30 Sep 2025

September 2025 – Vintage Guitar Gear Collections Within A Collection: Part I – CRAVE Guitars & CRAVE Basses

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

Prelude

AHOY THERE MULTITUDINOUS MERRY MATIES! Welcome back to the wild world of CRAVE (Cool & Rare American Vintage Electric) Guitars. I trust that all is well with your part of the world. After a slight summer sabbatical from writing about vintage guitars, you may be pleased to know that we are suitably refreshed, refuelled, and redeployed on what matters this month. The trusty telescope of titular topics is fairly and squarely focused not just on vintage guitars but on CRAVE Vintage Guitars.

At this point, I often spout polemic on the sorry state of ‘humanity’ and the global Anthropocene tragedy entirely of our own making irrevocably unfolding in front of us. Well, I think I’ve made my point often enough for regular visitors. So this month, I will just point you towards the CRAVE Guitars’ ‘Quote of the Month’ at the end of this article which, in my view, sums up the whole sorry mess in one short sentence (for a change).

Hopefully, not too many words and lots of images this month. If you are interested, the underlying theme of this month’s quotes is about perception. As always, no AI was used in the writing of this article.

“It all depends on how we look at things, and not how they are in themselves” – Carl Jung (1875‑1961)

Collecting and Collections Revisited

Going back to May 2025, CRAVE Guitars published an article about, ‘The Compulsion to Collect Vintage Guitars’. That article kicked off thoughts not solely about collecting but also about what constitutes a collection and how we might think about things slightly differently. If you wish to go back to the previous article on CRAVE Guitars’ collecting and collections, follow the link below (opens in a new tab).
May 2025 – The Compulsion to Collect Vintage Guitars

Like most other sources, whether retail, curatorial or showcase, CRAVE Guitars tends to group vintage guitars by brand (e.g. Fender, Gibson, etc.), then by model in (e.g. Stratocaster, Telecaster, Les Paul, SG, etc.) both in alphabetic order and by date (e.g. 1965, 1972, 1984, etc.). Fundamentally, brand, model and date tends to be the standard methodology for categorising vintage guitars, at least on a broad level. The same catalogue system also applies to basses, effects and amps. CRAVE Guitars is no different. Take a look at the feature or gallery pages on the web site and that is exactly how vintage gear is listed. It makes sense and is widely accepted. It is also how I search for vintage gear in which I might be interested. Take a look at other web sites or library resources and it’s the same. For instance, check out, ‘Gruhn’s Guide to Vintage Guitars’ (1999) or the annual, ‘The Official Vintage Guitar Magazine Price Guide’ and it is the primary method of presentation.

“All that we see or seem is but a dream within a dream” – Edgar Allan Poe (1809‑1849)

Collections within a Collection

So far, so good. However, it isn’t the only way of looking at things. Back in June and July this year (2025), I posted a series of CRAVE Guitar (and CRAVE Basses) montages on social media, which I described at the time as ‘collections within a collection’. Some of these selections were very obvious, others less so. One approach was to look at variations in a particular model over the years. Another was to look at similar types of model (but different name). It became the entry point into alternative perspectives that formed the catalyst for this month’s article. As a quick reminder, here is the entire, small but perfectly formed, CRAVE Guitars’ ‘collection’ as of 2025.

The permutations shown in this article do include some repetition because models may appear in more than one grouping. Fair enough. Go with the flow and I hope it will make sense. I have stuck fairly and squarely to CRAVE Guitars – it would be more coherent to stray into non‑CRAVE Guitars but that approach attracts many other issues, such as copyright and a significant broadening of scope.

I could go on, pontificating about the whys and wherefores, but that almost seems redundant, as the best way of explaining it is with the images themselves. That’s also good for me in that I can spare some time for writing other things.

“There are things known and there are things unknown, and in between are the doors of perception” – Aldous Huxley (1894‑1963)

Mini Collections

So, what constitutes a mini‑collection? More than one of something. Simple. There are probably innumerable permutations of mini collections within the overall total. CRAVE Guitars, at the time of writing, has a number of guitars, basses, effects and amps (don’t ask, I don’t keep track). Most of those are vintage (ditto), depending on how one might define ‘vintage’. However, that particular conundrum is not the subject of this article.

Social media is where this idea started and it will unfold here as a sequence of steps. It isn’t practical to wade back through hundreds/thousands of social media posts, so this makes all that previous effort more accessible and in one place. So, without further ado, time to get pictorial with twenty four ‘collections within a collection’. I hope you enjoy the show…

“No man has the right to dictate what other men should perceive, create or produce, but all should be encouraged to reveal themselves, their perceptions and emotions, and to build confidence in the creative spirit” – Ansel Adams (1902‑1984)

Fender Brand Mini Collections

Some of you might know my predilection for student guitars and also single pickup guitars. The relevant Fender model names don’t help with coherency, so I found a way of bringing them together. By the early 1980s, Fender had replaced its core ‘student’ guitars (first generation) with other budget models (second generation). Not a popular move with enthusiasts or collectors. These are sometimes labelled, the ‘forgotten Fenders’.

CRAVE Guitars’ Vintage Fender Student Guitars (First Generation) (4) – Top‑bottom: 1959 Fender Musicmaster, 1965 Fender Duo‑Sonic II, 1965 Fender Mustang, 1971 Fender Bronco

CRAVE Guitars’ Vintage Fender Student Guitars (Second Generation) (3) – Top‑bottom: 1981 Fender Bullet, 1982 Fender Bullet H2, 1981 Fender Lead I

That initial notion led onto collating a brace of Fender’s wonderful high‑end offset guitars (currently oh‑so popular with indie and alternative guitarists) and then Fender’s often‑overlooked (criminally so, in my view), semi‑acoustic electrics. NB. Yes, I know that some Fender student guitars (see above) are also offsets but there is enough to differentiate them for this article.

CRAVE Guitars’ Vintage Fender Offset Guitars (3) – Top‑bottom: 1966 Fender Electric XII, 1965 Fender Jaguar, 1965 Fender Jazzmaster

CRAVE Guitars’ Vintage Fender Semi‑Acoustic Electric Guitars (3) – Top‑bottom: 1966 Fender Coronado II, 1975 Fender Starcaster, 1972 Fender Telecaster Thinline

Going back to Fender’s student guitars, there are some more obvious model groupings that demonstrate evolution of the instruments over time.

CRAVE Guitars’ Vintage Fender Musicmaster Guitars and Bass (4) – Top‑bottom: 1959 Fender Musicmaster, 1965 Fender Musicmaster II, 1978 Fender Musicmaster, 1978 Fender Musicmaster Bass

CRAVE Guitars’ Vintage Fender Mustang Guitars (3) – Top‑bottom: 1965 Fender Mustang, 1972 Fender Mustang Competition, 1978 Fender Mustang

Then, I strayed into Fender’s core ‘pro‑level’ guitar models – Stratocasters and Telecasters, which also demonstrate evolution of the instruments over time.

CRAVE Guitars’ Vintage Fender Stratocaster Guitars (4) – Top‑bottom: 1977 Fender Stratocaster, 1979 Fender Stratocaster Anniversary, 1983 Fender Stratocaster ‘Dan Smith’, 1983 Fender Stratocaster Elite

CRAVE Guitars’ Vintage Fender Telecaster Guitars (5) – Top‑bottom: 1972 Fender Telecaster Thinline, 1973 Fender Telecaster Deluxe, 1974 Fender Telecaster Custom, 1983 Fender Telecaster Elite, 1988 Fender Telecaster American Standard

Not wishing to leave out CRAVE Basses, there is only one collection‑within‑a‑collection.

CRAVE Guitars’ Vintage Fender Bass Guitars (3) – Top‑bottom: 1989 Fender Jazz Bass American Standard Longhorn, 1978 Fender Musicmaster Bass, 1977 Fender Precision Fretless Bass

“Everything we hear is an opinion, not a fact. Everything we see is a perspective, not the truth” – Marcus Aurelius (121‑180)

Gibson Brand Mini Collections

Having pretty much covered most of the Fender variations, I turned my sights onto Gibson guitars, starting off, again, with their underrated student guitars that, once more demonstrate evolution of the instruments over time.

CRAVE Guitars’ Vintage Gibson Melody Maker Guitars – Top‑bottom: 1961 Gibson Melody Maker D, 1964 Gibson Melody Maker, 1965 Gibson Melody Maker, 1967 Gibson Melody Maker SG

Gibson’s long history started off with acoustic and then semi‑acoustic guitars categorised by the company as Gibson’s ES (Electric Spanish) models. Over the years, the ES lines evolved.

CRAVE Guitars’ Vintage Gibson ES Guitars (3) – Top‑bottom: 1947 Gibson ES‑150, 1963 Gibson ES‑330 TDC, 1985 Gibson ES‑335 Dot

Gibson’s entry into solid body electrics started with the Les Paul Model, so here are CRAVE Guitars’ Gibson Les Pauls. In addition, there were also several Gibson models that used the Les Paul outline but weren’t actual LPs.

CRAVE Guitars’ Vintage Gibson Les Paul Guitars (4) – Top‑bottom: 1975 Gibson Les Paul Standard, 1977 Gibson Les Paul Deluxe Gold Top, 1989 Gibson Les Paul Standard, 1989 Gibson Les Paul Custom

CRAVE Guitars’ Vintage Gibson Les Paul‑shaped but non‑Les Paul Guitars (3) – Top‑bottom: 1961 Gibson Melody Maker D, 1977 Gibson L6‑S Deluxe, 1981 Gibson Sonex‑180 Deluxe

In the early 1960s, Gibson replaced the Les Paul with the devilishly pointy‑horned SG (Solid Guitar).

CRAVE Guitars’ Vintage Gibson SG Guitars (3) – Top‑bottom: 1965 Gibson SG Junior, 1968 Gibson SG Standard, 1967 Gibson Melody Maker SG

From the late 1950s, Gibson went through a highly creative phase, including their innovative alternative ranges, including Flying Vs, Explorers and Firebirds…

CRAVE Guitars’ Vintage Gibson Flying V Guitars (2) – Top‑bottom: 1980 Gibson Flying V2, 1984 Gibson Flying V Designer Series

CRAVE Guitars’ Vintage Gibson Explorer Guitars (5) – Top‑bottom: 1979 Gibson Explorer E2, 1982 Gibson Explorer CMT, 1983 Gibson Explorer 83, 1984 Gibson Explorer Custom Shop, 1984 Gibson Explorer Designer Series ‘Union Jack’

CRAVE Guitars’ Vintage Gibson Firebird Guitars (2) – Top‑bottom: 1966 Gibson Firebird III, 1976 Gibson Firebird Bicentennial

Through the years, Gibson also strayed into other creatively designed models, some more radical and aesthetically pleasing than others.

CRAVE Guitars’ Vintage Gibson ‘Oddity’ Guitars (4) – Top‑bottom: 1983 Gibson Corvus II, 1982 Gibson Moderne Korina Heritage, 1981 Gibson RD Artist, 1983 Gibson USA Map

“Blessed are they who see beautiful things in humble places where other people see nothing” – Camille Pissarro (1830‑1903)

Other Brand Mini Collections

Having covered the main two major competitors, there are some of the other well‑known vintage guitar brands. For instance, during the 1950s and 1960s, Danelectro made guitars under their own name as well as for Sears, Roebuck & Co, under the Silvertone brand name.

CRAVE Guitars’ Vintage Danelectro‑built Danelectro and Silvertone Guitars (3) – Top‑bottom: 1963 Danelectro Pro 1, 1959 Silvertone 1304, 1964 Silvertone 1449 ‘Amp In Case’

CRAVE Guitars’ Vintage Gretsch Guitars (2) – Top‑bottom: 1962 Gretsch 6120 Double Cutaway Chet Akins Hollowbody, 1965 Gretsch 6135 Corvette

CRAVE Guitars’ Vintage Music Man Stingrays: Guitar and Bass (2) – Top‑bottom: 1976 Music Man Stingray I, 1978 Music Man Stingray Bass

CRAVE Guitars’ Vintage Paul Reed Smith (PRS) (2) – Top‑bottom: 1989 Paul Reed Smith Classic Electric (CE), 1988 Paul Reed Smith Standard

“What we see depends mainly on what we look for” – John Lubbock (1834‑1913)

Other – Best of the Rest Mini Collections

Finally, all CRAVE Guitars are Made‑in‑USA, it only makes sense that some manufacturers would want to promote their country of origin in guitar form. CRAVE Guitars is fortunate enough to have not just one but two vintage guitars made in the outline of the lower 48 United States (sorry Alaska and Hawaii).

CRAVE Guitars’ Vintage USA‑shaped Guitars (2) ‑ Top‑bottom: 1983 Gibson USA Map, 1962 National Glenwood 95

That leaves some other CRAVE Guitars not easily grouped, e.g. Epiphone, Guild, Kramer, Ovation, Peavey and Rickenbacker. Kudos to these great vintage guitars. However, for the sake of completeness, here are what was left over from the initial concept. A non‑collection‑within‑a‑collection if you will.

CRAVE Guitars’ Vintage ‘Best of the Rest’ Guitars (6) ‑ Top‑bottom: 1966 Epiphone Olympic, 1984 Guild X‑79 Skyhawk, 1974 Ovation Breadwinner 1251, 1979 Peavey T‑60, 1974 Rickenbacker 480, 1983 Kramer ‘The Duke’ Deluxe Bass

Wow! That is pretty much it for this article. I am certain that you may be able to think of other ways in which these great guitars can be viewed. I think you will agree that this perspective goes to demonstrate and showcase a wide range from the classic conventional and traditional to the freaky, weird and wonderful, celebrating the novel diversity of CRAVE Guitars.

“One moment the world is as it is. The next, it is something entirely different. Something it has never been before” – Anne Rice (1941‑2021)

Final Thoughts on Vintage Guitar Collections within A Collection

My main comment at this point is that CRAVE Guitars’ total collection probably isn’t large enough to make this a really interesting topic, for which I apologise. The capacity of The CRAVEcave is severely limited, so the collection has reached its maximum size for the time being (The CRAVEcap). This isn’t through lack of ambition on my part, simply the inevitable practical constraints of space and funds. Darn it.

Looking at things in this way, it confirms that I have a particular penchant for Fender Telecasters and Gibson Explorers, of which there are five each. These were followed by Fender Stratocasters, Gibson Les Pauls and Gibson Melody Makers of which there are four each. Unsurprisingly, that fits pretty well with my own feelings about favourite guitars. I would (obviously?) like a few more ‘obscure’ American guitars. Who wouldn’t? Every guitar addict needs that irresistible next fix. So many gaps to fill, so, so many! Sadly though, any expansion of brands and/or models is going to have to wait for a while.

As a reminder, there are full features on the web site for each of the CRAVE Guitars and CRAVE Basses featured here. Also on the web site are separate features on all the brands featured here. There are simply too many links to list in an article, so you’ll have to do a bit of work for yourself if you want to delve deeper into the brands and/or the models.

“There are no facts, only interpretations” – Friedrich Nietzsche (1844‑1900)

The groupings featured in this article are just a few permutations of how collections can be viewed. There are many more ways of doing it. For instance, they could be grouped by:

Decade – 1960s, 1970s, 1980s, etc.
Model type – Custom, Standard, Junior, Special, Deluxe, etc.
Tone wood – Mahogany, maple, alder, ash, composite, etc.
Fingerboard type – rosewood, ebony, maple, composite, etc.
Pickup type – single coil, humbucker, other, etc.
Colour – sunburst, blue, red, gold, white, black, natural, etc.
Provenance – guitars with known owners

As far as CRAVE Guitars wider reach and influence goes, there are also themed image series based around photographic style, including:

Instagram vignettes (x2 series)
Floorboard guitars (1x series)
US flag guitars (x2 series)
Close up guitars (x2 series)

I tend to use these alternative image series on social media as a counterpoint to the web site images. They don’t appear on the web site (just to mix things up a bit). All these different perspectives supplement and complement the standard ‘signature’ purple background guitars used for consistency of presentation on the CRAVE Guitars’ web site. The collections within collections featured in this article also don’t appear on web site pages.

In conclusion, there many different ways of looking at the same instruments, way too many to cover without going full nerd. Given the small scale and scope of CRAVE Guitars, to do all that would become highly repetitive and dull, so I know when it’s time to stop.

The same approach can be taken for CRAVE Effects and that will form the basis of Part II of this mini‑series next month. As far as CRAVE Amps go, there are simply too few to make something from it (at the moment).

“To change ourselves effectively, we first had to change our perceptions” – Stephen R. Covey (1932‑2012)

CRAVE Guitars’ ‘Album of the Month’

Regular readers will know that over many years, I have become increasingly enamoured with reggae and, particularly dub and roots reggae. While these genres peaked in the mid‑1970s, they are still alive and well in the 21^st Century. I covered the musical history of reggae in my August 2023 article, ‘Dub Reggae Revelation’ for those who might be interested in exploring reggae and its context on the global stage. This month’s accolade is from the mainstream of reggae and remains readily available…

Johnny Clarke – ‘Rockers Time Now’ (1976): ‘Rockers Time Now’ was the 8^th studio album released in 1976 by the Jamaican singer and musician Johnny Clarke (1955‑). While a lot of Clarke’s material during the 1970s flirted dangerously close to the scourge of pop reggae, rather than deeper dread or conscious roots, ‘Rockers Time Now’ has an abundance of great reggae tracks that have stood the test of time. I am not going to apologise for appreciating this album and it gets regular repeat listening. Clarke often gets dismissed by reggae snobs, unjustifiably so in my opinion. I admit that there is some ‘easy listening’ filler amongst the great Rastafarian reggae tracks. I hope history re‑appraises Johnny Clarke at his best. Great music for summer chilling and worth tracking down.

It may not be the greatest reggae album of all time but it’s one that helped me get through the summer of 2025. Equally interesting is another Johnny Clarke studio album from the same year, ‘Authorized Version’ (1976). There are several reggae artists that I include in this particular domain, including the late, great Keith Hudson (1946‑1984) – a personal favourite. While Johnny Clarke will often be associated with other popular reggae artists such as Dennis Brown, Freddie McGregor and Gregory Isaacs (all three a lot better than their popular chart hits might suggest), he does stand out for his material.

I have found that reggae music in all its diverse forms is a great genre to have playing in the background while thinking and writing. This is probably the last reggae ‘album of the month’ for this year as we head into cooler, darker times, although I believe it can raise the spirits at any time.

BELIEVE IN MUSIC!

“Between the optimist and the pessimist, the difference is droll. The optimist sees the doughnut; the pessimist the hole!” – Oscar Wilde (1854‑1900) NB. Often incorrectly attributed to Florence McLandburgh.

Tailpiece

There you go, back to vintage guitars, at least for this month. I hope you enjoyed this particular cabinet of curious CRAVE Guitars, which you’ve seen before but not perhaps in this format. Next time, we’ll return to the overall theme of this article but with the focus on CRAVE Effects. I hope you’ll come back for the floor‑based sequel.

Without further ado, it is time to move onto other things, nothing more to see here. For now. Have a great October 2025 folks, as the autumn season sets in for this year (at least up here in the northern hemisphere).

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’: “The only obliteration justified by war is the obliteration of war itself”

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30 Dec 2019

December 2019 – Out With the Old, In With the Old

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

Welcome to the very end of December 2019 one and all. Due to the time of year, there is a short break in the ‘Story of Modern Music…’. After 9 straight months of factoid overload, I have taken the executive decision to take a rest and reflect on the here and now. There are other advantages of a temporary hiatus in that this article is MUCH shorter than the recent monthly detailed dissection of music history. Abnormal service will be resumed as soon as impossible.

So, that was 2019, the year that was. Not only do we end the year with this article, we also see the culmination of the ‘teenies’. Before anyone corrects me, yes, I know that technically the decades don’t change here but pretty much everyone accepts it that way, so just for once – shock, horror – I’m going with the flow. I don’t know about you but the last decade, and indeed the last 12 months, seems to have passed in a blur.

I am sure you’re fed up with the traditional lazy television programming that seems to dwell on retrospectives and lists as is usual for this time of year. You may be displeased that I’m about to do the same, although I doubt that this tangential view of existence will ever get broadcast nationally.

Personally, it’s been a really, really bad year again, with far too much pain, misery and torment, and little sign of light at the end of a (collapsed and blocked) tunnel. I genuinely cannot remember what joy or pleasure feels like. For self‑preservation, I must look to the future with some hope and positivity for a bit of much‑needed karma, justice, salvation and redemption. There, I’ve got it off my chest and I won’t bang on about it again (or maybe just a little!).

Departures in 2019

As ever, we have to say au revoir to some great guitarists who have climbed aboard that spiritual transit van to the infinite jam session with the angels (and possibly the occasional demon). In contrast to recent years, this year’s list is thankfully short, although I expect those who are on it would prefer not to be. They and their music will be missed…

Dick Dale, 16 March, aged 81
Bernie Tormé (Gillan, Ozzy Osbourne), 17 March, aged 66
Boon Gould (Level 42), 30 April, aged 64
Leon Redbone, 30 May, aged 69
Roky Erickson (13^th Floor Elevators), 31 May, aged 71

Non-guitarist departures included:

Ross Lowell (the inventor of gaffer tape), 10 January, aged 92
Jim Dunlop Sr. (Dunlop Manufacturing), 6 February, aged 82
Keith Flint (The Prodigy), 4 March, aged 49
Scott Walker (The Walker Brothers), 22 March, aged 76
Dr John, 6 June, aged 77 (NB. he did play guitar regularly)
Ginger Baker (Cream, Blind Faith, Baker Gurvitz Army), 6 October, aged 80

Old in at CRAVE Guitars – vintage gear acquisitions in 2019

It seems to have been a better year for guitar‑related accumulation than I’d anticipated a mere 12 months ago. This is partly because of delayed house works (ggrrr!).

The trend of the last couple of years seems to be continuing, with a greater focus on the 1970s and 1980s. This is predominantly because 1960s artefacts are rapidly becoming well beyond my modest price range. Rather than pay nonsensical ‘silly money’ for older guitars just because they are old and expensive, I’m looking at what is currently a bit more reasonably priced from later decades, while also being selective about notable and interesting instruments. As you might expect, the purchases had to fit the CRAVE Guitars’ criteria (cool, rare, American, vintage electric) – the only exceptions being effect pedals from Japan and Europe. At least for the time being, some of this year’s purchases are just about ‘affordable’, while others were almost regrettably extravagantly decadent given my borderline financial disposition. Anyhoo, without further ado, time for some introductions…

CRAVE Guitars (9)

Before listing new ‘old’ arrivals, let’s just backtrack for a moment…

Example #1 – In 2016, I looked ahead and mentioned a couple of guitars on the ‘most wanted’ list. One was a 1970s Fender Starcaster and the other was a 1950s Gibson ES‑150. Perhaps not surprisingly, I failed dismally in 2017… and again in 2018.

Example #2 – In 2017 and again in 2018, I speculated about the possibility of getting a 1965 Gibson Melody Maker and… yup, failed again.

Example #3 – In 2018, I thought about finding a 1970s Fender Stratocaster and… guess what? Fail.

Remarkably, that has now changed and I managed to lay my grubby mitts on all four of the above during the last 12 months. I also went overboard just a little bit with some other spontaneous impulse buys.

So, 2019 actually saw 9 vintage guitars, covering 42 years from the 1940s to the 1980s, with at least one from each decade joining the CRAVE Guitars family. Herewith, the profligate plethora of pulchritude (apologies for the pompous alliteration)…

1982 Fender Bullet H2
1976 Fender Starcaster
1979 Fender Stratocaster Anniversary
1983 Fender Stratocaster Elite
1983 Fender Telecaster Elite
1947 Gibson ES-150
1965 Gibson Melody Maker
1989 PRS Classic Electric
1959 Silvertone 1304

CRAVE Amps (0)

Despite intensive but unsuccessful searches, there were no amplifiers that joined the family during 2019. Like with guitars, in both 2017 and 2018, I set out to find a 1970s ‘silverface’ Fender Princeton. To‑date, that lustful ambition remains unrequited… for now, the search goes on.

CRAVE Effects (5)

As it turned out, 2019 was a funny year for effect purchases. It was a case of quality over quantity and I did manage to lay my hands on two highly sought after iconic (and therefore exorbitantly expensive) pedals. These weren’t just gap‑filling, they have been on the ‘to do’ list for some time but considered them to be way out of my price range. Consequently, fewer budget purchases made them just about possible. They were…

1987 BOSS RV-2 Digital Reverb
1969 Dallas Arbiter Fuzz Face
1982 Ibanez PT9 Phaser
1981 Ibanez TS-808 Tube Screamer Overdrive Pro
1980 MXR Micro Amp

Once the full ‘Story of Modern Music…’ has been published, I may well return to 2019’s purchases and explain the rationale behind what is a relatively diverse range of acquisitions.

Repatriation update

In addition to the newcomers, it was way back in January 2019 that I was pleased to welcome home 42 guitars, 40 of them vintage, from an extended period of enforced storage (long story!). I set out on an ambitious mission to re‑home them with respect and to lavish upon them some much‑needed overdue TLC. The aim is that they can once again be used for their intended purpose, which is to be played regularly. I wasn’t going to rush the exercise, so it has been a bit of a long haul. I wanted to ensure that each one was given the sensitive treatment it deserved. For some, it was just a clean‑up and a tweak here and there to set them up before they were re‑strung – job done. For others, some more intensive care was necessary and I have worked on them as far as I can take them, due to my lack of ability in the practical side of things. There are a few, however, that need more expert skills than I have to sort them out properly. Thankfully, I know my limits and don’t pretend to be a proficient technician.

So far, 32 of the 42 returnees have been tended to, which means that there are still 10 repatriated guitars still to work on. Six of these are vintage guitars and are next on the to‑do list. Another two are vintage bass guitars which I suspect both need some neck work, so they will be near the back of the queue. The privilege (?) of going last will go to the only two non‑vintage guitars which I own. In theory, being the newest, they won’t need as much remedial work done on them. Fortunately, none so far have been ruined. Some have degraded a bit more than I would have liked but there is nothing serious to be concerned about. Phew!

Once the ‘conservation’ work has been completed and they are once again in good playing condition, they have been/will be photographed and documented. Feature articles have also been drafted on each one. The intention is to update the web site to exhibit them at their best. Then, it will be just a case of playing and enjoying them.

Building works

I cannot let the dastardly year dissolve into history without making a comment about the long overdue building works to convert the house’s dark, dank cellar into a safe, secure accommodation for the guitar members of the family. Due to egregious actions of spiteful and vindictive neighbours, it had to be deferred yet again. Basically, this means that no progress whatsoever was made during 2019.

Music albums released in 2019 (40-ish)

Surprisingly, after a (very) slow start it actually seems to have been a pretty good year for new music. I was quite sceptical up to about two thirds of the way through the year, despairing that the musical landscape was becoming ever more moribund. Then, out of nowhere, there seemed to be a veritable flood of interesting music to close the year out. I bought a shed load of old and new music in 2019 and the following are the diverse highlights of this year’s releases for me. One can hope that there may be some future ‘classics’ among them.

!!! – Wallop
Amon Amarth – Beserker
Beck – Hyperspace
Jade Bird – Jade Bird
The Black Keys – ‘Let’s Rock’
Blood Red Shoes – Get Tragic
Cage The Elephant – Social Cues
J.J. Cale – Stay Around
Nick Cave & The Bad Seeds – Ghosteen
The Chemical Brothers – No Geography
The Comet Is Coming – Trust In The Lifeforce Of The Deep Mystery
Cigarettes After Sex – Cry
The Cinematic Orchestra – To Believe
Crumb – Jinx
The Cure – CURÆTION-25: From There To Here | From Here To There / Anniversary: 1978-2018 Live in Hyde Park
Dream Theater – Distance Over Time
Billie Eilish – When We All Fall Asleep, Where Do We Go?
Foals – Everything Not Saved Will Be Lost Part 1
Foals – Everything Not Saved Will Be Lost Part 2
Rory Gallagher – Blues
Hawkwind – All Aboard The Skylark/Acoustic Daze
Hot Chip – A Bath Full Of Ecstasy
Khruangbin – Hasta El Cielo
Trini Lopez – The Very Best Of Trini Lopez (compilation)
Membranes – What Nature Gives… Nature Takes Away
The Murder Capital – When I Have Fears
New Model Army – From Here
Rammstein – Rammstein
Lana Del Rey – Norman Fucking Rockwell!
Joanne Shaw Taylor – Reckless Heart
Sleaford Mods – Eton Alive
Sleater‑Kinney – The Center Won’t Hold
Slipknot – We Are Not Your Kind
Bruce Springsteen – Western Stars
Toro y Moi – Outer Peace
Robin Trower – Coming Closer To The Day
The Twilight Sad – It Won/t Be Like This All The Time
Underworld – Drift Series 1: Sampler Edition
Thom Yorke – ANIMA
Neil Young – Colorado

Plus (album-like) EP:

Black Stone Cherry – Black To Blues 2

Major concerts in 2019 (1):

Due to personal circumstances, there was just one major live music event in 2019:

Hyde Park – Bob Dylan, Neil Young, Laura Marling, Cat Power, Sam Fender

Unfortunately, even Cornwall’s local Looe Live music festival wasn’t attended, despite it being right on the doorstep.

Social Media Quotes from 2019:

Over the year, I’ve been posting thousands of snippets on Twitter and Facebook. The following are actual comments from some very nice people about CRAVE Guitars that came this way during 2019. I don’t usually get much in the way of acclaim, and neither do I seek external validation for what I do, so these kind words of feedback felt extra special to me. They are truly appreciated and, frankly, I am humbled and overwhelmed by them.

“I love the variety of artistry you tweet about. Keep it up!”

“Thanks for the history lessons every day from @CRAVE_Guitars”

“Hey you bring it every day, man! You’ve turned me on to things I’d likely not see otherwise! Keep on rocking it!”

“Great people, knowledge, posts and positive vibes to all! 5 star”

“Thank you for expanding my guitar horizons!”

“Once again, I have been enlightened by CRAVE Guitars. They don’t teach this history in college.”

“I finally went to your website and understand you so much better now… Nice collection!!! Very eclectic and impressive! Great website, Crave!”

“You post such cool guitars. Ones that I’ve never seen before. Some truly unique ones too. Keep up the great work friend, you run a great account”

“Thank you! Hats off to crave guitars!”

“Love your photos! Thank you so much!!”

“Thank you for all your fabulous postings”

“…like always Awesome posts and great follow ups I really appreciate it, Respectfully from the USA!!!”

“Crave Guitars is one classy company”

“Thx Crave this is most excellent.”

“… thank you for sharing the great guitars and posts of Rock N Roll truly enjoy checking out your page daily.”

“Love guitars. Love music. Love Crave. <3”

“… I have to give you a separate kudos for the photography. What a picture…”

“I really enjoy these trivia posts as much as the guitar pictures. Thank you”

“That’s wonderful and thank you. Awesome page”

“You should have “A Potted History of the Guitar” as a pinned tweet. I know that you’re modest, but that thing is epic.”

“You have a great Twitter page my friend and always something to learn about with your topics.”

“Congratulations with Continued Success Great Crave Guitars!!!”

“Great stuff on your Twitter page! Love it! Keep it coming!”

“Great Twitter page! Love it. Keep it up. Always great informative and interesting.”

“You have a great Twitter Page. Love it. Great stuff. Keep it up.”

“I really like your collection. it’s very impressive and interesting.

Have a great day, Crave.”

“I totally dig your archives guitars & their players! So great! 100% fan”

Also, during November 2019, Twitter followers exceeded 6,000 for the first time. A huge “thank you” is extended to everyone who has shown interest and support.

So… looking forward… here is what might be coming up in 2020:

There, that’s the obligatory retrospective done, so it is now time to look forward to the coming year and the start of a brand new decade.

Vintage gear for 2020

I have been very cautious over the past few years about ‘most wanted’ gear, believing that circumstances would be very different. So, this year, I’m going to be a touch more ambitious in stating what I’m searching for in 2020, although I guarantee that not everything on the list will be procured. If the building works go ahead, the list will have to be shortened. It won’t be easy but I am back on the quest for some ‘forgotten’ models, which are more difficult to source, especially in good condition in the UK. However, apart from one wild expensive aspiration, the rest should (?!?!) be a bit more ‘affordable’ than some of this year’s purchases. I am not greedy and I don’t expect to achieve the full list, so it is purely indicative and should be considered more of a direction of travel.

Guitars

1960s Danelectro (no specific model)
1970s Fender Bass VI
Any one (or more) of the ‘forgotten’ Gibsons from the 1970s or 1980s, e.g.:
- Gibson Challenger
- Gibson Firebrand
- Gibson Marauder
- Gibson S-1
- Gibson US-1
- Gibson Victory MVX
- Gibson Les Paul DC XPL 400
1970s Guild (S-100 and/or S-300)
1970s Peavey T-60

Amps

1970s ‘silverface’ Fender Princeton Reverb
1970s ‘silverface’ Fender Deluxe Reverb

Effects

1980s BOSS DD-2 Digital Delay
1970s Colorsound/Sola Sound Tonebender (fuzz)
1970s Electro‑Harmonix Bad Stone (phaser)
1970s Electro‑Harmonix Small Clone (chorus)
1970s MXR Micro Chorus

Help needed (x3)

I know my limitations on several fronts. It therefore makes sense to seek outside assistance with a number of up‑and‑coming key tasks. These are NOT New Year resolutions but they are effectively my self‑imposed targets for 2020. All three, however, rely on other people’s expertise.

Task #1 – I would dearly like to make progress with the long‑deferred cellar works. The first step is to understand what may be involved. If that looks promising, I may well finally proceed. I need someone who knows how to ‘tank’ a 90‑year old cellar effectively and to ensure it stays dry, warm and well‑ventilated enough for safe and secure guitar storage.

Task #2 – Routine completion of the repatriation programme should be reasonably straightforward and achievable. In terms of more involved remedial work on a number of instruments, I am looking for a competent luthier/guitar tech, experienced in working on vintage electric guitars, based local to me in south east Cornwall UK, and who would like to work with me on this extra degree of ‘restoration’.

Task #3 – In addition, I would really like to improve my guitar playing. I’m not starting from scratch but I have limited competence and confidence. I am sure I also have a number of bad habits. This means taking up guitar lessons on a one‑to‑one basis, principally for the interaction, as I’ve never got on well with self‑learning books or videos. I have never been formally trained and feel that I could do much better. I would benefit from an additional level of inspiration, technique and knowledge that a tutor could bring.

If there is anyone out there who could either help or knows someone who could help with one, two or all three of the above, please contact me. I shall report back on degree of achievement, if any, during and at the end of 2020.

Major gigs

There will be very few opportunities to see live music in 2020. However, one major concert has been lined up, which I’m really looking forward to:

Rammstein (Cardiff in June 2020)

Hopefully, I might get to participate in the local Looe Live festival in September.

Web Site

Another thing that I really, really must get to grips with is a long overdue major overhaul of the CRAVE Guitars’ web site. The material is there, so it will be a case of expunging the procrastination and get on with it.

Proceed to check out

I really don’t think that there is much more that I can add at this juncture, so it is time to wrap things up for 2019 and the ‘teenies’. Roll on the New Year and hope that the (roaring or whimpering) twenties are an improvement on the last 2 challenging decades.

On a broader front, one has to remain optimistic that humankind will come to its senses and live in sustainable peace, equitable prosperity and cordial harmony. One can dream.

On a practical level, ceteris paribus, I will hopefully get back to the ‘Story of Modern Music…’ next month. In the meantime, it’s back to refurbishing and playing some vintage guitars. Result!

Happy New Year/Decade everyone. Until next time…

CRAVE Guitars ‘Quote of the Month’: “The idea of peace, love and music may not have the power to change the world in the way we might hope but just think about what the world would be like without it.”

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