30 Sep 2017

September 2017 – A Map Leads To Some Hidden Gems

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

Phew! I am still recovering from last month’s article (‘A Peak into the Pandora’s Box of Guitars’). As with many of CRAVE Guitars’ musings, it should have been a straightforward subject but the research and production took a disproportionate amount of time compared to likely audience interest – I know 3 people who read it and one of them is me! This month’s article is a little more prosaic and shorter; a fizzy cocktail of insight with a little pinch of observation and a cheeky twist of opinion.

Now CRAVE Guitars is into its 2nd decade and also now post-relocation, there is much to consider. The good news is that there is a new member of the CRAVE Guitars’ family, possibly the last acquisition of 2017, as funds have once more expired and there are too many other high priority calls on finite lucre. I hinted last month that the new purchase epitomises CRAVE Guitars’ philosophy while also being very divisive – a real ‘marmite’ guitar. This procurement, and the dilemma that led up to it, started me thinking about why we choose the guitars we do and particularly how this relates to an interest in vintage guitars while avoiding the traps of ‘accepted wisdom’ and cliché.

Also, picking up on some of the nuances of last month’s article, questions are also raised about getting the balance right between being different enough to stay ‘fresh’ while not being so ‘out there’ as to be insignificantly weird. To niche or not to niche, that’s the question (apologies for making an English noun into a verb – however for etymology nerds, the English word niche derives from the French verb ‘nicher’, to rest). For the sake of clarity, the meaning of niche here refers to ‘specialised market’.

Despite committing the vast proportion of my adult life to the responsibilities imposed by the Protestant Work Ethic, capitalist economics and the expectations of family life, I am at heart part-hippie, part-maverick, part-anti-establishmentarian and part-social deviant. However, in order to function effectively in society at large, one has to be pragmatic. I am also intensely curious, profoundly questioning and not one to accept the norm just because someone asserts that I must. This attitude may be fuelled by the fact that I am also burdened by a particularly English trait; I tend to side with an underdog facing up to overwhelming odds. Anyhoo… I digress and it’s time to get to the point(s).

This month, I am focusing predominantly, and rather unusually, on a single guitar and all the contextual thoughts that it provokes. The ‘new’ vintage guitar is… drum roll please… a 1983 Gibson USA Map.

1983 Gibson USA Map

→ Click here to read the feature on the 1983 Gibson USA Map

Not aware of it? I’m not surprised, as they were only made for a very short time and for a specific purpose. I won’t repeat the history here but if you are interested, take a look at the feature [feature link here]. Admittedly, on the face of it at least, it is an extraordinary looking musical instrument. It was reasonably innovative for a traditional company like Gibson. It is precisely because of its off-beat looks that I think it is very cool, as well as being very rare. So much so, I had to import this example into the UK from mainland Europe.

How many have you seen in the flesh, let alone played? I may be in the minority in thinking it’s rather fancy. I can see a large proportion of the population saying (or at least thinking), “what the f**k is that?” That reaction was precisely my son’s verbatim response when shown it. Even the seller, a reputable Dutch guitar dealer, described it as a “funny shaped guitar”. To me, those subjective, superficially dismissive comments just make the guitar all the more fascinating, both as a serious instrument and also as part of vintage guitar heritage. Perhaps, to me, the unusual is beguiling and makes me want to look deeper than the superficial.

Is the Map simply an imprudent case of style over substance? No, far from it. Some minor ergonomics aside, it is a Gibson after all. The more I looked into it, the more I became intrigued by the tension between the standard Gibson appointments and the departures from the norm. It would take a whole article to dissect the instrument and discuss the similarities and differences. Suffice to say, I was hooked, if only because it is SO unusual and quirky. Within the broader social and economic context at the time of its birth, it becomes even more beguiling for someone like me. You probably won’t be surprised that I believe it should be taken far more seriously than it is and this article will hopefully explain why.

The Gibson/Epiphone USA Map isn’t the only guitar to share the inspiration of the USA mainland as a body design. In the early 1960s, some 20 years or so before the Epiphone/Gibson, National/Valco produced the Newport and Glenwood Res-o-Glas ‘map’ guitars. The geographical aesthetics were more impressionistic but it was still clearly based on the shape of the continental USA. Eastwood now make a modern wood-bodied version of the National’s map guitar.

Unlike the earlier National, the outline of the Gibson USA Map is a much closer representation of the lower 48 states. As these guitars were made in tiny numbers, it wouldn’t have been produced on computer-controlled machines, the bodies would have been cut by hand on scroll saws, so to some extent, each one will be unique. The edges of the body clearly show the intentionally ‘unfinished’ saw marks, which is, I think, a great touch. The craftwork around the Great Lakes is also impressive.

The body is sandwich construction comprising 2 layers of slab-cut mahogany with a thin layer of maple between, presumably for added strength, given the vulnerability of the design. Most, but not all, were finished in natural satin nitrocellulose. While Gibson/Epiphone did make a very small number of guitars in ‘stars-and-stripes’ finishes, I do wonder why Gibson never produced one or two with the 48 state boundaries outlined. Now, that would be a cool option. It isn’t worth refinishing one of these rare axes just to try it out though. Epiphone even did a sunburst version, which seems a strange choice.

So… after a great deal of agonising and deliberating about whether it was the right thing for CRAVE Guitars, I went ahead and bought it anyway. Why on Earth would I spend a lot of money for a 1983 Gibson USA Map when, for the same price, I could have got something with a better reputation and far more likely to increase in value, you may ask? I did struggle with this particular dichotomy for several days before I took the plunge. Am I insane? Under the circumstances, I sincerely hope so. There is, however some sort of rationale.

Before we get there, it is worth touching on why the Gibson USA Map is noteworthy and why it is important to conserve it. The model clearly meant something to Gibson at the time. While the Epiphone and Gibson Maps were only made as a limited edition promotional item to showcase what Gibson could do. The model also appears to have been significant to Gibson’s overall marketing strategy in the early 1980s. The importance, albeit indirectly (it wouldn’t, or rather couldn’t, earn large sales revenues in itself), of the Map to Gibson’s commercial fortunes therefore marks it out as being of special interest. It was not just a company product; it was a symbol of national pride and patriotism in the face of industrial complacency, stiff overseas competition and impending economic recession. The Map was positioned front and centre of Gibson’s advertising campaign of the time, “American-Made, World-Played”. It also appeared on the front of the company’s full line catalogue and was featured on the cover of the Gibson guitar owner’s manual.

Interestingly, the guitar used in the advertising photoshoot was slightly different from the ones that reached the public. The differences include the pickup selector switch, bridge/tailpiece, speed knobs, jack plate, strap button and a bound neck. Interestingly, the face of the headstock is not visible in the photo, so it isn’t possible to determine whether it carries the Epiphone or Gibson logo.

Essentially, at the time, if you were into Gibson or Epiphone, you couldn’t avoid the Map’s imagery, even though most customers were unlikely to see, let alone be able to play, one. Perhaps the Map’s physical rarity was intended to motivate aspiration for the almost-but-not-quite attainable. Anecdotally, the Epiphone versions were made first to help bolster sales and when they proved popular, the branding was changed to boost Gibson sales. Presumably, if the tactic had failed, there would have been no Gibson versions and no impact on reputation. However, the strategy proved to be a success, even though ‘production’, if you can call it that, ceased in 1984 due to Gibson’s manufacturing facilities being moved from Kalamazoo to Nashville and skilled company craftsmen being laid off. All Epiphone manufacture was moved to Korea, also from 1984.

Gibson has dabbled with reissues of the Map from both Gibson’s Custom Shop and the Epiphone brand; the latter possibly intended to deter the many imitations and fakes that have appeared over the years. The longevity of the model now seems assured, albeit in low numbers to meet variable demand, compared to the more popular classics. Beauty (and therefore desirability) is in the eye of the beholder.

Original early Gibson USA Maps will undoubtedly remain Cool & Rare American Vintage Electric Guitars. I get the feeling that the original Maps will at some point become much sought after in the same way as the first Gibson Modernes that appeared around the same time. The Moderne had a similar ephemeral presence and, like the Map, has also now been reissued. Those rare 1980s Modernes seem to trickle onto the market at some pretty exclusive prices. I’m glad that I got my Moderne while it was still overlooked; I certainly couldn’t afford one now! Will the same apply to the Map at some point? I watch with interest.

This eventually begins to get to the nub of why the Map is now a CRAVE Guitar. You may have noticed that I make a concerted effort to be ‘different’ from the mainstream collector or dealer. Whereas they tend to focus on the usual Strats, Teles, Les Pauls, SGs and ES-335s (after all, that’s where the money is… or will be), I try to occupy a different space. The classics are great guitars and I love them all; I even own a few. However, after a while they can get a bit samey and can become a little bit ‘meh’ after a while. “Heresy! Burn him at the stake!” I hear you scream. In my defence, you may have experienced a similar phenomenon at one time or another, especially if the amount of choice can be overwhelming. In abundance, they can elicit that dreaded ‘so what?’, glazed-eye effect. It’s a bit like going into modern music retail warehouses where there is a whole wall of the same model and they all begin to merge into one homogenous whole and the impact of each individual instrument, however good it is, can be lost. Cool and rare vintage Guitars aren’t like that and ones like the Map tend to stand out from the crowd.

In an attempt to keep things interesting, I actually made a conscious decision to seek out something that marks out a CRAVE Guitar as being a bit different from the run‑of‑the‑mill. By doing this, I might just become recognised (or ignored) for doing something a bit different from what everyone else does. In a world where guitars can sometimes look the same, feel the same, play the same, and sound the same, there needs to be something unexpected to make one stand out from the plain and ordinary. I simply can’t afford the really exotic examples, so my only option is play in the ballpark of ‘affordable vintage’ and throw in the odd curveball. Therefore, my ploy is to differentiate CRAVE Guitars from A.N.Other Guitar Shop, and the best way to do that is through the instruments themselves.

In addition, my simple brain processes told me that someone has to conserve and act as steward for a few selected examples of the more obscure, lower demand models for future generations. This may constitute foolhardiness or bravado but I don’t see anyone else doing exactly what CRAVE Guitars does.

The almost inexplicable allure of these oddities started me thinking, at which point you probably roll your eyes and think, “Oh god, here he goes again!!!” I have been, and still am, attracted to some very unusual vintage instruments that many pundits will automatically condemn. At least I have thought about it and made an irrational choice to be concertedly un-lemming-like and, perhaps worryingly, un-business-like.

I have plenty of evidence within the CRAVE Guitars’ family to support my conjectures. For instance, my compassionate adoption of some widely regarded ‘ugly duckling’ guitars, including:

  • 1974 Ovation Breadwinner
  • 1980 Gibson Flying V2
  • 1981 Gibson RD Artist
  • 1982 Gibson Moderne
  • 1983 Gibson Corvus II
  • … and now the 1983 Gibson USA Map
CRAVE Guitars’ Unconventional Guitar Designs

Then, there are the traditional mainstream brands that produced some marginal designs. In my view, these are also quite endearing and worth mentioning but, again, they are not favoured by the conservatives (yet). Perhaps these guitars, also part of the CRAVE Guitars’ family, may be best described as ‘plain ducklings’:

  • 1965 Gretsch Corvette
  • 1974 Rickenbacker 480
  • 1976 Music Man Stingray
  • 1977 Gibson L6-S
CRAVE Guitars’ Unconventional Guitar Designs

… then, there are the so-called ‘student’ models such as the short-scale offset Fenders (Musicmaster, Duo-Sonic, Mustang and Bronco), the dinky Gibson Melody Makers (and Epiphone Olympic) and the Silvertone 1449 (and 1457, as well as the full Danelectros). You may begin to get the picture. For some peculiar reason, I have an affinity for these less desirable (and therefore less valuable) instruments. They aren’t eminently collectable for the greedy investment brigade but I think they have many often‑overlooked positive attributes. Bring them together under CRAVE Guitars’ banner and I think they represent a pretty cool angle on a captivating period of modern guitar history.

CRAVE Guitars’ ‘Student’ Guitar Models

Even where the classic guitar designs are concerned, where possible, I try to seek out the unusual. For instance, I intentionally went for a Fender Stratocaster Dan Smith-era ‘2‑knobber’ and I’d like to get hold of a similar-period active Elite. Telecasters? I lean towards the Thinline, Deluxe and Custom (and Elite) rather than the standard. Offset Fender Jazzmasters and Jaguars? Bring them on. Unlike most, I think the Fender Coronado is cool, as is the Starcaster (the latter is still on my ‘wanted list’) Les Pauls? I prefer the Deluxe or the Recording (I’m still looking for a good one of the latter or its predecessors the Personal and Professional). Given the choice, I’d prefer a Junior or Special over a Standard or Custom most days (as long as I have the latter to hand as well!). Gibson Explorers or Firebirds? Yes please. Semis? I prefer the ES-330 to the ES-335. Go figure.

1983 Fender Stratocaster ‘Dan Smith’
CRAVE Guitars’ Variations On A Theme
CRAVE Guitar’s Fender Offsets

Here are some unusual models that are on CRAVE Guitars’ ‘wanted’ list…

There is, of course, a huge risk to venturing too far off the beaten track and into wild guitar country. Firstly, sinking inadequate, valuable funds into potential white elephants is not advisable in anyone’s book. You may be surprised to know that I actually do care about this for 2 reasons: a) I don’t have infinite funds to burn on a laughing stock of geeky guitars, and b) I might want to trade up at some point, so having unsellable guitars that no-one wants is not a good strategy. However, I like to think that one day, when people eventually see the light of day, my whacky and weird bits of obsolete firewood might actually become the desirable antiquities I think they deserve to become. In the meantime, they will remain curios of a bygone age.

Given that the real rarities will forever be out of my humble reach (a 1958 Gibson Explorer anyone? According to records, only 6 shipped that year), it means that my attention tends to be refocused on guitar delights from the 1970s and 1980s. Yes, before some of you get on your high horses, this is the exact same period that all ‘learned commentators’ vehemently and vociferously despise for poor quality, lost craftsmanship and corporate interference. The epoch that I’m talking about are the so-called ‘dark ages’ when CBS owned Fender, Norlin owned Gibson, Baldwin owned Gretsch and MCA owned Danelectro. However, my argument goes that, if you are rich or narrow-minded enough to close your eyes to anything post-1965, you will never see or experience some very creative experimentation. For example, the first tangible example of the Gibson Moderne didn’t appear until 1982-83 while the Gibson USA Map appeared only in 1983-84. Love these instruments (as I do) or loathe them (as many do), they shouldn’t be ignored without some contemplation. I maintain that there are many hidden treasures from this period and… one day… the nay-sayers will catch on and catch up.

There are plenty of odd creations from this period, some of which are great, some mundane, some remarkable and some downright awful. Into which category they fall into is not just what the purists say. For instance, there are some unpopular guitars out there with some very interesting attributes. Generally un‑loved Gibson examples include the S-1, Marauder, Sonex-180, Firebrand, ‘The Paul’, Invader, Challenger and Victory. Many of these unusual Gibsons are also on CRAVE Guitars’ ‘wanted’ list…

Fender also produced some unusual creations in the USA in the 1960s and 1970s, such as the Swinger, Marauder, the (mythical) Maverick, the XII, Bass VI and Montego II before going with the more mainstream but commercially unsuccessful Lead and Bullet. In Japan, Fender created guitars not based on previous  fender designs including the Performer, Katana and Flame. Fender’s strategy from the mid‑1980s seems to have been to experiment with Squier models – if unsuccessful, they wouldn’t damage Fender’s credibility but if successful, they could be re‑branded by Fender.

Some of the ‘budget’ USA Fenders on CRAVE Guitars’ ‘wanted’ list…

Trivia fact folks: In 1982, Fender strategically consolidated its budget off-shore production under the Squier brand in Japan. However, did you know that Squier as a musical instrument company actually dates back to 1890, founded as V.C. Squier by Victor Carroll Squier in Michigan, USA? Squier was predominantly a string maker and supplier for Fender from 1963 before being acquired by Fender in early 1965 shortly before Fender itself was taken over by CBS in the same year. Fender marketed Squier strings until 1972 and, by 1975, Fender had dropped the Squier name. Squier remained dormant until it was revived in 1982 as the main brand for guitars built by the newly established Fender Japan Ltd.

Some of these short-lived eccentric guitars from Fender and Gibson are truly rare beasts with just a few hundred or low thousands ever going into circulation. Some of them will eventually attract speculators, simply because of their brand, age and relative scarcity, or through trendy artist association. For instance, vintage market values for the previously unloved Fender Bronco soared after Alex Turner of Arctic Monkeys used one and collector interest in the model grew rapidly. When that investment trigger is pulled, just watch the vintage values spiral quickly to silly levels, as keen demand outstrips limited supply. The Bronco is another model on CRAVE Guitars’ ‘wanted’ list.

Capitalist economics are founded on the principle of growth and, in order to keep growing, companies have to innovate. Logic suggests that some ventures will be more successful than others. As the late, great Frank Zappa (1940-1993) once said, “Without deviation from the norm, progress is not possible”. He was right and that principle applies aptly to guitar heritage. When compared to the acknowledged classics, many of these lesser models didn’t last very long and quickly disappeared into relative obscurity without a second thought from musicians at the time. Many of these ephemeral idiosyncrasies and dead ends in the guitar family tree are the ones that fascinate me as much as the perennial classic designs do.

In the fickle consumer marketplace, success of new guitar models, even from major brands, isn’t pre-determined or assured. Just remember that some now-legendary Gibson guitars didn’t last long on their original release, e.g. the Explorer, Flying V (both 1958-59), Les Paul Standard (1958-1960), and ‘reverse’ Firebirds (1963-65), all of which were dropped due to poor sales, only to be reintroduced later to massive success. The Gibson Moderne was part of the ‘modernistic’ series designed in the late 1950s although it never reached market. Even Fender flopped with the original Jazzmaster and Jaguar. Now look at their popularity. I blame the punters myself (joke)!

As Stephen King wrote, “sometimes they come back”. The USA Map is not the only phoenix to rise from the ashes of past ‘failures’, following a quiescent period. Gibson examples include the L6-S, RD, Moderne and Melody Maker. Fender examples include the Coronado, Mustang, Duo‑Sonic and Bass VI. Glad to see them back, albeit in different form from their progenitors. We can expect these companies to keep trying to introduce shiny new models alongside the classics and these reintroductions for a new generation.

So is CRAVE Guitars’ skewed sense of objectivity in showcasing the oddball guitars from the past a risk worth taking in a fiercely competitive and currently unstable vintage guitar market? I think it is but you may well adopt a contrary view. Discuss…

I guess it’s all about balance – having enough of the widely-regarded classics to get a foot in the mental door of the attention deprived gearhead while also getting enough attention such that people become more aware of the delights of the many unique guitars that proliferate around the margins of major brand guitars. Is it just me or are those peculiar ‘ugly and plain duckling’ guitars mentioned above, fantastic examples of the guitar makers’ creative dalliances reflective of the world in which they were originally created? Will they ever be re‑evaluated as ‘beautiful swan’ guitars? Probably not, but they should not to be ridiculed as abhorrent out of prejudice without some sort of contextual re‑assessment.

Just take another look at the montages of some of the leftfield instruments from Fender and Gibson above and I challenge you to maintain that they are not worthy of your attention. I came across a plainly ignorant headline when doing this research for this article, “stupid CBS and Norlin era guitars”. I contest that such hyperbole represents uninformed rhetoric by someone who is possibly not very bright and mouthing off to get attention. I take the alternative view and suggest that they actually look pretty cool in context and they aren’t bad musical instruments to boot. Not only that, they make ideal entry points into the world of vintage guitar collecting, being relatively low cost and risk free. Yes, they have idiosyncrasies but so what? That just makes them all the more interesting.

What I must do, though, is to resist the temptation of obsessing solely on the weird and whacky to the exclusion of the familiar or it will just end up as a bizarre dead‑end, the point will be well and truly lost, and CRAVE Guitars will sink into the same obscurity as many of the oddities it intended to showcase. My aim is to present the unconventional alongside the conventional as necessary counterpoints of contemporary guitar design culture. Going Zen, they represent the yin and yang of guitars if you will.

Now that it seems I am ploughing this particular furrow, it reiterates the fundamental question I posed a couple of articles ago, that is, what the heck do I do next with CRAVE Guitars and how do I convert it into some sort of going concern? I’ve established that CRAVE Guitars has to be a modest entity, that it wants to be something different from the norm, but not so different that it becomes overlooked and invisible to would‑be enthusiasts and aficionados. I like to think that I’m doing something right.

You know what might just happen, based on my luck and actual experience? I will beat my head against the brick wall of impenetrable puritanical dogma until I eventually give up. The cynic inside me says that I’ll sell off the CRAVE Guitars’ family at ridiculously cheap prices just to move them on and, the day after I do that, the market will boom  and others would benefit from exactly what I’d been striving for in splendid isolation for the last 10 years. The scathing axioms of ‘I told you so’ and ‘he was before his time’ will ring hollow in my desolate dispossession. I’ve been in that position before and it’s not a very nice place to be. So I will persevere.

That’s enough of the doom and gloom. More Positive Mental Attitude required – CRAVE Guitars is still here and hopefully here to stay in one form or another for the foreseeable future. Let’s get back to the crux and rejoice the glorious miscellany of vintage guitars, including all the many heterogeneous ‘mutations’ that have occurred along the way. We wouldn’t be able to judge the sublime without the ridiculous to measure them up against. They are all part and parcel of our diverse, crazy, guitar‑distracted life.

The celebration extends to the 1983 Gibson USA Map that started this little debate in the first place. I think the Map is wonderful in a zany sort of way and we shouldn’t lose sight of it as part of the bigger picture. Isn’t it funny how a seemingly straightforward event can lead to something deeper and, from my perspective, quite interesting? One thing I’m certain of is that purchasing an ‘ordinary’ Strat or Les Paul would not have warranted this sort of conversation.

I mentioned at the top of this article that I deliberated as to whether to buy the Map or something else more sensible. You may ask, what else I might have gone for, had I chosen to forgo the opportunity of acquiring the Map? There are many vintage guitars that I would be tempted to go after; way, way too many to mention. However, on this occasion it wasn’t a straightforward either/or decision. It was go for this or wait until something else cropped up to spark my craving (sic!). The Map just got there first. However, it wasn’t an easy decision for all the reasons outlined above. What next for the Map? Not a lot; it is so unique, it’s likely to hang around for a while. I did think it might become CRAVE Guitars’ signature instrument but the Les Paul logo still fits better with the image, I think. Thoughts?

1983 Gibson USA Map

Unless something changes, there is nothing new in the procurement pipeline for CRAVE Guitars at the moment, so next month’s soliloquy is likely to be back to rambling randomness (or “pretentious waffle” as my other half calls it!). In the meantime, spread peace, love and music to change lives for good and let’s make the world a better place, one guitar at a time. I’ll be plinking CRAVE Guitars’ most recent vintage acquisitions, the 1978 Fender Mustang covered two months ago and the 1983 Gibson USA Map.

1978 Fender Mustang

I will keep looking for unusual guitars. On the basis of the research for this article, I may just take another look at what’s out there and report back in due course. The Map may just lead to something interesting!

Musically, I’m off too Looe Music Festival 2017 (29 September to 1 October) with The Jesus & Mary Chain, Lulu and Happy Mondays headlining and some other credible artists on the line up (The Undertones, Cast, Reverend & The Makers, etc.). This event signals that the UK’s music festival season is pretty much concluded for this year.

That’s it for now. Until next time…

CRAVE Guitars ‘Quote of the Month’: “Deviance is a lack of conformity which, to a degree is essential, as it separates the remarkable from the homogenous.”

© 2017 CRAVE Guitars – Love Vintage Guitars.

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31 Aug 2017

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

by | 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.”

© 2017 CRAVE Guitars – Love Vintage Guitars.

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31 Jul 2017

July 2017 – Happy Birthday: 10 Years of CRAVE Guitars

by | posted in: Observations, Opinion | 0

CRAVE (Cool & Rare American Vintage Electric) Guitars hits its double-digit birthday this year. Yep, ‘it’ has been in existence for 10 years now. This isn’t cause for a stupendous jubilee or anything like that (although I’m open to offers!). However, perhaps, for selfish reasons it deserves a moment of reflection, recognition and celebration of a modest milestone.

I don’t recall a specific date when, on one day CRAVE Guitars didn’t exist and the next day it burst into fully-formed existence, big-bang-like. I don’t think I’ve really thought about how CRAVE Guitars emerged from the primordial swamp and learn to breathe on dry land for the first time. Like a primitive heterotroph, it has become aware of its surroundings, still crawling about on all fours but unable to fend for itself or take advantage of the resources around it.

In terms of determining its own destiny, there is no driving ambition for the future. So… perhaps it is an opportunity to review CRAVE’s journey from infancy, through adolescence to what adulthood might hold for it. Before we delve headlong in, please bear in mind that this is a modest amateur enterprise built on a shoestring over many years of frustrating obsession.

Are you sitting comfortably? Then we’ll begin… Here’s how CRAVE Guitars came about. The journey began in the 1970s, experienced a frustrating hiatus during the 1980s, received a faltering nudge in the late 1990s, spurred into growth in the noughties, dealt disaster in the early teenies and is now beginning to repair the damage and put things back together around 10th anniversary-time.

1970s:

I started playing guitar as a young teenager in the early 1970s when my father gave me a used acoustic, not realising that it would have long‑lasting and far‑reaching effects. After attaining a level of competence that enabled me to play in bands and then realising that I wasn’t competent enough to earn a living at it, guitars became a benign hobby, rather than an occupation. I had a few favourite guitars left over from playing days, including a 1977 Fender Stratocaster hardtail, a refinished 1975 Gibson Les Paul Standard, a 1978 Music Man Stingray bass and a cheap old nylon-strung classical guitar, all of which, unbelievably, I still have!

1977 Fender Stratocaster
1975 Gibson Les Paul Standard
1978 Music Man Stingray Bass

1980s:

Ah, the odious decade of all-consuming ‘adult responsibility’, when guitars and guitar playing were relegated to a tertiary interest, left drifting aimlessly in the doldrums of work and family life. I have always put my own needs secondary and that, as they say, was that – my life was subsumed by the mediocre routine of daily existence. I did manage to keep hold of the core three electric guitars, hanging on a spare bedroom wall, relatively unloved. The least said about these ‘lost’ years the better in this context. The passion for guitars was, however, dormant rather than extinct. Perhaps my subconscious knew that, someday, that sleeping volcano would lumber back to life.

1990s:

In a rollover from the 1980s, guitars and everything that goes with them remained quiescent (oppressed?) during the majority of the 1990s. Until… my interest was rekindled in c.1997 on a day visit to Cardiff, Wales. Little did I know at the time that this would provide the catalyst for later events. While wandering the city streets, perusing the typical high street shopping facilities, I chanced upon Cranes Music Store, which has been in business since 1851 and is still going in Swansea (see: http://www.cranes.co.uk/). Looking around the shop, my attention was drawn to a fairly ordinary black 1988 Fender Telecaster for £400. To that point, bizarrely, I had never owned a Tele, so I was vulnerable to that worst of all situations… strong craving and overwhelming temptation. This was compounded because we were only there for the day, which meant that a snap decision had to be made. The combination of circumstances led to the inevitable acquisition of said craved Tele. At the time of writing, it is still a CRAVE Guitar.

1988 Fender Telecaster American Standard

I had been missing guitars and playing, and this single event rekindled my appetite for the instrument. Bear in mind that this was about 10 years before my thoughts and ideas would aggregate into something more tangible. However, the seed had been planted. No further guitar purchases took place at the time. I bought a Fender Princeton Chorus 2×10” solid-state amp, so that I could at least make quasi-musical noises again.

2000s:

The focus at the turn of the millennium, however, was not on vintage gear. During the early noughties, I bought a few diverse new guitars, amps and effects here and there, whatever took my fancy at the time. My mother left me some money, so I was able to purchase some brand new quality guitars including a 1999 Fender Stratocaster a 1998 Gibson Les Paul Standard DC, a 1999 Gibson SG Standard, a 2002 Gibson ES-335, and a 2002 Gibson Les Paul Standard. These are all great modern guitars. Three of those have now gone, which says something about the new versus old debate going on in my head. The trouble, if that’s the right word, was a lack of direction and no real motivation to change it for something else.

1999 Fender Stratocaster American Standard
2002 Gibson ES-335 Reissue TDC
1998 Gibson Les Paul Standard DC
2002 Gibson Les Paul Standard
1999 Gibson SG Standard

That is until… the defining moment came during a day out to Brighton in the summer of 2007. Wandering in North Laines, I saw a rather nice but not pristine black 1989 Gibson Les Paul Custom – perhaps the most iconic of all rock guitars and another model that I hadn’t previously owned. While it wasn’t (yet) vintage, I was attracted by the patina and it had just enough signs of use to give it ‘that’ look. I wasn’t actively searching for a guitar, so I didn’t know how much it should cost but it seemed quite reasonable compared to new prices at the time. It also looked way cooler than the shiny new ones on sale nearby. Like the Telecaster before it, a snap decision was required. The craving got the better of me again and consequently, like the Tele 10 years earlier, it came home with me. Also like the Tele, that Les Paul Custom is still a CRAVE Guitar.

1989 Gibson Les Paul Custom

Although it wasn’t a conscious decision to get into vintage guitars at the time, it triggered a curiosity in older instruments as well as the history behind older guitars, the wider music industry, and the socio-political context which it helped to influence. CRAVE (Cool & Rare American Vintage Electric) Guitars, which had been SO long in gestation, was thus delivered unto this world as a ‘thing’. While the concept didn’t have a discrete identity at the time, I was hooked and I haven’t looked back since. From that moment, most brand new instruments, while nice to look at, now hold little or no allure.

I started researching and buying some rather nice vintage guitars, some imported from America, when the exchange rate was much more favourable than it is now. As a direct result of the epiphany, the ambition for a vintage guitar business idea began growing. The name came first, being a play on words as well as the strong emotion that overcomes any attempt at futile resistance to guitar ownership. The first ‘logo’ was simple typography (see below), rather than properly designed. The first ‘catalogue’ from early 2008 comprised 27 guitars, all from the Fender and Gibson stables.

CRAVE Guitars Original Logo 2008

All guitar purchases since 2007 complied with the CRAVE Guitars simple criteria, i.e. Cool, Rare, American, Vintage and Electric. As far as possible, they are all original and undamaged/unmodified. The majority of those instruments now form the core of what is now CRAVE Guitars’ ‘collection’, ‘stock’ or whatever you want to call it. It was during this period that many of the guitars originating from the early 1960s guitars were secured. Thank heaven for that – I certainly couldn’t afford to buy them now. Likewise, none of the CRAVE Guitars’ fold can be classified as collector-grade instruments; I couldn’t (and still can’t) fund that level of quality.

It was about to turn into a realistic alternative to ‘working for the man’ when… two really, really bad things happened. The first was the global recession – the worst economic downturn in living memory. Completely oblivious to the impending financial crisis, I had been buying vintage guitars just as prices were reaching their peak. Bad idea! At the end of 2008, the bubble well and truly burst. The crash practically wiped out all hope of any sort of business start-up, asset management or return on investment. Market values for vintage guitars, arguably a discretionary ‘luxury’ good, plummeted pretty much overnight and are only now, albeit inconsistently, beginning to increase to or above 2008 levels. The second was a personal catastrophe of monumental proportions, from which I still haven’t recovered. I won’t go into detail but it was so profound and fundamental that it almost ended everything. Any idea of CRAVE Guitars becoming a viable business entity was firmly put on ice for another decade. Best laid plans, eh?

2010s:

The consequence of these coincidental calamities meant that the majority of guitars had to go into safe storage. Some didn’t make it to sanctuary and the rest had to be sold off. That early part of the decade was the worst time of my life. I never, ever want to relive or repeat that bleak period. My dreams were well and truly cast into the wilderness. Graffiti art credit: Banksy.

However, either by delusion or resilience, I wasn’t about to give up that easily. By 2014, I began to regain a modicum of, albeit wavering, hope and control. Guitar buying resumed modestly in 2014 after a 5-6-year break. In addition, the scope expanded into vintage amps and analogue effect pedals to complement the guitars. At first, the emphasis was, and to some extent still is, on affordability. CRAVE also started looking at some other important American brands beyond just Fender and Gibson, for instance, Danelectro, Epiphone, Gretsch, Guild, Ovation, Rickenbacker, Silvertone, etc.

Late 2014 and early 2015 saw the building of the CRAVE Guitars’ web site and its social media content. The name remained the same but a more visual approach was required, including some form of coherent brand identity to go with the moniker. The first ‘proper’ CRAVE logo came from experimentation with the name, several pieces of paper and a fat marker pen. It was coincidental that the letters could conveniently form a stylised outline of a Les Paul. Sorted! This crude attempt was then worked up to something a bit more presentable. A professional graphic designer friend doesn’t like my amateur attempts but I think it works well for the ‘brand’. One day, I would like it properly designed but keeping the spirit of the original. NB. Fun insight folks – the intentional ‘bumpiness’ of the lines making up the logo is intended to convey an impression of musical resonance and vibration.

Crave Guitars Logo 2014
CRAVE Guitars Logo 2015 to-date

Where we are today:

That pretty much brings the story up-to-date. The recent sell‑off of non-vintage and non-American gear, as a result of the relocation was an opportunity to refine the model further. The move is intended to provide a more stable basis on which to explore and build opportunity, everything being relative of course. While I consider it no mean achievement that CRAVE Guitars is still here at all, the last 10 years doesn’t demonstrate a great deal of success. I am not happy with the status quo (no not the band), so something has to change.

The baseline position at the time of writing is that CRAVE Guitars comprises a personal ‘assemblage’ of almost 50 guitars (95% of which are vintage), a small handful of vintage amps and over 30 vintage analogue effect pedals. The period covered (other than the 2 modern Gibsons), ranges from the late 1950s to the late 1980s.

→ See full list of featured instruments

→ See full list of featured effect pedals

→ See full list of featured amps

CRAVE Guitars’ 10th Anniversary:

To mark the 10th anniversary of CRAVE Guitars, I did something impulsive and appropriately retrospective. My first ‘serious’ guitar in the 1970s was a 1978 Fender Mustang in natural finish with a rosewood fingerboard. Within a year, I traded up to a ‘real’ 1977 Fender Stratocaster hardtail, a decision that I have long-regretted – not because the Strat is bad or the Mustang good – they were just different. In hindsight, I should have found a way to keep the Mustang.

To signify the events past and present, I paid way, way over market value on a very nice example of that same model Mustang. I did this purely for sentimental reasons and, like the Ovation Breadwinner mentioned in last month’s article, it will probably never turn a profit but, frankly, that wasn’t the point. In some way, it provides a fitting commemoration for the almost 40-year journey from the 1970s to now.

1978 Fender Mustang

→ See feature article on the 1978 Fender Mustang

What next for CRAVE Guitars?:

Well… now this is the BIG question and one that I am struggling with. I am not sure that I’ve learnt a great deal over the past 10 years to inform the future (other than desperate attempts at survival). What direction does CRAVE Guitars take and what happens to it from here? Now the relocation has taken place, it seems opportune to do some thinking and planning. The options appear fairly limited, including:

Do nothing – This is not a particularly satisfactory option. I like playing guitar but so what – is that really enough to warrant so many classic instruments? It certainly doesn’t do the guitars, effects and amps justice.

Establish a Private Collection – I don’t see my role as a collector, so it isn’t really a private guitar ‘collection’ per se. In any case, while collectable, these aren’t really investment-grade guitars. The guitars have precious little historical provenance to add value. As a matter of principle, I hate the idea of hording them away.

Form a business – CRAVE Guitars is not a business (at the moment). These are my babies and selling them as a dealer just isn’t me. Apart from that, I don’t have the ‘killer instinct’ to make it a viable, profitable business concern. Put simply, I’m rubbish at selling. There are also plenty of people in the country with better skills, experience and knowledge than I possess. I also don’t have the resources and I don’t have the appetite for fierce competition in a ruthless commercial (and volatile) vintage guitar market. I also don’t have the space to grow ‘it’ any further, so there is a finite limit to its size.

Exhibit the heritage – CRAVE Guitars doesn’t have sufficient historical merit, scope or scale to warrant establishing any sort of guitar museum and, let’s be honest, there has to be something really special to attract sufficient numbers. America has the ‘National Guitar Museum’, which is a travelling exhibition based in Florida and ‘Songbirds Guitar Museum’ in Tennessee. Sweden has ‘Guitar – The Museum’ serving Europe. Online, there is ‘Guitar Museum’, which is a sparsely populated webspace, so it exists only in a virtual way. The major manufacturers and major artists have museums but these aren’t the same thing. There are plenty of online resources (including CRAVE Guitars’) but it is very diverse and dispersed in nature.

As an observation, it seems incredible (scandalous?) to me that the UK does not have a local, regional or national institution protecting the country’s heritage and its enduring association with the guitar. WTF? There is clearly an opening here but it is probably way beyond my means and capacity. On the downside, there is something about passively cocooning guitars in glass cases that is an anathema to me. Guitars are meant to be played and heard but that ultimately that conflicts with the need for conservation. Alternatively, I believe that CRAVE Guitars’ instruments reflect sufficient heritage that their delights should be shared in some way (but not physically before I get inundated with offers to take them off my hands. Donations are, though, gratefully received).

Put them in storage – Heck, dire circumstances and the relocation dictate that some are still and will have to be in storage for the time being (which I also hate). It is my aim to provide safe, secure, environmentally appropriate space in which to keep them and have ready access to them so they can be used as the makers intended.

Sell the assets off and do something else instead – NOT happening! Period!

Any other ideas – ‘Answers on a postcard’ please to: info@craveguitars.co.uk. Any sensible advice greatly received.

What is my reaction to these options? I would prefer to explore what heritage conservation might mean, although I would need to find a way in which the ‘exhibits’ would be used, rather than locked away in cabinets in the traditional museum-like way. I would like to ‘rescue’ vintage instruments and ensure that they have a safe long-term future. To be honest and realistic, I really don’t think that this option is likely or possible, so it may have to become a commercial operation and I’ll have to learn how to detach myself from the labour of love that it’s been to-date. I’d also have to harden myself to the practical realities of creating and running a trading business. The lack of capital funding means that a physical location (i.e. a shop) is out of the question, so it would have to be a gradual conversion to some sort of virtual operation, probably building on what’s already in place. A great deal will depend on personal circumstances and, perhaps the blindingly obvious… money. Partnership may be an option and one that I haven’t really explored up to now.

Well that’s it for now. It took a considerable while to get here. It will be interesting to see what transpires from here on in. I wonder if CRAVE Guitars will exist long enough to reach its next decennary (and, yes, it is a genuine word, albeit an archaic one not in common use) in 2027. I hope you’ll accompany CRAVE Guitars through its next evolutionary step, whatever it may be.

In the meantime, I feel that it’s time to give that little old 1978 Fender Mustang a little TLC while singing “happy birthday”. I have a feeling that once it’s shipshape, it might well become a go-to guitar. I also hope to get back to doing some serious practising and playing. Until next time…

CRAVE Guitars ‘Quote of the Month’: “How on Earth do you get recognised for being an unrecognised genius?”

© 2017 CRAVE Guitars – Love Vintage Guitars.

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29 Jun 2017

June 2017 – At Last… New in at CRAVE Guitars

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Finally, the much-heralded and eagerly(!)-awaited relocation (see March 2017 article → click to read) has taken place and the work really starts on making the new crib habitable first, and then liveable in. This has to be completed before CRAVE Guitars can be properly resurrected, so it is still some way off before ‘normality’ returns.

More importantly within this context, CRAVE Guitars’ ‘collection’ of vintage instruments is in temporary storage until I can create safe, secure and environmentally appropriate musical equipment space. Providing them all with a home will take both time and significant funds. In the meantime, the availability of vintage instruments, effects and amps to hand is limited, as only 4 made the initial expedition. Eek!

The recent thinning out of the guitar herd means that CRAVE Guitars is now substantially smaller (by about 15%) than before the move. In addition, a load of studio gear, modern amps and a plethora of modern, far eastern effects pedals, have now found new homes.

The advantage of marginal rationalisation is that CRAVE Guitars’ operating model has become better focused. For instance, after the cull, the only instruments and amps remaining are American-made, of which only two that are newer than 1989 (mainly for reference comparisons). In comparison, vintage effects are a bit more diverse. While the most modern was in 1988, the pedals come from America, Japan and Europe. Stomp boxes are, and always have been, a justifiable exception to the ‘made in USA’ rule simply because they are so integrated into our musical culture.

Another advantage of the pre-relocation clear out is that it released some limited funds for reinvestment. A modest injection of cash enabled the acquisition of a few interesting vintage bits and pieces, including:

Guitars:

1977 Gibson L6-S Deluxe
1970s Ovation Breadwinner 1251

Amp:

1979 Fender Musicmaster Bass

Effect Pedals:

1981 BOSS PH-1r Phaser
1981 Ibanez CS-505 Chorus
1985 BOSS TW-1 T Wah
1978 Ibanez PT-909 Phase Tone
1976 Electro-Harmonix Octave Multiplexer
1978 MXR Envelope Filter

Features and galleries on all these items can be found on the web site, so I won’t repeat the content here. Both of the ‘new’ guitars, the amp and two of the pedals were made in the USA, with the remainder of the effects coming from Japan. I think that they are all great additions to the CRAVE Guitars fold.

While keeping the core spotlight on Gibson and Fender guitars, the diversification into other brands is intended to broaden interest and appeal, recognising that there is more to musical heritage than the mainstream. Economics also plays a part, with vintage values rapidly increasing for the big brand’s desirable models. There are some fascinating cool and rare vintage instruments to explore.

It seems opportune to make no apology for the emphasis on 1970s and 1980s gear. Primarily, it was during these decades when my youthful obsession with music and, specifically, guitars began and probably peaked. Those new or second-hand guitars of that period are now becoming sought-after collectables, so I have a soft spot for them.

There are plenty of well-moneyed collectors scavenging 1950’s and 1960’s vintage pieces, hiking up the prices to ridiculous levels (again) while at the same time vociferously criticising some very credible 1970’s equipment in the process. The result is that many of us ordinary, enthusiastic mortals are increasingly becoming excluded (again) from instruments made in the ‘golden years’ by greedy investors and speculators.

I agree that there was some poor quality manufacturing from large conglomerates in the 1970s and 1980s, often caused by commercial pressures, manufacturing techniques and essential cost-cutting. However, progress needed to be made, especially in the face of far eastern competition. We shouldn’t forget that, during and the 1970s in particular, a swathe of innovation and experimentation took place that enabled the brands to sustain and rejuvenate. These strategic business factors are often overlooked or downplayed. The thing about innovation is that only some of it becomes successful, whenever it takes place. Let’s be honest, there has been plenty of dire output at other times too.  We do need to take care that we don’t fall into the trap that old is automatically good. So… my point is that the situation isn’t clear cut and, with careful selection, there is some really fine stuff out there, whatever the period.

Furthermore, and being a tad heretical, if it wasn’t for those major corporations rescuing and then keeping the failing brands going through lean years, they might have been lost to us altogether. Had they totally disappeared, we wouldn’t have the modern classics being made now by companies that care about the heritage. It is too easy to jump on the bandwagon and criticise the ‘70s and ‘80s without a thought for the practical. Wait a few years, see what happens and you decide whether my appraisal has some merit. It will be interesting to see what the long-term effect will be as a result of the exemplary output produced by the ‘boutique boom’ of the current decade.

Picking and choosing can lead to some fine vintage instruments being acquired at reasonable prices, if only because the avaricious vultures haven’t looked to make a big profit from them yet. Inevitably, it will happen and then, almost overnight, what these ‘experts’ call uncool now will suddenly become cool in order for them to make a buck. In the meantime, CRAVE Guitars is hopefully redressing the balance a bit and bringing some common sense to the debate. It is for these reasons that CRAVE Guitars is actively celebrating these guitars, amps and effects and stewarding as much as I can for future generations to enjoy.

Right… rant over (for now), so time to change the subject. While the ramifications of the relocation are working through, I am trying to keep CRAVE Guitars’ going as best as I can.

The CRAVE Guitars web site has been spruced-up. While on the surface, it doesn’t look very different, about a quarter of the site has been updated in one way or another. There is so much that I want to do with it. Hopefully, the opportunity will arise to improve it over coming months.

CRAVE Guitars Website
CRAVE Guitars

I am trying to sustain CRAVE Guitars social media output, as it is one area where one can’t take one’s eye off the ball. The platform is notoriously fickle and inactivity leads to being forgotten very quickly. During June 2017, CRAVE Guitars surpassed 2,000 Twitter followers (@CRAVE_Guitars). It took 2½ years of ceaseless hard work and over 11,000 Tweets to get there. I doubt that there is any tangible value other than global exposure for the brand (it is more a reputation than a business). One can only hope the investment in time and effort will be worth it in the end.

CRAVE Guitars – 2,000 Twitter Followers

Since the last article, Glastonbury Festival 2017 has come and gone. For the second year running, attendance wasn’t possible for family health reasons. It was very frustrating being relegated to an armchair/TV viewer. Nevertheless, this year’s festival which, even though I wasn’t there, got substantial CRAVE Guitars social media coverage. I have to say that the absence of the traditional festival quagmire was galling – mud-free Glastos are a rare thing and it would have been nice to experience a dry one. Even worse, there is no Glastonbury Festival in 2018, as it’s a fallow year to allow the dairy farm to recover. Furthermore, it isn’t clear whether the next one in 2019 will be held at Worthy Farm, Pilton, Somerset, UK. The farm is its spiritual, historical and, to me, only home. I hope that this year does not turn out be the last ever ‘real’ Glasto. If it moves away, it risks becoming just another bland event amongst a plethora of other generic music gatherings. I watch with interest and a touch of trepidation.

To compensate (a little) for missing Glastonbury, I’m looking forward to the local Looe music festival taking place at the end of September, almost on the doorstep. The Jesus And Mary Chain, Lulu and Happy Mondays are headlining. Interesting variety for a small regional event held towards the end of the festival season.

Note to self: Time to unpack and get back into plinking my planks. Until next time…

CRAVE Guitars’ ‘Quote of the Month’: “Stop the fussin’ and fightin’, we all should be uniting, no more blood should be spilled, if our destiny is to be fulfilled”

© 2017 CRAVE Guitars – Love Vintage Guitars.

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29 May 2017

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

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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 21st 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?”

© 2017 CRAVE Guitars – Love Vintage Guitars.

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30 Apr 2017

April 2017 – How Much Music Theory Do You Need To Play Guitar?

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While CRAVE Guitars’ relocation hullabaloo is taking place in the background, here’s a guitar‑related topic which made me think a bit (again).

Recent articles have thrown up what I think are some interesting questions that have then triggered further thoughts. There have been topics around guitar motivations, personal preferences, diverse musical choices and inspirational guitarists that have produced standout musical experiences. Then there was the recent topic about the science and social psychology of music and why/how it affects us in the way it does. These tomes have explored why we may be drawn towards things we consciously or unconsciously like? This article is a bit different although, in some ways, it is also a logical extension of some of those preceding threads. So… to what extent do guitarists need formal musical training?

This particular topic was triggered by a well-worn bit of clichéd guitar humour, “This is called sheet music. You can show it to a lead guitarist to make them stop playing” (see above). Very funny – ha-ha! However, as is my wont, this got me thinking. The joke is, sadly, poignant and I can personally relate to it. There has been a long-running debate as to whether guitarists must learn music theory and whether it enhances or detracts from their ability to enjoy playing or to be a successful working musician. So in the interests of being provocative, I thought I’d throw my tuppence-worth in. The language of music, in my naïve way of thinking, should be liberating, not inhibiting. If anyone has an effective antidote to the following, I would be keen for a prescription and to take my medicine.

The beauty of learning to play the guitar is that, unlike many other instrumental disciplines, proficiency in theoretical musical concepts is not a prerequisite or a necessity (thankfully!). An analogy may be that one does not need to be a linguistic expert in order to deliver grammatically appropriate prose (but it helps). For instance, in order to have fun on our favourite instrument, do you need to memorise and regurgitate the notes that make up the obscure jazz chord, F#7b10b13 (it does exist, honest) or trot out the notes in Lydian Augmented scale in Bb without working it out? NB. I can’t! (NB. for info, Bb, C, D, E, F#, G, A, Bb). However, I accede to the principle that a basic understanding of where all the notes are and how they generally relate to each other is probably helpful.

A newbie can pick up a modest guitar and, within a relatively short space of time, standard tuning and a few simple chords gain reasonable access to a very diverse range of modern music. Think how many great tunes over the past 50 years have been based around the open A, C, D, E and G major chords. A bit more work gives you B and F, and therefore access to many major and minor barre chords all the way up the neck. Diatonic ‘power chords’ are easy to learn and 7th (both major and minor) variations expand things substantially.

Basic rhythm can be picked up by moving between these chords. Applying these fundamentals to, for example, 12-bar blues based around the I, IV and V chord pattern is a relatively straightforward starter-for-ten. Start with 4/4 tempo and take it from there, perhaps adding a bit of ‘swing’ or ‘boogie’ to make it more interesting. Some guitarists spend their entire lives perfecting their craft around these elementary concepts without ever needing to make life complicated. As the legendary American folk singer/songwriter and guitarist, Woody Guthrie said, “Anyone who used more than three chords is just showing off”. One could argue that, if it was good enough for him (and everyone who followed in his footsteps)…

Playing strong rhythm guitar is an essential skill in its own right and some guitarists never need to exhibit flashy pyrotechnical displays of digital dexterity to ply their trade. Don’t underestimate the skills of solid accompaniment to musical structure. Without it, there would be no ‘groove’. Sometimes, less really is more.

Learning scales is a bit more involved but the common pentatonic scale (major and minor) again covers a lot of ground without having to understand all the intervening notes. Add in a few ‘blue’ notes and, all of a sudden, you’re a guitar prodigy with aspirations to be the next Jimi Hendrix! This immediate accessibility can also prove to be a drawback, as many guitarists will then ‘hit the wall’ that prevents them from progressing. This is where the complexity of chords, scales and keys can get both intimidating and exciting, depending on your proclivity for the medium and your learning style. Sadly for me, the bait of genuine understanding is disappointingly just beyond my meagre grasp.

First confession – I really, really struggle with music theory. I have tried very hard, honestly I have. I am not stupid but attempting, as I have done on many occasions since I picked up my first guitar as a teenager, to learn the complex language of music has proved to be an insurmountable barrier. I don’t know why, either, which is irritating – perhaps it’s just the way my sad brain works. It gets to the point that I either glaze over and switch off, or I become so frustrated that it alienates me from the one thing that I enjoy doing, which is actually playing music (albeit badly). Either way, I end up giving up (again) and repeated failures simply reinforce the fallibility. It has now got to the point that I don’t even bother trying.

The poor man’s equivalent of notation is ‘guitar tab’, which attempts to provide a half‑way house for those that fear to tread the path and ‘5-bar gate’ of genuine manuscript. This should help, you’d think. However, it has now got to the point that attempting to wade through guitar tab isn’t worth the effort if I can’t nail it quickly. As I get older, my attention span reduces, compounded with the feeling that there is something better to do than struggle. Reading magazines doesn’t help, as the descriptive narrative uses all-or-nothing jargon that often loses me before I start. The Internet is often unreliable and contradictory to the point of increasing confusion, rather than diminishing it. Videos don’t help, as one can’t stop and ask questions, seek clarification or go off at tangents to explore interesting dead ends.

Second confession – I also lack natural musical talent. I don’t have the intrinsic feel and ear for music that many people seem to have without even trying. Many guitarists have incredible instinctive ability that they don’t seem to have to work hard to learn the mechanics. Some incredible guitarists have both the talent and theoretical ability and that, to me, is just not fair. I have genuine admiration for such talented, knowledgeable people and I can respect the hard work they must have put in to achieve it. So… why doesn’t it work for me?

Ultimately that old adage of ‘life is too short’ prevails and I get back to playing within my limitations. I am not afraid of hard work, as long as it serves some sort of positive outcome and in some way adds value to the investment in time and energy. When something becomes a chore with no guarantee that it will make me a better guitar player, then it becomes an obstacle in its own right. I know I’m missing out but the concepts cannot seem to penetrate my intellect and ignite an epiphany. I wish I could read music and memorize the theory but I think I must accept that I just can’t. Admitting defeat is an anathema to me, so I just can’t win. This is where egotistical narcissism and delusional hubris meets crippling self-doubt and pervasive inadequacy. Ouch!

I hasten to add that this is not a position borne out of snobbishness, defiance or indolence. I would dearly like to be able to demonstrate consummate musical skills. However, it just isn’t worth inflicting a masochistic doctrine disproportionate to the perceived derived gratification.

Third confession – I am self-taught and that imposes many petty constraints, perhaps the most obvious being that it has allowed me to pick and choose what one learns (including the inevitable bad habits) and what one doesn’t. I haven’t been formally educated in the guitar, whether it be by some form of passive learning (which generally falls into the ‘can’t be arsed’ category), or interactively with either peers or a seasoned guitar teacher. While I know that I must surely benefit from the latter, I have an ingrained irrational prejudice with this as well. Even if a teacher knows a lot more than I do, particularly regarding theory, I have the feeling that they are just another frustrated guitar wannabee that never made it and the most they could ever teach me would be to be as unsuccessful as they are (i.e. those who can’t… teach). I acknowledge this is a blatant fallacy but it is a practical issue for me, especially if I’m giving up good time and money to invest in my personal learning. There are numerous excellent tutors out there who could probably inspire me but they are geographically and economically beyond my reach. Perhaps when I ‘retire’, it may provide an opportunity to take lessons and improve my knowledge and experience. However, I must accept that it is too little too late to become the guitar god that I deceived myself into believing I could become in my early teens.

I used to play in bands and playing with others is stretching and challenging, both positively and negatively. Being naturally inclined to misanthropy, finding that person or group of people that have the mutually beneficial ‘fit’ is typically difficult. The depressing result is that I currently play in splendid isolation, which is far from ideal, but at least it avoids the inevitable social compromises of ‘playing well with others’. Again, I recognise that my behaviour is self-indulgent, self-limiting and unproductive. Maybe I should set myself a target to play in a band again, just to prove to myself that I can still do it. Then what?

The outcome is that I am caught in that horrible trap where, despite my best efforts, I am neither technically proficient nor naturally talented. It is frustrating that I have known the basics for decades but cannot seem to progress sufficiently to acquire genuine expertise in my chosen instrument. However, I enjoy playing even though, like most guitarists, I regularly get stuck in a rut. Where do I go from here and how do I improve significantly? Ideally, I would like someone to help inspire even a moment of greatness from my admittedly rather mundane approach towards guitar music, I would be keen to explore what may be possible. I realise that this requires some form of direct call-to-action on my part to make it happen; it won’t magically fall into my lap. If I don’t do something, I guess I’ll end up noodling my life away without ever feeling fulfilled, without realising any latent potential, and therefore impeding any possible mastery of the instrument. Unrequited aspiration strikes again.

Another issue for me is my mercurial musical tastes. I pity any guitar tutor who tries to adapt to my predilection at any one time. Like my musical listening tastes, one minute I want to experiment with blues and the next moment, it’s metal, then funk, then reggae, then rock, then jazz, folk, prog, rock ‘n’ roll, fusion, psychedelic, indie, ambient, pop, country, etc. It’s a bit ‘jack of all trades, master of none’. You get the idea. I do draw the line at learning classical guitar though – there are just too many prescribed ‘rules’ involved (another fallacy and one that I just can’t be bothered to controvert!).

One of the other things that guitar is great at is the ease with which it can adopt alternative tunings (try and do that with a piano!). As you might guess, I struggle with chords and scales in ‘standard’ 6-string EADGBE tuning. My poor little brain shudders at the likelihood of having to internalise chord inversions and scale modes for multiple tunings. Never mind adding in physical differences associated with, for instance, 7 (or more) strings, baritones, tenors, harps, banjos, ukuleles, etc. As A.A. Milne wrote about Winnie-the-Pooh, “I am a bear of very little brain…”.

Thankfully, we guitarists also aren’t constrained by 12 fixed notes like many other instruments. Frets help precision most of the time, especially with chords. In addition, we can also bend notes and add vibrato (again, try that with a piano!). This can be taken even further by using a bottleneck or slide. While there are few fretless guitars (Vigier being the most obvious proponent), we’ve had fretless basses since well before the advent of the electric bass guitar. Many of these characteristics make the guitar one of the most expressive and flexible of musical instruments in existence.

While theory is good at articulating tempo, it isn’t very good at describing timbre and tone let alone touch and feel, which are the Holy Grail for many guitarists. The guitarist’s eternal quest for ‘tone’, i.e. the sound we construct in our heads, as opposed to what we hear when the sound comes out of a speaker at the end of the signal chain, is perhaps a topic for another time.

I hinted at the start of this article that theory can inhibit creativity and innovation as it can tend to constrain ones mental ability to experiment outside the fixed tenets. A lot of ground breaking guitar music over the last half century has been created by people without enough theoretical knowledge about what’s ‘right’, which enabled them to break the rules and come up with something new, which then becomes incorporated into the ever‑expanding ‘norm’ over time. The counter argument is that musicians cannot really escape the confines of ignorance without understanding what rules they might be seeking to break, and then providing them with the appropriate tools with which to break them. The more (or less) you know, the better equipped you are for challenging the boundaries. I remain agnostic on this particular subject, principally because I am not informed enough to comment objectively.

I also hinted at the relationship between theory and ‘success’. Arguably, the best, most prolific and longstanding credible guitarists have a workmanlike mix of theory and talent. As an example, session musicians in particular would struggle without being able to sight‑read sheet music and rapidly adapt their playing style to suit the context. Without having to think about what they are ‘reading’, experienced professional musicians can be liberated to add something of themselves to the mix. This playing beyond the conscious is the basis of Zen guitar, a quasi-religious state of being. Equally, classical guitarists really need to be able to stick closely to what the original composer intended (i.e. no improvisational freedom), so rudimental theory is essential. To many singer/songwriters though, just creating something that ‘sounds right’ is more important than comprehending which notes make it so and why. I tend to fall into the latter category, appreciating some combinations of notes without fitting them into some predetermined harmonic or melodic framework. I know it sounds good but not necessarily why it should do so.

A number of songwriting ‘manuals’ I’ve seen over the years often instruct readers about uniform song structure. While I agree that experience of the past should provide indicators as to what works and what doesn’t, sticking to a formula-driven structural solution to songwriting can produce music that can be anodyne and sterile. I guess that a conformist approach is helpful to begin with but rigid adherence to the rubrics may ultimately result in stagnation. Think what would happen if every song followed the same unbending pattern with little variation. The accepted wisdom is sound, as long as it provides for (and encourages) an antithetical approach as well. Creative rebellion can be a healthy reaction to standardisation and convention. Musically and culturally, it’s called rock ‘n’ roll! When Marlon Brando in ‘The Wild One’ (1953 film) was asked, “what are you rebelling against?” he replied sublimely with, ‘whadda you got?”.

The mathematics of music can be fascinating, suggesting that music taps into something quite fundamental about the laws determining how our physical universe works. Musical appreciation may be the result not just of stylistic considerations and the prevailing cultural context but also by things beyond our comprehension. Perhaps this explains why many religious faiths use music to enhance the spiritual connection between the physical plane and the heavens. Since the days of Plato in ancient Greece, the theory of music has been built on fundamental scientific principles. They also understood that the mathematical framework of musical theory provides a basis for human expression through music. Why do humans experience the unique compulsive need to create and perform music at all? That’s another question altogether. “Music is a moral law. It gives soul to the universe, wings to the mind, flight to the imagination, and charm and gaiety to life and to everything.” Plato (c.428-348BCE)

Scientifically, the sound that we hear and our brains interpret is simply the result of vibrating air molecules and frequency is simply the rate at which those air molecules vibrate. The character of the instruments we hear is essentially the type of waveform created by those vibrations.

Getting technical for a moment, human hearing realistically only works in the range 20Hz‑20MHz and often less, especially as we age (losing about 1KHz per decade of our lives). A standard-tuned electric guitar has a fundamental frequency range of only around 80Hz-1200Hz (excluding harmonics – see below) – around 4 octaves. NB. an increase of 1 octave doubles the frequency. In comparison, a bass guitar covers approximately 60Hz-1000Hz and the human voice generally ranges between c.80Hz-260Hz (both genders). Drums range roughly between 60Hz-2KHz and cymbals between 8KHz-16KHz. As a consequence, we humans fit all our music within this limited audio spectrum.

Most musical tempos range between 40 beats per minute (BPM) technically described as Largo, up to 200BPM, called Presto. Blues and rock vary between about 80BPM and 120 BPM (Andante to Allegretto). Dance music varies between 120-160BPM (Allegro to Molto Allegro). There are, of course, many, many exceptions to these very rough indicators. It is amazing what we can create within these boundaries.

Pitch, rhythm and tempo are also essentially based on mathematical principles and resonate (sic!) unconsciously with something visceral and primitive in our physical makeup. Scientists have often referred to mathematics as music for the intellect. Perhaps the key relationship between science, mathematics and music could be a subject for another time (I need to do some more research first!).

In conclusion, and to answer the question posed at the beginning of this article, you don’t need any formal training to start playing guitar and to get plenty of enjoyment from it. A modicum of conceptual knowledge can certainly help to get more from the playing experience and can open up all sorts of musical possibilities. Extensive theoretical understanding is certainly not a bad thing and can provide opportunities that otherwise might be closed to the purely practical musician. Ultimately, it comes down to the individual and what they feel they need to know to get what they want out of playing the world’s most popular instrument. Music, like life, isn’t an all-or-nothing, one-size-fits-all state. To end on a profound (and pretentious) note, knowledge is a continuum and we are all somewhere along the path between ignorance at one extreme and enlightenment at the other. I wouldn’t assume that everyone aspires to the latter, but, speaking personally, I would like to be a bit nearer to it than I am at the moment.

On that note, all things considered, I’m off to plink my planks again, albeit amateurishly and in blissful ignorance. It is my catharsis for the soul and partial therapy for the world’s many ailments. Until next time…

CRAVE Guitars ‘Music Quote of the Month’: “Twelve little notes. So many combinations. Not enough time.”

© 2017 CRAVE Guitars – Love Vintage Guitars.

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31 Mar 2017

March 2017 – A Time of Change

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Welcome to Spring 2017, guitar aficionados. If there is anyone out there keeping tabs on what’s going on at CRAVE Guitars and wondering about the lack of recent vintage purchases, here’s a quick (and short-ish) update.

I have mentioned previously about a necessary life-changing relocation and the fact that this has (hopefully only temporarily) curtailed my mission to bring you more Cool & Rare American Vintage Electric Guitars. You may have noticed that there has been a dearth of ‘new in’ articles and a consequent increase in ‘pretentious monologues’ (or as I prefer to call them, well-researched, in-depth, objective investigations) about guitar-related matters. This shift in emphasis was a conscious decision and directly related to the necessary change in circumstances.

Change is inevitable, positive change needs to be driven. As John F. Kennedy (1917-1963) wisely stated, “Change is the law of life. And those who look only to the past or present are certain to miss the future”. The time is fast approaching when it all happens, at long last. The whole process seems to have taken forever – over 12 months already. By mid-summer, the main move will have occurred (fingers crossed).

In the meantime, I am taking some heart breaking decisions and, to me at least, making some painful sacrifices. To be precise, that means selling guitar stuff. If you suffer the guitarist’s common malady of Gear Acquisition Syndrome (a.k.a. G.A.S.), you’ll understand exactly what I mean. I have accumulated quite a lot of musical equipment over the years and it’s time to be ruthless and rational about what a remodelled CRAVE Guitars actually needs, as well as to concentrate on what it will focus.

So… Why do it? Good question for a self-confessed gearhead. There are basically three factors involved here. The first is that permanent, full-time gainful employment has ceased for now, to become a full-time carer and to concentrate on the relocation. Whether this can be categorised as ‘early retirement’ or not is irrelevant – the fact is that there currently aren’t any sources of income to fund vintage guitar, amp or effect purchases. The second is that the cost of adapting a clunky, structurally unsound, damp (and very modest) old property in a poorly accessible location costs WAY more and takes WAY longer than envisaged. It has taken every last penny of available cash and it hasn’t even happened yet. The third is that the lifestyle change demands a much simpler way of living, away from the self‑seeking, avaricious intensity of the South East of England. I am not underestimating the cultural adaptation that will be required to all the above; it will be difficult and it has to be done. A positive mental attitude is most definitely needed.

So… what exactly does the sacrifice entail, you may ask? Well, at the moment, the vintage guitars, amps and effects are as safe as they can be. However, most of everything else sadly has to go. This means releasing CRAVE’s more modern guitars, non-American guitars, amps, studio gear, effects, accessories, etc. The home studio gear has largely gone and the modern effect pedals are all on their way. At the time of writing, quite a few items have departed for pastures new and there are still a few more bits and pieces to go, so the hurt continues for a while. If you are interested, keep an eye on the ‘For Sale’ section of the web site – all pre-owned items are auctioned on eBay UK and, because they have to go, there are some bargains to be had. https://www.craveguitars.co.uk/home/for-sale/

Sadly, four guitars have already gone (ouch!) and a fifth is likely to go imminently. Amongst those already re‑homed are the sunburst 1999 Fender Stratocaster American Standard and the cherry 1999 Gibson SG Standard. These are superb pro instruments and I’m very sad to see them go after many years of companionship but, as ‘they’ say, needs must. If you’ve looked at CRAVE Guitars’ website home page, these two have been front and centre for a long time, even though the guitars themselves are still a few years off vintage status – time for a new photo! Just for a change, I’m looking to use  CRAVE’s vintage 1962 Gretsch and 1964 Silvertone by Danelectro (see below).

I may try to hang onto a couple of modern guitars as reference instruments but the rest are either on their way or will be shortly. Most of the electronics don’t have such an emotional connection as the guitars but it is still very sad to see such a lot of good quality gear disappearing out of the door at relatively low values. I genuinely hope that the new owners are happy with their purchases.

If I have to excise any of the vintage gear due to circumstances, it will be immensely regrettable. That isn’t to say that I won’t sell some vintage items but the proceeds therefrom can, I hope, be reinvested in ‘new’ vintage equipment. CRAVE Guitars has to continue developing, otherwise it just becomes another stagnant private ‘collection’, the idea of which doesn’t excite or motivate me (in fact it’s one of my bugbears). I need to keep the faith and plough on, otherwise I won’t have anything to write about here!

One thing that struck me is the harsh economic reality of life. Costs of things one has to pay out for end up being far higher than one expects and the residual worth of things previously paid out for is far less than one thinks it should be. It may be stating the bleedin’ obvious that, as avid consumers, the level of depreciation between acquisition and disposal is severe but the recent experience has brought it into stark focus. Let’s just say that the cash flow sits firmly in the ‘outgoing’ column, not the ‘incoming’ one.

Exacerbating the value gap are the fees that eBay and PayPal rake in just for letting people sell stuff online. While I recognise that businesses have to make money, it is clear that everyone except me is making shedloads of lucre at every step along the way!

The economic laws of supply and demand mean that, at least in business terms, straightforward ownership isn’t financially sensible or maintainable without adequate income. Such is the price of an inadequately controlled hobby over a long period of time. It isn’t all bad though. There are positives, of course; one good thing is that we guitarists can get a great deal of enjoyment from using our equipment during the course of ownership. Thankfully, guitars (and everything that goes with them) can be usefully employed and are far more than static assets representing an ‘investment’ to be protected.

While on the subject of economic value, one thing that I’ve learned with vintage guitars is how long it takes before prices bottom out and values start appreciating again (if ever). Many vintage pieces remain in the economic doldrums for a period before regaining a higher proportion of their original retail price. The vintage market is by no means perfect; it only takes a relatively small number of wealthy collectors to intervene in the finite market and to drive prices to stupid levels (don’t get me started!). There is truth in the old adage that ‘if you’ve got money you can make money’. The converse is equally true, and sadly depressing, as I’m finding out. Although it isn’t yet consistent, some post‑recession vintage prices are beginning to escalate rapidly again which, if the trend becomes more predictable, signals the start of another unsatisfactory ‘boom and bust’ inflationary cycle.

Being didactic, if CRAVE Guitars is ever going to become a going concern, the business model needs objective re‑appraisal to ensure it can be adequately sustained as a viable entity. As a closet socialist, it goes against the grain to think about buying and selling to make a ‘profit’. As I’ve mentioned before, I have been a enthusiastic consumer but not necessarily a canny buyer and certainly a reluctantly ineffective seller. My recent experience provides tangible evidence of what I suspected all along. The culture of trading in sufficient volume to make a living is a complete mystery to me and it will be a difficult lesson to learn for someone who is not naturally inclined to commerce. I can safely say that CRAVE Guitars will never earn enough to live on but that has never been the point of the venture. However, whatever happens, I will have to stop losing money hand over fist.

You may well know that, to me, vintage guitars are not just soulless products to be pedalled without any sort of emotional connection with what they represent. I think that, if I harden my attitude to what are, after all, fundamentally just bits of wood, metal and plastic, it would take away a great deal of the beguiling nature of the instruments and the almost mystical vibes they generate.As Richard Branson (1950-), founder of the Virgin empire observes, “A business has to be involving, it has to be fun, and it has to exercise your creative instincts”.

Guitars, generally, have become an obsession which goes way beyond the core vintage ‘collection’. if you have ever taken a sneaky peak at CRAVE’s Twitter feed, for instance, you’ll see what I mean. I don’t anticipate that the underlying preoccupation that drives CRAVE Guitars ending any time soon.

The proceeds from the sale of the non-vintage music gear will, I hope, contribute towards the monumental costs of change. While it is sad to think that my non-vintage gear is going to fund the change in circumstance, at least the ‘career’ change is for an ethically and morally good cause. The other advantage of thinning things out is that there is less that has to be moved and less that space will be needed to home it all in the future.

It will take some time before the vintage items can be safely and securely relocated and I am looking forward to the time when the ‘family’ is readily to hand again. I am also looking forward to redesigning and updating the web content accordingly. Then, maybe, the mission to seek out more ‘Cool & Rare American Vintage Electric’ Guitars and bring them to your attention can be resumed. Bring it on – it can’t happen soon enough as far as I’m concerned.

As the likelihood of ‘new in’ articles remains a way off yet, next month may revert back to observational soliloquy, for which I apologise in advance. Until then… back to thinning out CRAVE’s non-vintage gear. Boohoo!

CRAVE Guitars ‘Quote of the Month’: “Wealth is not an absolute. It is what you do with what you’ve got, while you’ve got it that matters. Use it wisely”

© 2017 CRAVE Guitars – Love Vintage Guitars.

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19 Feb 2017

February 2017 – Favourite Guitarists And Why

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This month, I’m continuing with a list-like feature. This isn’t laziness, it’s just about time I focused back specifically on guitars and guitarists.

Here are some of the guitarists I enjoy listening to and, linking back to my January 2017 article about why we like what we like, artists that I keep coming back to for more. If there was some sort of formula that is common to all of them, it might be expressed as:

Unique talent + quality instrument + great song writing + timing + opportunity = music history.

The first ‘variable’ above is a key ingredient… talent. Most phenomenal guitarists are instantly recognisable by their distinctive sound, which is more about the person than the instrument they play. Simply put, no-one sounds like them. Why? It comes down to individual technique. It’s the same with classical painters, each one highly recognisable for their outputs, even though the inputs are essentially the same (paint, brushes, canvas, etc.). As the late great Stevie Ray Vaughan sagely commented, “Your sound is in your hands as much as anything. It is the way you pick and the way you hold the guitar, more than it is the amp or guitar you use”. In addition to the “it’s in the hands” adage, they also often have a ‘how do they do that?’ factor that differentiates them from the hoi poloi (NB. for trivia fans, from the Greek meaning ‘the many’). For guitarists to shine there needs to be strong song writing – it doesn’t actually matter who wrote any particular track, it’s how it is interpreted that matters.

Most guitarists will own several guitars and use then for certain situations. Many top guitarists may have extensive collections, although they tend to have one instrument or model with which they are uniquely associated. Combine that stylistic talent with, perhaps, a ‘signature’ instrument and the basics are there. By ‘quality’, I simply mean ‘fit for purpose’ within this context. Using a ‘favourite’ guitar is not a prerequisite, however, it is likely that removing a physical impediment to technique (i.e. an inappropriate guitar) has liberated many players to feel, rather than think, about their playing. There is something special in the relationship between player and preferred instrument that adds a ‘secret ingredient’ that no-one else could muster from it.

Another characteristic of accomplished guitarists with longevity is that they usually have a refined sense of song writing, either on their own or as part of a band, often prolifically so. They instinctively know what people tune into, including well-honed sense of harmony, melody, tempo, etc. They also adapt their writing over time to accommodate changing listening tastes. It isn’t just about image or the axe that they wield.

There is something to be said about time period and cultural context and being in the ‘right place at the right time’. If any of these guitarists were struggling to establish a career in today’s Spotify-saturated, X‑Factor sterilised world, would they stand out and have a chance? I would wager not. Many of these greats were also pioneers who broke the mould at their time in some way – they are not generic or homogenous. Musical integrity and coherency have been shattered by our seemingly insatiable appetite for the iTunes attention deficit disorder-oriented society. It is so much harder to be genuinely innovative now, which may explain why there are so few challengers striving to not only usurp the thrones of the exalted ‘old-timers’ but also to stay there. Aspiration and ambition is just the start, achieving longevity and legendary status is another matter altogether.

Some other characteristics spring to mind, these guitarists were as sound at rhythm guitar as they are at lead lines. So many great tunes would flounder without the solid rhythm chops from great guitarists who knew how to groove in their chosen genre.

I would also argue that these guitarists are/were as great at playing live, as they are/were in the studio. On stage, there is nowhere to hide and these artists have to work very, very hard to earn and sustain credibility over many years of continuous touring.

So… to the point… at long last. As my guitarists of choice are diverse in style, genre, time period, success, etc., it was impossible to rank them from 1-20, so they are presented in alphabetical order for fairness and simplicity. I’ve indicated the instrument(s) that they are often associated with, as well as a track that, for me, acted as an entry point into their canon (not necessarily their best or most well-known track), a catalyst if you will for grabbing my aspirational attention.

1. Jeff Beck (1944-) – Where on Earth does one start with a genius like Mr Beck? Invention, reinvention, experimentation and continually challenging the boundaries of what can be done with 6 strings on a Strat. No-one comes close to decades of innovation. As soon as you think you’ve nailed his rut, he surprises by a change of direction with consummate musicianship in whatever he does. Listen: ‘Brush With The Blues’ (1999). Guitars: Fender Stratocaster, Gibson Les Paul Standard, Fender Telecaster

2. Ritchie Blackmore (1945-) – Ignoring well-documented character traits, Blackmore’s Deep Purple/Rainbow rock era featured some of the most incendiary, flamboyant and flashy lead lines, all seemingly delivered with minimal effort. Extraordinary. Credit for following his passion in traditional guitar, rather than selling out/cashing in by endlessly regurgitating ‘Smoke On The Water’ for decades. Listen: ‘Child In Time’ (1972). Guitar: Fender Stratocaster

3. Dimebag Darrell (1966-2004, 38) – Sadly, the late ‘Dimebag’ Darrell Lance Abbott was taken too young. Metal guitarists are often easily categorised without really appreciating their innate talent and abilities. Darrell was a terrific guitarist with soul and technical skill that is hugely under-appreciated both for storming southern-tinged riffs and searing lead lines with Pantera. Listen: ‘Cemetery Gates’ (1990). Guitar: Dean ML

4. Rory Gallagher (1948-1995, 47) – A unique talent not sufficiently acknowledged while he was alive, his contribution and reputation has rocketed since his demise. The modest and unassuming Gallagher had a tremendous ear for fusing blues tropes with an astounding melodic sensibility evoking his Irish roots. A great slide player too. Live, he was astounding, consumed with energy and passion that few could match. Listen: ‘Calling Card’ (1976). Guitar: Fender Stratocaster

5. Billy Gibbons (1945-) – With his roots deep in Texan blues, ‘the greatest beard in rock’ can make his axe sing with great feeling, as evidenced by early material. As part of ZZ Top, he pushed R&B boogie into the limelight with mega commercial success, thereby adding more flavours to his not inconsiderable palette. Listen: ‘Blue Jeans Blues’ (1975). Guitars: Gibson Les Paul Standard, Gretsch Billy Bo

6. Kirk Hammett (1962-) – Another metal guitarist who knows how to use a guitar in anger as a member of Metallica. Listen to his playing and there is much more than flashy thrash metal guitar work. His legacy will forever be integrated with the riff from ‘Enter Sandman’. Look beyond those few familiar notes and be rewarded. Listen: ‘Seek & Destroy’ (1983). Guitar: ESP

7. Jimi Hendrix (1942-1970, 27) – Predictable. To attempt to explain in a few words what James Marshall Hendrix unleashed on rock music during his short career would be inadequate. He was a true revolutionary and showman, imbued with massive talent and skills honed through passion, dedication and commitment. Contemporary music owes a massive debt to a true pioneer and just think what he could have achieved. Listen: ‘All Along The Watchtower’ (1968). Guitars: Fender Stratocaster, Gibson Flying V

8. Steve Hillage (1951-) – Easily overlooked because of his relatively obscure ‘hippie’ career (Gong, System 7), Hillage is a talented and individual guitarist with a very recognisable tone and style. Even in later years, which focus heavily on electronic dance grooves, guitar remains an important stylistic element. His contribution is much undervalued. Listen: ‘Hurdy Gurdy Glissando’ (1976). Guitars: Fender Stratocaster, Gibson Les Paul Standard

9. John Lee Hooker (1917-2001, 83) – Hooker was a true individualist who always played by his own rules. He is one of the most expressive and soulful bluesmen, his emotions emanating through his guitar and gravelly vocals. Yes BB may be the King but JLH was a blues Hooker at one with his delta roots. At his best just him and his guitar, rather than the sanitised reverential collaborations. Listen: ‘Crawlin’ Kingsnake’ (1991). Guitars: Epiphone Sheraton, Gibson ES-335

10. Tony Iommi (1948-) – Where would rock be without Black Sabbath. Another guitarist who ploughed a furrow that hadn’t previously been ploughed and as the ‘godfather of metal’, his influence has justly pervaded the landscape of modern hard rock and metal for decades. How much of his individual style resulted from his infamous industrial accident, we can never know. Listen: ‘Sabbath Bloody Sabbath’ (1973). Guitars: Jaydee Custom S.G. ‘Old Boy’, Gibson SG

11. John Martyn (1948-2009, 60) – Martyn started off in traditional English folk music and then something happened and he became a true experimenter using delay and other effects to create something completely new and adventurous, mostly on acoustic guitar. In addition to innovating, he also retained the heartfelt lyrical nature of his music, using guitar to complement his unique voice. Listen: ‘I’d Rather Be The Devil’ (1973).  Guitar: Martin D‑28

12. J. Mascis (1965-) – Often described as an alternative maverick, born of the New York punk era, Mascis is a genuine one-off and enduring front man of Dinosaur Jr. A bit like Neil Young on steroids. As a guitarist, he doesn’t stun with millions of notes and sterile technical ability but, boy, does he put some energy and power into his searing, laser-guided lead lines that have impressed consistently over the years. Always on the fringe. Listen: ‘Out There’ (1993). Guitar: Fender Jazzmaster

13. Brian May (1947-) – Dr. May’s melodic and harmonic brilliance will forever be remembered for his Mercury-period Queen. However, like his distinctive home‑made guitar, the astrophysicist created a unique and recognisable guitar style that pervades western culture. His MTV pop sensibilities are as strong as his earlier rock riffs. Listen: ‘Seven Seas Of Rhye’ (1974). Guitar: Brian May Red Special

14. John McLaughlin (1942-) – In terms of phenomenal ability, dexterity and skill, McLaughlin is near, if not at, the top of the tree. Not only is his speed and proficiency astounding, his genre-spanning flexibility is formidable. Describing his playing can only be achieved through hyperbole. An extraordinary guitar superman. Listen: ‘Vital Transformation’ (1971). Guitar: PRS

15. Gary Moore (1952-2011, 58) – In later years before his untimely death, Moore concentrated on the blues, joining the ranks of the few white, non-American blues legends. Go back earlier in his career and his abilities at rock and fusion show just what a great and adaptable guitarist he was. Listen: ‘Stormy Monday’ (2001). Guitars: Fender Stratocaster, Gibson Les Paul Standard

16. Tom Morello (1964-) – Probably the youngest of the guitarists to make the list. Go back to RATM’s debut album and reflect on the pounding riffs and genuinely innovative lead playing and recognise that Morello is one of those guitarists who could take the mainstream and adapt it into something no-one had heard before. Listen: ‘Bombtrack’ (1992). Guitar: ‘Arm The Homeless’ custom

17. Carlos Santana (1947-) – Renowned for his ability to sustain notes, Carlos was also a very fluid player and highly acclaimed for his feel. From his appearance at the end of the 1960s to today, he can produce an inimitable and remarkable guitar tone. He could play blindingly fast and he could also turn out achingly emotive lead lines. Listen: ‘Samba Pa Ti’ (1970). Guitar: PRS Santana

18. Jimmy Page (1944-) – Like Blackmoore, Iommi and Hammett, Page is another guitarist whose legacy may be forever associated with a single track in the consciousness of the music listening public (Stairway To Heaven). However, Zeppelin-era Page is a multi-talented guitarist. It is a shame that he hasn’t been able to shine to the same extent in his post-Zep solo career. Listen: ‘Kashmir’ (1975). Guitar: Gibson Les Paul Standard, Danelectro 3021

19. Stevie Ray Vaughan (1954-1990, 35) – SRV is another guitar phenomenon taken from us way too young. Unapologetically Texas blues to his core, he shared Hendrix’s immense ability to introduce many other styles into his playing, including jazzy influences. Another whose formidable combination of talent and relentless hard work set him apart from the crowd. Listen: ‘Tin Pan Alley’ (1999). Guitar: Fender Stratocaster

20. Neil Young (1945-) – Quite often referred to as the master of the one-note guitar solo, this underrates his ability to wring considerable emotional content from just a few well-chosen, emotionally driven and sparingly targeted tones. One thing is for sure, his distinctive tone and style has sustained his well-deserved reputation over many decades. Listen: ‘Southern Man’ (1970). Guitar: Gibson Les Paul Standard

Most of these guitarists will, perhaps, be obvious entries. However, there may be a few unexpected curve balls thrown in for good measure. Of course (don’t you just hate it when people say that!), there is a very long list of superb guitarists that didn’t make the 20 above, including the likes of George Benson, Joe Bonamassa, Eric Clapton, Robben Ford, John Frusciante, Peter Green, Steve Hackett, Allan Holdsworth, BB King, Paul Kossoff, Robby Krieger, Randy Rhoads, Mick Ronson, Joe Satriani, Slash, Steve Vai, Van Halen, Jack White, Johnny Winter, Zakk Wylde, Angus Young, Frank Zappa, etc., etc., etc. It’s virtually impossible to name them all. While I recognise their massive influence, this is my list of guitarists, not a regurgitation of anyone else’s list or a contrived list of ‘stature derived through perceived wisdom’.

There are also guitarists who aren’t listed above and who perhaps aren’t considered ‘great’ guitarists stylistically but are still notable for the instrument being an integral part of their music, e.g. Marc Bolan, Robert Smith, Thurston Moore, etc.

I also haven’t strayed into bass guitar but that’s an easy one for me, evidenced by the mercurial virtuoso skills of the incomparable, and sadly late, great Jaco Pastorius. Danny Thompson and Tal Wilkenfeld also deserve honourable mentions in this category for me.

Interestingly, 7 of the above guitarists (35%) are sadly no longer with us. Thankfully, at least 13 (65%) of them still are. I have been fortunate enough to see just over half of them play live and, of the ones I have seen, I can attest to their consummate skills. One thing I noticed when researching this article is how many of these guitarists regularly wear/wore hats when playing live (around a quarter of them). Head apparel seems a quintessential part of a guitarist’s touring equipment for many.

In terms of a ‘golden era’, many of these artists had their zenith between the late 1960s and the early 1980s. After a 10-year hiatus in the proverbial doldrums of the post-punk electronic era, there was a gradual resurgence of interest in guitar music from the 1990s that thankfully reignited a passion for the art into the 21st century. Thankfully that interest continues to flourish and diversify today, which will hopefully incentivise whole new generations of exciting new guitar heroes (genuine ones, not the ‘game’) to carve an identity for themselves.

One thing that does bother me is that there are no female guitarists on the list. This is more a reflection of historical exposure that male guitarists have had compared to female guitarists. It is not a misogynistic trait, just circumstance. There are great guitarists out there, e.g. Carrie Brownstein, Eva Cassidy, Lita Ford, Charlotte Hatherley, Kaki King, Orianthi Panagaris, Bonnie Raitt, Nancy Wilson, etc., they are just not my most listened to guitarists. There are also many girl bands, like Warpaint, Haim, Dum Dum Girls, Sleater Kinney, Smoke Fairies, etc., which is positive. Those who are familiar with my rants on the subject will know that I believe ‘girls with guitars are cool’. My view is that, as in any other streak of life, gender should not pose a barrier to success and there are some very accomplished female guitarists out there. Personally, I would dearly like to see equality and inclusion. Having said that, I don’t believe girls are actively excluded, it’s just that the prevailing environment isn’t conducive to girls seeking guitar playing as a job in the same way as there is, for instance, in orchestral classical music.

Also, as mentioned at the start, there essentially are no modern-era guitarists on the list. The most recent on the list above are from the 1990s, rather than the noughties and teenies; this is still around a quarter of a century ago now. There are many, many very talented modern-day guitarists out there but, again, they just didn’t make my list. I look forward to emerging guitarists taking up the reins. One wonders who we might admire in the future, in addition to the current greats.

What, though, really separates the greats from the very talented also-rans who also work very hard at their craft? If we all knew that, it wouldn’t be a question. Is it serendipity, happenstance, luck, contacts, situation? Perhaps the old adage that ‘it’s not what you know, it’s who you know’, plays its part.

I only wish I had a minute fraction of the ability demonstrated by the guitarists mentioned here. Sadly, I don’t have that kind of talent (despite the hard work), so I have to end up writing about them!

One thing we might learn from them is that we shouldn’t try to imitate them. By all means emulate and pay homage to them but only if you can actually do what they do better than them – try that particular strategy and see how far you get! Perhaps another lesson for stalwart gear heads is that the guitars don’t make the guitarist, mostly anyone can own a Fender Stratocaster or Gibson Les Paul but not everyone can be a SRV or Jimmy Page – guitars are simply the professional tools of the expert craftsman. However, put the two together and something very special can happen. Modern music would not be the same without the skilled practitioner and their axes of choice, creating magic for us mere plebs to wonder at and aspire to.

CRAVE Guitars ‘Music Quote of the Month’: “If music is the result of passion, passion is the music of life.”

© 2017 CRAVE Guitars – Love Vintage Guitars.

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28 Jan 2017

January 2017 – Why music affects us in the way it does

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Welcome to a brand new(-sh) and shiny(-ish) 2017. One hopes that humanity comes to its senses and delivers progress towards a better, fairer, more peaceful world in the year to come. Given indications so far, I doubt it but we shall see. I hope that I’m wrong.

What will be different for CRAVE Guitars in 2017? Other than the complete change of lifestyle to a more modest form of living and the absence of any funds to take forward the vintage guitar business, it will be a year of contemplation and formation of thoughts about the future. I have to remain optimistic that CRAVE Guitars will metamorphose (again) and will flourish in some splendid new form.

Anyway… back to the present and this month’s topic, in the absence of new gear. One of the things that has fascinated me over many years is why people choose, like, and are affected by, the music they listen to. My iTunes library runs into several tens of thousands of songs, predominantly but not exclusively from the last 5 decades, so the topic is pertinent. This article tries to understand why you might like one song while I might hate it and vice versa, or why we both might like or dislike the same one. While reading, please bear in mind that my roots are completely in modern music, which comprises a massively diverse smorgasbord of contemporary music from the 1960s onwards, right up to the latest releases. While I can appreciate (some) classical or traditional music, it doesn’t impact my life in the way that ‘modern popular’ music does.

The cultural revolution (no, not the Chinese uprising of 1966-1976) that began in the early 20th century led up to the seemingly sudden introduction of rock ‘n’ roll in the mid-1950s. However, ‘modern’ rock and pop music didn’t appear fully formed overnight and its roots in blues and jazz go much further back. What the explosion in supply and demand that has occurred over the last 6 decades has done is to open up range of musical types in such a way that defining current genres and sub-genres has become increasingly difficult. In addition, technology (for instance to facilitate composition, recording, production and distribution) provides us with convenient access to types of music that hitherto might have been difficult to reach, let alone appreciate.

When I was young, my parents listened predominantly to classical and traditional music. However, this background does not appear to have influenced my personal preferences. So what did shape my listening habits while growing up in a rapidly changing world? The ‘nature versus nurture’ dichotomy doesn’t appear to be a determinant of taste and passing years don’t appear to have modified my listening behaviour significantly. Certainly my musical choices have not been passed to the next generation either, which is more than capable of making up its own mind, helped no doubt by convenient availability of music like never before. Perhaps I am unusual, which may be why I posed the rhetorical question in the first place.

You may think that this may be a ‘heavy’ topic for the start of the year (no pics either for copyright reasons! Sorry). However, I am going to try and get inside your head a little bit, so bear with me. The focus is not only on the things we tend to like collectively but also why some of the differences in musical preference between individuals can be so profound. Exploring the foundations of musical preference a bit further provided few satisfying answers and a lot of frustrating dead ends along the way. Although he may have been biased, Beethoven said it more succinctly than I can, “Music is a higher revelation than all wisdom and philosophy”.

To try and get to the bottom of this particular theme and gain some greater insight, I decided to delve a bit deeper into the subject matter. There is an awful lot of pure science behind music, especially the physics and mathematics of music ‘law’. While the scientific aspects are interesting in their own right, it was the psychological impact of music that provoked my curiosity. Let’s begin by breaking it down a bit…

One arm of musical science is called musicology. The word stems from the Greek meaning the ‘study of music’, so this seemed like a sensible starting point. Musicology, as it turns out, is largely formed of three different areas of study:

  1. Historical musicology – which is often referred to as music history (in a similar way to art history) and looks at the way that music has developed over a significant period of time. However, while this may explain the main epochs of music, it does little to explain how we ‘feel’ about the music we listen to in the current era. However, it does tend to outline what musical styles were popular through the ages and the access that ordinary people had (or didn’t have) to experience performance music
  2. Ethnomusicology – this area of music study looks at music within a cultural and/or societal context. While this may explain a bit about musical expression described by the generally common behaviours of large groups, e.g. western or far eastern music, it is very broad and doesn’t really get to the basis of individual musical preference (except within the context of a large society)
  3. Systematic musicology – is a term that covers many aspects of music including general questions about the importance of music right through to the specifics of music theory, varying in discipline, ranging from qualitative to quantitative studies

There is also a branch of musicology called cognitive musicology, although this looks more at mathematical modelling to explain how the brain processes and interprets music in a similar way to how it might process language, including learning, attention, planning and memory. Empirical studies have shown that there is a correlation between musical training and intellectual growth and a whole branch of neuropsychology has developed around this area. Functional MRI scans have shown that the brain actively responds to musical stimulus – no surprise there. Neuroscience, though, focuses primarily on biological processes, rather than emotional, responses.

Music, like language, is an integral part of our cognitive development, which might explain why musical expression is just as important as linguistic expression to nearly everyone on the planet, and has done for thousands of years. However, examining intellectual development does not explain how we, as individuals, respond to music in such a fundamental way. It also doesn’t explain the unifying force of fandom and mass hysteria, i.e. why we congregate in large groups then react disproportionately and often very rapidly to a particular movement in taste (fads?) – anyone remember Beatlemania?

Our brains generally respond to sound in a similar way. The auditory cortex works in association with the cerebellum and frontal cortex, and is responsible for processing ‘organised sound’, including music and language. While music also affects many other parts of our brains, scientists have pinpointed the areas deep in our brains that are activated by and cause emotional responses to music, primarily the amygdala and nucleus accumbens. The amygdala determines whether our bodies need to take some form of conscious action according to the sounds we hear, while the latter regulates the release of the hormone dopamine as part of the brain’s ‘reward system’ and plays a part in rhythmic timing. Dopamine is important as it makes us feel arousal and pleasure so, perhaps, music is a drug after all. Medically, our wellbeing can benefit from using music to reduce anxiety or stress, as used, for instance, in music therapy. Our reaction to music may be divided into emotions that are ‘perceived’ or ‘felt’, which might explain why, for instance, why some people enjoy listening to sad music.

Conversely, whether consciously or unconsciously, music can also be intrusive and distracting, for instance in public places or call centre queues (e.g. ‘Muzak’), when forced to listen to music we don’t like, or exposed to music inappropriately out of context, it can be linked to production of the stress hormone cortisol within the adrenal gland. One example of cortisol production as a result of an auditory stimulus may be the brain’s reaction to fingernails scraping a blackboard causing a significant antipathetic response.

Our clever brains are constantly trying to predict what comes next (technically, the anticipatory response). Many musicians have exploited this characteristic over centuries to tease us and then maximise the ‘crescendo’ effect. Auditory and visual acuity is strongly linked, which perhaps partly explains why we like to go out and watch live music or are drawn to music videos. Closing our eyes while listening to music can suppress the visual stimulus and concentrate the auditory stimulus.

So… does a better understanding of musicology or neurology help with this particular conundrum? Unfortunately, no it doesn’t. However, it does provide a broader framework within which further questions can be asked. There are clearly links between the physical mechanics and the psyche of music, so some further delving was required. Where to look next?

Music psychology was my next point of call. Music psychology is a different approach that attempts to explain musical behaviour and experience, including how we perceive music (e.g. pitch, rhythm, harmony and melody) and our ability to learn, play and perform music. Why is it, for instance, that some people are content to listen to music (i.e. be affected by it), while others are driven to acquire the skills of musical technique and perform in front of audiences (i.e. to affect others through it)?

While the answer to the question above is beyond the scope of this article, emotion is as vital for those making music as it is to the majority of us who listen to what they create. March Bolan once said, “Emotion has to be foremost. When I feel emotional I’m equipped to express myself”, and Debbie Harry also commented, “I do know the effect that music still has on me – I’m completely vulnerable to it. I’m seduced by it”. Jimi Hendrix went a bit further by saying that, “Music is my religion”. To many, musical appreciation is as strong as faith, if not synonymous with it. Suffice to say, music is a powerful medium. Keith Richards expressed music in more survivalist terms, “Music is a necessity. After food, air, water and warmth, music is the next necessity of life”. How strongly do you feel about music’s professed omnipotence?

Perhaps a more relevant approach is to look at what psychologists refer to as ‘affective responses to music’. An ‘affect’ in basic psychological terms is how an organism interacts with stimuli including, amongst other things, the experience of feeling or emotion. Music is one such stimulus that leads to patterns of behaviour and regulation of our emotions. When looking a bit more deeply, even this area tends to break down into a number of factors that academics have attempted to measure. For instance, in relation to emotional music, the following formula has been postulated:

Experienced emotion = structural features x performance features x listener features x contextual features

While expressing emotion as an equation cannot hope to capture the nuances, it does indicate that the way we feel about music is actually a complex interrelationship between a number of human actions and situations. Studies have, unsurprisingly, repeatedly shown that music consistently elicits emotional responses in its listeners (duh!), so what is actually going on?

Why does some music make the hair on the back of our necks stand up? Psychologists refer to the ‘chill’ effect as ‘arousal’, which is a non-conscious physiological response to an environmental stimulus, caused by the hormone dopamine (again). How strong this reaction is depends on, as you might have guessed by now, a number of variables.

The psychology of music and the way it helps shape our genre preferences, again, tease us with answers. However, all it does is to identify that there are notable differences between us but not how or why these differences occur in the first place or why the emotional responses can be so varied and profound.

Perhaps delving into the characteristics of personality and self‑expression may provide some insight that has so far eluded my investigations? Some psychologists point to the ‘Big Five Personality Traits’ to explain and measure our ‘personality’. The ‘Big Five’ categories that shape our personality are:

  1. Openness to experience
  2. Agreeableness
  3. Extraversion
  4. Neuroticism
  5. Conscientiousness

The first two are called ‘plasticity’ traits (i.e. they tend to vary according to changes in context), while the latter three are called ‘stability’ traits (i.e. they tend to be relatively unchanging in adulthood). In relation to musical genre preferences, the plasticity traits are the ones that have greatest effect on our choice of musical gratification. In particular, researchers have found a link between openness, self‑assessed intelligence and preference for more complex music such as classical or jazz. I would argue, however, that this misrepresents the picture as there is a significant sociological and circumstantial connection going on here. Openness, however, does have an affinity for emotional response from music, as does agreeableness. Openness is also associated with ‘intense and rebellious’ music (including rock, rap, alternative and heavy metal). Extroverts also tend to prefer upbeat and energetic music (including dance, reggae and electronic music). Neuroticism is linked to the use of music for emotional regulation (including slow and sad or upbeat and happy ‘pop’ music, as well as indie music). Conscientiousness tends to be associated with an affinity for up-tempo, driving, powerful and defiant music.

Breaking things down into just five discrete factors has been criticised as simplistic, with other sub-traits tending to be incorporated within these five personality ‘dimensions’. There are also a number of other variables that co-exist interdependently of the ‘Big Five’. Psychologists have explored how individual musical preferences are affected by, for instance, age, gender, ethnicity, seasonality, familiarity, peer influence, and self‑perception. To me, location and mood are also key factors that motivate what music I listen to at any given time. What this area of study does is link personality, rather than emotions, to genre choices.

As with other studies mentioned above, investigations still focus on what the variances are but not how or why they drive our listening tastes. Clearly, all of these personality, demographic and contextual factors may help to influence genre preference but it is highly unlikely that any of them will ultimately determine it. In my opinion, the various hypotheses tend to generalise, rather than differentiate.

Personality studies get a bit closer to the core of the issue. However, it still doesn’t explain why two individuals with a similar personality and societal circumstances can still have completely opposing tastes or respond to the same piece of music in fundamentally diverse ways. Also, does our taste in music change as we age? When I was young, I assumed that I liked popular music because it was a given as part of the prevailing youth culture at the time. I also assumed that, as I got older, my musical tastes would mature into the ‘grown up’ genres such as classical or jazz. Nope. It didn’t happen and it probably won’t now. Neither do I listen predominantly to the soundtrack of my youth, although one cannot avoid the occasional reminiscence. I listen to a lot of new music as well and crave (sic!) emerging and fresh musical experiences. The same applies to guitar playing – perhaps there is a link there. As John Cage once pointed out, “I can’t understand why people are frightened of new ideas. I’m frightened of the old ones”.

In a previous article, I covered personal preference in relation to guitars. In that topic, I likened the emotional response to guitars as similar to the instinctive response that we have to attractiveness of the opposite sex. There is something about that unconscious, instantaneous and very strong, often compulsive, sensual appeal that exists but is very hard to define and articulate. To me, the same applies to music, as well as art, architecture and design. Some music has that ‘love at first sight’ written all over it and has a certain consistency of perceived aesthetic appeal, while others have a ‘grow to appreciate its deeper qualities that aren’t immediately apparent’ characteristic. Quite why some music requires multiple listens to in order to grow appreciation while other music immediately slaps you around the face is not clear. Both have their place; it isn’t a case of one is better than the other, it’s just different.

In addition, why does overfamiliarity sometimes reinforce affection in some situations while breeding contempt in others? Why do we sometimes just get bored by repeated exposure while there is some music we simply cannot tune into, no matter what? Why do we sometimes have extreme (positive and negative) reactions to what is, after all, just a piece of music? Why, also, do we adopt often very dogmatic defence of our personal preferences when challenged by others who feel equally strongly about theirs? I would also like to know why we have ‘guilty pleasures’, those potentially embarrassing tracks we really shouldn’t like but for some reason we do.

So… after all that, none of the above really gets to the root of why music evokes a strong empathetic sense of deep emotion or nostalgia (as opposed to simple familiarity). What does it say, for instance, about my personal preferences? Not a lot, actually – it’s interesting but in relation to the question in hand, it’s also a bit ‘so what?’ Where do we go from here and what more can we do to understand what makes our preferences very much our own? None of the academic disciplines or studies that I’ve looked at seem to get to the fundamentals of individual predilection.

As mentioned at the beginning, my amateur research provided few answers and raised a lot of frustrating questions. I would have expected some sense of surety (and reassurance) about my emotional state of mind. I also expected to discover that millennia of human learning would lead to a more satisfactory (or at least adequate) conclusion.

In summary, I have no easy answer in response to the title of this article. Darn it! Academia may provide a lot of informed opinion and (in my view, some refutable) evidence but it does little to satisfy my ardent curiosity. Perhaps a glib qualitative ‘because I like it’ is sufficient after all, despite its crude ambiguity and subjectivity. I therefore challenge the learned professions to come up with something better. I defy anyone to predict my preferences on the basis of the academic studies covered here. Conversely, however, it is probably relatively easy to predict my personality based on my extensive iTunes library. Perhaps we are looking through the wrong end of the proverbial telescope?

So, in the absence of incontrovertible proof, I tried to identify 20 tunes that constitute the playlist of my emotional existence. At the time of writing, the list comprises (in no particular order and excluding multiple songs from a single artist):

  1. The song that makes me go all warm and fluffy inside: The Cure – ‘Love Song’ (1989)
  2. The song that makes me sob uncontrollably like a girl: Death Cab For Cutie – ‘I Will Follow You Into The Dark’ (2005)
  3. The song that makes me want to scream with hatred: Buggles – ‘Video Killed The Radio Star’ (1980)
  4. The protest song that makes me feel like an angry young man (again): Rage Against The Machine – ‘Killing In The Name’ (1992)
  5. The song that makes me grin like an idiot: Nick Cave & The Bad Seeds – ‘O’Malley’s Bar’ (1996)
  6. The song that makes the hairs on the back of my neck stand on end: Ben E. King – ‘Stand By Me’ (1961)
  7. The song that makes me think profoundly: The Clash – ‘London Calling’ (1979)
  8. The song that makes me want to hope: Johnny Nash – ‘I Can See Clearly Now’ (1972)
  9. The song that makes me head bang like in Wayne’s World: Blur – ‘Song 2’ (1997)
  10. The track to play air lead guitar to: Led Zeppelin – ‘Kashmir’ (1975)
  11. The groove that makes me want to get up and boogie: Chic – ‘Le Freak’ (1978)
  12. The song that I wish I could have written: Louis Armstrong – ‘What A Wonderful World’ (1967)
  13. The song that I’d like to cover live: Rolling Stones – ‘It’s Only Rock ‘n Roll (But I Like It)’ (1974)
  14. The best song to get stoned to: Pavement – ‘Range Life’ (1994)
  15. The song that I can chill out to: John Martyn – ‘Small Hours’ (1977)
  16. The song that makes me depressed: Sex Pistols – ‘Pretty Vacant’ (1977)
  17. The song that lifts me out of depression: The Beloved – ‘The Sun Rising’ (1990)
  18. The song that makes me long for a balmy summer’s day: DJ Jazzy Jeff & The Fresh Prince – ‘Summertime’ (1991)
  19. The chart single from my youth: T. Rex – ‘Metal Guru’ (1972)
  20. The album track from my youth: Pink Floyd – ‘One Of These Days’ (1971)

Like many of CRAVE’s topics, it seemed an easy task on the face of it, however, as usual it turned into anything but. While contemplating the mix, I kept changing my mind depending on how I felt, which just proves how impulsive, volatile and value‑laden the subject matter is. I am not going to divulge why these particular tracks stir my sentiments, suffice to say that they do. I must stress that these aren’t necessarily favourite songs (especially no. 3!), just ones that evoke some sort of emotive response. What would be your 20 lifestyle tunes? What about all those millions of tracks that one hasn’t even discovered yet? I am not a betting person but I would propose quite confidently that it is highly unlikely that many people would share exactly the same list, and thank heaven for that… but why?

In conclusion, and as a final parting shot, I will say that extensive diversity and continual evolution in music are inherently good things. Only through variety and innovation can we closely match the way we feel with the music we listen to. Frank Zappa once stated that, “Music is always a commentary on society”. Indeed, when considered in those terms, culturally, it is problematic to separate the two. While some people are happy caught in that time warp of a certain period or are captivated by a specific genre, others like me are inquisitive and intrigued by what has been as well as what is yet to come. I look forward to ‘the next big thing’. My quest for new musical experiences is prominent and my personal choice is strongly shaped by disposition and attitude at any one point in time.

Existentially, I believe that music is essential for the healthy sustenance of the human condition, while the music you or I like is a very, very personal thing that contributes to our overall wellbeing. Leonard Cohen observed, “Music is the emotional life of most people”, while Robert Plant asserted similarly, “Music is for every single person that walks the planet”. The compromise between global and individual musical engagement is relevant or we wouldn’t have anything to talk (and argue) about. The similarities and, perhaps more importantly, the differences between us continually drive musical development and invention. After all, that is what motivates us guitarists to come together and create our own interpretation of music after all.

Anyhoo… I’m off to plink my planks (again) as a cathartic exercise while leaving my subconscious to attempt to unravel the mysteries of personal preference (again). Yay for the former, Sigh for the latter.

This month, I’ll finish with a quote by the late, great Ian ‘Lemmy’ Kilmister, who said, “If you think you’re too old to rock ‘n’ roll then you probably already are”. Until next time…

© 2017 CRAVE Guitars – Love Vintage Guitars.

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18 Dec 2016

December 2016 – A Year of Gains, Change, Losses and Optimism

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It’s that time of year again when it seems to be the ‘in’ thing to reflect on the departing year and look ahead to the future whatever it may hold (along with a few obligatory lists along the way). So, in the spirit of seasonal laziness, here is my take on the year just about to leave platform 2016 and to wait for the 20:17 train to who knows where.

A Retrospective

In the music world, the grief that ended 2015 (e.g. Lemmy) continued into 2016. Let’s begin by remembering some of those great artists and guitarists who sadly departed and left us mere mortals behind during the year. I hope they play eternally at the ‘great gig in the sky’…

  • David Bowie on 10th January, aged 69
  • Glenn Frey on 18th January, aged 67
  • Merle Haggard on 6th April, aged 79
  • Prince on 21st April, aged 57
  • Lonnie Mack on 21st April, aged 74
  • Scotty Moore on 28th June, aged 84
  • Leonard Cohen on 7th November, aged 82
  • Greg Lake on 7th December, aged 69
  • Rick Parfitt on 24th December, aged 68
  • George Michael on 25th December, aged 53

Farewell and Rest In Peace cool dudes, you will be forever remembered for your tremendous legacy… and will be greatly missed for potential works not completed. Kudos. I am not looking forward to 2017 and the inevitable demise of more stalwarts of the music industry. Who will be next? We can only conjecture at this stage.

It has certainly been a year of change. I won’t delve into the controversial world of global politics, even though it affects our lives fundamentally every day. As English guitarist Eric Clapton said, “One of the most beneficial things I’ve ever learned is how to keep my mouth shut”. At a personal level, it has been a complete change of employment, if not lifestyle (yet). I am still working for ‘the man’ but in a different way. After 30 years as a paid employee, I was made redundant and am now self-employed. The massive drop in disposable income has affected CRAVE Guitars by forcing a, hopefully temporary, hiatus in its mission to accumulate more vintage guitars. In fact, only 3 guitars were purchased all year, but what terrific guitars they were in their different ways…

  • 1962 Gretsch 6120 Double Cutaway Chet Atkins Hollowbody (March)
  • 1964 Silvertone 1449 ‘Amp-in-Case’ (October)
  • 1981 Gibson RD Artist (January)

Bizarrely, there was not a Fender amongst them. Note to self… must try harder!

Out of curiosity, I had a look back at my ‘most wanted list’ of guitars from this time last year and I’ve only been able to knock one off the ‘plan’ during the last 12 months (and probably not the one you’d think!). Oh well.

The change, however, was an opening to refocus a bit, without straying too far from the chosen path. Rather than just stop altogether, it enabled me to look at things in a fresh way. As it turned out, a more affordable and modest vintage guitar-related ‘hobby’ filled the sizeable gap. The result was that I was able to build up a modest collection of classic vintage guitar effect pedals, starting with a ‘small box’ Pro Co Rat and ending 5 months and 16 pedals later with a Made in Japan’ Boss PH-1 Phaser. I also resurrected a number of my classic owned-from-new pedals from the ‘70s. These classic pedals can still hold their own in terms of tone and, while not necessarily ergonomic, are well worth the effort.

This cool diversion had its pitfalls, including transit damage, missing bits and difficulty finding vintage parts to refurbish a couple of cool but ‘adapted’ player-grade effects. What I learned is that, while I’m OK at buying guitars, my knowledge of vintage stomp boxes just wasn’t as strong. At least my focus was on the lower end of the vintage market, rather than the overpriced collector end (original Ibanez TS-808s anyone? Gasp!). It will take a while to build up reliable experience and make better‑informed purchases. In total, there were 17 vintage effect pedals purchased during 2016, including (by brand)…

  • Boss (x5) – CS-1, DS-1, OC-2, OD-1, PH-1
  • Electro Harmonix (x2) – Little Big Muff pi, Doctor Q
  • Ibanez (x5) – AD9, CS9, FL301-DX, FL9, TS9
  • Jen (x1) – Cry Baby Super
  • MXR (x3) – Blue Box, Distortion +, Phase 90
  • Pro Co (x1) – RAT

While looking into effect pedals, I also started looking at vintage valve guitar amps again, although I only bought one very cool little loud box during 2016 (not including the Silvertone’s ’amp in case’ above)…

  • 1978 Fender Vibro Champ

What has CRAVE sold during 2016? B*gger all of any significance! I just don’t have the ‘killer instinct to sell effectively, which is why I’m not a dealer. So, the ‘collection’ continues to grow, which isn’t good news, either financially or space-wise.

Turning to recorded music, picking something special out from the ubiquitous, formulaic dross was a bit of a challenge. Here are some of the varied albums (whatever happened to singles?!) released and added to CRAVE Guitars’ playlists in 2016:

  • Jeff Beck – Loud Hailer
  • Blossoms – Blossoms
  • David Bowie – Blackstar
  • The Coral – Distance Inbetween
  • Nick Cave And The Bad Seeds – Skeleton Tree
  • Leonard Cohen – You Want It Darker
  • Daughter – Not To Disappear
  • Dinosaur Jr – Give A Glimpse Of What Yer Not
  • Garbage – Strange Little Birds
  • The Heavy – Hurt & The Merciless
  • Iggy Pop – Post Pop Depression
  • The Kills – Ash & Ice
  • Megadeth – Dystopia
  • Metallica – Hardwired… To Self-Destruct
  • Radiohead – A Moon Shaped Pool
  • Rolling Stones – Blue & Lonesome
  • Savages – Adore Life
  • Seasick Steve – Keepin’ The Horse Between Me And The Ground
  • Warpaint – Heads Up

One good point towards the end of 2016 was that I was able to see one of my all-time favourite bands and one that has kept me just about sane over many years. I saw The Cure at Wembley Arena, London on 1st December. It is 8 years since I last saw them live in London and New York. They were, as I’d hoped, awesome and still able to perform at the top of their game. They were supported by Scottish indie band, The Twilight Sad, who I’d also been looking forward to seeing for some time; impressive. As I was unable to make the pilgrimage to Glastonbury Festival this year, this one major gig made up for it. Long may Robert Smith and The Cure continue to inspire – thanks Bob. I can only hope that this tour may herald a new album in the near future (hint, hint!).

While on the topic of live bands, it occurred to me that it is a very ephemeral experience. On quiet reflection, if there is one band that I would have liked to have seen but didn’t and now it’s too late… The Clash. The one band that I haven’t seen yet that I would like to see before it’s too late… Rage Against the Machine. Of course there are many, many mainstream artists that could go on those particular lists. These were just ones that came to mind when I asked the rhetorical question.

A Prospective

Trivia fact: In English etymology, ‘prospective’ is a valid antonym for ‘retrospective’. So, I took the indulgence of looking forward through the looking glass and speculating a little on what may lie ahead.

Firstly, CRAVE Guitars will hopefully be relocating soon. I was hoping it was going to be before Christmas but it will now be in early 2017. Major problems and escalating costs with the new place, including somewhere to store the guitars dry, warm, safe and secure, means that even pedal purchasing has now been put on hold until further notice while some massively expensive but essential rebuilding takes place and (sadly) uses all my remaining (guitar) capital.

Furthermore, my self-employed work ends at Christmas, so unemployment (tactically, I prefer to call it early retirement) looms on the immediate horizon. Ironically, after years of having no time and a little cash has been turned around such that I may soon have a little time and no cash. Hey-ho, story of my life; one can’t have it all, eh?

If there is a way that CRAVE Guitars could be put on a different basis and become a full‑time occupation, I’d like to do it. I need to learn how to sell though (see above). It would be terrific if I could realise my long-held ambition and put all my hard work over the last few years to good use. Harsh life experiences over many years suggest that this won’t happen so, perhaps, it is about time for a meagre sprinkling of ‘good luck’ to come my way for once.

Unfortunately, the prevailing economic climate is not conducive to starting up a professional niche business with next to zero capital, no access to finance, sparse experience, and little reliable entrepreneurial advice, all within the context of political, economic and social turmoil. In the UK, we’ve had a General Election, political meltdown, crippling national debt and the insanity of ‘Brexit’ (what a stupid ‘word’ that is!). In the US we’ve had Clinton being well and truly Trumped (amid much conspiracy theory), which is a scary proposition for the whole world. Mad! Since the EU Referendum, the $USD to £GBP exchange rate has fallen through the floor, so one of CRAVE’s strengths – importing vintage guitars from homeland U.S.A. – is now next to impossible as the costs have simply become prohibitive (at least on the modest funds at my disposal). As 2017 looks to provide more surprises and yet more change, there is little point in further speculation about exactly what might transpire. I wonder what CRAVE’s December 2017 article will have to say (all other things being equal).

Ever the eternal optimist, or more probably just tragically deluded, 2017 HAS to be better than 2016. I suspect I may be bitterly disappointed… again. As you might imagine, I have no evidence to support this hypothesis, just a desperate but probably forlorn hope that things, both macro and micro, improve in the months to come. I also have to trust that the irrevocable life-changing events of 2016 lead to constructive and positive outcomes in 2017. Carl Gustav Jung (1875-1961), the Swiss psychiatrist and psychotherapist that founded analytical psychology summed it up, “Until you make the unconscious conscious, it will direct your life and you will call it fate.” Perhaps the old dude knew a thing or two about people’s ability to influence their own destiny.

I know that one shouldn’t gauge any sort of success by social media activity but CRAVE Guitars is gradually building a solid presence on the hinterweb. A huge “THANK YOU” to everyone who showed some interest in goings on at CRAVE Guitars over the last 12 months. At the time of writing, CRAVE’s Twitter followers (my favoured platform – @CRAVE_Guitars) were standing at over 1,330, which is amazing to me – a massive increase in a year. The majority of CRAVE’s Twitter followers are in the U.S.A., so much appreciation goes out to my transatlantic brethren. Equally, my gratitude extends to everyone inside and outside the UK, across the continents of our increasingly shrinking ‘global village’ for your time and consideration.

CRAVE Website

If CRAVE could buy any vintage guitar in 2017, what would it be? Actually, although unlikely to achieve either, I’m picking one from each of Fender and Gibson to keep things neutral. A 1970s Fender Starcaster has appealed for a long time but they are few and far between and prices are scarily high. As for the ‘big G’, a 1950s non‑cutaway Gibson ES‑150 has also been a longstanding aim, also rapidly increasing in price. So if Santa is listening, I have tried SO hard to be a good boy.

As frequently mentioned in my articles, guitars have only one purpose, as a tool to make music. Music can bring us together and help to heal the often seemingly irreconcilable schisms that inhibit mutual co‑operation and benefit. This brings me neatly onto…

A Hope

For what it is worth, a short Christmas message of redemption for 2017…

I feel that there are even greater seismic shifts ahead in every facet of our small planet. All I can hope is that for every backward step, there are many more steps in the right direction towards the panacea of world peace, ecological sustainability and, let’s face it, survival. We need to magnify the things that we all share and value, and we must strive to diminish the things that cause irreconcilable division and conflict. Ultimately, there is no choice but to work together for the sake of our enduring common humanity. We all have an obligation and a moral duty, individually and collectively, to build a better, fairer world for everyone now and for succeeding generations. As equal citizens, we must demand more from our governments if we are to achieve a viable future for life on Earth. We must respect our diversity, reject greed, protect our environment, have compassion for all living things, and rise above prejudice and hatred, if we are to stand any chance of achieving great things as a species. Strive for utopia and we may just get far enough down the road to justify the effort. It is just common sense after all and the struggle must prevail if it’s worth struggling for. We shall see. Buddha put it far more succinctly, “Better than a thousand hollow words, is one word that brings peace”. Quite right!

I fear that the rise of ignorant extremism under the guise of ‘populist anti‑institutionalism’ will trigger further anarchic, nihilistic and blindly destructive tendencies when, what the world really needs right now is more ‘peace and love’. Beneath the superficiality of the naïve desperation of the ‘60s hippy movement, the counter‑culture ‘uprising’ of the time had it right all along and we should seek to realise the latent potential of their philosophical idealism and belief for good and fairness. As John Lennon sang, “Imagine all the people living life in peace.” One can hope beyond hope, however unrealistic it may seem. Concerted action, though, is needed.

May you play guitars, or at least listen to the magical music that all guitarists – great and meek alike – create on our beloved instruments. People need the therapeutic qualities of music now, more than ever before. It is a cathartic way to deal with the harsh vagaries of our capricious, chaotic, dysfunctional world. As the German philosopher and scholar, Friedrich Nietzsche (1844-1900) wisely said, “And those who were seen dancing, were thought to be insane, by those who could not hear the music.” On that final contemplative note, it is goodbye to a weird 2016 and I hope to be back in 2017. In the meantime, I’m off to ‘plink my plank(s)’. Until next time…

CRAVE Guitars ‘Music Quote of the Month’: “If I had a pound for every perfect guitar solo I’ve ever played, I’d still be stone broke.”

© 2016 CRAVE Guitars – Love Vintage Guitars.

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27 Nov 2016

November 2016 – Where to Start with Vintage Guitars

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

I was recently asked a simple question, “What’s so special about vintage guitars, why would I go for a vintage guitar over a modern one and where do I start?” Well now, that’s actually 3 questions but plainly very sensible ones to ask. As usual, they are not so easy to answer. Thus, another proverbial can of worms was duly opened.

Remember, I am no expert myself, just an enthusiastic amateur who’s obsession tends to cloud objective judgement. This is based on my own experiences, so a pinch of salt may be required. This article focuses specifically on vintage electric guitars. It doesn’t cover acoustic guitars or amps and effect pedals. Are you sitting comfortably, this is quite a long article?

What does the word vintage mean for guitars?

Let’s begin by taking a step further back and try to understand what is actually meant by ‘vintage’. Dictionaries refer to ‘vintage’ as something dating from the past that is valued as having enduring interest, importance or quality, or referring to the best characteristics of things made or done by a person or organisation. Well, that doesn’t necessarily help, especially as any interpretation of ‘past’ is relative and subjective.

Specifically focusing on electric guitars, there are essentially 2 camps; a) the purists who assert that ‘vintage’ only applies to the ‘golden era’ up to c.1965, and b) those who believe that any guitars over 25 years old are ‘vintage’. To me, neither of these adequately provides hard and fast rules for concluding vintage status.

While pre-1965 guitars are now clearly vintage according to both criteria, applying a fixed cut-off doesn’t really hold water in the long term, as the gap between 1965 and the present day continues to widen. Why 1965? Well, many American guitar manufacturers sold out to large, corporations in the 2nd half of the 1960s including Fender (1965 to CBS), Danelectro (1966 to MCA), Gretsch (1967 to Baldwin), and Gibson (1969 to ECL). Commentators point to corporate decision-making, to standardised manufacturing techniques, and to falling quality standards from the 1970s onwards. To me, this argument is difficult to justify, particularly as there are plenty of poor quality pre-1965 vintage guitars (as well as some great post-1965 ones). The purists have countless arguments to support their somewhat dogmatic position.

The 25-year ‘rule’ is also not particularly helpful. It is a bit of an arbitrary cut-off point because it presents us with a constantly moving target, albeit in one direction. Think about it a moment… what tangible differences justify one instrument to be defined as vintage and the next one off the production line as not vintage until the date cut-off catches up? Ultimately, many high, quality, mass produced guitars that the purists currently poor scorn upon will eventually become vintage, but isn’t that actually what happens anyway as the industry evolves over time? The opposition to the introduction of solid body guitars in the early 1950s, which have since become revered, is just one prime example. We shouldn’t confuse the picture by simply correlating quality and age – old=good, new=bad – it’s not that straightforward.

Perhaps obviously, there should be some shared understanding and guidance to help us all out. However, the above debate indicates that there is no black and white definition of ‘vintage’.

My personal feeling is that there are plenty of excellent vintage instruments up to and including the 1980s. After that, they become a bit, ‘samey’, while often also being much ‘better’. Common sense tells us that this view will also undoubtedly change as time marches on. There is a lot more to an instrument than whether it was CNC machined or not, take PRS electrics and Taylor acoustics for example. There are plenty of fine new sustainable tone woods to replace the ‘classic’ now-protected ones and they will all age. There are advances in the use of many materials and how they are used to improve guitar tone. Let’s face it; early instruments can be as ‘good’ or ‘bad’ as later ones in terms of construction and materials.

So, from a beginner’s point of view, the older a guitar is, the more likely it is to warrant being called vintage. No-one disputes that instruments from the 1960s and earlier are now vintage. The current ‘grey area’ is the 1970s and 1980s (and in the not too distant future, also the 1990s).

Why should I buy a vintage guitar?

Having confused rather than clarified from the outset, perhaps the obvious next point is to pose the question, “Why should I buy a vintage guitar?” If you don’t have a good answer to this simple prompt, keep asking the same question until you have something that makes sense. Some examples may help…

If the answer is, “To make money”, then I switch off. I am not the person to talk to about using guitars as a financial investment. My position on pecuniary speculation and Return on Investment (RoI) has oft been handed out with abandon, so I won’t labour the point again. Suffice to say that the idea of a vintage musical instrument as an investment for its own sake is an anathema to me. It squanders the whole point of what it was originally built to do, which is to play music. Exclusivity and rarity just make items more valuable to collectors aiming to protect their investments, thereby denying access to the rest of us to play them. I’m not denying that some vintage guitars are valuable, or rare, and even that some are worth it. What I am saying is that a short-term profit motive does not make a good entry point into the competitive vintage guitar marketplace.

If the answer is, “To play it”, that falls into the ‘not good enough’ category. There are plenty of modern instruments that are far better built, far more reliable and basically much better to play than many vintage instruments. Many new guitars can feel just as good to play, if not better than their ancestors and many manufacturers are working hard to close any gaps that remain. Many older guitars are just not up to playing live and some are too risky to take out and about. Let’s face it, all vintage instruments are irreplaceable. Once they’re gone, they’re gone, so a modern working instrument makes a lot more sense than gigging a vintage one.

If the answer is, “They are nice to look at”, that is also inadequate and is almost as bad as the ‘make money’ case. Buying to look at is just guitar porn. If you want something pristine, lightly aged or beaten up, there are plenty of outstanding new, ‘aged’ and ‘relic’ guitars that fit the aesthetic bill. When it comes to playing, they also have the advantage of modern manufacturing and reliability to boot. Some replicas even cost more than the vintage counterparts they are trying to reproduce – go figure! Age does not necessarily equal beauty.

If the answer is, “They sound great”, it also fails to convince. Modern analytical techniques and advances in technology mean that the differences between many vintage instruments and the many excellent modern examples are so subtle that, for most beginners, they will prove insignificant. Your playing technique and the rest of the signal chain are equally, if not more, important to what we actually hear. Being practical, in a live band or recording situation, the nuances are often obscured.

If the answer is, “Because they’re old”, then I’d say, “so what?” Mere age does not imply significance. There is something about the authentic patina brought about by both age and use that is hard (but not impossible) to replicate. There are a huge number of exceptional new instruments available, and intense price competition means that there are some very good deals to be found by hunting around, especially at the lower end of the market. At the other end of the scale, modern boutique and custom guitar makers make some wonderful guitars with amazing levels of quality to boot, Collings for example.

If the answer is all of the above, then go back and start again until you have a persuasive rationale for getting into vintage guitars. If you decide vintage isn’t your ‘thing’, then that’s a positive and at least you’ll know why. In that case, why not check out new or used instruments to appreciate what modern guitars can do and how they can easily fulfil the vast majority of needs, accepting that they aren’t ‘old’ and won’t be for a long time. Remember that the market value of new guitars will continue to depreciate for quite some time before bottoming out and eventually rising again. Buying a vintage guitar is the only short cut to the waiting time associated with age.

What is so special about vintage guitars?

It is too easy to trot out that old euphemism, “if I have to explain, you’ll never understand”. So, if you’re still intrigued, here is my answer to what is so special about vintage guitars.

The distinctiveness of vintage guitars is difficult to articulate, yet the differences are real. My personal fascination lies in the place that these instruments have in, particularly, American and European musical and social history. Although this will change, I don’t currently include Japan in this statement, as the Far East was mainly manufacturing products to meet western demand during this period, rather than being inculcated in the zeitgeist, i.e. they contributed to it without being part of it.

Vintage instruments somehow epitomise the popular culture of their era in a way that new instruments can easily evoke but of which they cannot be an integral part (until their time eventually comes). The value, playability, looks and sounds of an old instrument are quintessential elements of their decades-long journey to the current day. The artists associated with instruments (that were new at the time) and the classic recordings they made with them are all small pieces of the complex jigsaw.

To provide context, it helps to read up about the history of the guitar and popular music, the innovators and artists, the way the industry and markets evolved, and the way in which manufacturers’ various model lines adapted over time to reflect fashion and to meet musicians’ needs. Set that within the broader complicated and rapidly changing socio‑political and technological environment of the times, the enigma surrounding these simple bits of wood, metal and plastic really start to come alive.

There is something that appeals about the authentic scars of age and prolonged use that, while they can be reproduced, just don’t have any genuine history behind them. However, most guitars’ life stories are lost in the mists of time as guitars change hands, often many times over, so we can only wonder what happened to them since they left the factory all shiny and new. Their journey is as important as the eventual destination.

A good vintage guitar can be inspiring to play and will bring out a way of playing that a generic modern guitar struggles to do. I don’t have a good answer as to why this should be and there is no objective reason I can find for asserting it. Perhaps it is just wish fulfilment. I can only put it down to a number of elusive factors that combine to make it feel… ‘right’. Playing different vintage guitars bring out different stylistic traits as well, so it’s clearly not a single characteristic. Not necessarily better, just different.

Furthermore, current generations are just temporary stewards of these unique historical musical artefacts. Many guitars existed before we were born and many will survive long after we’ve passed. While we are here, I believe we have a moral and ethical obligation as guardians to conserve and share this important heritage for future generations.

If this explanation seems complete gobbledegook, hokum and hogwash, then vintage guitars are probably just passive objects as much as any other guitar. The search for a simple, compelling raison d’être for the joy of vintage guitar ownership goes on.

Where should I start?

OK, enough with the pretentious (but relevant) twaddle. If you are still reading this, I assume that you are still intent on exploring the wonderful world of ‘Cool & Rare American Vintage Electric’ guitars. So, being practical, where do you begin?

Right up front, I would suggest that it is a good idea to set your budget and stick to it. It is all too easy to get caught out by paying either more than you want or what something is worth. The next step may well be to decide what brands and models to investigate. There are plenty of options available, once you’ve selected the outcome you want to achieve. In the end, it all comes down to lucre and what you’re prepared to spend.

Whether you go for an acoustic or electric is fundamental. I’m not really qualified to cover the former so, assuming the latter, consider the type of basic construction, i.e. hollow, semi or solid body guitar. As a starter-for-ten, solid bodied guitars are simpler and more robust, and therefore comparatively easier to evaluate and look after.

The big two producers – Fender and Gibson – are often relatively safe places to start as there is a huge amount of reference material to inform choices and the names on the headstocks are, generally speaking, known quantities, which provides reassurance. Your choice between these two will depend very much on personal taste. If you’re into acoustics, Martin is also a safe bet. The downside is that the big brands also tend to attract premium prices, so they usually aren’t the cheapest options to start with. Finances may dictate whether to persevere or start looking elsewhere. You may hanker after a vintage Gretsch or Rickenbacker although, for various reasons, caution is advised to avoid potential mistakes, so they may not make the best ‘first purchase’.

Buying guitars built in the ‘grey area’ (1970s and 1980s) mentioned above can be a good bet. After a relatively modest initial outlay, the guitar’s value probably won’t go down much further, if at all. In fact, guitars from this period will be on the verge of starting to increase in value, which may enable you to start modestly and ‘trade up’ to get what you really want. The vintage guitar market is now quite mature, so if a ‘bargain’ seems too good to be true, it probably is, and it is probably sensible to resist temptation. If you are face to face with a seller, try haggling – as long as you are not in a hurry and are prepared to walk away, there is no harm in asking, and there are often some good deals waiting to be struck that keep everyone happy.

While a Fender Stratocaster or Telecaster from the ‘golden era’ (1950s and 1960s) are likely to be out of the reach of most, mid-price Jaguars, Jazzmasters, or ‘budget’ Musicmasters and Mustangs have many of the same characteristics without the associated eye‑watering price tags. The same applies to early Gibson Les Pauls, ES‑335s and Flying Vs, which attract premium prices, while ES-330s, Explorers, Firebirds and SGs occupy middle ground, and ‘budget’ models like the Melody Maker, LS-6 and S-1 reside at the lower end of the market.

There is SO much more to owning vintage guitars than face value and/or model snobbery. A pre-CBS Fender Strat is worth 10 times the market value of an equivalent Mustang. It may be your dream instrument but is it really 10 times better as a musical instrument and therefore is it really justifiable as a vintage newbie purchase? It’s clearly the buyer’s prerogative but I would suggest dipping your toe in the water and see whether you like it first. If you then decide it’s not for you, something inexpensive also provides a relatively easy exit route. There are plenty of positives about the cheaper end of the vintage market, despite the purists’ unerring disdain. There are some fantastic ‘alternative’ guitars out there and they can be great fun to own and to buy at reasonable prices.

Don’t be fooled into following the crowd – stick to your own preferences. If your tastes are more eclectic or esoteric than the traditional stalwards, you may want to ‘stray off the beaten track’ and ‘take a walk on the wild side’. Depending on how finely honed your intuition, ‘a bit of what you fancy’ is often a good guide and take it from there. There are plenty of very cool vintage European brands, (e.g. Vox, Burns, Hofner) or Far Eastern ones (e.g. Yamaha, Ibanez, Teisco) from which to choose. There are also plenty of cool American brands to consider (e.g. Epiphone, Danelectro, National, Supro, Kay, Harmony, Guild, Ovation, Music Man). Many of these brands are now well documented and can provide low cost access to quirky ‘old school’ Americana.

After 40+ years, be prepared for variable and unpredictable reliability, such as switches, pots, tuners, wiring, pickups, etc. Originality and good condition are big pluses if you can afford them. While ‘museum’ or ‘collector’ grade guitars are lovely to look at (much in the same way new guitars), they can be intimidating to play, just in case their ‘perfection’ is ruined forever. In addition, untouched ‘closet’ guitars are relatively rare and can be prohibitively expensive. As a general rule, good guitars get played. If you like the relic look and/or want something pragmatic, then unoriginal or battered ‘players’ guitars can be great to use without being scared of adding the odd nick or scratch. To start with, I would avoid badly damaged, badly repaired or ‘project’ guitars, as these generally aren’t good examples of their type and they may be more problematic than they are worth. Refinishes and unoriginal parts lower a guitar’s collectable value, although they may make what you’re looking for more affordable, as long as you accept that it will not realise a high value when you come to sell it. You pays your money…

Do your research

In all circumstances, it pays to be diligent. Do your research first and read as much as you can from credible sources, so you know what you’re looking at and understand what you’re buying into. Scrutinize and filter carefully what’s on the Internet as it can be pretty unreliable on the subject (especially highly opinionated forums). It is wise to check out a variety of sources, look for corroboration between them and then reach your own conclusions. Going old tech, i.e. books, can help. Respected vVintage guitar ‘bibles’ include:

  • ‘Gruhn’s Guide to Vintage Guitars : An Identification for American Fretted Instruments’ by George Gruhn and Walter Carter
  • ‘The Official Vintage Guitar Magazine Price Guide’ by Alan Greenwood & Gil Hembree (values are in $USD, so work on a 1:1 ratio)
  • ‘Guitar Identification: A Reference For Dating Guitars Made by Fender Gibson Gretsch and Martin’ by A.R. Duchossoir.

None of these are light reading; however they do provide essential reference material to help inform sound buying decisions. Even these are not infallible though. Coffee table tomes are nice to look at but are generally not comprehensive enough, as recently evidenced by a ‘history’ book that failed to spotlight the historic significance of several milestone guitars including, the Gibson ES-150, the Gretsch 6120 and the Fender Jaguar.

Determining the date of vintage instruments can be problematic. The above references can assist, so can manufacturers’ web sites and many other online resources. Again, the advice is to check and then double check before relying on them too much. If you can’t date an instrument definitively, it may be best to go elsewhere. Avoid any instruments where the serial number has been removed or obscured. The topic of vintage guitar dating is complex and well beyond the scope of this article.

Until you have experience, I don’t advise buying without seeing and, more importantly, trying, feeling and hearing the actual guitar you are interested in. Even experts can get caught out, so buying unseen (e.g. on auction sites) can be a minefield, even when the seller provides nice photographs. To begin with, if you can afford it, buy from a reputable source and buy from your own country to avoid potential transport and import issues.

Be aware that there are fakes out there, although these have tended to be for higher value instruments, as that’s where the big money is. The old adage of caveat emptor (buyer beware) applies! If you have any doubts at all, resist temptation and walk away. There will always be others – be patient. Yes, you may miss out on something special but it isn’t the end of the world. ‘If in doubt, leave it out’.

The risk of diving headlong into the subject unprepared is to be disappointed, to lose faith in the idea and miss out on some inspirational experiences. After looking and trying a few guitars out, you’ll quickly get a feel for what grabs you and what to look for. The ‘fatal attraction’ symptom goes a long way to opening the doors to vintage guitar ownership, whether it’s for a personal guitar collection or to buy and sell. Remember a vintage guitar collection is simply a case of owning more than one! As knowledge and experience grows, your horizons will (probably) expand naturally and you can manage risks with confidence.

Owning your vintage guitar

Once you’ve bought your vintage guitar, it is vital to look after it, which is pretty obvious but very often overlooked. First up, keep it secure from undesirables who want your precious instrument and who are not afraid to take it off your hands for nothing. I hate insurance. However, it would be irresponsible not to mention that you should consider going to a specialist insurer to cover your irreplaceable gem in case the unthinkable happens. Use a good guitar case, stand or hanger and avoid environmental extremes of temperature, relative humidity, dust and direct sunlight. Keep it clean and avoid using chemicals.

One of the best ways of maintaining vintage instruments in good condition is actually to play them regularly. I would also recommend getting to know a reliable and dependable guitar tech to check it over and commission them to deal with any maintenance issues as they arise. Even if you have some basic know-how, it is particularly important to have an expert who really knows their craft and is willing to help you look after it.

Selling on

At some point, you may wish to sell your prized possession. Be realistic about what someone is prepared to pay for it – it is easy to fall into the trap of thinking it’s worth a lot more than it actually is. Internet prices tend to overinflate value hoping the inexperienced will take the bait. Dealers, on the other hand, will devalue and offer 20‑30% less than market value in order to make a profit. Some dealers will sell for you on concession but, again, they will take their 20-30% cut (at least). Private selling is now less common, so be prepared to wait for the right buyer. Specialist musical instrument auction houses exist but beware their somewhat punitive commission rates.

Finally…

Of course, if money is no object, then a sunburst 1959 Les Paul Standard remains the pinnacle of vintage desirability, especially if it has documented provenance. Expect a stratospheric price tag to go with it though. Heck, I wouldn’t turn one down if one came my way (hint, Mr Claus).

In summary, there are no hard and fast rules. What you do with your cash is entirely up to you. I will leave it to others to judge the value of this article, however, I genuinely hope that it helps a bit – take from it what you will.

A final word of warning though; beware, owning vintage guitars can be highly addictive and bank-breaking. However, in my view, it is all worth it. Just be careful out there. In the meantime, I’m off to plink one of my planks. Until next time…

CRAVE Guitars ‘Music Quote of the Month’: “Music is an art, not a commodity. It is the people who sell it to the masses that cannot tell the difference.”

© 2016 CRAVE Guitars – Love Vintage Guitars.

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29 Oct 2016

October 2016 – The South of England Guitar Show 2016

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

© 2016 CRAVE Guitars – Love Vintage Guitars.

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