a vintage guitar dealer, like many existing established retail outlets. However, I simply don’t have the ‘killer instinct’ (or the funds) to become a successful hard‑nosed commercial trader, so that option was quickly ruled out. I guess I’m just too nice. Besides, I didn’t have any desire to be like any other businesses. It would be rewarding if I could, in some way, monetize CRAVE Guitars, so that any proceeds could be invested back into the enterprise. However I can’t envisage how that end could be achieved without compromising the principal mission and my own values.

CRAVE Guitars doesn’t have any business premises, so creating some sort of physical curated heritage ‘museum’ (for want of a better word) with only a few average guitars was also out of the question. While I quite like the idea of some sort of unique exhibition, it wasn’t, and still isn’t, feasible. Preliminary research indicated that a gallery or heritage centre wouldn’t attract sufficient visitors to make it worthwhile, so it didn’t even make it to a draft business plan stage.

So, I decided to take the plunge and venture into online sharing. As far as I can tell, there doesn’t seem to be anything quite like CRAVE Guitars out there anywhere. Perhaps it is unique, although I wouldn’t be so arrogant as to assert that particular proposition. It might be exciting to develop some sort of virtual online ‘gallery museum’. However, the technology, for instance pro‑level design software, studio photography, photogrammetry, 3D animation, augmented reality and studio recording, to make it genuinely innovative, immersive and impressive are currently beyond CRAVE Guitars’ modest means. More thought required.

“Design is thinking made visual.” Saul Bass (1920‑1996)

CRAVE Guitars online presence – 2014‑date

In 2014, I had no experience of web site development or running any social media accounts. The emergence of what is recognisably CRAVE Guitars today started in late 2014 culminating with the advent of the CRAVE Guitars web site and social media channels. I was basically starting from scratch but, for me, that was quite ambitious, exciting and frustrating in equal measure.

I had the basic structure of, and a design concept for, a WordPress web site planned out. I went about acquiring the relevant URLs and identifying an ISP (Internet Service Provider) to host the results. A web site without any cohesive design theme would be pretty rubbish, so I had to think of a way of conveying what the entity was and turning that into coherent graphic designs that would become familiar to online visitors.

In addition to the web site, I felt that there would have to be a parallel social media presence, consistent with the aesthetics of the web site where possible. The two leading platforms at the time, Twitter (now Elon Musk’s diabolical ‘X’) and Facebook were priorities. In addition, I had a LinkedIn account, so that also seemed a logical extension. YouTube and Instagram were also popular, so they were other channels to consider. There were/are other social media platforms including Flickr, Pinterest and Tumblr, so I set about making sure that CRAVE Guitars had a presence on all of these (and thereby preventing others from appropriating the name!).

There are some gaps, however. Does anyone remember the social media platform called Google+? I actually liked it but due to inherent security weaknesses, Google shut it down in 2019 and it has become all but forgotten nowadays. I evaluated Snapchat and felt it was irrelevant for CRAVE Guitars. I refuse to use TikTok due to its Chinese ownership, so CRAVE Guitars is not present for ethical geopolitical, environmental, technological and human rights reasons.

Accordingly, the work began in earnest to cultivate the broader CRAVE Guitars ‘brand’ image. Activity on this front was quite significant up until the tempestuous 3‑year hiatus, which took place from November 2020 to September 2023.

“Know well what leads you forward and what holds you back, and choose the path that leads to wisdom” Buddha (Siddhārtha Gautama – c.480-400BCE)

The CRAVE Guitars signature image

Determining a signature image for CRAVE Guitars was kinda easy. The sunburst 1975 Gibson Les Paul Standard was one of my original guitars that I bought second hand in c.1978 and have had ever since. It was already a bit battered when I got it, with buckle rash and some parts removed (pickup covers and scratchplate) but it was all I could afford at the time. People pay good money for fake wear and tear like that nowadays and the Les Paul’s attrition was genuine! NB. Relic is not a verb! Ggrr!

Not thinking anything of it at the time, I had the Les Paul refinished from its original tobacco sunburst, which I didn’t really like back then, to a shiny natural finish, which was very popular during the late 1970s. By the 1990s, I was tired of the somewhat bland natural finish, so it was refinished again in a lovely deep cherry sunburst and the missing parts were restored. That is the condition of the Les Paul at the time of writing. Below is the original CRAVE Guitars photograph.

1975 Gibson Les Paul Standard

[Image: 1975 Gibson Les Paul Standard]

Although the Les Paul’s finish isn’t original, it has been a long‑time favourite axe, so it became CRAVE Guitars’ signature instrument, despite rather than because of its chequered history. I don’t give a hoot that self‑opinionated critics pour scorn on Gibson’s 1970s Norlin‑era guitars.

That Les Paul is the only instrument in the ‘collection’ that has been refinished. I don’t do regrets but, if I did, I would feel guilty for messing with that Les Paul like I did. In my defence, I was young and it was only a couple of years old at the time. It was intended to be a working guitar rather than a collectable. Who would have thought that I’d still have it 46 years later and it would be a figurehead for a vintage guitar enterprise! The Les Paul has, though, endured over the years through the few ups and many downs, so it has become appropriately symbolic for both me and for CRAVE Guitars.

The CRAVE Guitars logo and avatar

I couldn’t afford to appoint a professional designer to come up with a ‘corporate’ logo, so I had to attempt something myself. It was these work‑in‑progress attempts that I came across recently and which prompted this article.

The very early efforts comprised a brainstorming‑type design process with some never‑before‑seen aborted concepts. Some of these early rough draft ideas are shown here.

CRAVE Guitars Early Logo Designs #1

CRAVE Guitars Early Logo Designs #2

I had an epiphany to combine the signature Gibson Les Paul outline and the word CRAVE into a unified logo. Genius, I thought. The very first attempt at the integrated logo was a rough hand‑drawn scrawl made with a marker pen on a small scrap of (white) paper!

CRAVE Guitars Original Logo Scan

I tested out some of these early ‘sketch’ ideas and the CRAVE acronym with a professional graphic designer friend who I respect. He didn’t like it at all, which was a bit disappointing. However, I persevered, as I thought I was onto something that I could live with.

Crave Guitars Logo Evolution

Once the overall Les Paul shape of the logo was firmed up, I had to choose a colour scheme. It was important to me not to try and be too clever, so it was imperative to Keep It Simple Stupid (KISS). For clarity at different resolutions and sizes, I selected a bright/deep blue for high contrast over a pristine white background. A graphics package was used to scan in and then refine the originally hand‑drawn initial outline.

The ‘bobbly’ lines are intended to give the impression of kinetic resonant vibrations of the instrument. Clever tie‑in huh? OK. Maybe not but that’s what I thought and it seemed eminently logical, so I stuck with it.

Most importantly, the graphic design, narrative and photographic imagery must complement, enhance and not distract from the core subject matter – the vintage guitars, basses, amps and effects – which should be able to shine in their own right. The intention was/is that the various components should all work together in an integrated way, creating a whole that is more than the sum of its parts.

CRAVE Logo Basics

“Simplicity is not the goal. It is the by-product of a good idea and modest expectations.” Paul Rand (1914‑1996)

The admittedly very crude, irregular first attempts were then finessed through about 8‑10 incremental, increasingly subtle, iterations. Eventually, it became what you see on the website, social media, business cards, merchandise, etc. today.

CRAVE Guitars Logo Evolution #2

The guitar‑shaped CRAVE logo image was embellished with the word ‘Guitars’ in a clean, modern and minimalist sans serif Segoe UI Light font, which appealed to my eye. With the recent brand update, the logo’s text was selectively extended to read ‘Vintage Guitars’. This approach could also apply to CRAVE Basses, CRAVE Amps and CRAVE Effects. With or without ‘Vintage’ depending on the circumstance.

CRAVE Guitars Fonts

The full logo, however, wasn’t suitable for social media and Internet browsers, which generally uses round or square‑ish ‘icons’ or ‘avatars’ to represent the image of a relevant account so, once the main logo was firmed up, I set about addressing that particular task. The very first draft avatar was a basic black/red silhouette based on a Gibson ES‑335 body outline but it bore very little resemblance to the rest of the brand, so it didn’t last long.

CRAVE Guitars Avatar #1

The logical answer was to reduce the full logo to fit the avatar’s specification. The result of that exercise was to use only the ‘CR’ from the full logo, intended to represent the shape of the Les Paul body (minus neck/headstock).

CRAVE Guitars Avatar Basics

Recently someone not into guitars asked me what the ‘squiggle’ on Facebook was meant to be and I had to explain it. Never a good sign. I had become so used to it that I thought it was obvious. Obviously not! Once again, there was some disappointment but I can live with it. The ‘CR’ Les Paul body shaped avatar for social media has been retained unchanged.

Crave Guitars Avatar Evolution

“Design is not just what it looks like and feels like. Design is how it works.” Steve Jobs (1955‑2011)

CRAVE Guitars merchandise

The aim behind the CRAVE Guitars graphic design is that it can be used beyond the online presence for instance, printed materials and merchandise. CRAVE merch is there for fun, not money. Routine merch items include T‑shirts, mugs, guitar picks, etc. As CRAVE Guitars is not a business or even a physical entity, there is no pre‑prepared merch stock. It’s all made to order as and when needed. Here are a few examples.

CRAVE Guitars Business Card

CRAVE Guitars Guitar Picks

[Image: Business Card]

CRAVE Guitars T-Shirt Designs

CRAVE Guitars future design

Continuity of image is as important as coherence. There are no immediate intentions to change or improve the logo and graphic design. I still believe it to be effective, even though my designer friend still doesn’t like it. The overall aesthetic has been around for ten years now and I think it still looks fresh, clean and modern.

I do review the visuals regularly and think of different ways in which it could be embellished or enhanced but I keep coming back to the basic, simple brand image. Less is more and all that. If it ain’t broke…

At some point, I might want to redesign the brand but not yet. I still like it as it is and it remains visually coherent to my inexpert eye. To change the style radically would, I believe, be counter‑productive and disrupt continuity. Evolution, rather than revolution is likely to be the order of the day, if and when it comes around.

I don’t envisage separate designs for the sub‑brands, CRAVE Basses, CRAVE Amps and CRAVE Effects. They are essentially all under the umbrella of the main brand identity, rather than discrete entities in their own right. They would not exist were it not for CRAVE Guitars. Nor do I envisage any more vintage sub‑brands joining the family any time soon (e.g. drums, keyboards, studio gear, etc.). To diversify further would be to dilute too much.

In the unlikely event that both mankind and I survive until 2027, it will be time to celebrate two decades of CRAVE Guitars. I believe that the design will still be familiar for visitors. Could the CRAVE Vintage Guitars brand design be better? Of course it could.

“Have no fear of perfection. You’ll never reach it.” Salvador Dali (1904‑1989)

I am reluctant to pose the question, ‘what do you think?’, as that would open up a whole can of worms. I see so many logos that are unclear, ambiguous, unrelated to the core business, indistinct, outdated, too detailed, irrelevant, conflicting, poor choice of colours/contrast, overblown, illegible, generic, confusing, ugly, or just plain dull. Simple doesn’t have to be boring. I didn’t set out to create the world’s best logo but, in hindsight, I don’t think it’s too bad. For a rank amateur.

Tantalising snippet… I will return to the subject of the CRAVE Guitars logo in a planned future article. Why? Wait and see!

Final thoughts

One fundamental question for CRAVE Guitars is, ‘Is it worth it?’ I have been doing all of this to share my passion with others but does anyone else actually care or give a damn? It’s also nearly met its demise more than once along the way, so it isn’t a ‘sure thing’. The truth is, I really don’t know what the future holds. I like to think it is a worthwhile adventure but, then again, I am not the one to judge. It is worth it to me.

The website currently gets over 4,000 visitors a month and CRAVE Guitars has over 6,750 followers on X (about 1,000 down from its pre‑hiatus peak) but is that good or not? Again, I have absolutely no idea; they are just numbers. I would hate to think that the last 17 years have been in vain.

A further question is, ‘Why do I do it?’ I have been fascinated by guitars since I got my first nylon‑strung acoustic as a teenager. That fascination prevails to this day. Therefore, I feel quite strongly that CRAVE Vintage Guitars is my ikigai; my purpose in life (from an ancient Japanese philosophy, with ‘iki’ meaning ‘to live’ and ‘gai’ meaning ‘reason’, in rough translation). I have poured my soul into guitars, music and CRAVE Guitars over quite a prolonged period (overall, longer than my entire professional working career, so the effort has been considerable, even though it feels like there is much more to be done before I’m finished (if I live that long!). Is CRAVE Guitars my fate, my destiny? Nah. I wouldn’t go that far; I feel that some decisions are still under my control.

Another profound question is, ‘Where to go from here?’ What is the end game? Well, for that, we’ll just have to wait and see. A great deal depends on currently non‑existent funds. I do not want or intend to give up any time soon; I have become too invested in the project to ‘throw the towel into the ring’ now. I have some thoughts about adding content to the website and some narrative has already been drafted but it is hardly Earth‑shattering. Perhaps a degree of reinvention may be needed after all. I look forward to future developments.

“I never see what has been done; I only see what remains to be done” Buddha (Siddhārtha Gautama – c.480-400BCE)

CRAVE Guitars’ ‘Album of the Month’

This month, I tried to think of something relevant to the article’s theme. If I had to come up with an album that hints at what CRAVE Vintage Guitars stands for, what on Earth could it possibly be? HHhhmm. Tricky one. Sadly, I no longer have any recordings of my own music, lost in the mists of time, so it has to be an established artist. It has to be predominantly guitar music and it should (?) be a recognisable classic (and from the time of many vintage guitars). HHhhmm. Still tricky. So, so many and yet so few! More HHhhmm. This is hard. Gotta pick something. OK, then, here goes; I wouldn’t call it CRAVE Guitars’ theme tune but I like it anyway…

The Doors – L.A. Woman (1971) No ten‑minute self‑indulgent virtuoso guitar wizard solos here, just solid song writing and shed loads of charisma with guitar playing that serves the songs, rather than vice versa. Guitarist Robby Krieger and his trusty Gibson SG Standard along with Ray Manzarek on keyboards, John Densmore on drums and the tragically mercurial Jim Morrison on vocal chords. The Doors didn’t have a resident bass player but that didn’t hold them back – Jerry Scheff played bass on this album. ‘L.A. Woman’ was the band’s last studio album before Morrison’s untimely death in Paris, France in July 1971, at the age of 27. The recording won’t appear in any ‘top 100 guitar albums’ lists but that’s not really the point. I am personally not a huge fan of The Doors but this record stands out for me. Neither is it universally admired. However, it survived my honing down process until it remained on the shortlist of one at the end.

The Doors – LA Woman (1971)

“Where’s your will to be weird?” Jim Morrison (1943-1971)

HHhhmm. Other worthy (in my view) contenders included, Deep Purple – Made In Japan (1972), Genesis – Selling England By The Pound (1973), Black Sabbath – Black Sabbath (1970), Lynyrd Skynyrd – Second Helping (1974), Pink Floyd – Meddle (1971), Led Zeppelin – Physical Graffiti (1975), T.Rex – Electric Warrior (1971), The Cure – Disintegration (1989), Bob Marley & The Wailers – Live! (1975), Steve Hillage – L (1976), Rory Gallagher – Against The Grain (1975), and David Bowie – Let’s Dance (1983).

One interesting observation; all of the above albums emanated from the 1970s and 1980s. Nothing older and nothing newer. Was it really some sort of ‘golden age’ for guitar music or just the music that impacted an impressionable post‑hippie youth?

Tailpiece

So, there you have it; a much shorter discursive diversion (I had to get at least one alliteration in!) this month and a bit different from most other recent articles. I like to mix things up a bit, so a diversity of subject matter keeps things lively and unpredictable. I’m conjuring up something even more offbeat for next month, if it works! There is, though, a lot to do before we get to that point. Watch this space, folks…

In the meantime, if you get any opportunity at all to help bring common sense to the fore and pre‑empt the impending global apocalypse, just do it!

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

CRAVE Guitars’ ‘Quote of the Month’: “Since when did the truth become a conspiracy theory?”

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30 Oct 2023

October 2023 – Return to and from obscurity

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

Prelude

Hi y’all. This month’s article is mercifully short (relative to most) and a necessary, albeit uncomfortable, therapeutic self‑indulgence. It is probably not an enjoyable read, just as it was not enjoyable to write. Time, methinks, for some clarification. This article is about CRAVE (Cool & Rare American Vintage Electric) Guitars’ recent journey.

Before CRAVE Guitars, I was pretty much invisible to the world. Good, suits me fine. Even now, Crave Guitars is the main focus. Call me whatever you like; enigmatic, shy, introverted, inscrutable, reserved, or reclusive… I prefer to avoid people and I enjoy solitude. This is a lifestyle choice. Strangely for a guitarist, I do not crave (sic!) the limelight. I like to let the musical artefacts speak for themselves. To me, they are far more important. Publishing anonymously behind the veil of CRAVE Guitars is an indispensable creative outlet.

For those in the know, CRAVE Guitars took a ‘break’ for almost 3 years. That meant no monthly articles and a total withdrawal from participating in social media. Development of the CRAVE Guitars’ website also stalled, while expansion of the enterprise itself was reduced to a casual pastime. To all intents and purposes, CRAVE Guitars ground to an almighty stop overnight, at least as far as the outside world was concerned, although it has continued to tick over in the background. Playing guitar also dropped off to near‑nothing, so no more feeble fantasies for recording or video.

At the time, I thought that this ‘break’ would only be a very temporary interruption and things could return to status quo relatively quickly. Unfortunately, it turned out to be an extended absence. However, as time passed since the September 2020 cliff edge, I found the task of putting finger to keyboard increasingly challenging, making the hiatus a ‘thing’ in its own right that I knew eventually had to be confronted and dealt with.

In September 2023, I returned tentatively to writing with the article, ‘Dub Reggae Revelation’, exploring the wonderful world of Jamaican music, while October saw the next article, ‘Adventures in Ambient’, a delve into the serene, otherworldly dimension of ambient electronica. Neither of these articles focused on vintage guitars and neither genre is particularly guitar‑oriented. Why return with these in‑depth research projects you may ask? To tell the truth, both of these articles were an intentional and ‘safe’ distraction from addressing the pachyderm in the place (NB. The ‘elephant in the room’ is an idiom deriving from an 1814 story by poet Ivan Krylov, ‘The Inquisitive Man’). I also made a very hesitant return to posting occasional items on various social media platforms, although the prospect of getting back onto that particular treadmill remains daunting.

I apologise upfront for the style and content after an extended break; I’m basically out of practice and need to get back to being ‘match ready’. What follows is not a full explanation for the break, however, it is a cathartic attempt to ‘break the silence’ and restore some sense of realism. So…

Cause and effect

Coronavirus – The ‘coronapocalypse’ or ‘coronageddon’ pandemic started in early 2020 and we all know what happened between then and now. Over 771 million cases of SARS‑CoV‑2 worldwide and almost 7 million deaths (25 million cases and over 230,000 deaths in the UK alone, a shameful 9^th in the global league table, with the US at the top). Lockdowns, self‑isolation, testing, vaccinations, ventilators, hospitalisations, deaths and all that went along with the spread of the virus have been well‑documented elsewhere. In October 2023, Covid‑19 is very much still with us and continues to mutate, taking more lives in the process. As an inherently anti‑social animal, withdrawal from the social order was easy for me as a lifelong misanthropist and borderline sociopath. The impact on live music, music venues and manufacturers due to Covid has, however, been fairly catastrophic, as has the number of artists directly or indirectly affected by the contagion. What I think everyone can agree on is that the global health crisis has undoubtedly had a major impact on our day‑to‑day behaviour, mental health and occupational prospects. Covid, whatever its origins, respects no territorial boundaries and affects everyone; a so‑called ‘leveller’.

To quote Italian writer and moral philosopher Dante Alighieri (c.1265‑1321) from ‘Inferno’, “I had not thought death had undone so many”.

Economics – A deep crisis with a high price indeed. Thanks to Putinland egregiously and aggressively expanding its redundant soviet empirical aspirations, everyone, everywhere has felt the negative impact of just getting by on a day‑to‑day basis. The Middle East resorting to pointless bloody conflict again only adds fossil fuel to the escalating economic volatility. Never mind the tyrannical exploits of the People’s (?!) Republic of China. Etc., etc., etc. As CRAVE Guitars is a not‑for‑profit enterprise, there is no fat on the bones to indulge the increasingly expensive ‘hobby’ of vintage guitar hoarding. A low fixed income lags about a year behind the times during the current economic climate, so no spare pennies to squander on old gear. Vintage guitars tend to increase in (or at least hold their) value during recession and increase disproportionately so under periods of growth or high inflation, pushing these desirable relics out of the reach of enthusiasts (like me) and into the hands of wealthy collectors seeking return on investment and profit. Demand continues to outstrip supply, at least in everything I can afford. Ggrr. Argh. Sigh.

“War. What is it good for? Absolutely nothing.” (Edwin Starr, War 1970).

Life – During 2020 and 2021, the demands of sustaining all aspects of everyday life eventually proved overwhelming and something had to give. In addition to the already stated ‘break’, I also could not keep on top of current music and industry‑related events, so my insights into what was going on were inevitably constrained. My motivation and ability to acquire, maintain and play vintage gear also hit the proverbial buffers. The repugnant politics of, particularly, Twitter (now Elon Musk’s execrable X) resulted in a general reluctance to engage with online communities. The abuse simply wasn’t worth the effort. Human behaviour is not improving with time. In fact, it appears to be notably regressing. The outcome was CRAVE Guitars withered in short order like a scorched seedling affected by global overheating. Ultimately, the self‑imposed abstinence was basically driven by self‑preservation and survival.

“These so‑called bleak times are necessary to go through in order to get to a much, much better place.” David Lynch (1946‑)

… and Death – After 43 years since meeting my other half, 33 years of marriage, and 13 years of caring (the last 6 years full‑time), my soulmate finally succumbed to cancer in 2022 after a protracted and particularly brutal decline. ‘Until death do us part’, as vowed. This, sadly, is the way of the wicked world and we will all, at some point, pop our proverbial clogs and shuffle off this mortal coil (mixing metaphors, sorry Mr. Shakespeare). Cancer sucks and there is no magic spell for getting over its cruel incursion. Fundamental and profound grief is definitely not conducive to the pursuance of a preoccupation, however, obsessive, with material things. An existential watershed was thus irrevocably cast. The inevitable and involuntary re‑evaluation of one’s existence results in a re‑prioritisation and reflection about one’s ikigai – the Japanese concept meaning the achievement of a sense of purpose and a reason for living. This is not an excuse, just a cruel and unavoidable fact of life… and death. Farewell wife. R.I.P.

“It is crucial to be mindful of death – to contemplate that you will not remain long in this life. If you are not aware of death, you will fail to take advantage of this special human life that you have already attained.” (The 14^th Dalai Lama, Tenzin Gyatso 1935‑)

Extortion – Around September 2021, CRAVE Guitars was subject to Internet extortion. A German company using a household brand name as a front threatened legal action for copyright infringement. Whatever the circumstances, I was forced into settling rather than risk disproportionate legal costs to defend against the possibility of legal action. However, the incident was totally fraudulent and the UK authorities took no notice, as it emanated from the EU (which apparently is no longer part of the UK) and, to them, insignificant in value. Thanks for absolutely nothing British Police and fraud investigation. Hello! Blackmail is a crime! For a not‑for‑profit enterprise with zero budget, this proved temporarily crippling. The specific event caused a ‘crisis of faith’ about whether to continue with CRAVE Guitars at all, while also compounding other pressures. Self‑doubt is a horrible and unproductive experience. All previous articles have had to be substantially edited with all images not totally owned by CRAVE Guitars were removed from all features, articles and web site pages, severely reducing their potential interest to the casual reader. All images used by CRAVE Guitars are now diligently produced either in‑house or obtained via copyright/royalty‑free sources.

“Blackmail is more effective than bribery.” John Le Carré (1931‑2020)

Property – CRAVE Guitars is not a discrete entity. It is not a museum and it is not a commercial enterprise. It operates out of a normal, and rather small, house in the South West of the UK. The property is almost 100 years old and in a very poor condition. The recent imperative has been to renovate the structure to provide liveable accommodation. As a result, a large proportion of time, effort and funds have had to be re‑directed towards extensive necessary property upkeep, leaving little in the way of capital for other things (like vintage guitars). The long‑intimated cellar refurbishment to provide a safe and secure home for the vintage gear keeps getting shunted down the list of priorities and further into the future. It does, however, remain a goal. The lack of storage space limits acquisition of any more instruments.

“Another flaw in the human character is that everybody wants to build and nobody wants to do maintenance.” Kurt Vonnegut (1922‑2007)

Karma – Hatred is a negative and wasteful emotion that has no redeeming characteristics whatsoever. It drains the soul of compassion. However, there are many contemptable people in this world intent on furthering their own agendas at others’ expense, seemingly with impunity. Everyone probably has a degree of experience of such self‑entitled, exploitative and controlling individuals. They are vile, vindictive and unfortunately often unavoidable, intent on causing misery wherever they go. Fortunately, such heinous parasites are relatively rare. The list is short but the hostile influence is high. Given that societal structures favour law over justice, it is unwise to name such vermin. I just hope that, in some way, they become aware of the terrible consequence of their actions and that their conscience holds them accountable. Sadly, they may not exhibit the necessary integrity and contrition. Where is karma when it is really needed?

“Now hatred is by far the longest pleasure; men love in haste but they detest at leisure.” Lord Byron (1788‑1824)

Musicology – Perhaps there is one positive note amongst all the preceding doom and gloom. My fascination with all things musical has been both long‑running and constant over time. While other things were understandably dominating priorities, the hiatus did present an opportunity for musical exploration and experimentation. I am no authority on the matter so, I set about addressing this particular shortcoming by adopting a more rigorous approach towards understanding and appreciating contemporary music (from the 1950s to the current day). Modern music is at least relevant and related to CRAVE Guitars to a greater or lesser extent, so therefore within my general bailiwick. I intend to come back to this side project on another occasion.

“For I was conscious that I knew practically nothing…” (attributed to Plato’s account of Socrates),

Summary – The extended hiatus appears, prima facie, to be an irrational and disproportionate response to a culmination of disparate events that, in the past, would (probably) not have been a big issue either in isolation or together. There was no single external trigger, rather a confluence of factors that proved to be ‘the straw that broke the camel’s back’ (NB. an idiom derived from an Arabic proverb that describes a minor action that causes an unpredictably large and sudden reaction, resulting from the cumulative effect of small actions – a.k.a. ‘the last straw’). However proverbial it is, it does raise the point that we all need to do our best, despite difficult circumstances, to look after ourselves first and foremost. Not to do so inhibits our ability to deal with external threats and have empathy for others. We only live once and life really is too short (see above). There are no second chances. Time to be positive about the future…

“The future depends on what we do in the present.” Mahatma Gandhi (1869‑1948)

The way forward

In late 2023, I regard my preoccupation with CRAVE Guitars as essential therapy to help cope with other day‑to‑day circumstances. I am, however, still finding it incredibly hard to rekindle the spark of craving (sic!) held previously. The prospect of CRAVE Guitars returning to its old form is, as far as I can tell at the time of writing, rather unlikely. After over sixteen years of building the ‘brand’, this state of affairs is genuinely heart rending.

As I am only just beginning to recover some of my former vintage guitar mojo, I cannot say for sure what the way forward will be. The first faltering purgative steps are, I think, basically threefold:

To resume writing articles, although these will not be regular or consistent to begin with and they will likely not be major tomes as before (probably a relief for many!).
To recommence work on maintaining, updating and expanding the CRAVE Guitars web site, together with resuming a modicum of social media activity.
Last but most certainly not least, to get back into acquiring, maintaining, playing and sharing my compulsive captivation with vintage guitar gear.

Simple to say, less easy to do. Pursue them I must for my own sanity. I can only hope that the extensive investment in CRAVE Guitars as a coherent entity over the years has not been totally wasted and that the impetus behind what the brand stands for continues in some form, even if it is in a less assertive fashion.

“Thinking is easy, acting is difficult, and to put one’s thoughts into action is the most difficult thing in the world.” Johann Wolfgang von Goethe (1749‑1832)

CRAVE Guitars’ Album of the Month:

As this article is an anomaly in the canon, I couldn’t move on without at least mentioning something musical. As we are moving away from sultry summer warmth into darker, cooler and wetter autumn, I’m clinging desperately onto evocative tropical Jamaican beats. Therefore, my selection for ‘album of the month’, October 2023 is:

Dubbing at Aquarius Studios 1977-1979 – The 16 tracks were laid down at Dynamic Sounds, Harry J’s and Randy’s Studio 17 by session bands the Aggrovators, Soul Syndicate and High Times Players, and dubbed at Herman Chin Loy’s Aquarius Studio during the peak years of Jamaican dub reggae. For me, these tracks deserve repeated listening. Irie mon.

Footnote

Mental Health & Wellbeing is a serious issue in today’s chaotic and dysfunctional world. Depression and anxiety present an insidious and invisible menace of 21^st Century lifestyles. They are not trivial issues to be dismissed out of hand and can be severely debilitating. The impact is non‑discriminatory and can affect anyone at any time to one degree or another and can strike without warning. There is no simple ‘cure’ and the adverse effects can be both long lasting and unpredictable. If you haven’t actually experienced these problems first hand, it can be difficult to understand the symptoms, let alone be able to unravel the causes. Meds can be useful but ultimately result in a chemical cul‑de‑sac. Cognitive Behavioural Therapy (CBT) is the current fad with professionals but the focus on process is only good for some. High quality one‑to‑one psychotherapy is expensive and thereby exclusive. Mindfulness is a dreadful title but the western concept, based on aspects of eastern spiritualism (but not religion) and meditation, can be an effective tool for building resilience and promoting focus. Whatever your remedy, in the face of an increasingly intrusive stressful life, it is important to take care of your whole self, mental and emotional as well as physical. These opinions, I must emphasise, are not the warped rantings of an insecure neurotic grumpy old man… or are they?

To quote one wise Asian dude, “The secret of health for both mind and body is not to mourn for the past, nor to worry about the future, but to live the present moment wisely and earnestly.” Buddha (Siddhārtha Gautama – c.480-400BCE)

Tailpiece

I apologise once again for the self‑centred, self‑serving self‑pitying nature, as well as the unforgiveable excess of hyperbole, of this therapeutic ‘confessional’. It had to be done. For CRAVE Guitars, putting this ‘explanation’ of involuntary absence was an obligatory recuperative process along the path to recovery. Without casting the metaphorical albatross from the (ancient mariner’s) neck, things could not get back on track. CRAVE Guitars does not need reinventing, rather it needs to adapt to a different paradigm. Hopefully, in an attempt to be positive, there may be the fertile green shoots of a new beginning.

“Ah! well a-day! What evil looks Had I from old and young! Instead of the cross, the Albatross About my neck was hung.” Samuel Taylor Coleridge (1772‑1834)

So… is CRAVE Guitars back? Well… only partially. The world around us today is a different place and CRAVE Guitars’ minuscule part in it is going to have to be different. Primarily, this means a more modest, humble and less determined approach to vintage guitar appreciation. Frustrating though it is, it’s possibly better to call it ‘work‑in‑progress’ than any form of momentous return. Long live CRAVE Guitars!

On the plus side, the next few articles are already in planning and likely to be both more relevant and more optimistic than this poor excuse for an editorial. After that, who knows? Watch this space.

Peace, love, truth and guitar music be with you all. Until next time…

CRAVE Guitars’ ‘Quote of the Month’: “Sometimes it is better to withdraw intentionally from society than to be wholly rejected by it”

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Siddhartha Gautama

Prelude

This Month at CRAVE Guitars…

The Rationale for the Article

Defining the Selection Process

The CRAVEman’s ‘Top 100/10’ CRAVE Island Playlist

Final Thoughts on the ‘Top 100/10 CRAVE Island Playlist’

CRAVE Guitars’ ‘Album of the Month’

Tailpiece

Prelude

Some of those that left the building in 2025 (41):

CRAVE Guitars Vintage Gear purchased in 2025 (11)

2025 album releases purchased (6):

2025 Gigs (2)

CRAVE Guitars’ Web Site

CRAVE Guitars’ Social Media

Contact Update

The Distortion Diaries Update

State of the Music Industry and the Vintage Guitar Market

Seasonal Greetings from The CRAVEman

Final Thoughts on 2025 and Looking Forward to 2026

CRAVE Guitars’ ‘Album of the Month (and Year)’

Tailpiece

Prelude

Alan Turing and the Turing Test

Defining Artificial Intelligence

Applying Artificial Intelligence to the world of vintage guitars

20 Questions about vintage guitars posed to AI

Human observation and verdict

Final thoughts on AI

CRAVE Guitars’ ‘Album of the Month’

Tailpiece

Prelude

The dawn of CRAVE Guitars: a reminder – 2007

The initial CRAVE Guitars designs – 2008‑2014

CRAVE Guitars online presence – 2014‑date

The CRAVE Guitars signature image

The CRAVE Guitars logo and avatar

CRAVE Guitars merchandise

CRAVE Guitars future design

Final thoughts

CRAVE Guitars’ ‘Album of the Month’

Tailpiece

Prelude

Cause and effect

The way forward

CRAVE Guitars’ Album of the Month:

Footnote

Tailpiece