30 Jun 2019

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

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

Introduction

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

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

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

The Story of Modern Music Part IV 1940-1949

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

Historical Context 1940-1949

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

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

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

Musical Genre Development 1940-1949

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

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

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

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

Musical Facts 1940-1949

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

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

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

Tailpiece

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

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

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

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

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30 Oct 2018

October 2018 – A Potted History of the Guitar Part VIII

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

Welcome to what is, for now at least, the final part in this series of articles on the history of the world’s most popular musical instrument.

If you wish to recap on any or all of the previous seven posts before starting with this one, the whole ‘Potted History of the Guitar’ series, can be accessed here (each part opens in a new browser tab):

Part I – The ancient world up to the early Renaissance
Part II – The Renaissance up to the end of the 19^th Century
Part III – The late 19^th Century up to the 1930s
Part IV – The 1920s and 1930s
Part V – 1930s up to the 1950s
Part VI – 1950s and 1960s
Part VII – 1960s to date
Part VIII – The current day and into the future. Read on below…

Having pretty much reached the present day, all that remains is to summarise where we are now and to take a somewhat flippant and imaginative look ahead. The ‘current day’ is a tricky subject, as ‘now’ is at best ephemeral. The future, on the other hand, can only ever be guesswork, even if it can be informed by the past. Perhaps the best way to predict the future is to help to create it, so that means that what happens to the next chapter of the guitar is in our hands. Can we be trusted to behave as responsible guardians of the guitar’s destiny? As Mahatma Gandhi (1869‑1948) said, “The future depends on what we do in the present”. This suggests that what will happen is not predetermined and individually or collectively, we can take action to shape the future.

There are not many images again supporting this article so, apologies to those who like pictures to speak a thousand words. Anyway, without further ado, on with the last part of the chronicle…

The guitar has come a very long way in the last 3,500 years or a road slightly less travelled in the preceding 350 years depending on whose version of the facts you want to believe. The story has finally reached that pivotal moment that lies between the past, which is, on the whole, pretty well documented and the future, which of course isn’t. There is much to be played for and the stakes are certainly high.

It is hopefully of little surprise that the future of the acoustic and electric guitar, as well as all its derivatives and distant relations, is probably well‑assured, at least for the foreseeable future. Whether it survives in the (very) long term or not, the world’s favourite musical instrument is undeniably going to be a hard act to follow, let alone surpass.

As with many industrial and technological revolutions, predictions have proved variable in terms of accuracy. As time passes, change tends to accelerate in both pace and scope. While progress may be inexorable, there is an unseen ‘force’ that tends to counteract unbridled advances and which acts as a bit of a restraint. That set of reins is the very human tendency to hold onto what is familiar while resisting change until it is either inescapable or desirable. This natural ‘drag’ effect has laid waste to many grand ideas and great inventions. Numerous well‑marketed ‘next big things’ have fallen at the hurdle of persuading the general public to take up something new or unfamiliar, especially if one’s respected peers haven’t bitten the bullet of early adoption either. Mankind’s flawed history is littered with countless failed marvels. This phenomenon isn’t, I hasten to add, just a trait of idiosyncratic musicians; it appears to be a fundamental characteristic of the human condition.

Anyway, as usual, I digress. It is time to get back to the point which is basically that whatever you read from here on has absolutely no basis whatsoever in fact and is highly likely to be extremely wrong! My consolation is that few people will regard it as portent or look back to judge its accuracy in a century’s time. There is nothing genuinely prescient here in the vein of Da Vinci or Nostradamus. Apologies if you were hoping for more in the way of a profound visionary insight. Unfortunately, my stock of that ran out last week.

General indicators of change

It is fair to suggest that popular music is often representative of, and in turn is dependent on, broader social, cultural and political movements, and guitars follow in their footsteps. Whether we like it or not, music is integral to our everyday lives, so it is not surprising that it is also inherently powerfully evocative. As a result, it can dramatically affect the way we identify with past events.

One of the key factors that drove guitar evolution has been the trends in popular music, so perhaps musical trends may provide a much generalised hint at parallel guitar developments. Let’s start by considering the (very simplistic) genre movements and the types of instrument used over the last century. Starting with the post‑classical era, there was jazz (Gibson archtops) and blues (National & Dobro resonators) in the 1930s and 1940s, country and rock ‘n’ roll in the 1950s (Gretsch & Gibson hollowbodies), pop and rock in the 1960s (Fenders and Rickenbackers), progressive and heavy metal (Gibson solid bodies) and then punk (pawn shop guitars) and hair metal (pointy super Strats) in the 1970s. Then we get to the guitar doldrums of electronica, new age and rap in the 1980s, followed by revitalised guitar music of alternative, grunge in the 1990s, and indie (retro guitars) nu‑metal (PRS) and dance in the 2000s, etc. I struggle to think of a musical genre that so far defines the 2010s or perhaps many distinctive guitars to go with them. So there is some kind of link going on here. Google has attempted to map the progression of musical genres from 1950 to the current day (take from it what you will).

The type of guitars de jour used by famous musicians, including artist associations, during these epochs often reflected the style of contemporary music they played and these have largely been well covered in previous parts of the story. Just think of Chet Atkins with his Gretsch 6120, Buddy Holly with his Fiesta Red Fender Stratocaster, The Beatles with their Rickenbacker 300s, or Jimmy Page with his Gibson Les Paul Standard and EDS-1275 double neck. The various interconnections are manifold and too many to mention here, and many have been captured in photographs to become iconic in the annals of rock history.

Cinema and television music regularly use key songs to catapult us back in space and time without the need for narrative exposition to describe what’s happening. Just think about classic movies such as American Graffiti, Stand By Me, Almost Famous, Saturday Night Fever, The Breakfast Club or 8 Mile among many, many others. Those random examples don’t include the numerous biopics (e.g. Sid & Nancy, Walk The Line, The Doors) and musicals (e.g. West Side Story, Grease) or original scores (e.g. Paris Texas) that use familiar, memorable and/or popular music to transport us to another ‘reality’. Then there are the one‑offs like the mockumentary, This Is Spinal Tap. TV programmes also picked up the strategy for domestic viewing since the 1960s and often featured manufactured artists such as The Monkees or The Archies. The lists of relevant examples are endless. Music is used to draw the viewer into the director’s vision of a certain bygone era. Many of the sound tracks of our lives rely heavily on evocative (guitar) music to manipulate us emotionally and, more importantly, intentionally.

The way that environmental factors affect local communities may spark a genre direction that is then promulgated more widely. For example, one could point to the rise of electric blues in Chicago, soul in Detroit, Mersey beat in Liverpool, punk in New York and London, rap in Los Angeles/Philadelphia, or grunge in Seattle, etc. What we cannot predict is what or where any future musical revolutions (if any) may emerge, from where, and what step‑change responses guitar builders may then make.

As with many other aspects of our 21^st Century lives, the nature of music, how it is made, distributed and accessed suggests that anything genuinely ‘new’ will find it much harder to stand out from the mainstream. What is already there will continue in some form and anything new will simply be added to it, often at the margins of existing genres, hence the proliferation of sub‑genres, e.g. thrash or nu-metal in rock; house and techno in dance; raga and dancehall in reggae; dubstep and grime in urban music, etc. One only has to compare and contrast the mind boggling varieties of heavy metal music and then consider how they continuously diverge, converge and cross‑fertilise in order to keep it fresh and vibrant.

While some technological change may be more predictable, social change and the music that characterises it is certainly more unpredictable. When one looks at something as specific and tangible as the guitar, it becomes increasingly risky to anticipate with any certainty what change may occur over an extended period of time, say the next century or so.

One view is that we are powerless and don’t need to think about it, as what will be, will be. Another is that we wait passively and be subject to what transpires with little or no influence over it. A third way may be not to accept the status quo and take positive action to stimulate change, which can happen in oddly random ways. Being of an opinionated sort, I tend to fall into the latter camp. Apologies, that probably actually doesn’t help much!

Perhaps the biggest challenge to the guitar’s supremacy is likely to lie in the digital revolution that really started to make an impression in the 1970s and 1980s. Part of the reason for the guitar’s seemingly unassailable success has been that it is a hugely expressive and flexible instrument, which actually makes its nuances extremely difficult to replicate in a world constructed entirely of binary 0s and 1s. We shall see whether digital advances can fully overcome the difficulties in recreating the subtleties provided by a very analogue instrument in the hands of discriminating (and generally quite conservative) musicians.

The evidence so far suggests that digital is making ever increasing inroads into the analogue guitar’s dominance and the discernible gap between analogue and digital output is decreasing all the time. How long will it be before even the most ardent luddites finally admit that they can’t really tell the difference (despite what they may say outwardly)? However, it isn’t just the sound of guitars that appeals to guitarists; it is also the feel and the look of them that matters, as well as how they allow musicians to communicate with each other in unspoken ways.

New generations of guitarists, however, may be looking for something very different from their predecessors. What form will ‘the shape of things to come’ take? Will it be all hyper‑modernistic and crammed with tech and flashing lights and built from materials we cannot yet imagine, or will it be the same old bits of tree wood crafted into the familiar shapes of Telecasters, Stratocasters, Precisions, Les Pauls, ES‑335s and SGs that we covet today? Only time will tell how things pan out and it will be for future authors to use the convenient assistance of hindsight to determine and document what path the history of the guitar takes from here on.

Looking and learning from the past, one might simply extrapolate forward. Future guitarists may well be like their ancestors and pragmatically seek to mix the best of the past with the best of what’s to come, regardless of whether it is analogue or digital. My personal prediction is a typically ambiguous ‘sit on the fence’ one, in that guitars will probably become increasingly hybrid if they are to keep ahead of other comparable instruments. Let’s face it, there are not really any threats` to the guitar’s dominant popularity at the time of writing and it has always been a continuously evolving instrument, so it would be of little surprise if this were to continue. While the 1980’s temporary trend for synth and electronica attempted to eradicate guitar music in the minds of popular listeners, the guitar has proved very resilient and difficult to displace.

Since the 1970s, the guitar has been used to trigger digital electronics. However, while both signal tracking and polyphony still present problems, these barriers are gradually being overcome. There have been several attempts to introduce effective guitar synths over the years but they have really been analogue or digital filters activated by either an ordinary guitar pickup or by discrete signals from a hexaphonic pickup. Hex pickups, which output a separate signal for each string, were often added to an existing guitar and used to transform it into a MIDI (Musical Instrument Digital Interface) controller while still able to be used as an ordinary guitar. MIDI was a standard specification published in August 1983 by Japanese electronics giant Roland and American synthesizer company Sequential Circuits, and is commonly used to control electronic audio equipment. While attempting to revolutionise guitar music, Roland’s excursions into guitar synths since the 1980s have still relied on a standard guitar as its starting point.

Other Japanese companies specialising in electronics have also experimented with MIDI control of external synthesis engines, for instance guitars from Casio (DG20) and Yamaha (EZ-EG). It seems incredible to think that these early electronic instruments are now being considered as ‘vintage’. Today, there are now plenty of guitars on the market with MIDI capability built in. Technology has moved on and the fundamental concepts of a digital source are now ripe for being reinvestigation and improvement.

Other pioneering companies such as Line 6, now owned by another Japanese giant Yamaha, introduced their ground breaking digital modelling preamp (the Pod) and digital modelling guitar (the Variax) to indicate the direction in which development might go. Line 6’s philosophy inspired and influenced subsequent successful products such as the Kemper Profiler and the Fractal Audio Systems Axe-FX. Computer control of complex parameters, presets, firmware and downloads are commonplace for amps and effects in the 2010s and we can certainly expect this trend not only to become de facto but also to become a requirement in the near future, so a laptop at live gigs is already almost a necessity to keep your rig running smoothly – not a comfort zone for many analogue technophobe musos.

Guitar making cannot stand still and neither should it. Even the companies with a century or more of history, such as Gibson, Gretsch and Martin, have to keep moving forward or risk being overtaken. However, the tightrope of appealing to customers who appreciate the heritage is also key to the future success of long‑established manufacturers. Newer, smaller companies, though, are not constrained by the time capsule factor.

It is probably safe to say that the future is likely to be a practical symbiosis of both the familiar to satisfy the conservative traditionalists and the whizzy new gizmos to appeal to the technologically savvy experimentalists and neophytes… just as it always has been if fact. Even Gibson has been toying with the addition of digital features into its guitars, including the Les Paul HD.6X Pro and the Firebird X models. Intriguingly, Fender and other major brands have yet to declare their hands. It will be the fine balance between the opposing forces that will enable lasting incremental change, via ‘chimera’ guitars, rather than a number of fundamental radical shifts. That eventuality could prove a bit boring though, don’t you think? However, sadly, it also seems to mirror the way that modern popular music is going as well?

Leaps of unadulterated conjecture:

This next section is pure fantasy and should not be relied on as authentic in any way. It came from an idea that it can sometimes be fun to imagine what things might be like in some near or distant future. One hopes, though, that what follows doesn’t come to represent some form of self‑fulfilling prophecy.

It may be that the guitar itself could become superseded by something completely different from what musicians (rather than video game players) use today. Could it be possible that something along the lines of the PlayStation ‘Guitar Hero’ controller may someday make inroads into real instruments to create real music? I would anticipate that the majority of guitarists would sincerely hope not.

There are already some very modernistic looking instruments out there, such as the HTG Hyper Touch and the Misa Kitara (note the use of the Greek name kitara from Part I of this long story). Are these all‑electronic ‘guitars’ the sorts of instruments that will replace our beloved classic designs and become de rigeur in the near future? Alternatively, perhaps the electric guitar could somehow morph into some form of fully digital instrument via the route of hybridisation. As a logical conclusion, is the ‘Digital Guitar’ with analogue playability a holy grail and, if so, for whom? Here are some current digital guitar innovations from the 2010s…

So… suspend your disbelief for a few minutes and take a tentative look ahead to the scary world of AIs, AAs, AVs and AM (spoiler alert – these acronyms may seem familiar but in this context, they don’t mean what you think they mean today). You will be assimilated. Resistance is futile. Read on…

10 years’ hence (c.2028):

Analogue vs digital – Digital technologies will be used increasingly to enhance the analogue signal chain rather than usurp it completely. We have already seen many examples of this appearing in effects and amps, so there isn’t really any clever insight in mentioning it. Digital control of analogue signals is already becoming commonplace especially in delay and modulation effects where digital manipulation gives much more precise control over what happens in the analogue domain.

It remains unpopular to sample the original signal through an analogue to digital converter (ADC), mess around with it and then put it back through a digital to analogue converter (DAC) to turn it back into a signal for further processing. Many purists say that the act of conversion using today’s chips taints the original signal. It will be a while longer before we make that bold step of a fully digital signal chain from fingers to ears but it is getting ever closer. It will happen but possibly not by 2028, mainly because of the difficulty in engineering effective fully digital instruments and loudspeakers.

Research will continue to develop a truly digital guitar ‘pickup’ that could compare to current electromagnetic pickups and provide the first step to more complex processing in the future. Digital modelling using DSP (Digital Signal Processing) chips will continue to improve and will become almost indistinguishable from analogue electronics in effects, amps and digital audio workstations (DAWs). There will be a hardcore fan base that remains wedded to the old school stuff for many, many years to come. The guitar itself is highly unlikely to become fully digital in the next 10 years, if only because there are far too many dogmatic people invested in preserving the status quo. Auto‑Tune for the guitar anyone?

Guitar Making – In the near future, it is highly unlikely that wood will be superseded by any other material as the primary input for the majority of guitars. Wood has proved over millennia to be a very flexible, durable renewable material. Let’s face it, it can also look wonderful. One major advantage of wood is that it contributes towards the organic tone and touch of an individual musical instrument. Many alternative materials have been used in the construction of guitars since at least the 1920s, including plastics, metals, carbon fibre and a wide variety of composites. To‑date, though, wood has prevailed in terms of structural integrity allied to inherent musicality. What will change, though, is the shift away from the use of endangered exotic hardwood species such as rosewood, ebony and even mahogany to more sustainable species. For instance Pau Ferro (Libidibia Ferrea, a.k.a Bolivian rosewood) is rapidly replacing the CITES‑restricted rosewood (varieties of the genus Dalbergia) as a popular fingerboard material. Quite how fussy musicians will accept unfamiliar wood substitutes, will be determined in due course. What is clear is that guitarists really have no choice but to go with the ecologically acceptable flow in the long‑term.

Like their classical musical counterparts, the guitar itself (whether acoustic or electric) will remain very much a natural instrument for a good few years yet. The guitar will still be supremely popular and will be making great music all over the world. Guitars will be made by a broad range of entities from one man band local custom luthiers up to multinational mass manufacturers. Competition, particularly from China, will be a threat to many established western companies until their economic bubble bursts, which it eventually will at some point.

Recorded music – The vast majority of recorded guitar music will be produced on digital equipment with a few retro studios still using analogue equipment including valve preamps and tape machines. The relative accessibility of convenient digital recording equipment will continue to provide openings for all sorts of artists from the home musician to the professional mega bands using famous dedicated studio facilities such as the famous Abbey Road Studio in London. Recorded music will be increasingly distributed and accessed online, although legacy formats will maintain a solid niche popularity.

Live music – Live music will continue to grow in popularity to become the cornerstone for many successful artists, provided that they do not price themselves out of live appearances and that over‑zealous regulations don’t stop large live events from taking place. PA and monitoring systems will continue to improve significantly and sound pressure levels at venues will be severely restricted, removing some of the visceral excitement of the live music experience.

30 years’ hence (c.2048):

Analogue vs digital – Digital will be the primary domain in which music will be made, recorded, distributed and accessed. The guitar will remain analogue, although it is likely that the entire chain from the pickup onwards will be predominantly digital. However, as with current classical instruments and music, there will still be an important place for traditional analogue guitars. Amps and effects are likely to be almost totally digital. Successors to the analogue electromagnetic pickup and the loudspeaker will be introduced to a point that digital sound will be common if not universal. ‘Old fashioned’ guitars will remain very popular and will experience regular revivals and rejuvenations, even if the overall battle will be won by the digital technologies of the 2040s. New digital connectors will proliferate, as the currently ubiquitous USB port will long since have been superseded, and the jack pug/socket will be purely of vintage interest.

Guitar making – Most of the large manufacturers will be producing some sort of digital instrument as the norm, even if the vital interaction between fingers and strings will remain as it is now. All guitar tone woods will be derived from sustainable sources by strict regulation and use of rare species tightly controlled (outside the unavoidable black market). The use of alternative materials will be in full swing, reducing the reliance on today’s natural materials. New guitars will be built to be recyclable. Automated manufacturing will be the norm and the demand for traditionally made guitars will be catered for by numerous specialist guitar builders. Pure wooden analogue guitars will be vintage only and regarded with the same respect as classical instruments are now. Guitar development will be relegated to refinements around the margins, rather than core revolutions. Hybrid instruments will be fighting a rear‑guard action, with digital beginning to win the final battle. Competition to the guitar will continue but will not succeed… yet.

Recorded music – Digital will almost totally dominate recorded music production, distribution and access. Diehard analogue fans will be regarded as geeks and nerds. Vinyl albums will, however still persevere… just.

Live music – Like recorded music, live music will be, apart from the musicians themselves, almost universally digital. ‘Loud’ live music will be a thing of the distant past. Music venues will begin to disappear as discrete locations, with personalised performance content delivered direct to the individual.

50 years’ hence (c.2068):

Analogue vs digital – Analogue guitar music will be like classical music is today, a popular, niche and a largely historic pastime. All other aspects will be digital.

Guitar making – Standardisation and construction will be largely prescribed. Hybridisation will just about have peaked and on its way out. The majority of guitar production will move towards making AIs (Artificial Instruments). The focus will be on the technical facets of music making, rather than subjective, emotive ones. Guitars as we know them now will be of heritage interest.

Recorded music – Music will be manufactured in the digital domain with just a few maverick analogue‑obsessed musicians beavering away in the minority. The vast majority of contemporary recorded music will be created electronically, with few outmoded musical instruments as we know them now being used. Many artists will be AAs (Artificial Artists), rather than by artistically inclined human beings – the latter will concentrate on performing historic pieces from the golden heyday of guitar music.

Live music – There will no longer be a need to travel to a discrete venue where music is performed in person to a collective audience. ‘Live’ music will be created in computers, customised to an individual’s tastes and accessed in the home, in a domain known as an AV (Artificial Venue) giving the sight, sound and feel of a venue.

100+ years’ hence (c.2120):

Analogue vs digital – Analogue guitar music will be an historic vocation and largely a lifestyle pastime. All other aspects of ‘modern’ music will be entirely digital. Some authentic old‑style music will be recreated on historic instruments for research purposes, rather than as entertainment.

Guitar making – Even the last few old‑school luthiers will be migrating to alternative materials, automation and digital electronics. Hybrid instruments will be seen as a thing of the past. AIs will be commonplace and there won’t be a need for human musicians to learn the art or skills needed to make any type of contemporary music.

Recorded music – Popular music will be artificially created without the need for accomplished musicians. Music will be constantly morphing on a second‑by‑second basis, known as AM (Artificial Music).

Live music – Performance capture will be produced electronically and experienced direct by the listener’s visual and audio receptors, bypassing the unreliable eyes and ears altogether. Finally, the digital signal path from computerised source to the recipient’s brain will be complete and will require no human intervention whatsoever.

Alternative Reality

Or… in some alternative, perhaps more desirable dimension, the unwritten future could well be pretty much as it is today, with new generations doing just what we do now, rocking to good old electric guitar music. To many guitarists, the tactile and synergetic relationship between musician and his/her guitar in full flow with other musicians is unbreakable and simply cannot be usurped by some dystopian digital future scape.

One trusts that there will always be a place for creative artisans and a desire or the musically minded to enjoy the fruits of their vision for the guitar of the future. It is encouraging that many well‑known guitar makers are actually stepping back in time in order to move forward. This isn’t the paradox that it may first seem. Savvy guitar builders are investigating in great depth what made great guitars great in the first place and identifying what musicians actually want from their instruments today. Much of this current R&D is leading to a number of findings that indicate that what was important 100 and 200 years ago (and probably longer) is still important today but with modern consistency and reliability.

Perhaps the past masters did get it largely right in the first place and that is why their products, new or vintage, are still desirable artefacts today. While traditional manufacturers like C.F. Martin use modern production methods for some parts of the building process, they are also still using tools and equipment employed by successive cohorts of luthiers, as well as relying on many of the basic techniques and skills refined and passed down from one generation to the next. Most of the top flight guitar builders also work very hard to ensure long-term supplies of precious tone woods to make into future guitars. This focus on the best‑of‑the‑best perhaps suggests that guitars may well remain, for the large part, relatively familiar in 10, 30, 50 and 100 years from now but with improvements to the detail. Perhaps it takes that bold flight of fancy to realise that we already have what we and future generations of musicians actually need. Owning inspiring guitars inspires guitar playing and results in inspiring guitar music.

There really is no point in speculating any further ahead. The likelihood is that, even with advances in medical technology, most if not all of us reading this in 2018 will not be around to see anything beyond c.2020. The guitar is dead, long live the guitar. The passage of father time will inform just how accurate these flights of fantasy (or descents into nightmare) really are. Clearly, the further one looks into the future, the less precise any predictions become. Welcome to tomorrow’s very scary ‘brave new world’.

I, for one, am certainly not laying any bets. I’d like to think that there is something about our very personal instruments that will endure for many decades, if not centuries. If we lose that quintessential ‘something special’ about making guitars that make guitarists that make music, it will all have been for nothing. Watch this space.

Conclusion

So, that’s it. The long‑running and on‑going story of the guitar has finally reached a logical stopping off point, at least for now… However, it not the end of the story by any means. Somewhat disappointingly, the denouement to ‘A Potted History of the Guitar’ series seems to be a bit more of a whimper than some almighty bang. After so much history and so much personal investment in researching it, it seems a bit of a let‑down to leave the guitar’s evolution ‘hanging’ without some sort of definitive resolution to the script and with the various loose ends neatly tied up. Nevertheless, remember that this is not a fictional piece and let us not forget that this is definitely not the epilogue.

‘They’ say that a picture speaks a thousand words. So, to sum up the 3,500‑year, 8‑part journey in a single image that tells the story of the guitar from its origins to the possible near future, here is a fitting 27‑picture montage that possibly speaks approximately 50,000 words. Basically, I could have saved 9 months of my life and just posted this one composite picture. That, I guess, is one of the benefits of hindsight. I hope that you’ve enjoyed the expedition with me and that, like me, you have learned a little something about the guitar along the way. You wanted a potted history of the guitar? Well, how about…

From this point in time onwards is the start of the future and, whatever happens next. It will be fascinating to experience the on‑going next instalment of the long story and to observe with trepidation and excitement what is to unfold. Let us try to make it a bright and positive outcome for everyone who loves The Guitar and Great Guitar Music. Thank you for reading. Enjoy the future, whatever it holds for us guitar aficionados.

End of Part VIII and the end of this series

Now… I need a break from the relentless rigmarole of the research and write routine, which has, for the best part of a year (or more), been on top of everything else. As mentioned previously, at some point, I might adapt the eight separate ‘Guitar History’ parts into a more coherent and accessible feature set on the CRAVE Guitars’ web site.

Very shortly, I will try and start to prepare for 2019’s (hopefully slightly less) epic partner piece to this year’s gargantuan opener. For the rest of this year, it is back to opinionated hum‑drum ‘normality’ with stand‑alone observations of a more topical and transient nature.

One thing I have noticed is that I haven’t been playing enough guitar in recent months, hardly any at all in fact, which is deplorable. So perhaps now that this particular endeavour is over for now, it’s time to practice what I preach, pick up a lovely vintage guitar and plink away for a bit of cathartic enjoyment. At least, in doing so within the context of the past, I now have an enhanced appreciation of the history that led to it coming into my hands and why it is so important to conserve the heritage for that future. Until next time…

CRAVE Guitars ‘Quote of the Month’: “Let’s be honest, the future is all we really have and it is the only thing we can do anything about”

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31 Aug 2017

August 2017 – A Peak into the Pandora’s Box of Guitars

by craveguitars | posted in: Observations, Opinion | 0

Over the last 30 months or so, I’ve been going on and on about the mainstay of CRAVE Guitars ‘work’, which is to share with you not only stuff about music and stuff about guitars generally but also specifically stuff about Cool & Rare American Vintage Electric Guitars. If you’ve taken a look at the web site, you’ll know that the focus tends to be on mainstream U.S. brands and, within that, if possible, some cool variations of well-established guitar models. However, perhaps stating the bleeding obvious, the guitar world is much bigger than that.

This month I’m dipping a toe in the water of some of the other guitar treasures out there. When one looks across the whole guitar landscape, antique, vintage, old, used, new, American, European, Eastern bloc, Asian, mass manufacture, boutique makers, unique luthiers, home‑made, traditional, basic, hi-tech, innovative and whacky, there is infinite variety and a veritable cornucopia of interesting and wonderful instruments to appreciate. The same goes for amps and effects of course (as colleagues into those things keep reminding me) but there’s not enough room in a single article for those as well. Besides, although I don’t claim to be an expert on guitars, I’m even less well‑acquainted the minutiae of amps and effects – that’s another ballgame altogether. The focus of this article is essentially on electric instruments.

When researching this article, it became ridiculously clear that I simply can’t do justice to every aspect of this enormous topic. I can only mention a figurative iceberg’s tip of what’s out there and I apologise in advance for the probable monumental omissions herein. Before we get going, none of the guitars covered in this article are part of the CRAVE Guitars’ family. In order to illustrate the diversity, I’ve resorted to using pictures sourced from Google Images – I acknowledge all guitar owners and photographers.

Let’s face it, love them or loathe them, the centre of the guitar universe remains occupied by the American ‘Big Two’, Fender and Gibson, along with their subsidiary companies including, respectively, Epiphone and Squier that concentrate on the budget end of the market. Incidentally, Fender and Gibson also own a number of other iconic brands that come under their wing. For instance, did you know that Fender own Gretsch, Jackson, Charvel, DeArmond and Tacoma, and Gibson own Baldwin, Kramer, Steinberger, Tobias and Wurlitzer? Until the mid-2010s, Fender also owned Guild and Ovation guitar brands.

It would be easy to fall into the trap of thinking that Fender and Gibson are massive multinational industrial giants, but in actuality, they are pretty modest business concerns compared to the sheer scale and scope of some truly global companies. Fender and Gibson are, above all, very successful brands with a strong identity, whose reach extends well beyond the music industry. This general public awareness helps to shield them from some of the economic, social and technological pressures facing them. Business fortunes, however, go in cycles and the ‘Big Two’ have had their ups and downs. Both companies, along with many others, were taken over in the 1960s, leading to a period of corporate complacency and weakness that opportunistic competitors were able to exploit. While they have been able to rejuvenate their image, they are now dealing with a radically different global context.

While the ‘Big Two’ are fortunate to have genuinely iconic products including Fender’s Stratocaster, Telecaster and Precision bass, and Gibson’s Les Paul, SG and ES-335 (among others), this otherwise enviable position can also constrain them operationally. It has proved very difficult for them to innovate and stretch too far from the proverbial straightjacket imposed by their core instruments. Existing models are scrutinised minutely and often face intense criticism if they move away from the accepted recipe. At the same time, it is difficult for them to introduce all-new models, as they are often compared unfavourably with the classic mould. Without sustainable growth in a finite market, these companies are commercially vulnerable and their potential success is increasingly limited by their past. This strategic conundrum for Fender and Gibson actually creates fertile ground for other smaller firms to grasp opportunity to enter the market through differentiation, diversification and innovation, as well as imitation.

Circling around the ‘star’ of the Big Two, there are the other recognisable brands such as Rickenbacker, Danelectro, Guild, Ovation, Music Man (now part of the Ernie Ball corporation), G&L, and, as well as the aforementioned Gretsch (the Gretsch family retains major influence as part of Fender) and relative newcomers such as PRS. There are other companies that don’t immediately spring to mind but which have enormous presence in the industry. I include Peavey here, as one of the world’s largest musical manufacturing company. Then there are the other recognisable ‘independent’ American manufacturers that tend to focus on niche markets, such as BC Rich, Dean, Jackson, Alembic, Carvin, Schecter, Steinberger, Suhr, Parker, Heritage, etc. At the same time, some major US guitar companies focus predominantly on acoustic guitars, such as Martin and Taylor.

There is an incredible history surrounding brands that have either disappeared completely or those that have gone, some of which have now been resurrected, e.g. Supro, Airline, National, Dobro (acoustic, now part of Epiphone), Bigsby, D’Angelico, D’Aquisto, Silvertone, Kalamazoo, etc. American guitar manufacturers suffered particularly badly in the 1960s and 1970s as a result of multiple pressures including falling production quality, increasing manufacturing costs (including union labour), and hostile competition from high quality cheap imports from the Far East.

As you might expect, the history of many of the brands already mentioned goes back to the early-mid 1900s (or even further), which means that there are plenty of very cool vintage guitars floating around. In the guitar world, age doesn’t mean valuable – it is the combination of age, rarity, quality originality and current condition that matter for those with an eye on the dollar value. While the Big Two tend to command the premium prices, pretty much across the board, there are plenty of bargains to be had by looking more broadly at these, sometimes ephemeral makes. I recently come across an early 1960s U.S. Airline in all‑original clean condition that went for a little over £300GBP. These never were top‑of‑the‑range instruments back in the day, and they can be picked up as bargain vintage instruments now. Some of these leftfield guitars present low-risk options for entry into the vintage market if you research carefully and don’t expect too much. History suggests that, in all likelihood, they won’t accumulate vintage value very quickly without major artist association. Look around and there are gems to be found from under-the-radar guitar makers. Some are very nice, including Washburn, Hondo (mainly copies), Mosrite, Harmony, Kay, Valco (maker of a number of other brands), etc.

Moving away from the American continent, Europe also has a long tradition of great musical instrument manufacture, with brands such as Vox, Höfner, Baldwin, Burns, Watkins, Framus, Hagstrom, Hohner, Shergold, Hoyer, Wandre, Bartolini, Levin, Goya, Welson, along with newer entrants such as Warwick, Duesenberg and Vigier, Some of these were prolific during the ‘golden years’, capitalising on the rapidly moving musical paradigms of the 1960s and 1970s. A post-war embargo on American guitar imports certainly helped European brands (and bands) get a foothold and to prosper up to the early-mid 1960s. While, as in other markets, the quality of European guitars varied considerably, many models have become synonymous with the period and, as a result, highly collectable, for instance, the teardrop Vox guitar used by Brian Jones of The Rolling Stones or the Höfner violin bass used by Paul McCartney of The Beatles.

Even further away from America, the Japanese companies competed head on with the American brands in the 1970s. Plenty of the budget guitars were blatant copies of American guitars, which resulted in protracted litigation to protect U.S. patents and trademarks. Many ‘older’ guitarists may remember copies from the likes of CSL and Columbus, as well as Ibanez. Japanese firms didn’t just replicate American designs; some also produced original designs and have retained a credible reputation over time for quality and consistency, including their dominant brands – Yamaha and Ibanez. Takamine, which focuses predominantly on acoustic guitars, is also Japanese. There have been plenty of Japanese names that are or have been familiar, including ESP (and subsidiary LTD), Roland, Italia, Aria, Tokai, Teisco, Greco, Guyatone, Apollo, Kawai, Kent, Westone, etc. Many of the instruments made by Japanese companies in the 1960s and 1970s (including some copies) are now becoming very collectable in the off‑the‑beaten‑track vintage niches. If you want some truly whacky vintage designs at reasonable prices, take a look at Japanese guitars. Plenty of people now specialise in conserving these vintage Japanese/Asian instruments.

The old Eastern Bloc countries have also produced a wide range of brands catering for home-grown musicians. The strategy of government-owned manufacture was partly nationalistic, in that they were required to protect their home market from capitalist imports from both the west and east. Many of these guitars were typically utilitarian with little in the way of flamboyance. Many of these brands will be little known in the western world, even now. As you might expect, there are experts who concentrate on collecting these communist bloc guitars for posterity. The ones that have penetrated the western markets offer something different from, and cheaper than, the mainstream names. Look out for names like Aelita, Elgava, Formanta, Migma, Musima, Odessa, Stella, Tonika, Marma (East Germany), Jolana (Czechoslovakia), etc.

There are a few other territories that have developed their own guitar manufacturing, including Godin and Eastwood in Canada and Maton in Australia. In addition, there are a large number of unmarked guitars out there with no means of identifying age or source. Some can be traced back to similar designs by known manufacturers while the creators of others are lost in the mists of time and geography. These ‘pawn shop’ guitars are often poorly made and may be considered curios, although, there are aficionados looking to conserve the more vernacular heritage.

The modern-world picture is far more complicated and can’t be talked about in terms of familiar regional territories. Some multi-national companies, including Fender and Both Fender and Gibson have their headquarters in the US and produce large numbers of their subsidiary ranges in other countries. Some brands are designed in the US and constructed offshore. Some are assembled and quality checked in the US from parts made elsewhere. Larger companies have international distribution operations that channel product to dealership networks within economic regions, e.g. Fender UK servicing the European Union (at the moment!). Others have to manage distribution through networks of independent dealers. Some smaller companies have to rely either on local markets or alternative methods of distribution, direct or indirect. Some companies make instruments that are branded by one or more retail chains. A classic example is Silvertone whose instruments were made by Danelectro, Kay and others, sold through Sears & Roebuck department stores and mail order (remember that?). Similarly, many of the diverse Japanese brand names were actually made by a relatively small number of manufacturers, e.g. Kawai and Teisco.

Another feature of new millennium guitar building is the explosion in bespoke guitar building, either by small specialist companies or individual luthiers. Low volumes, creative designs, alternative materials, custom features, and high quality tend to characterise the sub-industry but there are always exceptions to the rule. There have, pretty obviously, always been bespoke builders catering for the well‑heeled or professional musicians’ need and this has led to further opportunities that are difficult for the mass manufacturers to match. In response, the larger manufacturers, including Fender and Gibson, created custom shop operations to provide tailored services for individual clients. Custom shops also heralded the explosion in vintage-styled recreations and the more recent craze for relic finishes, both building on the growth of interest in vintage guitars.

Remember, even the (now) big companies had to start somewhere, usually with an inspirational leader, visionary pioneer or commercial entrepreneur at the helm, often working on their own or in a small workshop. Many of today’s big brands started out with some names you might just recognise, including Friedrich Gretsch and son, Fred Gretsch Jr, Orville H. Gibson, Christian Frederick Martin, Adolph Rickenbacker, Nathan Daniel (Danelectro), Epaminondas Stathopoulo (Epiphone), and one Clarence Leonidas ‘Leo’ Fender. More recently, Paul Reed Smith has earned a place amongst this exlusive group. Even these industry giants relied on other key individuals and their skills including John Dopyera, George Beauchamp, Lloyd Loar, F.C. Hall, Les Paul, Ted McCarty, George Fullerton, Ray Dietrich, Roger Rossmeisl, etc.

Other well-known names span out of larger companies, for instance, Travis Bean, well known for metal-neck guitars, split from Kramer. Kiesel Custom Guitars is another example, producing some astounding instruments having been formed following the splitting up of American company Carvin in 2015. Perhaps the most successful modern entrepreneur is Paul Reed Smith of PRS Guitars, based in Maryland USA since 1985. While growing his reputation, Smith wisely sought advice from Gibson’s ex‑president Ted McCarty to mentor him, and several PRS models now proudly bear McCarty’s name. The tradition continues with renowned luthier Joe Knaggs setting up his own prestigious guitar company after leaving PRS, producing some wonderful instruments in relatively small numbers.

One of the most celebrated and influential craftsmen to exploit niche demand in the 1960s was Lithuanian immigrant to the UK, Tony Zemaitis who made some very remarkable guitars for some very remarkable guitarists. Zemaitis’ legacy can clearly be seen in other current models from the likes of Duesenberg and Teye, as well as the Japanese company that currently carries on Zematis’ illustrious name.

There have been many excursions into the application of alternative materials to wood. The use of metal in guitar production was pioneered by the likes of National and Dobro in their resonator guitars as a means of producing more volume from acoustic guitars in the pre‑electric era of the 1920s and 1930s. In the 1960s, Valco used fibreglass (coined Res‑o‑Glas) for futuristic designs in the 1960s, such as the stunning National Newport. More recently, acoustic maker, Ovation, used a variation of fibreglass (lyrachord) on its bowlback instruments. Zemaitis experimented with other materials in his guitar construction and many others have followed suit, including the aforementioned Kramer/Travis Bean. Around the same time, there was a ‘fad’ for acrylic guitar bodies, perhaps the most well-known proponent being Dan Armstrong who used acrylic for parent company Ampeg.

On this side of the Atlantic, another luthier has set the bar for innovative use of metal; French luthier, James Trussart, Italian company XoX Audio are making some nice instruments out of carbon fibre. 3D printing also presents opportunities for greater use of plastics and metals in guitar production. Some luthiers have experimented with stone as part of the construction but it is not common – or very practical. With ever increasingly stringent restrictions on sourcing, use, sale and movement of hardwoods commonly used in guitar production, expect wider use of alternative sustainable materials in the future.

There are hundreds if not thousands or even tens of thousands of guitar makers out there, all wanting a proportion of the overall demand for great guitars. Here are a very few notable names from all around the world to keep an eye on, including (in no particular order); Collings, Stone Wolf, Flaxwood, Palm Bay, Hutchinson, Emerald, Ed Roman, Suhr, Mayones, Nik Huber, Matt Artinger, Tom Anderson, Patrick James Eggle, Fano, Gus, Goulding, Prisma, Frank Hartung, Michael Spalt, Michihiro Matsuda, TK Smith, Rick Toone, Carillion, McSwain, John Backlund, Reverend, Ron Thorn, John Ambler, Mule, Tony Cochran, Walla Walla, Ezequiel Galasso, Langcaster… The list could be endless as there are just too many great guitar buillders out there to mention and apologies to those I’ve left out and, sorry, I can’t post pictures of every one – I wish I could. The point, I guess, is to broaden one’s perspective and perhaps open one’s mind to a wide range of other possibilities beyond the obvious in-your-face guitar shop fare. I don’t usually proffer advice but on this occasion, I would simply just say, take a look out there and you might just find something weird and wonderful that you probably didn’t know existed. I regularly feature some of this wonderland of goodies on Twitter for those that may want to take a look (@CRAVE_guitars).

For the amateur hobbyist or artisans with aspirations of becoming the next notable designer, there are now plenty of DIY kits for everything from generic product to some quite fancy customised guitar construction. Access to information the Internet provides plenty of plans and specifications for people to design and build almost any type of instrument without the need to track down books or luthiers willing to share their knowledge. Experimenting in this way can present all sorts of opportunities to be taken. What about you?

Renovation ‘husk’ projects are probably best avoided unless you really know what you’re doing, as there’s probably a reason why they are in that state to begin with. For some, though. a ‘bitsa’ guitar may make an ideal low cost player’s guitar. My lack of practical skills prevents me from trying out a DIY (re-)build beyond my limited capabilities. Besides, given CRAVE Guitars’ fundamental raison d’être, I simply can’t create an authentic American vintage guitar.

I hope that this article has given a tiny indication of the beauty and multiplicity of guitars out there. That’s without going into oddities with unconventional string configurations, double (or more) necks, hybrid instruments, etc. It is this fascination with making things different while also keeping things the same that is quite inspirational and, I think, pretty unique to guitars, at least on this sort of scale. We are blessedly spoilt for choice and there are some ridiculously good guitars out there for very reasonable prices without experiencing the diminishing returns associated with esoteric exotica. Ultimately, this clearly indicates that there is something for everyone with an interest in the world’s favourite musical instrument.

So… you may ask… what’s my favourite out of everything covered here? Truthfully, I can’t say; I find guitars endlessly beguiling and preferences vary continuously. It would be unfair to single any one brand or model from the others. As my obsessive quest for ‘Cool & Rare American Vintage Electric Guitars’ continues, the CRAVE name gives a hint of bias but that is not so dogmatic that I can’t appreciate all aspects of the luthier’s art and craftsmanship. MY position is firmly ‘on the fence’. If any of the names mentioned wish to persuade me off the fence with a prime example of their product(s), I am more than happy to accommodate them (f.o.c. of course!). I optimistically await a swathe of e-mails to that effect (hint, hint).

Me? I’m off to plink a new CRAVE Guitars’ plank. The new addition to the family is something both very recognisable and very unusual at the same time. All being well, I’ll try to cover it in next month’s article. All I’ll say at this juncture is that it is definitely one that fits the Cool & Rare American Vintage Electric Guitar bill very aptly while also strongly dividing opinion. Intrigued? The lengths we go to, to bring you guitar ‘stuff’. Watch this space…

CRAVE Guitars ‘Quote of the Month’: “There is a finite limit to the amount you can know, there is no limit to the amount you can imagine.”

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29 May 2017

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

by craveguitars | posted in: Observations, Opinion | 0

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

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

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

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

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

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

So… here we go, in chronological order…

The 1960s(-ish):

1965 Bob Dylan – Highway 61 Revisited

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

1967 Jimi Hendrix – Are You Experienced

1968 The Velvet Underground – White Light/White Heat

1969 King Crimson – In The Court Of The Crimson King

The 1970s:

1970 Black Sabbath – Black Sabbath

1971 The Doors – L.A. Woman

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

1973 John Martyn – Solid Air

1974 Lynyrd Skynyrd – Second Helping

1975 Led Zeppelin – Physical Graffiti

1976 Thin Lizzy – Jailbreak

1977 Bob Marley & The Wailers – Exodus

1978 AC/DC – Powerage

1979 The Clash – London Calling

The 1980s:

1980 Talking Heads – Remain In Light

1981 The Cramps – Psychedelic Jungle

1982 Bruce Springsteen – Nebraska

1983 ZZ Top – Eliminator

1984 Iron Maiden – Powerslave

1985 Dire Straits – Brothers In Arms

1986 Metallica – Master Of Puppets

1987 Guns n’ Roses – Appetite For Destruction

1988 Cowboy Junkies – The Trinity Session

1989 The Cure – Disintegration

The 1990s:

1990 Megadeth – Rust In Peace

1991 Nirvana – Nevermind

1992 Rage Against The Machine – Rage Against The Machine

1993 Dinosaur Jr – Where you BEEN

1994 Portishead – Dummy

1995 Sonic Youth – Washing Machine

1996 Nick Cave And The Bad Seeds – Murder Ballads

1997 Rammstein – Sehnsucht

1998 Massive Attack – Mezzanine

1999 Suede – Head Music

The 2000s:

2000 The White Stripes – De Stijl

2001 The Strokes – Is This It

2002 Beck – Sea Change

2003 Placebo – Sleeping With Ghosts

2004 Kasabian – Kasabian

2005 Editors – The Back Room

2006 Johnny Cash – American V: A Hundred Highways

2007 Seasick Steve – Dog House Music

2008 The Black Keys – Attack & Release

2009 The Horrors – Primary Colours

The 2010s (so far):

2010 Warpaint – The Fool

2011 The Kills – Blood Pressures

2012 Richard Hawley – Standing At The Sky’s Edge

2013 Savages – Silence Yourself

2014 Band Of Skulls – Himalayan

2015 Wolf Alice – My Love Is Cool

2016 Leonard Cohen – You Want It Darker

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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