31 May 2019

May 2019 – The Story of Modern Music in 1,500+ Facts – Part III

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

Introduction

Well, my, my, my… Here we are back again with spring just about to morph into balmy summer. I can’t believe that we are nearly half way through the last year of the 2010s already.

This means that we are now well into this year’s major music project with article number three of, well, who knows how many at the moment. Such a venture needs breaking down into digestible chunks or it would be colossal as just one bite at the proverbial cherry. The source data is immense, yet still only manages to brush the surface of a monumental subject matter. As always, if there are errors or omissions that I should consider including retrospectively, let me know via e‑mail or the web site’s contact form.

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

The Story of Modern Music Part III 1920-1939

This month, we start at the beginning of the ‘Roaring Twenties’ and finish at the end of the ‘Dirty Thirties’ (the latter being a moniker apparently associated with the Dustbowl era rather than something inherently naughty – apologies for that!).

The world had never seen decades like these and hasn’t since. As such, they exhibit polar opposites in human endeavour. These twenty years stand a testimonial to the rapid progress of civilisation while also as a condemnation of the self‑destructive stupidity of the human condition. Hindsight, as ‘they’ say is a wonderful thing, so perhaps we should learn something profound from an examination of our collective past and build a better future for mankind. However, I digress…

This brings us to the format of this article, which follows the same tripartite structure for each 10‑year span as last month. Each decade is given a broad historical context outlining the sorts of global events – good and bad – that occurred, followed by examples of how music genres emerged and changed over the period and, finally, the whole point of this series, some music facts associated with the same years. As a whole, it hopefully provides an interesting insight into what went on. Here we go…

One noticeable trait that comes through strongly this month is the number of births occurring in the 1920s and 1930s of people who would go on to be significant musical icons in the 1950s and thereafter. This means that this month’s ‘facts’ are setting the foundation for future articles, while later ones will see a shift to the other, and rather more mortal, end of their illustrious lifetimes.

Historical Context 1920-1929

The 1920s was a paradigm shift in global affairs. The ‘Roaring Twenties’ and were characterised by post‑WWI optimism, individualism, industrial and economic growth, as well as social, artistic, and cultural dynamism. However, underlying the positivity was an omnipresent political paranoia, fuelled by conspiracy and corruption that stood a portent of the looming storm clouds that were gathering. The rise of radical political doctrines including communism and fascism would ultimately lead to further international conflict. Women were experiencing greater emancipation as a result of the suffragette movement, paving the way for later equalities movements.

Year	Global Events
1920	The United States introduced national legislation to ban the production, transport and sale of alcohol, widely known as the prohibition.
1921	The Irish Revolution led to the partitioning of Ireland into Northern Ireland which is part of the United Kingdom and the South, which is now the Republic of Ireland.
1922	The Union of Soviet Socialist Republics (USSR) was created and existed until c.1991 when the political confederation collapsed. Georgian revolutionary and Soviet politician Joseph Stalin became leader, and later dictator, of the USSR. Danish physicist and philosopher Niels Bohr won the Nobel Prize for his work on atomic structure and quantum theory. Fascist leader Benito Mussolini became Prime Minister in Italy and proceeded to seize power as dictator espousing an ideology of ‘revolutionary nationalism’.
1923	Egyptian pharaoh King Tutankhamun’s tomb was opened by British archaeologist Howard Carter. The first Le Mans 24 Hours Grand Prix of Endurance motor race took place in France. It remains the world’s oldest endurance sports car racing event.
1924	The first international Winter Olympic Games were held in Chamonix, France.
1925	Author Franz Kafka wrote the novel, ‘The Trial’, the same year that F. Scott Fitzgerald wrote ‘The Great Gatsby’. The first successful black & white television transmission was made by Scottish engineer John Logie Baird in the UK, with the first public demonstration the following year.
1926	The first General Strike took place in Britain after the Trades Union Congress (TUC) called for widespread industrial action to support miners who were locked out by owners demanding longer hours for less pay. The famous U.S. Route 66 highway from Chicago, Illinois to Santa Monica, California was opened, with a total length of 2,448 miles (3,940 km).
1927	Aviator Charles Lindburgh made the first solo flight across the Atlantic Ocean in his plane The Spirit of St. Louis. The sprawling epic dystopian science fiction silent film, ‘Metropolis’, directed by Fritz Lang was released. Russian/American singer and actor Al Jolson starred in the first commercial feature length ‘talkie’ film, ‘The Jazz Singer’.
1928	Scottish biologist, Sir Alexander Fleming discovered the anti‑biotic penicillin, which would go on to revolutionise modern medicine. American animator Walt Disney introduced Mickey Mouse to the public in the short film, ‘Steamboat Willie’. Republican politician Herbert Hoover became the 31^st president of the United States of America.
1929	Notorious gangster Al Capone allegedly carried out the brutal Saint Valentine’s Day Massacre of 7 members of the North Side Gang in Lincoln Park, Chicago, Illinois. American astronomer Edwin Hubble demonstrated that the universe is expanding. The Vatican City became an independent and sovereign state located within Rome, Italy. The U.S. Stock Market collapsed, known widely as the Wall Street Crash, precipitating the worldwide Great Depression that lasted until the late 1930s.

Musical Genre Development 1920-1929

Blues and jazz continued to be popular during the 1920s, the latter sparking the ‘jazzmania’ craze. These twin pillars of modern musical culture also began to spawn new genre styles and to influence a diverse range of musical expression. Record, radio and film companies started to search out new artists and music to bring to a wider audience. It was in 1925 that the electrical recording and the 78rpm vinyl record became standard, the same year that television began, thereby opening up a whole new market for musicians.

In the 1920s, two separate musical forms emerged from Louisiana in the deep south of the United States, cajun and zydeco. The Cajuns were French colonists, called Acadians, from North Eastern America (Canada and Nova Scotia) who migrated to Louisiana in the late 18^th Century, bringing with them Cajun musical traditions. The creole were people descended from the inhabitants of French colonial Louisiana and who developed their own distinct musical style called zydeco. Although often regarded as similar, the two forms developed in parallel and have different cultural origins and styles. Cajun music is often played on accordion and fiddle, while zydeco is usually played on accordion and washboard. Both forms became popular outside insular local communities from the late 1920s when early recordings became available. Stylistic origins derived from blues, jazz, spirituals, traditional folk and country music, as well as regional influences from Europe, Africa, indigenous Americans and the Caribbean. Both cajun and zydeco are often used as dance music, including two‑steps and waltzes. Cajun and zydeco, in turn, influenced other forms of American roots music.

From the 1880s, musical theatre such as vaudeville and burlesque were common and very popular. From around 1920, commercial theatrical Broadway musicals originated in New York and London, becoming widespread and attracting big audiences before ‘talkie’ cinema movies began to adopt musical storytelling as a reflection of popular culture. Successful composers of the time included George & Ira Gershwin, Cole Porter and Irving Berlin. Prior to the 1920s most music distribution was by way of sheet music, piano rolls or live performance. It was during the 1920s that recording and distribution of popular music really took off, giving audiences much greater access to a wide range of music. However, the gramophone had strong competition from the proliferation of wireless radio and commercial radio stations during the 1920s, as well as motion pictures. In 1927, the first commercial feature length film to incorporate synchronised music, singing and speech, ‘The Jazz Singer’, starring Al Jolson was released. Broadway musicals reached their zenith in the 1940s with hits such as Oklahoma (1943). The convergence and crossover between Broadway and cinema musicals became a major launch pad for musical dissemination into the 1950s and beyond, including the development of soundtrack compositions for film and, later, television.

Country music was another genre that emerged from the Appalachian Mountain region of southern and eastern America during the 1920s, particularly in Tennessee but also Oklahoma and Texas. The roots of country music came largely from traditional genres such as folk, blues, hillbilly and western music, and was heavily influenced by Irish, English and wider European immigrants to the American east and south. Early popular country music, including cowboy songs, were often regarded as the music of the American rural working classes. Popular establishments for hillbilly music were the rowdy honky‑tonk bars of the period. Country music comprised of song ballads and dances normally constructed from simple arrangements, lyrics that told a story, and vocal harmonies. In addition country music accompaniment was usually provided by an array of acoustic string instruments such as banjos, guitars and fiddles as well as harmonicas and Jews harps. Early pioneers of country music included Jimmie Rodgers and The Carter Family, followed by other famous artists such as Patsy Cline, Jim Reeves, Willie Nelson, Johnny Cash and Dolly Parton. Country music is a massive commercial industry, now largely centred on Nashville, Tennessee. Country music is a diverse musical form of expression and continues to evolve, having seen several resurgences of popularity since its early heyday.

Musical Facts 1920-1929

Bert Weedon

Day	Month	Year	Music Fact
10	May	1920	English guitarist and a guide for millions of fledgling guitarists the world over, Bert Weedon OBE (1920-2012, 91) was born in London.
29	August	1920	Legendary American jazz/bebop saxophonist and composer, Charlie ‘Bird’ Parker Jr. was born in Kansas City, Kansas.
7	June	1921	Virtuoso American jazz guitarist, Tal Farlow (1921-1998, 77) was born in Greensboro, North Carolina.
4	August	1921	Influential and highly renowned American jazz guitarist Herb Ellis (1921-2010, 88) was born in Farmersville, Texas.
7	August	1921	French virtuoso gypsy flamenco guitarist Manitas de Plata (1921-2014, 93) was born in Sète.
3	April	1922	American singer and Hollywood actress Doris Day was born in Cincinnati, Ohio.
22	April	1922	Hugely influential American jazz double bass player and bandleader Charles Mingus was born in Nogales, Arizona.
10	June	1922	Famous American actress, singer and dancer Judy Garland was born in Grand Rapids, Minnesota.
5	January	1923	Legendary American producer and founder of Sun Records, Sam Phillips was born in Florence, Alabama. Phillips signed artists including Elvis Presley, Jerry Lee Lewis, Roy Orbison and Johnny Cash.
6	March	1923	Legendary and hugely influential American jazz guitarist, Wes Montgomery (1923-1968, 45) was born in Indianapolis, Indiana.
25	April	1923	Legendary guitarist and one of the ‘Three ‘Kings’ of blues guitar, the one and only Albert King (1923-1992, 69) was born in Indianola, Mississippi.
29	July	1923	One of the world’s great innovators in modern music, nicknamed ‘The Father Of Loud’, Dr Jim Marshall OBE (1923-2012, 88), founder of Marshall Amplification PLC, was born in London.
17	October	1923	Great American jazz guitarist Barney Kessel (1923-2004, 80) was born in Muskogee, Oklahoma.
27	March	1924	Highly acclaimed Grammy award winning American jazz singer Sarah Vaughan was born in Newark, New Jersey.
18	April	1924	American blues rock guitarist, Clarence ‘Gatemouth’ Brown (1924-2005, 81) was born in Vinton, Louisiana.
20	June	1924	Great American country guitarist and producer who established the Nashville sound, nicknamed ‘The Country Gentleman’ and ‘Mr. Guitar’, Chet Atkins (1924-2001, 77) was born in Luttrell, Tennessee.
6	July	1925	American guitarist, singer and Rock ‘n’ Roll pioneer Bill Haley (1925-1981, 55) was born in Highland Park, Michigan.
15	August	1925	Virtuoso Canadian jazz pianist and composer Oscar Peterson was born in Montreal, Quebec.
6	September	1925	American electric blues guitarist and Hall of Famer, Jimmy Reed (1925-1976, 50) was born in Dunleith, Mississippi.
16	September	1925	Legendary American blues guitarist, singer, songwriter and producer supreme, one of the ‘Three ‘Kings’ of blues guitar, Mr BB King (1925-2015, 89) was born in Itta Bena, Mississippi.
28	November	1925	The famous country music institution, the Grand Ole Opry was founded in Nashville, Tennessee by George D. Hay to promote country music and showcase its history.
8	December	1925	American singer, musician, dancer, actor, vaudevillian and comedian Sammy Davis Jr. was born in Harlem, New York.
2	January	1926	The first edition of the monthly popular music magazine ‘Melody Maker’ was published in the UK, priced at just 3 pence. It ran for over 74 years until 2000.
3	January	1926	English record producer, composer and conductor, Sir George Martin was born in London. He was well known for his pioneering collaboration with The Beatles.
26	April	1926	Hugely influential American blues guitarist J.B. Hutto (1926‑1983, 57) was born in Blackville, South Carolina.
26	May	1926	Legendary and hugely influential American jazz trumpeter and composer, Miles Davis was born in Alton, Illinois.
17	September	1926	American bass guitarist who played with Elvis Presley in the pioneering rock ‘n’ roll years, Bill Black (1926-1965, 39) was born in Memphis, Tennessee.
18	October	1926	Hugely influential pioneering American rock ‘n’ roll guitarist, singer and songwriter, the legendary Chuck Berry (1926‑2016, 90) was born in St. Louis, Missouri.
23	November	1926	Underrated American blues singer, songwriter and guitarist, the inimitable R.L. Burnside (1926-2005, 78) was born in Lafayette County, Mississippi.
10	December	1926	Pioneering New Orleans blues guitarist, Guitar Slim (real name, Eddie Jones, 1926-1959, 32) was born in Greenwood, Mississippi.
28	January	1927	English jazz saxophonist and founder of the famous Ronnie Scott’s Jazz Club situated in Soho, London in 1959, Ronnie Scott OBE was born in Aldgate, London.
–	January	1928	American country guitarist and member of Johnny Cash’s band, the Tennessee Three, Luther Perkins (1928-1968, 40) was born in Como, Mississippi.
19	April	1928	Influential English musician and pioneer of the British blues/R&B scene in the 1960s, Alexis Korner was born in Paris, France.
5	May	1928	One of the main men behind the ‘Man In Black’, American bass player with Johnny Cash’s band, the Tennessee Two, Marshall Grant (1928-2011, 83) was born in Bryson City, North Carolina.
6	August	1928	Famous American pop artist, manager of The Velvet Underground, producer, director and album artwork designer, Andy Warhol was born in Pittsburgh, Pennsylvania.
30	December	1928	Massively influential in the development of modern music, American guitarist, singer and songwriter Bo Diddley (1928-2008, 79) was born in McComb, Mississippi.
13	January	1929	American virtuoso jazz guitarist, Joe Pass (1929-1994, 65) was born in New Brunswick, New Jersey.
10	February	1929	Legendary American film and television music composer and conductor, Jerry Goldsmith was born in Los Angeles, California.
17	April	1929	German composer and big band leader of the James Last Orchestra, James Last was born in Bremen, Germany.
2	May	1929	Highly influential American rock ‘n’ roll guitarist, Link Wray (1929-2005, 76) was born in Dunn, North Carolina.
23	June	1929	American country singer, songwriter, actress, author, member of the famous Carter family and wife of Jonny Cash, June Carter Cash, was born in Maces Spring, Virginia.
19	December	1929	American blues and gospel guitarist, singer and songwriter, Blind Lemon Jefferson died from a reported heart attack in Chicago, Illinois, at the age of 36.

Historical Context 1930-1939

After a period of relative peace during the 1920s, the ‘Dirty Thirties’ followed. The harshness of the global recession set in, resulting in widespread unemployment, hardship, deprivation and poverty. The catalysts for descent of the globe’s major industrialised countries into a second and even more destructive world war had been seeded and, despite progress in other areas of human civilisation such as science, technology and art, the political die was already cast. Expansionist agendas fuelled Fascism in Europe, which coalesced into the rise of the Third Reich in Germany and its Axis power allies, while communism was also on the rise.

Year	Global Events
1930	The first FIFA soccer World Cup was held in Uruguay; the home team beat Argentina in the final.
1931	The Empire State Building opened in Manhattan, New York, reaching 102 stories and 1,250 feet (381m) tall.
1932	English author Aldous Huxley published his famous futurist novel, ‘Brave New World’. American aviator Amelia Earhart became the first woman to fly solo across the Atlantic Ocean.
1933	Democrat Franklin D. Roosevelt was elected 32^ndPresident of the United States of America. After 13 years, the nationwide prohibition of manufacture, transportation, and sale of alcohol in America was ended. In Germany, Adolf Hitler, leader of the Nazi Party became Chancellor and subsequently Führer in 1934, establishing his one‑party dictatorship. Infamous American bank robbers Bonnie Parker and Clyde Barrow were shot and killed after being ambushed by a posse of law enforcement officers in Louisiana.
1934	The worst ever American drought led to severe dust storms that greatly damaged the ecology and agriculture of the American and Canadian prairies, known widely as the Dust Bowl. Alcatraz Federal Penitentiary, an American maximum security prison island located in San Francisco Bay, California, also known as ‘The Rock’, opened its cell doors for the country’s most notorious criminals.
1935	British publishing house Penguin Books was founded and introduced the first inexpensive paperback books.
1936	The massive art deco style Hoover Dam, spanning the Colorado River in Nevada became operational, with a height of 726 feet (221m) and a length of 1,244 feet (379m). British monarch King George V died. His successor, Edward VIII was crowned and soon abdicated, and George VI became King. The bitter Spanish Civil War started after the Spanish army in support of General Franco rebelled against the Republican presidency. The conflict lasted until 1939, resulting in Franco becoming nationalist dictator of Spain until 1975.
1937	The German passenger airship Hindenburg caught fire and was destroyed when attempting to dock with a mooring mast in Lakehurst, New Jersey, killing 36 people. Conservative Party MP Neville Chamberlain was elected British Prime Minister.
1938	Orson Welles’ infamous radio broadcast adapting H.G. Wells’ science fiction novel ‘The War Of The Worlds’ caused mass panic in America. The first comic book appearance of fictional superhero Superman was published by Action Comics.
1939	The classic ‘golden era’ Hollywood films ‘The Wizard of Oz’ and ‘Gone with the Wind’ were released. The first comic book appearance of fictional superhero Batman was published by Detective Comics (DC). The Second World War (WWII) began when Britain and France responded to Germany’s military invasion of Poland. The first successful flight of a jet-propelled aircraft was undertaken by a Heinkel He178, developed for the German Luftwaffe, in Rostock, Germany.

Musical Genre Development 1930-1939

Music of the 1930s was largely characterised by social events such as the Great Depression and the growth in popularity of radio and Hollywood cinema, which began to replace Broadway musical theatre. Established genres such as jazz continued to evolve to reflect changes in social culture, giving birth to swing and big band music. Jump blues music began to appear in the 1930s, adapting the grand swing and big band music for smaller venues, performed by small bands. The 1930s also saw the introduction of the electric guitar, which began to play a part in evolution of popular music of the decade.

Hawaiian music was popular with mainstream audiences in America during the 1930s, even though it had been a major genre in the mid-Pacific since the late 19^th Century. Hawaiian music was important because of its influence on country music, including the introduction of the lap steel guitar, often played horizontally and using a slide. It also helped to shape Polynesian music across the Pacific islands.

Traditional folk music has been an enduring form of musical expression throughout the centuries, in many nations and regions across the globe. Historically, folk music is often regarded as an oral tradition being handed down by word of mouth over many generations. During the 1930s, contemporary folk music, an Anglo‑American acoustic style, experienced a revival, often commenting about social issues including war, work, civil unrest, economic hardship, as well as love songs and non‑topical comedy themes. As the roots of folk music predate many modern musical genres, influences came from all over the world, imported by immigrants to America from Europe and Asia, as well as traditional songs used by African slaves. During the Great Depression in the 1930s, America in particular experienced a booming folk scene. The record industry began to exploit folk songs as an alternative to other popular genres. One of the most significant folk singer/songwriters of the generation was Woody Guthrie, whose work in the 1930s and 1940s was often seen as a protest against rural injustice, and which has influenced many artists since. Other famous artists from the 1940s to the early 1960s included Pete Seeger, Joan Baez and Bob Dylan in America, Donovan, Ralph McTell and Martin Carthy in the UK, as well as Leonard Cohen, Joni Mitchell, and Buffy Sainte-Marie in Canada.

Swing music is a close relative of jazz and has its roots as early as the 1920s, becoming a dominant genre during the 1930s and 1940s, predominantly in urban cities such as Chicago, New York and Kansas City. It is notable because music with a strong ‘swing feel’ became popular dance music, especially in lively clubs that could accommodate swing ensembles. Swing was popularised by big band swing orchestras such as that led by Benny Goodman. Other famous swing artists included Glenn Miller and Tommy Dorsey. The ‘swing era’ lasted for about 10 years from 1935 to 1946, when popularity began to fade during and after World War II. Swing was also hugely influential in popular music with artists like Ella Fitzgerald, Billie Holiday, Nat King Cole and Frank Sinatra. Dance crazes of the swing era included the jitterbug and the shag, which would evolve into dances later associated with genres such as R&B and rock ‘n’ roll. Swing and its derivatives have experienced a number of revivals in subsequent years.

Musical Facts 1930-1939

Day	Month	Year	Music Fact
15	January	1930	American Chicago blues guitarist working either solo or with other artists, Earl Hooker (1930-1970, 40) was born in Quitman County, Mississippi.
17	June	1930	American rock ‘n’ roll guitarist who played with Gene Vincent and His Blue Caps in the 1950s, Cliff Gallup (1930-1988, 58) was born in Norfolk, Virginia.
3	July	1930	Highly regarded, prolific American session guitarist, Tommy Tedesco (1930-1997, 67) was born in Niagara Falls, New York.
30	August	1930	American entrepreneur, musician and innovator of guitar equipment, Ernie Ball (1930-2004, 74) was born in Santa Monica, California.
29	April	1931	Scottish singer, songwriter and guitarist, often referred to as the ‘King of Skiffle’, Lonnie Donegan (1931-2002, 71) was born in Glasgow.
17	September	1931	Record company RCA-Victor first demonstrated the 33¹/₃rpm Long Playing (LP) record. Astoundingly, the vinyl ‘album’ is still going strong, even now.
5	November	1931	Controversial American R&B/soul guitarist, songwriter, producer and rock ‘n’ roll innovator, Ike Turner (1931-2007, 76) was born in Clarksdale, Mississippi.
16	November	1931	Influential American blues guitarist, singer and long-term member of Howlin’ Wolf’s band, Hubert Sumlin (1931-2011, 80) was born in Greenwood, Mississippi.
27	December	1931	Influential rock ‘n’ roll legend, American guitarist Scotty Moore (1931-2016, 84) who played with Elvis Presley in the early days was born in Gadsden, Tennessee.
26	February	1932	The great American country legend that is Mr Johnny Cash (1932-2003, 71) was born in Kingsland, Arkansas.
9	April	1932	Great American singer, songwriter and guitarist, Carl Perkins (1932-1998, 65) was born in Tiptonville, Tennessee.
1	October	1932	Legendary American blues/rock guitarist and singer, ‘the master of the Telecaster’ and ‘the ice man’, Albert Collins (1932-1993, 61) was born in Leona, Texas.
14	March	1933	Multi-award-winning American musician and record producer Quincy Jones was born in Chicago, Illinois.
29	April	1933	Legendary American outlaw country legend, guitarist, singer and songwriter, Willie Nelson was born in Abbott, Texas.
3	May	1933	Legendary American singer, songwriter and producer, often proclaimed as the ‘godfather of soul’, James Brown was born in Barnwell, South Carolina.
15	July	1933	English virtuoso classical guitarist and one of the very best musicians of his generation, Julian Bream was born in London.
3	November	1933	English composer of film and TV scores, including 11 James Bond film soundtracks and numerous theme tunes, John Barry OBE was born in York, Yorkshire.
29	November	1933	Legendary English blues/rock guitarist, singer, songwriter and founder of the Bluesbreakers, John Mayall OBE was born in Macclesfield, Cheshire.
7	February	1934	American blues singer, songwriter and guitarist, Earl King (1934-2003, 69) was born in New Orleans, Louisiana.
28	April	1934	Renowned American delta blues guitarist Charlie Patton died from a heart disorder in Sunflower County, Mississippi at the age of 43.
3	September	1934	Hugely influential American blues guitarist and one of the ‘Three Kings’ of blues guitar, Freddie King (1934-1976, 42) was born in Gilmer, Texas.
21	September	1934	Legendary Canadian guitarist, singer and songwriter, Leonard Cohen (1934-2016, 82) was born in Montreal, Quebec.
1	December	1934	American blues and ragtime guitarist Arthur ‘Blind’ Blake died from tuberculosis in Milwaukee, Wisconsin at the age of 38.
8	January	1935	American singer, guitarist and cultural icon that would become ‘The King’, Elvis Aaron Presley (1935-1977, 42) was born in Tupelo, Mississippi.
3	February	1935	Flamboyant American soul, blues and funk guitarist, singer and songwriter, Johnny ‘Guitar’ Watson (1935-1996, 61) was born in Houston, Texas.
29	April	1935	Influential American Chicago blues guitarist and singer, Otis Rush, (1935-2018, 84) was born in Philadelphia, Mississippi.
6	June	1935	American virtuoso jazz guitarist and composer Grant Green (1935-1979, 43) was born in St Louis, Missouri.
17	October	1935	English dairy farmer and founder of the world famous Glastonbury Music Festival from 1970 to date, Michael Eavis was born in Pilton Somerset.
22	April	1936	Great American singer, songwriter and guitarist, Glen Campbell (1936-2017, 81) was born in Billstown, Arkansas.
30	July	1936	Legendary and highly influential American Chicago Blues guitarist and singer, George ‘Buddy’ Guy was born in Lettsworth, Louisiana.
7	September	1936	Legendary American rock ‘n’ roll star, guitarist, singer and songwriter, Buddy Holly (1936-1959, 22) was born in Lubbock, Texas.
24	October	1936	English bass guitarist, singer, songwriter, producer, former member of rock band The Rolling Stones and bandleader with The Rhythm Kings, Bill Wyman was born in London.
6	April	1937	Acclaimed American country singer, songwriter and guitarist, Merle Haggard (1937-2016, 79) was born in Oildale, California.
4	May	1937	Influential American surf rock guitarist often referred to as ‘the king of the surf guitar’ Dick Dale (1937-2019, 81) was born in Boston, Massachusetts.
15	May	1937	Renowned American guitarist, singer and actor, Trinidad ‘Trini’ Lopez III was born in Dallas, Texas.
15	June	1937	Influential American country guitarist and singer, Waylon Jennings (1937-2002, 64) was born in Littlefield, Texas.
13	January	1938	Australian guitarist, singer, songwriter and co-founder of psychedelic rock bands Soft Machine and Gong, Daevid Allen (1938-2015, 77) was born in Melbourne, Victoria.
25	January	1938	Grammy award-winning artist and Hall of Famer, legendary American songstress, Etta James was born in Los Angeles, California.
26	April	1938	American rock ‘n’ roll guitarist who became famous for his signature ‘twang’ guitar sound, Duane Eddy was born in Corning, New York.
16	August	1938	Legendary American blues guitarist Robert Johnson died in mysterious circumstances in Greenwood, Mississippi at the age of 27. The bizarre mythology surrounding Johnson’s life and demise continues to deepen with time.
3	October	1938	Legendary American singer and guitarist, Eddie Cochran (1938-1960, 21) was born in Albert Lea, Minnesota.
5	December	1938	Highly influential American guitarist, singer and songwriter, J.J. Cale (1938-2013, 74) was born in Oklahoma City, Oklahoma.
18	December	1938	English bass guitarist with The Animals, record producer and manager of both Slade and Jimi Hendrix, Chas Chandler (1938-1996, 57) was born in Newcastle upon Tyne.
2	April	1939	American singer, Motown soul legend and multi-award winning artist, Marvin Gaye was born in Washington DC.
4	April	1939	Incomparable English double bass guitarist who has collaborated with artists like John Martyn and Richard Thompson to great effect, Danny Thompson was born in Teignmouth, Devon.
28	July	1939	American singer and actress, Judy Garland recorded the perennial all‑time‑favourite song, ‘Over The Rainbow’ from the classic feature film, ‘The Wizard Of Oz’.
21	August	1939	Hall of Famer and prolific American guitarist and collaborator extraordinaire, James Burton was born in Dubberly, Louisiana.
23	September	1939	Influential American blues/rock guitarist Roy Buchanan (1939-1988, 48) was born in Ozark, Arkansas.
26	November	1939	American-born Swiss soul/R&B/pop singer, songwriter and actress Tina Turner was born in (where else?) Nutbush, Tennessee.
26	December	1939	Famous but volatile American ‘Wall of Sound’ record producer Phil Spector was born in New York. He is currently serving a 19-year prison sentence in California for the murder of actress Lana Clarkson in 2003.

Tailpiece

Phew! That was a bit of a 20‑year roller coaster. However, this still hasn’t got us to point at which ‘modern music’ arguably really begins, i.e. from the emergence of rock ‘n’ roll and will ultimately bring us up‑to‑date. However, it is a fascinating insight into not only what the rapidly growing global population got up to but also how this was inextricably linked to how music was also progressing. Social culture and music are symbiotically interdependent – culture shapes and stimulates music and music reflects and influences culture. The 20 years covered in this article are therefore fundamental building blocks of the unstoppable development that will lead us to rock ‘n’ roll and beyond. The next article will, hopefully, bridge the gap from the start of WWII to the ground-breaking events that would take place in the 1950s.

Watch this space and make sure you tune in, same time same place next month. I can’t wait… can you? Until next time…

CRAVE Guitars ‘Quote of the Month’: “Don’t try to learn from geniuses how to be a genius. They are unique. Think for yourself and you are a genius, even if no-one else notices. That is also integrity.”

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28 Apr 2019

April 2019 – The Story of Modern Music in 1,500+ Facts – Part II

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

Introduction

Hello and welcome back to the second part of what is turning out to be CRAVE Guitars’ magnum opus for this year. You can revisit Part I by clicking on the link below (it will open in new browser tab):

March 2019: Part I – 1650‑1900

After posting Part I in March 2019, I realised that the intended approach wasn’t going to work as I’d originally intended, especially as the series would progress. The idea for this year was to present each section in two parts, i) a short narrative setting the general historical context through global political, technological and economic events of the time, and ii) the list of music facts covering the same period. That worked well enough for the first article, which briefly covered 250 years (1650 to 1900) as a precursor to ‘modern’ musical times (from 1900 onwards).

Now… after a bit of reflection, this posed a few problems once we get into the 20^th and 21^st Centuries, as the number of facts and the historical context expanded in quantity and complexity. Not only this, there was a noticeable disconnect between the context and the musical facts that seemed to leave a hole in the story. While not a huge problem, I wasn’t happy with the result. The course of events needed something additional not only to make the story more coherent but also to become more interesting.

So, as it’s ‘early doors’ in the project, I decided to revisit the deferred piece of research that I was going to publish this year. This brainwave enabled me to adapt that other idea and to combine it with the historical context and musical facts. It isn’t quite what I was thinking of but I reckon it will work quite well. This extensive new piece of work involved documenting the development of relevant musical genres that took place over the same time period as the rest. This move, however, will negate the original idea I had for 2019. Oh well, never mind.

Unfortunately for me, this presented another issue which was to undertake the background work needed for it to make sense and this was on top of the other elements I was already working on. If that was the end of the story, that would be enough. However, it also meant that the length of each section would then not only become too long but also too ‘chunky’. The answer to that is to split the sections into decades, each comprising three parts – historical context, musical genre developments and music facts. That’s where we are this month.

As music is an art not a science, the approach is, to some extent, necessarily arbitrary. In an attempt to avoid repetition, each genre is only covered in the first period when it became popular. As you might expect, history, genres, artists and time periods are not always neatly organised, so there is often overlap and a degree of ‘fuzziness’ around the edges. I hope, however, that the structure is relatively easy to follow and makes some kind of sense.

As previously mentioned, this is not a detailed, comprehensive academic exercise. It is purely for entertainment and each snippet of information barely scratches the tip of the proverbial iceberg. If you want to know more, I’m afraid you’ll have to go and explore where it takes you for yourself.

Finally, before we get started with this month’s part of musical history, I also have to say that the starting point of the series is from the perspective of the guitar and guitar music. If you are reading this, then you probably already appreciate that anyway, however, it does need to be said. This means that, while other aspects of music are covered, it will have a definite and obvious guitar bias. As the author, that’s my prerogative and I’m not apologising for that. Anyway, I hope you enjoy this part of the story because this is where things begin to get enthralling.

The Story of Modern Music Part II – 1900-1919

Musical Context

This is the new bit of the story added to cement the whole together, so a quick recap is needed.

Popular music of the early 1900s was very different from the predominantly highly structured classical music genres that preceded it. Starting around 1870, the catalyst for the emergent modern styles led to a seemingly miraculous eruption of musical innovation, creativity and experimentation during the 20^th Century that was unlike anything that preceded it and probably unlike anything we will see again, at least in our lifetimes. Blues, jazz, gospel and folk were becoming particularly prominent and relevant in the western world.

In order to appreciate where modern music of the 20^th Century began, we need to take a brief look at the origins that began to appear in the late 19^th Century, even though they were still not necessarily prominent at the turn of the millennium. In these sections it is important to recognise that musical genres did not appear from nothing and neither did they disappear overnight. In addition, many musical genres endured and morphed over decades and many have seen periodical revivals. The categorisation of music into decades for the sake of this article is simply a convenient device to provide a frame of reference within which the ‘facts’ can be readily accommodated. Similarly, genre boundaries and musical styles emanating from particular geographical territories should be seen as fluid and constantly cross‑pollinating, and should not, therefore, be taken as definitive. Where appropriate, relevant notes will be included. Nothing in music, it seems, is simple or straightforward.

1870s

The Blues, or ‘the devil’s music’ is a major musical genre that originated in the Deep South of the United States such as Mississippi, Louisiana and southern Texas from around the 1870s and spread widely across the country changing its style as its popularity increased. Blues really came to prominence at the beginning of the 20^th Century. The basis of the blues came predominantly from African American music and traditional African music, as well as European traditional folk music. The genre can be recognised often by repeating chord progressions and commonly a 12‑bar structure. The word ‘blues’ is largely attributed to melancholy, sad or depressed mental states and is often associated with trials and tribulations of post‑slavery black oppression. The development of the blues included work songs, spiritual songs, chants, and ballads. Around 1902, African American musician WC Handy, often called ‘the father of the blues’, heard blues music being played at a railway station and set about promoting the genre through early recordings. Some of the early practitioners of blues include Charlie Patton, Blind Blake, Blind Lemon Jefferson, Mississippi John Hurt, Son House, Robert Johnson, Big Bill Broonzy and Lead Belly, along with many others. Blues music has been highly influential over the last 150 years and its lasting effects can be found widely in jazz as well as later musical genres such as rhythm & blues, rock ‘n’ roll and rock music. Blues has also spawned many sub‑genres including Delta blues, country blues, Piedmont blues, hill country blues, West Coast blues, electric Chicago blues, Texas blues and blues rock.

1890s

While orchestral music remained popular up to the end of the 19^th Century, a new breed of music was attracting listeners’ attention. Ragtime emanated from the African American communities of urban cities including St. Louis in Missouri around 1895-1897. Ragtime takes the traditional march musical style that had been made popular by John Philip Sousa and was often played by African American bands. Ragtime incorporated ‘ragged’ syncopated rhythms often reminiscent of polyrhythmic African music. Ragtime became a massively popular form of dance music up to around 1919. Ragtime, along with blues music largely influenced and evolved into Jazz from about 1917. Dance crazes inspired by ragtime became popular with contemporary audiences of the time including the shimmy, the turkey trot, the buzzard lope, the chicken scratch, the monkey glide, and the bunny hug. Predominantly white audiences first encountered the new craze at popular vaudeville shows, with artists soon migrating to the music clubs. Scott Joplin, Joseph Lamb and James Scott are known as the ‘big three’ ragtime composers of their time.

Right, now things are back on track, let’s get going with the early part of the 20^th Century.

The 1900s

The 1900s was a decade that heralded not only intense hope for a new millennium but also further leaps of scientific and technological progress.

Historical Context 1900-1909

1900	Work on the famous New York subway from City Hall to the Bronx began.
1901	The first Nobel Prizes are awarded in Stockholm, Sweden in the fields of physics, chemistry, medicine, literature, and peace. The Commonwealth of Australia was created. Hubert Cecil Booth made the world’s first commercial vacuum cleaner. King Gillette and William Nickerson founded the American Safety Razor Company. After 63 years on the throne, British monarch Queen Victoria died and was succeeded by King Edward VII. The first 2000‑mile transatlantic radio message from England to Newfoundland was sent by Italian electrical engineer Guglielmo Marconi.
1902	The Flatiron Building in Manhattan, New York became the world’s tallest at 20 stories and 205 feet tall.
1903	The first powered flight was made by brothers Orville and Wilbur Wright using the first heavier than air powered airplane, the Wright Flyer. American industrialist and founder of the Ford Motor Company, Henry Ford started mass production of motor cars in America. The first baseball World Series was held.
1905	Albert Einstein published his ‘Special Theory of Relativity’ proposing the relationship between space and time.
1906	A massive 7.9 (estimated) magnitude earthquake struck California, killing 3,000 people and destroying 80% of San Francisco. The Britain suffragette movement began, aiming to give women the vote. The first Grand Prix motor race took place at Le Mans in France.
1908	Lord Baden‑Powell founded the Boy Scouts and Girl Guides movement. The headquarters of the Singer Manufacturing Company in Manhattan reached 47 stories and 612 feet tall. The American agency, the FBI (Federal Bureau of Investigation) was formed. Ford introduced the massively popular Model T motor car, which sold for $850.
1909	Explorers Robert Peary and Matthew Henson claim to be the first people to reach the North Pole.

Musical Genre Development 1900-1909

Blues music was beginning to spread from the rural areas of the American Deep South and varieties such as hill blues and country blues reflected the social culture of their regional origins. Church music was also prominent in the American Bible belt, as was Anglo‑American folk music with immigrants influencing home grown styles.

Although classical music began to be overtaken rapidly by more modern forms, opera became particularly popular in the early 20^th Century and sustained interest until about 1960.

Jazz music, often termed ‘America’s classical music’, is another major musical genre starting from around 1900. Early forms of jazz musical expression emerged mainly from the American south and particularly around the city of New Orleans in Louisiana, often referred to as Dixieland. Jazz stemmed from existing blues, ragtime and European military band music, all of which were popular in the late 19^th Century. Musician Buddy Bolden is widely recognised for fusing blues and ragtime to form the basis of jazz. Partly because of these origins, early jazz music was principally performed by African American musicians. Jazz is characterized by ‘swing’ and ‘blue’ notes, call and response patterns, polyrhythmic arrangements and extensive improvisation. Jazz rapidly diversified with forms such as ‘honky‑tonk’, ‘boogie woogie’ and simple jug band music. The main surge in the popularity of jazz music occurred after WWI and particularly from 1920 onwards, known widely as ‘the Jazz Age’. The growth of the jazz craze soon spread to dance halls and speakeasies as well as ubiquitous marching bands. Music and dancing became a significant part of popular jazz culture, including the cakewalk, the black bottom, the Charleston, the lindy hop and the jitterbug. The introduction of recording technology and wireless radio also gave much broader exposure to the exciting new musical genre. Popular jazz artists included Jelly Roll Morton, Louis Armstrong, Bessie Smith and Fats Waller, as well as big band orchestras led by the likes of Duke Ellington, and Count Basie. Jazz rapidly diversified including forms such as Kansas City jazz, gypsy jazz, bebop, cool jazz, free jazz and fusion. Jazz and its many different styles remained hugely popular up to the 1940s and its legacy heavily influenced the proliferation of other musical genres from the early 1950s.

Musical Facts 1901-1909

Day	Month	Year	Music Fact
4	August	1901	Legendary American jazz trumpet player, singer and composer, Louis ‘Satchmo’ Armstrong was born in New Orleans, Louisiana.
21	March	1902	Legendary and influential blues guitarist, singer and songwriter, Son House (1902-1988, 86) was born in Lyon, Mississippi.
9	June	1902	Influential delta blues guitarist and singer Skip James (1902-1969, 67) was born in Bentonia, Mississippi.
10	October	1902	American luthier Orville Gibson founded The Gibson Mandolin-Guitar Manufacturing Co. Ltd in Kalamazoo, Michigan, now better known as manufacturer of Gibson guitars.
26	June	1903	American blues singer, songwriter and guitarist, Big Bill Broonzy (1903-1958, 65) was born in Jefferson County, Arkansas.
1	March	1904	American big-band trombone player, arranger, composer, and bandleader Glenn Miller was born in Clarinda, Iowa.
21	August	1904	American jazz pianist, organist, bandleader, and composer Count Basie was born in Red Bank, New Jersey.
19	November	1905	American jazz trombone player, composer, conductor and bandleader, the ‘Sentimental Gentleman of Swing’ Tommy Dorsey was born in Shenandoah, Pennsylvania.
12	January	1906	American country blues singer and guitarist Mississippi Fred McDowell (1906-1972, 66) was born in Rossville, Tennessee.
12	November	1906	American delta blues guitarist and singer Booker T. Washington ‘Bukka’ White (1906 or 1909-1977, 67 or 70) was born between Aberdeen and Houston, Mississippi.
2	December	1906	The inventor of the long playing microgroove record (a.k.a. the LP) for Columbia Records, Peter Carl Goldmark was born in Budapest, Hungary.
29	September	1907	American guitarist, singer, songwriter, actor, rodeo performer and businessman, ‘the singing cowboy’ Gene Autry (1907-1998, 91) was born in Tioga, Texas
26	January	1908	Amazing French virtuoso jazz violinist, known as ‘the grandfather of jazz violinists’ Stéphane Grappelli was born in Paris.
30	May	1909	American jazz clarinet player and bandleader, the ‘King of Swing’, Benny Goodman was born in Chicago, Illinois.
10	August	1909	One of the most significant figures in guitar music history and business, Clarence Leonidas ‘Leo’ Fender (1909-1991, 81) was born in Anaheim, California.
10	October	1909	American businessman, president of guitar manufacturer Gibson and mentor to luthier Paul Reed Smith, the formidable Theodore ‘Ted’ McCarty (1909-2002, 91) was born in Somerset, Kentucky.

The 1910s

The 1910s was a tumultuous decade and one that would leave the world on a watershed, with positive and negative implications for the ones that would follow.

Historical Context 1910-1919

1911	Norwegian explorer, Roald Amundsen became the first person to reach the South Pole. The Chinese Revolution led to the formation of the republic of China. The first Indianapolis 500 motor race took place at Indianapolis Motor Speedway in Indiana.
1912	The so‑called unsinkable ocean liner, the RMS Titanic sank on its maiden transatlantic voyage from Southampton to New York after striking an iceberg, killing over 1,500 passengers and crew.
1913	The first crossword puzzle was published in a Sunday newspaper, the New York World.
1914	The Panama Canal in Central America opened, connecting the Atlantic and Pacific Oceans. The First World War (WWI) started between Germany/Austria and Britain/France/Russia, which lasted until 1918.
1915	A German torpedo sank the British ocean liner Lusitania off the Irish coast, killing nearly 1,200 people.
1916	Albert Einstein published his ‘General Theory of Relativity’ proposing a unified description of gravitation as a geometric property of space and time.
1917	The Russian Bolshevik Revolution took place, led by Vladimir Lenin and Leon Trotsky. America joined WWI on the side of the Allies.
1918	The British Royal Air Force was founded. Women over the age of 30 were given the vote in Britain. A deadly influenza pandemic infected c.500 million people around the world and resulted in the deaths of 50 to 100 million, equivalent to 3-5% of the global population. The armistice between the Allies and Germany ended WWI. Approximately 17 million people were killed during the conflict.
1919	The infamous Chicago Black Sox baseball match fixing scandal, when 8 members of the White Sox were accused of intentionally losing the World Series to Cincinnati for money from a gambling syndicate. The Grand Canyon National Park in Arizona was created. After WWI, the League of Nations was established, intended to ensure world peace, lasting until it was abandoned in 1946.

Musical Genre Development 1910-1919

By 1910, blues music was migrating into urban areas and would have a major influence on all forms of music. Jazz particularly New Orleans Jazz maintained its popularity during the 1910s. Religion was of great solace to the oppressed black communities of southern USA and unaccompanied singing of spirituals grew in popularity, eventually morphing into gospel by the 1930s. Social development in America and particularly Europe during the 1910s was heavily impacted by World War I. In the absence of technological music distribution, the ‘new’ music from the previous decade continued to spread and it maintained its influence during the 1910s. As a consequence, no major genre styles appeared before the boom period of the post‑war ‘roaring twenties’. Recordings of Afro‑Caribbean calypso music began to appear in the 1910s, which proved not only popular but also influential.

Musical Facts 1910-1919

Day	Month	Year	Music Fact
23	January	1910	Belgian/French virtuoso gypsy jazz guitarist, Django Reinhardt (1910-1953, 43) was born in Liberchies, Pont‑à‑Celles, Belgium.
28	May	1910	Influential American blues guitarist, singer and songwriter T-Bone Walker (1910-1975, 64) was born in Linden, Texas.
10	June	1910	Legendary blues American guitarist and singer Howlin’ Wolf (real name, Chester Burnett) (1910-1976, 65) was born in White Station, Mississippi.
8	May	1911	Legendary American blues guitarist, singer and songwriter, Robert Johnson (1911-1938, 27) was born in Hazlehurst, Mississippi.
5	November	1911	American singer, guitarist and popular Western film actor, known as the ‘King of the Cowboys’ Roy Rogers (1911‑1998, 86) was born in Cincinnati, Ohio.
15	March	1912	American country blues singer, songwriter and guitar legend, Sam ‘Lightnin’ Hopkins (may be 1911 or 1912‑1982, 69) was born in Centreville, Texas.
14	July	1912	Legendary and influential American folk singer, songwriter and guitarist, Woody Guthrie (1912‑1967, 55) was born in Okemah, Oklahoma.
4	April	1913	Legendary American Chicago blues guitarist, Muddy Waters a.k.a. McKinley Morganfield, (1913-1983, 70) was born in Issaquena County, Mississippi.
7	August	1913	American pioneer of the 7-string jazz guitar, long before its current popularity in modern rock music, George Van Eps (1913-1998, 85) was born in Plainfield, New Jersey.
22	November	1913	Famous English classical composer, conductor and pianist Benjamin Britten was born in Lowestoft, Suffolk.
20	March	1915	Influential American gospel singer, songwriter and guitarist, Sister Rosetta Tharpe (1915-1973, 58) was born in Cotton Plant, Arkansas.
7	April	1915	Legendary American singer Billie Holiday was born in Philadelphia, Pennsylvania, She is widely recognised as one of the greatest jazz singers of all time.
9	June	1915	True American guitar legend and musical innovator, the incomparable Les Paul, a.k.a. Lester William Polsfuss (1915-2009, 84) was born in Waukesha, Wisconsin.
1	July	1915	Influential American blues singer, songwriter, upright bass player and guitarist, Willie Dixon (1915-1992, 75) was born in Vicksburg, Mississippi.
29	July	1916	Highly influential American jazz guitarist, Charlie Christian (1916-1942, 25) was born in Bonham, Texas.
12	March	1917	American record producer and co-founder of Chess Records in Chicago, famous for pioneering blues and rock ‘n’ roll artists, Leonard Chess was born in Motal, Poland.
7	June	1917	American singer, actor, comedian, and producer Dean Martin was born in Steubenville, Ohio.
22	August	1917	Massively influential American blues guitarist, singer and songwriter, an all-time great music man, John Lee Hooker (1917-2001, 83) was born in Tutwiler, Tallahatchie County, Mississippi.
30	September	1917	Legendary American jazz drummer and band leader Buddy Rich was born in Brooklyn, New York.
21	October	1917	American jazz trumpeter, bandleader, composer, and singer Dizzie Gillespie was born in Cheraw, South Carolina.
17	November	1917	Influential American country singer, songwriter and guitarist, Merle Travis (1917-1983, 65) was born in Rosewood, Kentucky.
27	January	1918	American blues guitarist, the ‘king of the slide guitar’, Elmore James (1918-1963, 45) was born in Richland, Mississippi.
25	April	1918	Renowned American jazz singer, known as the ‘First Lady of Song’ and the ‘Queen of Jazz’, Ella Fitzgerald was born in Newport News, Virginia.
19	August	1918	Pioneering American luthier, Orville H. Gibson, founder of Gibson guitars, died in a New York hospital at the age of 62.

Tailpiece

OK, there you have it for this month’s article and we’ve only covered two decades! But, what influential decades they were. Things are just starting to hot up and there is still plenty to look forward to over coming months. Music and world events begin to get even more complicated and quite exciting from here on in. I’m not sure how many months this series will last, so we’ll just have to take things as they come.

In the background, the repatriation project is ongoing at an intentionally slow pace with about 3‑4 guitars a month attracting some much deserved tender loving care and attention. Also, the ‘most wanted’ vintage gear hunt is still underway but with no desperate urgency, as there is plenty else to be getting on with. Also, the postponed and much‑needed cellar renovation (i.e. future guitar accommodation) may begin to get underway by mid‑year. So, lots of fun and games to be had if at all possible. Until next time…

CRAVE Guitars ‘Quote of the Month’: “Intelligence is not about what you know or how much you know but about having the curiosity to ask ‘why?’”

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28 Feb 2019

February 2019 – A General Update

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

Hello again guitar fans and welcome to anyone else who may be curious about the big wide world of guitar addiction and obsession. As the great Jimi Hendrix once proclaimed, “Music is a safe kind of high”, so I’m happy to admit my perennial affliction. I trust that 2019 is treating you all well as we begin the move from dreary winter into nascent springtime.

I don’t have any particular theme for this month, so apologies in advance are probably due for what seems to be a generally incoherent rambling round up of various bits and pieces thrown together. One beneficial consequence is that this is a shorter tome than some.

State of Guitarville 2019

In the grand scheme of things, the guitar‑centric sector of the wider music industry is a relatively small but vibrant arena. While the general shrinking and decline of the ‘business’ continues well into the post‑recession era, the core elements seem in fairly good health overall. There is cautious optimism out there within the context of an unpredictable and challenging operating environment. There has been some progress since this time last year but not as much as many commentators might have wished.

Even though I wasn’t at the event, Winter NAMM 2019 held at the end of January in Anaheim, California saw a lot of activity and relatively good business was done. There were few ground‑shaking announcements at the convention but there was the usual excitement about shiny new gear from established brands. It was reassuring to see Gibson back at NAMM after their absence in 2018 and their new CEO is making all the right noises about what to expect from the company. Let’s hope that good intentions translate into achieving the right balance between quality and price, along with appropriate innovations alongside traditional instrument manufacturing. It is interesting that some of the more contentious technologies that were being used to reposition Gibson as a lifestyle company are now likely to be jettisoned in order to re‑establish confidence about, and a focus on, what really matters to their customers.

It is hardly a surprise that digital continues to make significant inroads into the analogue domain that has been the bedrock for so many generations of musicians across the globe. With the influx of ever more convincing digital inventions, one really does have to wonder how long analogue will remain the force it has been up to now. At some point, even the most hardened of luddites will be lured to make the jump either by the metaphorical lure of the carrot or the fear of the stick. There is still some way to go before all the components in a guitarist’s signal chain provide everything that the working professional musician needs for writing, rehearsal, live and recording settings.

The advantage for CRAVE Guitars and many other vintage enthusiasts is that we generally don’t need to worry about learning the operational demands and subtleties of this new‑fangled complex digital stuff and we can stick with what worked for us when we started out, complete with all its charming analogue idiosyncrasies (?!?!). One day, soon, digital will be the default and vintage gear will become a bit like vinyl records in there will be a market for it, even if it ultimately becomes a niche for nerdy specialists. For up‑and‑coming musicians who may not know any different, though, the current‑day smorgasbord of choice is phenomenal and, although the value‑for‑money equation on some equipment can be debated, the benefits are there to be discovered and exploited.

My sense, at the beginning of 2019 is that there is a degree of consolidation in design, manufacturing, marketing and distribution. The on‑going battleground between ‘brick & mortar’ retail and Internet business is still bitterly being fought out. At some point, an equilibrium will be reached where both channels will co‑exist, even if it means that the retail experience will be different from how it is now. Many consumers still greatly value going into a physical store, looking at, trying out and talking about equipment, so they will endure, even if those establishments have to offer other value‑added services on top of the traditional mainstay of shop floor sales. Companies that rely heavily on Internet operations will find overheads increasing, margins tightening and profitability harder to come by, thereby impacting sustainability and beginning to level the playing field a bit.

As far as guitars are concerned, as mentioned above, Gibson is poised for resurgence and Fender seem to be on their game and producing some very competent and attractive models at all price points. PRS are on a creative stretch of their own and doing OK judging by headlines. Gretsch, Rickenbacker and Danelectro also seem to be faring well, perhaps needing a bit of additional cool vibe to secure their future. Rejuvenated brands like Supro and Harmony are aiming to join the ranks as ‘go to’ guitars, while many other familiar names are managing to stay afloat. Acoustically, Martin and Taylor are both actively vying for top dog status with new innovations, which ultimately means some great guitars for the consumer. The last 12 months has seen some small‑scale luthiers go under or simply disappear, which is regrettable but, sadly, not surprising given the volatile international economics of the industry.

In the amp arena, there are three major directions of travel; a) the relentless digital onslaught from the likes of Fractal, Kemper and Line6 among others, b) ranges of very good valve and solid amps from the mainstream names such as Fender, Marshall, Vox, Orange and others, including some faithful reissues of classic models, and c) the continued rise of boutique builders catering for individual tastes in small numbers. We guitarists are, though, a conservative breed. It seems that the valve is dead, long live the valve!

One area where digital is revolutionising sound is on the pedalboard, which is a current ‘big thing’. There are some astoundingly inventive ways of mangling your guitar tone, both in variations of established FX types and some intriguing all‑new creations that take advantage of digital technology. Some exciting products are appearing from the likes of Catalinbread, Strymon, Eventide, Fulltone, Thorpy, Keeley, Electro‑Harmonix and Wampler, to name just a few. If you prefer multi‑effect pedals, then you are likely to have stalwarts like Line6, Boss and Zoom in your sights. Then there are pedalboard switching systems to help you organise your complex myriad of stompers, e.g. the Gig Rig 2 and Headrush. Likewise, the ever‑improving pedalboard power supplies derive from companies such as Truetone, Voodoo Labs and MXR. Looking from the outside, there are some tremendous bits of alluring kit becoming available, way beyond the vision of manufacturers and musicians back in the 20^th Century when digital was just starting out. Whatever your budget, the choice, it seems, is yours.

Music publications across the board, including the trade press, are still suffering a seemingly unstoppable shrinkage of their market. Sales of paper magazines continue to dwindle and digital subscriptions are not filling the gap. As a result, high street transactions along with the advertising revenue streams they need to survive are decreasing. As the absolute size of the readership reduces, the risk of becoming uneconomic goes up disproportionately. Strategically, there are few options available and quite what will remain once an inevitable shake‑out occurs remains to be seen. The consequence of this is that the quality of content is likely to suffer in the long term. Music industry journalism needs to adapt, although there are major challenges ahead as people find alternative ways of acquiring the information they need (or, perhaps more worryingly, not bothering at all). Although referring to something slightly different, one is reminded of a whimsical quote from Frank Zappa who suggested that, “Most rock journalism is people who can’t write interviewing people who can’t talk for people who can’t read.” Discuss…

Another area of stagnancy appears to be in the quality of music pervading distribution channels. Video/TV, radio and physical media sales are stagnant at best, while digital streaming is becoming the dominant force. This re‑jigging of supply channels, though, isn’t the issue. Although a sweeping generalisation, it seems that since the turn of the millennium music output has increased in volume and decreased in quality. While this is a highly subjective observation, it is borne out by (vaguely) reliable anecdote across generational divides. There is no doubt that there is some extremely good music being made. However, finding the glittering gems amongst the deluge of dross is difficult and, as a result, the good stuff is constantly battling to reach a mass market, thereby making success a tough task for genuine aspiring talent (rather than vacuous celebrity wannabees!). Financial rewards for artists from streaming services is a travesty and needs addressing before it’s too late. Quite how the tide can be turned to reveal new genre twists and identify the next swathe of outstanding musicians will be a challenge for the 2020s. One can hope that something will happen, as it has always has, it just remains to be seen who, what, when and where it will pop up. Another consequence of generic music produced by generic people is that the desire for genuine instruments will decrease, thereby ultimately affecting sales of guitars.

Getting back to the point, core consumer demand for music gear continues to be resilient, although customers are understandably more discerning and, as a result, potentially more fickle. Reliance on past sales and brand loyalty are continually being chipped away at by targeted marketing and tough rivalry. However, strong competition and the downward pressure on street prices can prove to be a double‑edged sword for price sensitive customers. On the whole, one thing I can easily predict is that the popularity of the guitar will persist no matter what, despite regular prognoses that ‘guitar music is dead’. Quite what the musical landscape will be like in years to come is best left for others to forecast. Whatever happens, it’s going to be an exciting time in Guitarville.

As CRAVE Guitars is based in the UK, it is incumbent on me to mention ‘Brexit’ at this point. There are NO scenarios where leaving the European Union can benefit the country or its citizens. Prices are already increasing, not only because of increased costs and perceptions of risk but also as a result of exploitative selling practices by the unscrupulous trying to secure and bank revenue before the catastrophe strikes. Things are bad enough as they are (remember ‘Rip off Britain’?) and we don’t need any further unnecessary pecuniary pressures. After the severance has occurred and whatever the outcome is of the disastrous ‘deal or no deal’ shenanigans, import barriers, tariffs and currency speculation will affect Britain’s international trade relationships without question. The risk of further recession and national isolation rank high on the concerns of many British businesses. Given the fragile nature of the UK music industry, any weaknesses and threats will be heightened and only those that are able to adapt will survive. Hypocritical UK politicians, pedalling their own prejudices while protecting their personal interests should be ashamed of the damage that will result in the short‑term and aftershocks will continue to impact on the prosperity of the country for generations to come. What is regrettable is that there will be recourse to hold the inept self‑seeking minority accountable for engineering this chaos in the first place and having no idea about how to deliver it successfully. On this basis, I am not optimistic in the slightest. I hope, however, that I am proved wrong. Personally, my view is that there can be no backtracking and we need to get on with making the most of a bad situation. End of whinge!

Repatriation Update

I covered the long‑overdue reunion of a significant proportion of CRAVE Guitars’ vintage instruments in the last article. What I didn’t do is say much about what actually came back. So… if only for completeness, here is the full list of the (42) returnees:

1966 Epiphone Olympic
1966 Fender Coronado II
1965 Fender Duo-Sonic II
1965 Fender Jaguar
1965 Fender Jazzmaster
1965 Fender Musicmaster II
1966 Fender Mustang
1972 Fender Mustang Competition
1977 Fender Precision Fretless Bass
1977 Fender Stratocaster
1983 Fender Stratocaster Dan Smith Era
1972 Fender Telecaster Thinline
1973 Fender Telecaster Deluxe
1974 Fender Telecaster Custom
1988 Fender Telecaster
1983 Gibson Corvus II
1963 Gibson ES-330 TDC
1985 Gibson ES-335 Dot
1982 Gibson Explorer E2
1983 Gibson Explorer
1984 Gibson Explorer
1984 Gibson Explorer Custom Shop Edition
1984 Gibson Explorer ‘Union Jack’ Graphic
1966 Gibson Firebird III
1976 Gibson Firebird Bicentennial
1980 Gibson Flying V2
1975 Gibson Les Paul Standard
1977 Gibson Les Paul Deluxe Gold Top
1989 Gibson Les Paul Custom
1998 Gibson Les Paul Standard DC
2002 Gibson Les Paul Standard
1961 Gibson Melody Maker D
1964 Gibson Melody Maker
1982 Gibson Moderne Korina Heritage
1981 Gibson RD Artist
1965 Gibson SG Junior
1968 Gibson SG Standard
1962 Gretsch 6120 Chet Atkins Double Cutaway Hollowbody
1965 Gretsch 6135 Corvette
1978 Music Man Stingray Bass
1974 Rickenbacker 480
1964 Silvertone 1449 ‘Amp in Case’

Some of the guitars have only been ‘stored’ for a short period of time but many have been incarcerated for nearly 8 years!!! It is these ‘long‑termers’ to which I will probably need to pay most attention in the coming weeks and months. While they were safe and secure, a domestic loft space is definitely not an ideal environment in which to keep vintage guitars for any length of time. The fluctuations in temperature and relative humidity over an extended period are far too great to do them any good at all. Given the circumstances at the time (back in 2011), it was a necessary urgent solution borne out of a severe predicament and I had no practical alternative. I never anticipated that it would take over 7 years to get them all back – I was clearly naïvely deluded in thinking that it would take ‘about’ 6 months at the most to sort things out! Essentially, completely rebuilding one’s entire life from scratch took considerably longer and it has been an extremely arduous journey. Still, we are where we are, none of us can turn the clock back, so one has to be positive, forward looking and take it from here. At least the precious cargo has been rescued and they are now finally back where they belong and, primarily, that is what really matters.

At the moment, the only tangible evidence of the little treasure trove listed above is several stacks of dusty guitar cases. Excitement about the potential is also tinged with an element of guarded apprehension about what will be found when the contents are properly ‘exhumed’ and examined for need of repair and sensitive renovation. If at all possible, any replacement parts needed during restoration will be of the appropriate vintage. That presents a major quandary in 2019-2020. For instance, finding and procuring period‑correct components will be both time consuming and costly. While one could be practical and use modern replacement parts, I prefer to conserve these precious historically significant instruments with genuine components that are as close as possible to the originals as I can find (and afford). Only if that approach fails will I resort to pragmatic use of new stock items. Back in the pre‑recession boom, there was little difficulty in sourcing these useful bits and pieces. Now, however, it has become considerably more difficult.

Not only are vintage spare parts and accessories hard enough to find on the usual hinterwebby platforms, decent vintage guitars and amps also seem to be increasingly scarce, at least in the UK. I’m not sure why this should be. Perhaps people are hanging onto their instruments, perhaps there’s a mistrust/dislike of the usual web sites and the way they are run, or perhaps the post‑recession/pre‑Brexit uncertainty is still suppressing supply. The laws of economics dictate that continued demand combined with a shortage of (finite) supply means only one thing… increased prices. Wading through eBay is bad enough at the best of times but UK sourcing is particularly hard work at the moment. Disadvantageous exchange rates with the USA now seem to be a permanent fixture and, on top of that, CITES is a real bane. In addition, eBay searches are flooded with Japanese items that you just know are bogus. All round it’s not much as much fun as it should be when hunting down scarce ‘most wanted’ artefacts.

I am not treating the repatriation project with any sort of hysterical urgency. The guitars have been exiled for so long that a few more weeks in their new home before I get round to them won’t do any harm. In the first month, I have only attended to 2 out of 42 guitars (1964 Gibson Melody Maker and 1966 Fender Coronado) and I have to be cautiously optimistic that there is no lasting compromise to their integrity. Phew! I hope I don’t get any nasty surprises lurking in the remaining 40 to be uncovered.

Vintage guitars really need to be played. That may be ‘stating the bleeding obvious’ but the difference after a bit of TLC and playing for a few days is phenomenal. There is a transformational change in their playability, sound, feel and looks. I wonder if this may be one reason why some people pick up a (possibly neglected) vintage guitar and find it dull, lifeless and uninspiring. When they magically come back to life again, it is both a relief and a delight. The journey of rediscovering these instruments may well explain why I’m taking my time and not getting very far very quickly. Well, that and the fact that there isn’t a local guitar tech on whom I can rely when more extensive remedial works are required. I know my limitations and any attempt on my part to mess around with repairs and adjustments that are best left to experts would almost certainly be a regrettable mistake.

Another interesting observation is that, while I wasn’t overly attached to some of the guitars all that time ago – a proportion were originally intended to become the staple of a start‑up business – I have now developed an emotional connection to them because of everything I and they have been through over the intervening years. That may be a good thing because I now value them more for what they are than what they may be worth. Also, I simply wouldn’t be able to afford many of them on today’s market, so I’m just glad to have them now. However, it means that I may well have a struggle with my conscience if CRAVE Guitars does become an economic entity and I have to break those newfound relationships. Until that time, the guitar ‘collection’ is an integral part of the family and they are definitely not for sale in the short to medium‑term. My philosophy and attitude mean that the guitars still represent a not‑for‑profit conservation of the musical heritage, rather than any sort of potential gold mine.

As previously mentioned, a pressing priority over the next few months is to provide them with proper accommodation. This means that I need a competent builder to ‘tank’ the cellar and make a suitable home for the guitars. After that, I can possibly start thinking positively about what the future of CRAVE Guitars might one day become. One step at a time.

New in at CRAVE Guitars

So that I don’t fall into the same trap as last year, here’s a quick ‘new arrival’ section. As I predicted back in December 2018, things got off to a slow start this year. In fact, there has been only one purchase in the first 2 months of 2019. Surprisingly, it was an item that was actually on the ‘wanted in 2019’ shortlist.

CRAVE Effects is a relatively modest side venture that runs alongside the guitars and amps. The Cool & Rare American Vintage Electric’ acronym doesn’t actually work 100% in this context because CRAVE Effects comprises a diverse selection of stomp boxes from around the world. Whatevs! I can break my own rules.

One of the ‘classic’ effect pedals that was notably absent was the venerable Ibanez TS‑808 Tube Screamer Overdrive Pro from Japan. This was partly because availability of both the right pedal and the resources needed to acquire it were in short supply. Good ones are few and far between and, when they do come up, they go for silly money. So when an original 1981 TS‑808 turned up on eBay UK for an aforementioned silly price, but arguably not exorbitantly so, it had to be pounced upon. Thus, the notable gap has at long last been duly filled. To think that I could have added another ‘budget’ vintage guitar for the same price as the Tube Screamer puts things into perspective.

As is often the case with vintage Tube Screamers, this example shows typical signs of use (good) but not abuse (bad), so it has just the right amount of mojo, otherwise known as ‘wear and tear’, needed to be confident that it was a safe purchase. Thankfully, apart from a replacement battery snap, it is in all‑original condition and it works very well indeed for a 38‑year old pedal, which is testament to their durability.

As anyone acquainted with my opinionated drivel (or should that be overdrivel in this case?) will know, my heretical views don’t always accord with those of the self‑appointed ‘establishment’. The original TS‑808 is good but I don’t believe it really deserves its insanely elevated and almost mythological status in the minds of many guitarists. Like numerous effects from the late 1970s and early 1980s, it can sound great or grim depending on how it’s used. It is player, guitar, effect and amp dependent, so it needs to be carefully matched in order to make it sound its best. Although new TS‑808 and TS9 reissues are not the same as the old ones, they are still very good overdrive effects. Therein lies a fundamental truth that applies equally for any stomp box made at any time – you pays your money and make your choice. Regardless of my biased view, the much‑imitated and often re‑issued Tube Screamer has become the de facto benchmark for overdrive pedals and there is no getting away from it.

The web site feature on the TS‑808 has already been prepared but, like most gear purchases over the last year, it hasn’t yet been published on the web site. Sigh! Yet another job waiting in the pipeline. Watch this space…

Sign‑off

That’s about it for February 2019. This has been a necessarily short soliloquy compared to many of my verbose outpourings. Inspiration, motivation and time have been in limited supply so far this year and articulating much of any interest at all has been a bit like hard work. Therefore, there is no point in proverbially flagellating a deceased dobbin and it is probably best to stop here for now.

That means that I can get back to the immediate task in hand, which is looking after a few vintage guitars and, hopefully, playing some of them along the way. I’m sure there will be more on this particular topic in coming months. Until next time…

CRAVE Guitars ‘Quote of the Month’: “Conscience dictates that we understand right from wrong. Imagine what mankind might achieve if we could work together rather than conflict, and what good could be done if we stopped the immense and irreparable harm we cause.”

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30 Jan 2019

January 2019 – Old and New In at CRAVE Guitars

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

Intro

Well, here we are at the beginning of 2019. Wonders will never cease. We made it to the start of a new year in the history of the universe, as measured by mankind. For what it’s worth, it feels just like the universe did a human month ago but, heh, what do I know what’s been happening in the infinity of existence we call home since I last put finger to keyboard in the quest for guitar nirvana?

At the beginning of a new year, I would normally pontificate over a ‘state of the village’ observation covering what’s going on out there in guitar land. Not this year, at least not yet. I will mention that, Gibson now has a new President and CEO in James ‘JC’ Curleigh and the company was at winter NAMM in January 2019, so that’s a positive start. Here in the UK, Brexit is about to throw the country into further turmoil and mayhem that can do absolutely no good for the British music industry which is already very fragile after more than a decade of recessionary pressures. What a pathetic mess. Anyhoo… to preserve my vulnerable sanity I’m not going to expound on that any further and it’s time to get down to this month’s business‑as‑usual…

I mentioned in my end‑of‑year roundup in December 2018 that there had been a few acquisitions during the year. I also commented that the CRAVE Guitars web site hadn’t been updated for ages and things were mightily out‑of‑date. Therefore, this month, it seems time to start putting things right. Before I start, I would normally add links to the relevant web site features for the ‘new in’ gear. However, this article has been prepared ahead of publishing the features, so there is currently nothing to link to. Ggrrr. As soon as the features are in place (heck, I took the photos and wrote the narratives months ago, so no excuses!), I’ll add the links in here where they should be.

The Guitars (listed in order of acquisition)

1988 PRS Standard – First to arrive, way back in February 2018 was a stunning 1988 PRS Standard. I had been mulling over the idea of trying to get hold of an early PRS without breaking (into) the bank. I had actually been looking at a fetching early PRS CE in metallic Electric Blue when this pretty baby came to find me, purely by chance. She was local too, so no hassles over importation, couriers and all the risks that go with it.

While many punters might go for the flashy PRS Custom with figured maple cap and fancy bird fretboard inlays, I was really taken with the lovely grain of the all‑mahogany body and the understated but very attractive moon neck inlays. More importantly, it was relatively affordable compared to its more flamboyant relative (the Custom). OK, so it doesn’t have the collector‑requisites of an original case or the case candy but that made owning one achievable. More importantly, it is a very good guitar indeed with 24‑fret Brazilian rosewood fingerboard (pre‑CITES regulations and before PRS voluntarily stopped using it other than on their top‑end models). Everything that is significant, i.e. the guitar itself, is just as it should be and she plays and sounds terrific. She is also in remarkably good condition too, having been used but very well looked after. Result!

PRS guitars was founded by luthier and musician Paul Reed Smith in 1985 and this is one of the early guitars delivered from the original factory in Maryland and before PRS introduced CNC manufacturing. It may not be one of the pre‑company hand‑made instruments but they are very scarce and scarily expensive. While 1988 is modern for CRAVE Guitars, it was still early days for the fledgling PRS. I am very happy with this lovely piece of guitar history, now aging very gracefully at a mere 31 years old.

1988 PRS Standard

1978 Fender Musicmaster – Second to arrive in August 2018 was a cute little 1978 Fender Musicmaster. While this may not be everyone’s first choice as a vintage collectable, it appeared on my radar while looking for a different Fender offset (see below). The reason that this one appealed was simply that the CRAVE Guitars’ family already has Musicmasters from 1959 and 1965, so it was about adding a late example from a different decade.

By the late 1970s, the Musicmaster, like many other budget ‘Made in U.S.A.’ Fenders, was really pared down to its basics. However, it is still a very cool guitar and compares favourably to, although different from, the same model from previous decades. Presented in simple black and white, it represents a degree of purity of purpose that other, more familiar, ‘classics’ don’t exude. The covered single coil neck pickup is the same as the other ‘student’ models and has that funky sound that is characteristic of the ‘baby’ Fender lines. Good guitars from the late 1970s and early 1980s are still relatively affordable but I predict that won’t be the case for long.

All in all, I think she deserves her pride of place in the CRAVE Guitars’ clan and is a great guitar to pick up and play without having to think too much about the controls, meaning one can focus on playing. Regular readers will know that I have a thing for simple, single pickup guitars and also underrated, underdog guitars, so this modest 1978 Musicmaster scores on several fronts.

1978 Fender Musicmaster

1989 Gibson Les Paul Standard – August 2018 was a busy (-ish) time for buying. Third to arrive was a very pleasing wine red 1989 Gibson Les Paul Standard. It may seem strange to go for such a relatively ‘modern’ guitar at just 30 years old this year and right at the upper end of CRAVE Guitars’ criteria for age (pre‑1990). So what was the story here? Well… there are three reasons. The first is that one of the first ‘proper’ guitars I played was a 1970s wine red Les Paul Custom and I’ve wanted one in that gorgeous colour ever since, taking me c.40 years to achieve! The second was pure serendipity, it came up on eBay as an auction and I set a limit simply because guitars like this rarely come up for auction these days. I didn’t think that I’d win it but, lo and behold, although it reached my limit, I won and for a reasonable price too. Another result! I think that the seller was disappointed but that’s the way the cookie crumbles. The third reason is a little more intriguing. The dual humbucking pickups in this guitar are the original short‑lived Bill Lawrence‑designed HB‑L and HB‑R ‘circuit board’ pickups, which Gibson used only in 1988 and 1989. Some may criticise them but to me that is a reason to see what the fuss was about and to try them out for myself.

She certainly isn’t in museum condition but that doesn’t matter to me. I prefer a guitar to be used for its intended purpose, which inevitably means a few signs of being played. She hasn’t been abused, so no big deal, especially given that it wasn’t the most expensive Les Paul out there and certainly cheaper than a new one. A bonus is that she is very light for a Les Paul, which is refreshing. As for those pickups, well, the design is largely cosmetic. Although this guitar is not wired for it, the pickups have 4 conductors so in theory the coils could be split for added tones. To be honest, as she is, she doesn’t sound hugely different to most 1970s humbucker‑equipped Les Pauls. However, what is surprising is that I found that she plays in a different way to other Les Pauls. For some strange reason, it is one to play in a much more relaxed and laid back style. Perhaps it’s the pickups, perhaps not but, to me, it is a guitar to chill out with, rather than to thrash. All in all, it’s a great value‑for‑money guitar that’s only going to get better with age.

1989 Gibson Les Paul Standard

1971 Fender Bronco – Last but not least to arrive, also in August 2018, is a natty little bright red 1971 Fender Bronco. The Bronco was the last of the offset ‘student’ models introduced by Fender in the 1960s. As such, it is often disregarded compared to the Mustangs, Duo‑Sonics and Musicmasters. However, that fact alone makes it of interest to me. OK, so it only has a single pickup but, unlike the Musicmaster, it is located near the bridge, giving it more bite and a distinctive gnarly tone of its own. Like the Mustang, it has a vibrato bridge but unlike its older brother, it is a unique system not used on any other Fender. In my view, the Bronco deserves objective re‑appraisal within its historical context.

The backstory with this one is that it spent some time in Russia before being imported into the UK by the previous owner. That may account for the crazing in the finish that gives it a vintage mojo that suits it down to the ground. She needs a little TLC to get her back up to optimum playability including some careful work on the electrics. One feature that doesn’t affect the sound one iota is the cool use of black and silver control knobs that only appeared between 1967 and 1971. Overall, it’s not a bad little guitar for a 48‑year old. The Fender Bronco was to some extent popularised by Alex Turner of indie band Arctic Moneys, which has tended to attract the attention of collectors and push up vintage prices accordingly. It also tends to distract from the fundamentals of what is a very good, simple guitar.

1971 Fender Bronco

So, 2018 saw the acquisition of two budget Fenders from the 1970s and a Gibson and a PRS from the late 1980s. This outcome was dictated not only by a limited budget but also by space and personal circumstances during the year. In order to get the most out of them, the two Fenders really need some sensitive conservation. Despite the fact that they may not be to everyone’s taste or even qualify for what vintage snobs might consider to be ‘collectable’, I don’t care. I cannot help but express my admiration for all four of them, each in their own way. Apologies for mixing metaphors but I’ve always been one to buck a trend and swim against the tide. On reflection, it wasn’t a bad outcome at all for what was otherwise a demure year.

The Amp

The CRAVE Amps family has seen only one humble ‘new’ arrival during 2018. It may only be modest but it is as welcome as any other adoption.

1978 Fender Champ – you may ask why go for a 1970s ‘silverface’ Champ, especially when there is already a Vibro Champ from the same era in the family? The answer is partly one of keeping things as simple as possible (spot the trend here?) and, once again, opportunity. One came up on eBay and, completely unable to resist temptation, it just had to be mine! Even better, it’s a UK model wired for 240V mains. After not being used for a couple of months, it’s crackling a bit, so it may be in need of a service.

I rate these dinky little Class A valve amps and believe they deserve a much stronger reputation than the unwarranted perception of a beginner’s ‘toy’ amp, when compared to Fender’s bigger ‘classic’ amps. They are light, take up hardly any room and are fine for practice, it breaks up into distortion beautifully and works well as a good platform for effect pedals, particularly in a practice or studio environment. All‑in‑all, a solid little vintage valve amp. What’s not to like?

The Champ is clearly part of the Fender family both sonically and visually, just more compact and, in my view, cuter in all respects. Its simplicity doesn’t mean that it should be overlooked. For information, despite what the purists may assert, the ‘silverface’ Champ retains the electronic design of its predecessors and only the aesthetics changed. The point is that, where it really matters, this is a worthy little amp with quality fundamentals that are now beginning to be appreciated and much emulated by modern high‑end boutique amp builders. That Leo Fender bloke certainly knew what he was doing, even if he was running Music Man when this particular Champ was born in Fullerton, CA.

1978 Fender Champ

The Effect Pedals

Also ‘new in’ at CRAVE Effects in 2018 were a number of vintage (and, as it turns out, not so vintage) analogue effect pedals. I’ve tended to go for the popular brands to which I was exposed as a teenager, so the focus is very much on two American brands – Electro‑Harmonix and MXR Innovations – and two Japanese brands – BOSS and Ibanez. The era of interest is essentially but not exclusively from the mid‑1970s to the mid‑1980s.

Given the choice, the ‘Made in U.S.A.’ effects have always been my favourites, especially the whacky Electro‑Harmonix stomp boxes. This doesn’t mean that I’m not open to other brands, e.g. Maestro, Dod, etc. They are just the ones which I have more knowledge about and experience of using. There are so many options out there, one has to have some sort of rationale to limit the obsession.

The advantage of effects is that they are often relatively cheap to acquire and they don’t take up much room. To keep things brief, I will summarise by brand in alphabetical order.

Boss

1979 BOSS PH-1 Phaser – I already have a green PH-1 but it is ‘player’ grade, so there was an element of upgrading involved here. The incumbent worked fine but it wasn’t in totally original condition, so a slightly better and older one was found. I’ve previously written about the PH-1 and this was essentially a direct replacement, so I won’t repeat that here. Expect the old one to appear on eBay UK at some point.

1979 BOSS PH-1 Phaser

1980 BOSS CE-2 Chorus – The sky blue CE‑2 is a highly regarded ‘classic’ pedal by those in the know and it was a notable gap in the ‘collection’, so a nice one was procured. For once, I followed the trend and found a desirable ‘long dash’, silver screw, black ‘Made in Japan’ label version. Needless to say, it lives up to its envious reputation with a lovely analogue warmth and is simplicity itself to use. It is one of those that cost more than it is worth but, in this case, it was just about justifiable.

1980 BOSS CE-2 Chorus

1986 BOSS PSM-5 Power Supply & Master Switch – The red PSM‑5 is a bit of an oddity in that it isn’t an effect at all. It actually serves two functional purposes for other effects. The first is as a PSA power supply for a number of pedals. This isn’t much use to me, as most of the BOSS pedals are the earlier ones requiring an ACA supply (which actually provide up to 12V, rather than 9V). The second is as a simple effect loop, which can be of use in a basic multi‑pedal setup. It was also a cheap impulse purchase in a weak moment, so here it is.

1986 BOSS PSM-5 Power Supply and Master Switch

Electro-Harmonix

1998 Electro Harmonix Small Stone Phase Shifter – Now this is an anomaly. For one thing, it isn’t strictly vintage and it is outside CRAVE Guitars’ usual age criteria, i.e. up to but not beyond 1989. Electro‑Harmonix failed in c.1984 and part of its revival was to set up operations in Russia in 1990. The main two pedals made in the former USSR were the Small Stone phaser and the Big Muff fuzz (see below). They were based on the original American circuit boards but were constructed in a very different way. The rationale for these pedals piqued my curiosity enough to track them down. Operationally, the Small Stone is very similar to its American predecessor and it sounds as you might expect. The main draw, though, is the distinctly OTT soviet military aesthetic in sinister black and red finish. I thought it was cool enough to live alongside its vintage counterparts.

1998 Electro-Harmonix Small Stone (Russian)

1999 Electro-Harmonix Big Muff ϖ – This is the other non‑vintage pedal from the resurrected Russian incarnation of Electro‑Harmonix. This one isn’t one of the early tank‑like khaki versions, mainly because the soviet manufacturer used proprietary parts that can be a devil to maintain. EHX learnt from this and released the smaller black and yellow version which used more standard components. Crucially, this Big Muff is aurally very different from its American forebears, much more polite and with a different tone altogether. Some say that is modelled more on the Bass Muff, which may explain its tamer timbre. As such, it remains a curiosity in the EHX canon so, as with its eastern bloc comrade above, the black Russian Big Muff gets a look in.

1999 Electro-Harmonix Big Muff π (Russian)

1980 Electro-Harmonix Zipper Envelope Follower – Now we are talking the genuine article. Back in the day when I was playing psychedelic/space rock guitar, I used a Zipper alongside the Electro‑Harmonix Memory Man (echo) and Electric Mistress (flanger). While I have other envelope followers in the ‘collection’, there is nothing before or since quite like the ‘Made in NYC’ Zipper for creating touch sensitive filter sweeps. A vintage Zipper just had to (re‑)join the family and I am glad to say that it is as fantastic as I remember. Far out, man.

1980 Electro-Harmonix Zipper Envelope Follower

Ibanez

1982 Ibanez AD9 Analog Delay – here is another replacement pedal. The existing one works fine but has an unpredictable tendency to lose repeats, which can be irritating. Whether there is a fault I don’t know but I had to find out. The ‘new’ one is much better and works as anticipated. I can now appreciate why the AD9 has become a desirable classic analogue delay on the vintage market. I still prefer my EHX Memory Man but this one almost gives it a run for its money. I’m glad to have it along for the ride. I see the outgoing AD9 as a ‘player’ grade example that may well appear on eBay in due course for someone not so fussy to play with.

1982 Ibanez AD9 Analog Delay

1981 Ibanez AF-201 Auto Filter – My quest to find a creditable challenger to the EHX Zipper led to me track down the rare and collectable ‘0’ series AF-201. It is truly an intriguing little beast with a lot more controllability over the analogue filter’s parameters. Lots of sliders and switches but no rotary knobs at all. Therein lies its weakness for me. Finding just the right combination of controls can take a bit of exploration and it can be hard to recall a particular setting. What it does, it does well and it is a fascinating pedal to experiment with. The AF‑201 takes a different approach to other envelope filters.

1981 Ibanez AF 201 Auto Filter

1981 Ibanez GE-601 Graphic Equalizer – To be honest, I have never been a fan of graphic equalizers either in hi‑fi or guitars – very 1970s. However, I admit that the ability to tweak EQ can be useful in certain circumstances. After acquiring the MXR version also in 2018 (see below), I thought I would try the Ibanez ‘0’ series equivalent. They both do the same job and the Ibanez has the major advantage of a foot switch, so instant tonal variation can be applied, which also means that it doesn’t have to be ‘always on’. The downside for me is that it doesn’t have the boost/cut range of the MXR and therefore doesn’t work so well as a creative tool. I guess you pays your money and takes your choice depending on what you want to use it for.

1981 Ibanez GE-601 Graphic Equalizer

1983 Ibanez SD9 Sonic Distortion – Anyone with a solid grounding in guitar lore will be aware of the ‘holy grail’ of overdrive pedals for many, the venerable Ibanez TS‑808 Tube Screamer Pro. Well, the snot green SD9 takes the basic template and pumps it up with a shed load of steroids. A subtle pedal this is not. The ‘9’ series superseded the ‘0’ series, so it is both visually and tonally a very different animal compared to the ‘classic’ Tube Screamer. If you want more ‘meat on the bone’ without the OTT fuzziness of, say, an EHX Big Muff, the SD9 may fit the bill.

1983 Ibanez SD9 Sonic Distortion

MXR

1975 MXR Blue Box – here is another ‘upgrade’ pedal. The existing 1977 ‘script’ logo Blue Box was a bit of a bitsa. Again, it worked (if you can call what it does as working!) but it wasn’t exactly a pretty example, with a changed footswitch and baseplate. I paid well over book for the new one from a London dealer on the grounds that it was all‑original and, as is always the risk buying on the hinterwebby thing, this one arrived, also with a changed footswitch. Argh! A clear case of caveat emptor (buyer beware) if ever there was one. Other than that, it is original and in better condition. The Blue Box is a weird device combining a fuzz and an octave generator, and it sounds just as crazy as the other one – if you want manic aural chaos, this is a pedal to seek out. The outgoing one is likely to make an appearance on eBay at some point.

1975 MXR Blue Box

1976 MXR Phase 45 – The original ‘script’ logo MXR Phase 90 has become deservedly legendary over the decades. The ‘collection’ already has a vintage 1977 ‘block’ logo Phase 90, so this all‑original ‘script’ logo Phase 45 was seen as a complementary purchase. It is subtler and smoother than its big brother and, to my ears just as flattering. If you want soft swooshes, the Phase 45 is perfect and, like the Phase 90, is simplicity itself to use, just one control knob to grapple with.

1976 MXR Phase 45

1980 MXR Six Band Graphic Equalizer – I was generally scouting around for other offbeat pedals when I came across this diminutive little pedal. At the time, I didn’t have a graphic equalizer and was content to use guitar and amp controls. Then I got to thinking about what it might be able to do and the rest, as they say, is history. I took the plunge in a susceptible moment and here is the little blue SBGE (for short). It is always on, so no footswitch, which may be a limiting factor for many. However, when the cut/boost sliders are pushed to extremes (i.e. other than for basic EQ adjustment), the tonal abilities are quite fascinating. I now think of the pedal not as a glorified active tone control but as a creative utensil to transform an ordinary guitar’s limited tonal range into something else altogether. A little blue miracle worker.

1980 MXR Six Band Graphic Equalizer

Other

1970s Colorsound Swell (volume pedal) – I’m not quite sure of the age of this swell pedal without dismantling it, so for now it is just ‘1970s’. It works fine, is in very good condition and does just what it says on the tin. Volume pedals are nothing particularly exciting but they can add an extra bit of flexibility to proceedings. To be upfront, I got this one as it works better than the VOX (see below).

1970s Colorsound Swell

1960s VOX Volume/Expression – here’s another pedal that I bought on a whim, fancying a bit of the old violin‑type swell that a volume pedal could provide and I didn’t have one lying around. This one came up and, while being ergonomically modified (they originally were designed for use with VOX keyboards and came with a captive output lead), it seemed an interesting purchase. Some of these early 1960s effects are now becoming quite rare and collectable, so I couldn’t let it pass. The issue with this one is an overly scratchy potentiometer and I’m now in that dilemma of whether to replace it with a modern reliable pot or leave it for someone to decide at some point in the future. I’m still mulling that predicament over.

1960s VOX Volume

So… have any of these purchases made a great deal of difference and have they changed my opinion about vintage effects? Not really. In my view, the American pedals are just so much better suited to what I’m looking for than their Japanese and European counterparts. This is a very subjective value judgement and it should not be seen as America = good, elsewhere = bad. The far eastern pedals are very good. It’s just the way things have panned out for me personally.

The CRAVE Effects’ ‘collection’ is now much broader (although not by brand) and I have learned a lot from the experience. Sadly for the bank account, I feel the topic as a whole needs further investigation. The guitars remain the primary focus but these old analogue pedals certainly play their part in the grand scheme. Modern effect units have become, generally, far too complicated for my poor brain to comprehend, so I’ll stick with the pure and simple. No real surprise there.

There is no ‘magic’ to old/vintage gear and it won’t transform anyone into the next Van Halen. Modern tech is wonderful and that’s where the future of mainstream music production lies. The magic stems from the musician and the equipment is simply there to shape the tone that the musician hears and wants to communicate with the listener. My fascination in the ‘old school’ technology is on one hand personal preference and on the other to act as a steward of these gems the future.

Guitar Repatriation News

OK, so that’s the ‘new in’ at CRAVE Guitars from 2018. The really BIG news is actually of major significance to the enterprise and could come under a strange heading of ‘old in’ in 2019.

Now… here’s the thing… I may not have explained a particular episode from the past, so it is time to put things in context. Due to life changing events back in 2010, the majority of CRAVE’s guitars had to go into enforced exile in 2011 for as long as it would take to get things back in order. Some of them have been kept in less than ideal (but thankfully safe) storage for nearly eight years. Others have been stored on a more temporary basis having been swapped in and out over the years.

At this point, I have to give a very special shout out to my close friend Pete who looked after them for me and without his compassion (and loft space), who knows what would have happened to them. I am immensely grateful to him for doing it and putting up with me over the years. I never expected it to take as long as it has but that, I guess, is how life goes.

The major change since last month’s article is that on 21^st January 2019, a total of 42 guitars – 40 of them vintage, ranging from 1961 to 1989 – were reunited with me and the other guitars that were already here. While it is a massive relief to have them all in the same place again, their arrival presents two specific challenges that now must be addressed during 2019.

Repatriation Guitar Cases

The first is to work through the guitars, evaluate their condition and assess what remedial work needs to be done. I am certain that some major TLC will be required to get them all back into good playing order. At best, this will mean a general setup, cleaning and pampering, checking electrics and all the variables associated with corrosion, restringing them all, and playing them back to health. Guitars should be played to keep them in tip top condition, so that is one particular task that I’m looking forward to.

As Cheap Trick guitarist Rick Nielsen said, “Guitars are meant to be played, and they’re happiest when they’re making music”. The improvement in the Melody Maker after a few days of being used was proof positive.

Note: I hate re‑stringing guitars at the best of times but this will be a mammoth trial of endurance, a test of patience and a pitting of my strength of will against bits of wire. I am convinced that guitar strings are a risk to health and potentially downright lethal!

I was encouraged by the first guitar out of its case, my cute 1964 Gibson Melody Maker. The strings were rusty and she wouldn’t get/stay in tune, a few frets choke out (easily sorted) and the volume pot is scratchy (I can’t recall if it was like that before). The finish looks a bit dull and the metalwork a bit tarnished but nothing serious. After 3‑4 days, the benefits of being played were immense; it feels like it is coming back to life and sustains beautifully. The electrics need sorting out but it looks promising and not too bad for a 55‑year old. If the other 41 are no worse, I will be utterly amazed and truly delighted. As ‘they’ say, expect the worst and hope for the best. Fingers crossed.

The second challenge, I actually alluded to back in December 2017 in my end‑of‑year roundup. The ‘new’ house has a dark, damp, grotty cellar that I was hoping to make into a suitable home for the guitars during 2018. Unfortunately, this did not happen, as other priorities had to be undertaken first, e.g. a new roof! Converting the cellar into a usable space means ‘tanking’ it to keep the space and the rest of the structure dry, as well as some means of controlling temperature, humidity, ventilation and security.

As with all good intentions, this major project was meant to be completed prior to the guitars’ repatriation. However, as most of these things go in my life, it has happened the wrong way round. It may, though, spur me onto getting the ‘guitar room’ appropriately reconditioned in 2019, resources permitting of course. I should mention that this is not some luxurious mansion with an extensive basement area, it is very small, built into a cliff, with no natural light or ventilation and, unless one is naturally vertically challenged there is no headroom, as it is only about 5 feet (1.5 metres) high, and that is before any work is done on it. Also, access to it is far from easy to put right and will never be ideal. Nevertheless, it is better than nothing and, once it is finished, it should provide safe and secure accommodation for the instruments, amps and effects. In the meantime, I’m sleeping amongst a few piles of dusty guitar cases. Still, as a self‑confessed guitar nut, there are worse things I can think of.

CRAVE Guitars – Cellar

You never know, having a wider choice of vintage guitars to play may even improve my musicianship, as they are inspiring to pick up and use – God knows, my playing needs to improve and not just to do justice to these fine instruments!

There are other benefits of reuniting the ‘collection’, other than getting to play them. I should be able to take new photographs (and perhaps even videos?!) to populate the web site. New images can accompany the revised narrative that has already been partially prepared. There may also be an opportunity to liven up social media output as, frankly, I’m bored of posting the same old pictures from a decade ago.

I have long wanted to share my passion with others who may have a similar persuasion and it would be good to feature some or all of them in some sort of publication. If anyone is interested, give me a while to spruce them up and let me know. I think they are ‘cool & rare’ and just may be of interest to a wider audience.

I am hopeful that, despite the many setbacks that have led to where things are today, this may just be the turning point in the evolution of CRAVE (Cool & Rare American Vintage Electric) Guitars that I’ve been waiting for and a launch pad to better things. One day, maybe.

Outro

I think that has caught up with most developments taking place at CRAVE Guitars over the last year. While the ‘Potted History of the Guitar’ series was a great thing to do, it’s also good to get back to the personal ethos underpinning CRAVE Guitars. The prematurely trailed follow up to the ‘Potted History’ series is having to be put back, as I haven’t yet done the background research to get started. The reintegration work associated with the no‑longer‑exiled guitars will also take up considerable time and effort in coming weeks and months, so who knows what will appear here next month. Why not come back at the end of February and find out?

The invigorating prospect of having so many great vintage instruments to hand will hopefully act as a catalyst for change and progress. I’m still not tempted to set up CRAVE Guitars as a business; I just don’t have the ‘killer instinct’ to trade and, anyway, the sentimental connection has become strong. So, it looks like the not‑for‑profit mission to conserve this particular aspect of popular music heritage will continue, at least for the foreseeable future. Whatever transpires, the venture will certainly keep me busy for a while and that has to be seen as a positive.

Just in case you didn’t know this already, vintage guitars are AWESOME!

Now… where on Earth do I start with the ‘old in’? I think it might just be a case of, ‘eenie meenie miney mo…’ and see what happens. Until next time…

CRAVE Guitars ‘Quote of the Month’: “I would rather fail at being great than succeed at being mediocre”

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31 Dec 2018

December 2018 – What A [Deleted] Year That Was

by CRAVEGuitars | posted in: Opinion | 0

Welcome to the 50^th monthly article and the inevitable end-of-year roundup and a look back at the last 12 months. As usual with retrospective roundups, it’s a time for lists and reflective hindsight. As one year ends, another is about to kick off, so it is also an opportunity for a tentative look forward. I hope all readers had a great 2018 and have the opportunity to look forward to a positive 2019.

Overall, 2018 was a very difficult and challenging year for CRAVE Guitars. I’m not about to go into personal circumstances; suffice to say that it was immensely testing and an experience I never want to repeat. That said and out of the way, let’s get onto the end‑of‑year summary.

2018 departures:

As is forlornly inevitable, all things come to pass and this year, like every other before it, has seen the demise of some truly inspirational musicians. At this time of year it is customary to take a few moments to contemplate those guitarists that we have lost in 2018 and recall what musical treasures they have left us. Their talents will be sorely missed and it is sad to think that there will be no more distinctive music from these guys (no gals this year). Rest in Peace and forever rock the big stage in the sky. Sad losses over the last 12 months include:

‘Fast’ Eddie Clarke (Motörhead), on 10^th January, aged 67
Danny Kirwan (Fleetwood Mac) on 8^th June, aged 68
Alan Longmuir (Bay City Rollers) on 2^nd July, aged 70
Ed King (Lynyrd Skynyrd) on 22^nd August, aged 68
Otis Rush on 29^thSeptember, aged 83
Pete Shelley (Buzzcocks) on 6 December, aged 63

Plus, there were many notable non-guitarists who are no longer with us, including:

Dolores O’Riordan (The Cranberries) on 15^th January, aged 46
Mark E. Smith (The Fall) 0n 24^th January, aged 60
Aretha Franklin on 16^th August, aged 76

While nothing to do with music, I also wanted to mention that the great granddaddy of comic books, Mr. Marvel himself, Stan Lee passed away on 12^th November at the age of 95. We also lost one of the world’s foremost scientists when Stephen Hawking died on 14^th March, aged 76.

2018 arrivals at CRAVE Guitars

This may come as a bit of a surprise but, in the background, there were actually a number of music gear purchases during 2018. Normally, I would have covered these under ‘New In at CRAVE Guitars’ articles during the year as they happened. However, with the ‘Potted History of the Guitar’ series dominating the output, coverage of their arrival got side‑lined. Depending on how things pan out in early 2019, I may give the new arrivals a bit more of a deserved coverage. In the meantime, here is a flavourless list of what came in over the last 12 months.

Gear purchases:

Guitars (4)…

1971 Fender Bronco
1978 Fender Musicmaster
1989 Gibson Les Paul Standard
1988 PRS Standard

Amps (1)…

1978 Fender Champ

Effects (12)…

1980 BOSS CE-2 Chorus
1986 BOSS PSM-5 Power Supply & Master Switch
1970s Colorsound Swell (volume pedal)
1998 Electro Harmonix Small Stone Phase Shifter (Russian)
1999 Electro-Harmonix Big Muff p (Russian)
1980 Electro-Harmonix Zipper Envelope Follower
1981 Ibanez AF-201 Auto Filter
1981 Ibanez GE-601 Graphic Equalizer
1983 Ibanez SD9 Sonic Distortion
1976 MXR Phase 45
1980 MXR Six Band Graphic Equalizer
1960s VOX Volume/Expression

Plus… 3 pedals were also replaced during the year:

1979 BOSS PH-1 Phaser
1982 Ibanez AD9 Analog Delay
1975 MXR Blue Box

The last two years of planned and unplanned purchases seems to indicate that CRAVE Guitars is increasingly specialising in 1960s to 1980s gear. The 1960s are getting increasingly expensive for me, hence the lack of recent purchases from that particular decade. The 1970s and 1980s are often seen as an unpopular period for vintage guitars, so… for me, that’s a very good reason to focus on this period and prove the naysayers wrong. There are plenty of VERY good guitars to be had from both the 1970s and 1980s. The spotlight still accords very closely with the principle of ‘Cool & Rare American Vintage Electric’ Guitars, so I’m happy with that as a modest ambition. I’m still not running it as a business, so it is still very much a not‑for‑profit enterprise about conserving the heritage for the future.

I haven’t sold any guitar equipment this year, as is perfectly normal with a deep‑seated guitar‑affliction. However, the plan is that if planned plans go to plan, I will be selling some equipment to reinvest in the heritage, either by trading up to older/better guitars/amps/effects or perhaps just getting something new and unanticipated. Watch this space…

2018 Live concerts (2):

2018 was a sparse year for live music, so the list is short…

BST Hyde Park (The Cure, Interpol, GoldFrapp, Editors, Slowdive, The Twilight Sad, Pale Waves)
Looe Saves The Day music festival (various)

That’s it. Still, better than nothing at all.

2018 Album releases purchased (20):

2018 has proved relatively moribund at times and searching out great new music seemed harder than it should have been. There was, though, a diverse range of music from all sorts of genres. I’m always looking for cool new music to sit alongside the greats (and not so greats). Quality is variable, which is to be expected in this day and age, but there is much fun to be had discovering music both old and new, good and bad – after all, how do we recognise the greats if we don’t have the rest to compare them to? Here are the new albums from the last 12 months gracing CRAVE Guitars’ iTunes:

Courtney Barnett – Tell Me How You Really Feel
Black Label Society – Grimmest Hits
Buddy Guy – The Blues Is Alive And Well
Confidence Man – Confident Music For Confident People
Gaz Coombes – The World’s Strongest Man
The Cure – Mixed Up (Deluxe Edition – original standard release in 1990)
Editors – Violence
Tommy Emmanuel – Accomplice One
Ghost – Prequelle
Goat Girl – Goat Girl
Jon Hopkins – Singularity
Lance Lopez – Tell The Truth
Low – Double Negative
Nightmares On Wax – Shape The Future
Dan Patlansky – Perfection Kills
The Prodigy – No Tourists
Ry Cooder – The Prodigal Son
Shame – Songs Of Praise
Various Artists – This Is Trojan Dub (reggae)
Wilko Johnson – Blow Your Mind

Plus… Black Stone Cherry – Black To Blues (E.P.)

These weren’t the only purchases. They are only the 2018 album releases – I also bought quite a few albums from previous years, not included above.

Social Media

Over the last 4 years, CRAVE Guitars has posted almost 29,000 posts on social media. On 12^th September 2018, CRAVE Guitars reached (and exceeded) 4,000 followers on Twitter (4,515 at the time of writing), which has taken an immense amount of hard work doing the research and building up reputation and credibility.

A big shout out to everyone who has shown an interest in the lighter entertainment side of CRAVE Guitars’ social media output. THANK YOU all! In addition to Twitter, CRAVE Guitars also has guitar‑related content on Google+, Facebook, LinkedIn, Instagram, YouTube, Pinterest, Flickr and Tumblr. Check it out.

Here are some genuine comments from Twitter followers that made me think that all the effort has been worthwhile…

“I love Crave Guitars !!!”

“… there are many who greatly appreciate your expertise and your encyclopaedic knowledge around your calling. Thank you for sharing your passion.”

“… thanks for the inspiration CRAVE Guitars.”

“Thank you for sharing your knowledge & all the beautiful guitars”

“… you post great stuff. Thanks, makes my day”

Plus… there are the usual dicks that populate the various platforms. They go with the territory I guess.

Over the year, CRAVE Guitars has showcased guitars by over 200 different guitar manufacturers working hard every day and from around the globe. The brands covered range from the famous global brands right down to individual luthiers who you may not have heard of because they make very small numbers of guitars in home workshops. I will continue to highlight the diverse range of craftsmen and women, all of whom deserve exposure in today’s highly competitive and challenging economic climate.

‘A Potted History of the Guitar’ Articles

The ‘Potted History’ series of articles took over the blog in 2018, using up 9 of the 12 months, leaving little room for other ramblings. Still, it was different from previous years and probably unlike future ones too. Variety is good.

During the year, I got some really nice unprompted testimonials on the series, so a big “Thank You” to everyone who read the blog articles and made all the research and writing meaningful. In addition, I learned a lot from doing it too. Here are some genuine comments received – thanks for your feedback…

“Thanks a million for the personal gift of your writing and pics of gorgeous guitars… You’re cool. Thanks!”

“Brilliant article, I have learnt so much.”

“Really epic article.”

“Finally read the whole series yesterday. You should turn this into a book… It was certainly worthwhile, one of those reads when you’re sorry when it ends. Hat off to you Sir for the effort.”

The ‘Potted History’ was originally intended as an entertainment piece for those that might have an interest in the general subject matter, while also having enough detail for the keen enthusiast but not so dry that it would only appeal to the clinical expert (whimsically described as ‘someone who knows more and more about less and less’). It wasn’t a forensic academic thesis, so it may not have had the requisite degree of nerd‑fodder for some. I didn’t allow comments on the articles, as I simply couldn’t cope with the interaction needed to respond to them properly.

In order to make the series more accessible and coherent, I may try to turn them into a feature on the web site. I don’t have the resources to publish them as a ‘book’, so that seems the best format, at least for the time being.

CRAVE Guitars Web Site

The CRAVE Guitars’ web site has, unfortunately been neglected this year and has hardly been updated at all, a failing that really needs to be rectified. About 15%-20% of the content needs something entirely new and about another 60% of it warrants considerably updated material. In most instances, most of the basic feature narrative has already been written and just requires finessing and the time to do it. New photos are needed for around 50% of the guitars but that requires them firstly to be relocated to ‘here’ and secondly, many of them will require essential refurbishment after a prolonged period of storage. That’s before I even begin to think about creating exciting new and creatively different ways of doing things. It’s all on the ‘to do’ list for 2019.

[Deleted] Whinge

Now that the web site is generating a lot more traffic and social media is picking up, I am getting overwhelmed by [deleted] idiots deluging my CRAVE Guitars’ e‑mail inbox with [deleted] spam and other [deleted] rubbish. I don’t [deleted] care who the [deleted] you are, if you are not interested in Cool and Rare American Vintage Electric Guitars and you are just trying to sell me your [deleted] rubbish, I will not even acknowledge your pathetic [deleted] existence so, if you [deleted] are stupid enough to read this, you know who you are, [deleted] stop wasting my life you [deleted] [deleted]. I have one very short message to you all, [deleted] off!

*Insert your profanities of choice to suit.

Home renovation

As 2018 was an extremely difficult year, no progress was made on converting the dark, damp and grotty cellar into a safe and secure home for CRAVE’s guitars. Most of the other serious structural work has, however, now been completed, so improving the cellar is the next major job on the priority list, funds permitting of course. Converting the cellar into a ‘guitar room’ is still an intention, so maybe in 2019 some headway can be made.

Looking forward to 2019

Overall prospects for 2019, sadly, look even bleaker than for 2018 with little in the way of ‘light at the end of the tunnel’. Quite what this means for CRAVE Guitars, I have no idea and, frankly, I do not wish to speculate. I will, however, endeavour to continue as long as possible and trust that things will one day turn around.

On a more positive note, what music gear tops CRAVE Guitars’ affordable vintage ‘most wanted’ list for 2019? This coming year, I will once again have to go for something modest and realistic on a tight budget. I don’t expect to get what’s on the list but, just for the sake of putting it out there, it includes…

Guitars:

1960s Danelectro (no specific model)
1970s Fender Stratocaster
1960s Gibson Melody Maker (type 3)

Effect Pedals:

1970s Electro-Harmonix Bad Stone
1980s Ibanez PT9 Phaser
1980s Ibanez TS-808 Tubescreamer Pro
1970s MXR Micro Chorus

Amps:

1970s ‘silverface’ Fender Princeton (with or without reverb)

I may have to sell one or more existing bits of gear in order to fund any purchases in 2019, which looks like it’s going to be another financially challenging 12 months.

Perhaps more importantly, many of the guitars in the ‘collection’ have been stored with a close friend for far too long while I got our act together. I am hoping that the ones that are not already here may get repatriated very soon. Even if the cellar may not be ready for them yet, the intention is to bring them home and reunite the ‘family’ again early in 2019.

Music

For 2019, I have managed to secure tickets to see Bob Dylan and Neil Young co‑headlining at Hyde Park in London for July 2019, assuming that it will be possible to go. I’ve seen Neil Young before, and very impressive he was too, but this will be my first time for Bob Dylan. The pair may be rock’s ‘old guard’ but it should still be a unique event worth witnessing.

There are no specific albums that are eagerly anticipated for 2019, so let’s just see what happens.

Musings

Much depends on capacity and resources but I am still contemplating an appropriate companion piece to the ‘Potted History’ series for 2019. All will, I hope, be revealed at some point in the New Year, ceteris paribus (but I’m not committing to exactly which New Year!). Such endeavours take up an incredible amount of time and effort. Is it really worth it? I really don’t know and it is probably not up to me to judge. The prospective audience is very limited, not only in total numbers who might read and get something from it but also whether it is pitched at the right level on the right medium to make it popular.

Conclusion

So, that just about wraps it up for another year of CRAVE Guitars’ enthusiastic and obsessive approach to conserving underdog vintage heritage guitars and generally promoting the world’s favourite instrument. It was, on the whole, a [deleted] year but one has to remain thankful for what one does have and make the most of it. Wishing you all a healthy and prosperous 2019.

If you and I are still around and still interested in 12 months’ time, why not pop back this time next year to find out if there’s been anything noteworthy to report.

I really ought to spend more time playing guitars, so perhaps it’s time to pick one up and make some noise. Until next time/next year…

CRAVE Guitars ‘Quote of the Month’: “What is so wrong about believing that peace, love and music are essential ingredients for ensuring humanity’s successful future?”

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16 Sep 2016

September 2016 – Sitting In A Field Listening to Music

by CRAVEGuitars | posted in: Observations, Opinion | 0

As the sizzling summer season of weekend music festivals draws to a close for another year, maybe it’s worth taking a look at this particular cultural phenomenon. It is perhaps tempting to think that open air festivals are a new-ish thing because they are one of the fads of the late ‘noughties’ and ‘teenies’. The modern ‘pop’ festival that we’ve come to accept as part of the summer musical landscape has actually been around for a very long time.

Festivals of the past

People have always performed to audiences out of doors, travelling troubadours, minstrels, bards, poets and entertainers roamed the countryside as a means of communicating news and passing on stories, so the social fabric of our communities has thrived and depended on al fresco musical and literary experiences for many, many centuries. Fast forward…

While it wasn’t the first large scale outdoor music event, perhaps the pivotal moment, and the granddaddy of what we now regard as the open air music festival, occurred between 15^th and 17^th (actually the 18^th) August 1969 at Max Yasgur’s dairy farm in Bethel, New York State, USA. The Woodstock Music and Art Fair, described by its organisers as “An Aquarian Exposition: 3 Days of Peace & Music” has passed into field music legend as a hippie pilgrimage and the dawn of a ‘new age’. Known to most simply as Woodstock, it was attended by around 400,000 people and had only 32 main acts. Now widely regarded in hindsight as a massively important event in modern music and a milestone in popular counter-culture, it was by many accounts, a soggy and shambolic experience, thereby setting the standard for modern festivals to learn from and improve upon. The top acts at Woodstock included Joan Baez, Santana, Grateful Dead, Creedance Clearwater Revival, Janis Joplin, Jefferson Airplane, The Band, Crosby Stills Nash & Young, The Who and, ultimately on Monday morning, Jimi Hendrix. Regardless of the myths surrounding the event, it was probably as successful as it could have been. There is plenty of information about Woodstock on the hinterweb, so it isn’t repeated here. (Wikipedia… https://en.wikipedia.org/wiki/Woodstock)

The next major festival event was the Isle of Wight Festival in the UK held between 26^th and 31^st August 1970. While the Isle of White pop festivals started in 1968 and had built a solid reputation for quality, 1970 became almost as legendary as Woodstock. It was certainly much bigger, attracting somewhere between 600,000 and 700,000 people. Given that the island had a resident population of less than 100,000 at the time, the scale of the event proved a logistical nightmare. Ultimately, it failed to make a profit, consigning the Isle of Wight Festival into hiatus for over 30 years. Acts included The Doors, The Moody Blues, The Who, Miles Davis, Emerson Lake & Palmer, Joni Mitchell, Joan Baez, Jethro Tull, Leonard Cohen, Free and Jimi Hendrix. As with Woodstock, the Isle of Wight Festival 1970 has been well documented over the years. Wikipedia… https://en.wikipedia.org/wiki/Isle_of_Wight_Festival_1970)

While both these events were essentially limited in longevity (1 and 3 years respectively), they spawned the annual programmes of modern music festivals. Perhaps the world’s most famous and successful music festival is Glastonbury Festival, held at Worthy Farm, in Pilton, Somerset, UK, organised by Michael Eavis. While the first Pilton Festival (as it was called) on 19^th September 1970 was attended by only about 1,500 people (rising to 12,000 in 1971), it has grown into a global phenomenon and arguably now sets the benchmark for the organisation of modern summer open air music festivals, including revived events on the Isle of Wight. Glastonbury had a shaky start, taking place intermittently until 1981 but has since settled into a regular feature not only of the festival scene but also an essential symbol of the modern festival zeitgeist. Attendance now hovers around 170,000 to 180,000 people. Festival nerds’ fact: The first Glastonbury Festivals were first held between 1914 and 1926 but were a far cry from the hippie movement of the early ‘70s. The history of Glastonbury Festival has also been well-documented elsewhere. (Wikipedia… https://en.wikipedia.org/wiki/Glastonbury_Festival)

Music festivals also seem to be synonymous with recreational drug taking, although less so these days where alcohol seems to be the drug of choice. I’m not going to cover substance (mis)use here, however, it cannot be overlooked within the broader context so, there you go, it has been mentioned.

I was too young to experience the historic festivals in the early years. So…

Festivals in the current day

Moving to the modern day, there is a massive diversity of open air music festivals across the globe and particularly across Europe and North America. The enormous growth in popularity of outdoor concerts has led to a veritable saturation of music (and indeed other types of) festivals every year, despite being inherently prone to meteorological unpredictability. So much so, that many events struggle to sell out and many have to work very hard to make a meagre profit, usually by finding a niche in the timing, scale or theme of a busy, full summer festival diary. Organisers work on their profit being made in the last few tickets sold (the vast majority of ticket sales go to covering costs of organisation, regulation and artist fees). Long gone is the hippie nirvana epitomised by the early ‘free festivals’ of the ‘60s and ‘70s, and based on a youthful rebellion against capitalist greed and institutional/social constraint. Some festivals have stayed true to their origins and retained ideological stance and continue to support worthy causes, including Glastonbury.

To many onlookers, the current festival scene must seem relatively homogenous with many bands regularly performing on the festival ‘circuit’, leaving little to differentiate between many of them. However, festivals do provide an ideal breeding ground for emerging new talent, eager to gain experience in front of massive receptive audiences. Specialisation is now common with both major and minor festivals adopting discrete genre-specific approaches, including indie, folk, heavy metal, pop and retro.

Success or failure of open air events can often depend on the weather, for instance, Glastonbury has become laughingly notable for the stubborn reliability of its mud. The festival has, however, become equally resilient to it, as it sells out on reputation within minutes every year, usually without any artist announcements beforehand. Automatic sell out is a remarkable achievement, especially considering its history and the volatile economic climate.

What I can’t adequately explain is the magnetic attraction of attending open air music festivals. Perhaps obviously, there is the opportunity to see a concentration of excellent music artists at relatively (!?!?) economic prices all at one location. Add to that the atmospheric vibe, festival girls, and the sheer other worldliness of a back-to-basics existence for a short time. There are also the surprises – the things one never expected to encounter that make it all worthwhile. However, the benefits have to be balanced with potential for poor weather, poor sanitation, poor transport and accessibility, discomfort and exhaustion, drunken idiots, more drunken idiots, irresponsible rubbish and the impossibility of fitting everything into a limited time period. However, there is something in the blood for veteran festival goers that just keep us returning to the fields on a regular basis. Go figure!

Those that don’t ‘get it’ will probably never understand, let alone be converted and it’s not worth trying to articulate the appeal of shivering outside in the middle of a muddy cow field listening to bands (good and bad) that you may not be able to see (other than on big screens) with sometimes poor sound systems. It is notable that live music festivals have continued to flourish despite the proliferation of Internet music, iTunes, music TV, etc. The current appetite for guitar music seems unquenchable, which is promising in this abominable X-Factor-obsessed world. Perhaps, in addition to my grumpy-old-man misanthropic attitude, there is also a bit of the diehard ‘festival snob’ coming to the fore, based on seeing the scene change over the years. So sue me!

Not forgetting CRAVE Guitars’ fundamental rationale, it is also great to see so many vintage guitars being used in earnest at big live events. These instruments are being used for their intended purpose, which is to make real music for festival aficionados, rather than being stored away in wealthy owners’ private collections. I would love to play on a major festival stage, along with one or two of my vintage guitars, rather than participate as part of the audience but, I have to be realistic, it just ain’t ever gonna happen now. Shame.

Personal circumstances now dictate that, like guitar buying, festival attendance is in hiatus, hopefully temporary but perhaps permanently. After 40 years, I have to report that there is an uncomfortable withdrawal effect in a festival-less summer. TV coverage of festivals is continually improving but, let’s face it, it just isn’t the same as the physical, spiritual and emotional endurance required to ‘enjoy’ the full festival experience.

What do modern festivals now represent in the current day? Peace & Love? The hippie ‘ideal’ has long since been consigned into the history books and mythology has been replaced with rampant commercialism, corporate exploitation and, sadly, a degree of youth complacency resulting from over-familiarity of the type. Rebellion? Where is the counter-culture revolution that fuelled those early historic festival events? Sadly it seems to have been diluted by the middle class desire to be seen to be ‘cool’. Fashion? It is fashionable to wear fashion at festivals – always has been. Sorry to burst your bubble but massive flares are unlikely to come back into fashion any time soon! Right of passage? Not necessarily any more, as the almost insurmountable challenge of attendance has been eased by the Internet, on-site glamping, showers and other, frankly, ludicrous festival facilities, especially for the growing abhorrent VIP ‘set’ who wouldn’t dream of getting their designer high heels or pristine white trainers muddy. Despite the vile elite, modern festivals have, I believe something for everyone, which is healthy.

Although festivals continue to attract the young and adventurous, many stalwart veterans still need the visceral on-site experience of the fetid festival ‘fix’. The age profile has changed significantly over the intervening decades since, for instance, Woodstock, with the ‘family unit’ currently well catered for. Thankfully, access for disability has also improved, although remains far from ideal.

The future

What of the future? Probably more of the same littered with subtle diversification and specialisation; it will, however, become an increasing challenge to distinguish one weekend from another – a field is a field is a field after all. There is, though, plenty of room for improvement to inspire current and future generations.

Size does matter (no matter what wimmins say!) – Big is sometimes better, however, small and intimate fields (a.k.a. ‘bijou’ festivals) also have many benefits, as ‘less can be more’. I will almost guarantee that there is now a festival somewhere for pretty much every taste. One thing is for sure, money is king, and always has been. Money and commercial interests will drive the development and survival of the festival phenomenon, rather than ideological passion. How long before there is a Starbucks franchise at our festivals? Place your bets please.

A festival veteran’s personal reminiscences

My personal festival ‘career’ began 40 years ago in the balmy heat of the summer of 1976 in the UK. My first outing was Knebworth Fair in 21^st August 1976 with Todd Rundgren, 10CC, Lynyrd Skynyrd and The Rolling Stones. The second was Reading Festival (no Leeds at that time) on 27^th to 29^th August 1976 with Gong, 801, Rory Gallagher, Camel, Van der Graaf Generator, Colosseum and Ted Nugent amongst others. The third was Hyde Park Free Festival on 18^th September 1976 with Kiki Dee, Steve Hillage and headliners, Queen. Quite an introduction for a teenage ‘festival virgin’!

The fact that I simply cannot clearly remember very much about the adventures of the ‘Summer of ‘76’ probably means that it was probably pretty enjoyable, despite all the inherent drawbacks (having stuff lost/stolen, travel problems, etc.). That was it, hooked.

Glastonbury Festival has been my adult mainstay, along with occasional much smaller ‘boutique’ events to fulfil the need.

The mist of time, and perhaps some naughty narcotics, tends to elevate the hazy highs and diminish the dodgy deficiencies. Thank heaven that others documented these occasions for posterity. I can’t begin to count the number of artists I’ve seen over the last 4 decades. What a journey.

The evolution of outdoor music festivals from the late 1960s to the current day is interesting (at least to me). It will also be fascinating to observe what happens to them in the future. Hopefully, I can be at some of them to celebrate at the altar of live field music first-hand. See you in the inevitable quagmire. Until next time…

CRAVE Guitars ‘Music Quote of the Month’: “Sex, drugs and rock ‘n’ roll. Excess in all three, at least at the same time, is not recommended. Compliance, however, seems to be modern music’s one abiding law.”

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