28 Feb 2024

February 2024 – Zen and the Art of CRAVE Guitars Design

by Tony Drew | posted in: History, Introduction, Observations, Opinion | 0

Prelude

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

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

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

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

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

The dawn of CRAVE Guitars: a reminder – 2007

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

July 2017 – Happy Birthday: 10 Years of CRAVE Guitars

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

1989 Gibson Les Paul Custom

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

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

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

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

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

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

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

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

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

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

The initial CRAVE Guitars designs – 2008‑2014

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

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

CRAVE Guitars Database Screen Shots

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

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

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

CRAVE Guitars Original Logo 2008

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

CRAVE Guitars Catalogue Spread

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

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

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

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

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

CRAVE Guitars online presence – 2014‑date

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

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

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

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

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

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

The CRAVE Guitars signature image

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

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

1975 Gibson Les Paul Standard

[Image: 1975 Gibson Les Paul Standard]

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

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

The CRAVE Guitars logo and avatar

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

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

CRAVE Guitars Early Logo Designs #1

CRAVE Guitars Early Logo Designs #2

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

CRAVE Guitars Original Logo Scan

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

Crave Guitars Logo Evolution

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

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

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

CRAVE Logo Basics

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

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

CRAVE Guitars Logo Evolution #2

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

CRAVE Guitars Fonts

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

CRAVE Guitars Avatar #1

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

CRAVE Guitars Avatar Basics

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

Crave Guitars Avatar Evolution

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

CRAVE Guitars merchandise

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

CRAVE Guitars Business Card

CRAVE Guitars Guitar Picks

[Image: Business Card]

CRAVE Guitars T-Shirt Designs

CRAVE Guitars future design

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

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

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

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

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

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

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

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

Final thoughts

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

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

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

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

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

CRAVE Guitars’ ‘Album of the Month’

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

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

The Doors – LA Woman (1971)

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

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

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

Tailpiece

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

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

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

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

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29 Dec 2023

December 2023 – CRAVE Guitars: Three Years in Review

by Tony Drew | posted in: History, Introduction, News, Observations, Opinion | 0

Prelude

GOOD DAY’S SALUTATIONS and seasonal best wishes to all you good folks out there in music land. Welcome to vintage gear aficionados and greetings to the conclusion of the year, two thousand and twenty three. There is no point in, and no good will come from, re‑hashing the journey over CRAVE Guitars’ 3‑year hiatus once again, so it is now officially behind us and a thing of the past. Gone. However, there may be merit in looking briefly at what CRAVE Guitars actually got up to behind the scenes during that time. It is the end of the year, so it’s kinda traditional for review anyway, as has been the practice in years past. This review, though, isn’t a single year but three years in retrospect. As it transpires, less has happened in those three years than would normally have occurred in one year prior to 2020’s global meltdown. Perhaps that is just as well. If the previous trend had continued unabated, CRAVE Guitars would have run out of space and funds a long time ago. I guess that there are silver linings at the end of the tunnel after all (I really must stop playing with mixed metaphors! Bad CRAVE!).

Well, there is no point in perpetuating petty procrastination, so let’s proceed with some prosaic pontification (nothing like a bit of CRAVE’s addictive affinity for asinine alliteration, again!). All text and images copyright of CRAVE Guitars. No AI used here.

‘New’ old gear over the past 3 years

The volume of acquisitions may not be great but the choices, I believe aren’t too shabby. I aim for variety and novelty in my quest for something a wee bit different to the norm, at least as far as the guitars are concerned. Here, there are two are from the 1960s, two from the 1970s and one from the 1980s. The effects are slightly more numerous and there is a little bit of gap‑filling going on here but variety is again a factor. Only 3 out of the 11 stomp boxes are ‘Made in USA’. Interesting. Right, here is the short shortlist…

Guitars and basses (5):

1963 Danelectro Pro 1
1989 Fender Jazz Bass American Standard Longhorn
1978 Fender Musicmaster Bass
1979 Gibson Explorer E2
1964 National Glenwood 95

Effect pedals (11):

1985 BOSS HM-2 Heavy Metal (distortion)
1984 BOSS SD-1 Super Over Drive
1979 BOSS SG-1 Slow Gear (auto swell)
1974 Colorsound Supa Tone Bender (fuzz)
1970s Colorsound Supa Wah-Swell
1970s DOD Analog Delay 680 (echo)
1980s Dunlop Original Cry Baby GCB-95 Wah
1970s Electro-Harmonix Switch Blade Channel Selector (A‑B switch)
1981 Ibanez CP-835 Compressor II
1984 Ibanez SM9 Super Metal (distortion)
1989 Marshall The Guv’nor (overdrive/distortion)

Over the last three years, there haven’t been any ‘new’ vintage valve amps. This is mainly due to space restrictions and the responsibility for maintaining these delicate electrical artefacts. They weren’t delicate when originally manufactured, they were built to go on the road and put up with punishment. However, after 60 or 70 years, they tend to get a bit temperamental. A bit like humans in fact. The last amp that joined the family was the fantastic little 1973 Fender Princeton Reverb ‘silverface’. Possibly my favourite amp.

There has been one notable departure from the CRAVE Guitars family. I was looking around for a Gibson Explorer E2 to partner the Gibson Flying V2. However, I couldn’t really justify yet another Explorer. Then, someone contacted me out of the blue enquiring about the black 1984 Gibson Explorer. If there was one guitar that I would let go to trade up, that was the one. It can be really strange how opportunity can present itself as coincidence. Eventually, deals were agreed and one came in while one went out. Serendipity and status quo. Result! I hope the 1984 Explorer is in a happy place.

Let’s take a closer look at the ‘new’ guitars – all of them exhibiting unusual construction and specification, making them exceptionally cool and rare (in my opinion). Right, here is the long shortlist…

1963 Danelectro Pro 1 – I first saw one of these a few years ago and was struck by its utter simplicity and quirky charm. Nothing fancy going on here. It is diminutive, dinky and hyper cute. It is, however not very practical. It has a short scale and upper fret access is awkward and only one pickup will limit it for some. However, it has all the usual Danelectro traits, including the unique construction and that classic lipstick pickup. It is definitely not everyone’s cup of tea but, for me, that’s a good reason to dig it. It is a genuinely unique instrument and SO cool that it hurts. It’s great fun to play too.

Feature: 1963 Danelectro Pro 1

1989 Fender Jazz Bass American Standard Longhorn – I have long wanted a Fender Jazz Bass. The new CRAVE Basses has allowed me to indulge that luxury. However, this isn’t a Jazz Bass as you know it and definitely not in the long tradition of the J‑Bass. This lovely beast is a Longhorn, only made for five years, this one from the first year of production. The deep cutaways and 22 fret neck make it look, feel, play and sound different from a ‘normal’ Jazz Bass. The Longhorn nickname gained it an altogether humorously crude moniker of the ‘boner’ bass. Now this one lives with me, I actually now prefer the look of this unusual instrument over the one that defined the icon.

Feature: 1989 Fender Jazz Bass American Standard Longhorn

1978 Fender Musicmaster Bass – Another oddity and one of the ‘lost Fenders’. After the success of the Mustang Bass, Fender went on to release an even simpler budget model. The Musicmaster has the Mustang’s short scale but the pickup is actually a 6‑pole Mustang guitar pickup. The overall design and specification certainly alienated a whole bunch of players but that kind of misses the point. Snobs. Take the bass purely on face value and it’s actually a decent ‘student’ bass with great build quality and that offset body look that is currently very popular. Not one for the traditionalist. Note: Since the feature and photos were published, the original 2‑saddle bridge has been reinstated.

Feature: 1978 Fender Musicmaster Bass

1979 Gibson Explorer E2 – Some people hate the Gibson Flying V2 and Explorer E2. I love them because of their unusual multi‑layered construction. As mentioned above, finding an E2 was a mission. Moreover, this one belonged to the lead singer of the band Go West, Peter Cox. Kudos and thanks Peter. I don’t usually go for provenance but in this case, it adds something significant to the guitar’s backstory. It’s the walnut‑faced model (some are maple‑faced) and in wonderful near‑original condition. While it’s not quite as whacky as the admittedly peculiar V2, it has plenty of character and charisma. The Gibson Explorer, I think, remains my overall favourite guitar model.

Feature: 1979 Gibson Explorer E2

1964 National Glenwood 95 – Here’s a glorious instrument with another unusual type of construction. The body is moulded fibreglass, what the makers, Valco, called Res‑O‑Glas. I was expecting the material to be thin and plasticky. Instead, it is quite thick and solid. The two halves are screwed together leaving the interior hollow. It is very unique and an awesome entry in vintage guitar history. Not only is it well built, it is visually striking in just about every way. Whatever part you look at or whatever angle it is viewed from, it is a startlingly beautiful creation. Neither is it a case of style over substance, it plays very well and with an inimitable sound. I could go on and on but I’ll let it speak for itself.

Feature: 1964 National Glenwood 95

… and, now moving on to the ‘new’ vintage effect pedals:

1985 BOSS HM-2 Heavy Metal – A pedal renowned for creating a whole heavy metal sub‑genre thanks to Swedish death metal band Entombed and their debut studio album, ‘Left Hand Path’ (1990). Not many stomp boxes can claim that distinction. It is a monster. This one also comes with its original box and documentation. Very cool.

Feature: 1985 BOSS HM-2 Heavy Metal

1984 BOSS SD-1 Super Over Drive – Considered by many as a classic in the BOSS overdrive tradition. The SD‑1 adds a Tone control to the existing BOSS OD‑1 Over Drive to give it more flexibility and to help BOSS compete with other brands’ overdrive pedals. The SD‑1 has been seen on pedalboards all over the world for decades, earning it its enviable reputation.

Feature: 1984 BOSS SD-1 Super Over Drive

1979 BOSS SG-1 Slow Gear – This is one of the rarest, most collectable and misunderstood BOSS stomp boxes. The name gives nothing away. It acts a bit like a noise gate in reverse, the filter creating an auto swell effect. It is quite unique. After much experimentation, there is really only one sweet spot so, to be honest, sadly, it is a bit of a one‑trick pony, albeit an exclusive one.

Feature: 1979 BOSS SG-1 Slow Gear

1974 Colorsound Supa Tone Bender – The Supa Tone Bender is basically just a big box version of the original Colorsound fuzz. There is no room in this article to dive into the nerd zone and cover its origins or its similarities/differences to other models. The numerous gear obsessives out there will tell you at great length about all the geeky differences. Basically, it’s a great 1970s fuzz pedal. What more do you need to know?

Feature: 1974 Colorsound Supa Tone Bender

1970s Colorsound Supa Wah-Swell – Another over‑sized ‘Supa’ version of a standard combination wah‑wah and swell pedal with a footswitch to go from one mode to the other. There’s very little on the inside other than empty space, indicating that the old marketing ploys of ‘more is more’ and ‘bigger is better’ played a part here. 1970s pedalboards weren’t as crowded as they are today, so pedals like this gained bragging rights. I can’t date this one accurately.

Feature: 1970s Colorsound Supa Wah-Swell

1970s DOD Analog Delay 680 – Here is a truly wonderful 1970s American echo pedal. It’s not quite up with the benchmark Electro‑Harmonix Deluxe Memory Man but it is still authentic and very musical. I love these old analogue delays. It’s great fun to use and sounds great. It may not be in great cosmetic condition on the outside but few are because they were well used, an indication of what really matters to working musicians.

Feature: 1970s DOD Analog Delay 680

1980s Dunlop Original Cry Baby GCB-95 Wah – Probably one of the most iconic wah‑wah pedals of all time. This one is a straightforward model from the 1980s. As classic as they come, you know exactly what you are going to get. The model has probably been used by most of the great guitarists at some point during their careers. The pot is a bit scratchy but I can’t bear to replace it, so it’s still original.

Feature: 1980s Dunlop Original Cry Baby GCB-95 Wah

1970s Electro-Harmonix Switch Blade Channel Selector – Strictly this is not an effect, just an A‑B switch. Another ‘no bones’ pedal with nothing much inside the box. It has one input and two outputs (or vice versa if you wish). Not massively useful or flexible but it does what it needs to do in a simple set up. Typical 1970s EHX styling to boot.

Feature: 1970s Electro-Harmonix Switch Blade Channel Selector

1981 Ibanez CP-835 Compressor II – A pedal in the classic ‘square switch’ ‘0’‑series Ibanez effect pedal series (as is the most desirable TS‑808 Tube Screamer). The CD‑835 (catchy name, that. Not) is a perfectly capable pedalboard compressor. I still prefer the basic MXR Dyna Comp but this one will appeal to others. This one comes with its original box and documentation.

Feature: 1981 Ibanez CP-835 Compressor II

1984 Ibanez SM9 Super Metal – Part of Ibanez’s ‘9’‑series, the SM9 is a massively beefed up Ibanez TS9 Tube Screamer but without the reputation of the latter, so it is a bit of a dark horse. Much more flexible and with a greater range of sounds available. It is a bit fiddly to recreate just the right tone but it is worth the effort involved in getting it tuned in. How far do you want to go? Pretty colour too.

Feature: 1984 Ibanez SM9 Super Metal

1989 Marshall The Guv’nor – Way, way before the current fad of putting a guitar pre‑amp on a pedal board, Marshall basically came up with the idea back in the 1980s. For those wanting classic Marshall tones without a 100W head and two 4×12 cabs stacked as they should be, there is The Guv’nor. For a large box full of transistors, rather than baking hot valves, it does an impressive job. Not necessarily accurate but great distortion on tap nevertheless. This is the original ‘Made in England’ version, complete with its box.

Feature: 1989 Marshall The Guv’nor

There you have it, a brief rundown of 3 years’ collecting cool and rare vintage guitar gear in the background. Not a great deal to show for 36 months in terms of quantity but a nice range of quality. I am completely out of both storage space and funds, so any progress will be slow and steady for a while.

CRAVE Guitars’ website

The superficial sheen of the website hasn’t really changed much at all. However, there are technical changes beneath the surface that will hopefully keep it up‑to‑date and relevant. I’m no techno whizz, so CRAVE Guitars doesn’t appear on the prized ‘first page of Google’. Still, seeing as it is not a commercial enterprise, I’m not overly bothered. Overall viewing figures though have continued to increase year‑on‑year over the last seven years, even through the hiatus, which is a promising sign.

The web site’s beneath‑the‑radar positioning hasn’t stopped all the typical spammers inundating CRAVE’s e‑mail box with the usual promotional BS. It is absolutely clear that they don’t do their research, so every single one them gets summarily blocked and deleted without exception. I do, however, welcome genuine communications via the website, so long as they are sincere.

The biggest ‘news’ on the website is the addition of the all‑new CRAVE Basses pages. The web site originally started out just as CRAVE Guitars almost a decade ago now. Then it expanded to include CRAVE Effects and CRAVE Amps a few years ago, so CRAVE Basses is a logical extension. Even though I’m primarily a guitarist, I like the occasional dabble with the lower frequencies. The new sections of the website include features on CRAVE’s four vintage basses, as well as additions to the galleries.

The two ‘new’ CRAVE Basses covered above join a pair of existing vintage basses that I’ve owned since the 1970s…

1977 Fender Precision Fretless

Feature: 1977 Fender Precision Fretless

1978 Music Man Stingray Bass

Feature: 1978 Music Man Stingray Bass

Before Covid, the number of visitors to the site was steadily increasing and reaching peaks that I could only have dreamt about when I started. During Covid, things slowed dramatically, indicating that people, rightfully, had other things on their minds. This slow‑down was mirrored by consumer’s overall demand in the music equipment industry. Even after Covid, things have been slow. The so‑called cost‑of‑living‑crisis (thanks Putin et al), especially in the UK has hit most people (including me) hard and visits dropped right down to pre‑2020 levels. Other priorities rightly prevailed once again. Despite being generally subdued, visits seem to be gradually increasing again but it is way too early to call it a trend.

I actually have quite a bit more content already written for the site that I will get around to publishing at some point. It’s not super critical but it seems a shame not to use it.

CRAVE Guitars’ (un)social media

I really don’t have the resilience to return to social media to the same level as in the past. However, CRAVE Guitars is posting things irregularly on Musky old X (ex‑Twatter), Facebook and LinkedIn. I can’t respond to messages but I do review them every so often. That will have to do for now. My engagement with social media is not negotiable for now.

CRAVE Guitars’ database

There is not really a great deal to say about this other than I use it to catalogue all of CRAVE’s vintage guitars in some detail. In the case of catastrophe such as fire, flood, theft, cat, etc., at least the information should be safe and sound. A copy is saved in the cloud just in case the laptop goes the same way.

Brand augmentation

No, I’m not getting bigger brands for all you fetishists out there. CRAVE Guitars has been around since 2007. The short name is OK but it isn’t specific enough to identify that vintage guitars are the focus of the ‘brand’. The full name of CRAVE (Cool & Rare American Vintage Electric) Guitars is certainly specific enough although it is a bit of a mouthful when it comes to everyday use. Internet SEO (Search Engine Optimisation) also has some difficulty placing the CRAVE Guitars brand in the vintage guitar category. Type ‘CRAVE guitars’ into a search engine and the site appears straight away. Type in ‘vintage guitars’ and the site may eventually appear plenty of pages down.

So… In addition to the established short and full names used above, I will also be using the name CRAVE Vintage Guitars to help searchers and visitors to get a better understanding of what this strange entity is all about. It is a small but important change. It will take search engines a while to pick up on it but it might help people find the site. Future CRAVE Guitars merchandise is also likely to carry the updated branding as and when needed. As ‘they’ say, it does what it says on the tin (apart from the amps, effects and basses of course. Doh!).

Musical history update

It’s a while since the 14‑part CRAVE Guitars’ series of articles, ‘The Story of Modern Music in 1,500+ Facts’, culminated in May 2020. Sadly, we have lost far too many great music people since I published the last of the ‘Facts’ just 2½ years ago.

The inevitability of life is that it ends. RIP great men and women. This list picks up from where that last article on the subject left off. Here are just a few of them.

Day	Month	Year	Music Fact
4	June	2020	English bass guitarist, singer and founding member of glam pop/rock band The Sweet, Steve Priest died at the age of 72.
18	June	2020	English singer, songwriter and entertainer, nicknamed ‘The Forces’ Sweetheart’ during WWII, Dame Vera Lynn died at the age of 103.
6	July	2020	Italian composer, conductor and musician, who wrote hundreds of cinema and television scores, Ennio Morricone died of complications after breaking a leg in Rome at the age of 91.
13	January	2021	American guitarist with rock band New York Dolls, Sylvain Sylvain, died after a two-and-a-half year battle with cancer in Nashville, Tennessee at the age of 69.
17	February	2021	Jamaican vocalist and pioneer of reggae ‘toasting’ U‑Roy (Ewart Beckford) died from complications following surgery in Kingston, Jamaica at the age of 78.
2	March	2021	Jamaican singer, songwriter, percussionist and original member of The Wailers alongside Bob Marley and Peter Tosh, Bunny Wailer died from complications following a stroke in Kingston, Jamaica at the age of 73.
28	July	2021	American bass guitarist and long-term member of southern blues/rock band ZZ Top, Dusty Hill died at his home in Houston, Texas, at the age of 72.
13	August	2021	Celebrated American folk singer, guitarist, and songwriter Nanci Griffith died in Nashville, Tennessee at the age of 68.
24	August	2021	English drummer with rock band the Rolling Stones for over five decades, Charlie Watts died in hospital in London at the age of 80.
29	August	2021	Legendary Jamaican reggae and dub producer and recording artist, Lee “Scratch” Perry died of an undisclosed illness in hospital in Lucea, Jamaica at the age of 85.
26	September	2021	English bass guitarist and founding member of pop/rock band Status Quo from 1967-1985, Alan Lancaster died from complications of multiple sclerosis in Sydney, Australia at the age of 72.
8	December	2021	Jamaican bass guitarist and record producer, Robbie Shakespeare, best known as half of the reggae duo Sly & Robbie, died following kidney surgery in Miami, Florida at the age of 68.
10	December	2021	American singer, guitarist and songwriter with TV pop band, the Monkees, Michael Nesmith died from heart failure at his home in Carmel Valley, California at the age of 78.
7	January	2022	Canadian musician, singer, songwriter, and producer for Motown Records, R. Dean Taylor died at his home having contracted COVID‑19 (coronavirus) at the age of 82.
9	January	2022	American jazz and R&B musician, songwriter, producer, and radio personality James Mtume died in South Orange, New Jersey at the age of 76.
12	January	2022	American singer, co-founder and member the Ronettes, nicknamed the ‘bad girl of rock and roll’, Ronnie Spector died from cancer in Danbury, Connecticut at the age of 78.
20	January	2022	American singer and actor Michael Lee Aday, better known as Meat Loaf, died from Wolff–Parkinson–White syndrome in Nashville at the age of 74.
19	February	2022	English singer/songwriter, keyboard player and founder of the rock band Procol Harum, Gary Brooker MBE died from cancer at his home in Surrey at the age of 76.
22	February	2022	American singer/songwriter who worked with Isobel Campbell and Queens Of The Stone Age, in addition to a lengthy solo career, Mark Lanegan died at his home in Killarney, Kerry, Ireland at the age of 57.
25	March	2022	American rock drummer of the Foo Fighters, Taylor Hawkins died of heart failure probably caused by a drug overdose in a hotel in Bogota, Colombia at the age of 50.
4	April	2022	American guitarist and member of Motown Records’ in‑house studio band, the Funk Brothers, Joe Messina died from kidney disease in Northville, Michigan at the age of 93.
26	April	2022	German electronic music innovator, producer, composer and former member of krautrock band Tangerine Dream, as well as solo artist, Klaus Schulze died following a long illness at the age of 74.
17	May	2022	Academy Award-winning Greek musician, composer and producer Evángelos Odysséas Papathanassíou, better known as Vangelis died of heart failure in Paris at the age of 79.
26	May	2022	English keyboard player, DJ and founding member of electronica band Depeche Mode, Andrew Fletcher died of an aortic dissection at his home at the age of 60.
9	June	2022	American singer known for her collaborations with film director David Lynch, Julee Cruise committed suicide in Pittsfield, Massachusetts at the age of 65.
8	August	2022	British Australian singer and actress Olivia Newton-John died from breast cancer in Santa Ynez Valley, California at the age of 73.
28	September	2022	American rapper Artis Leon Ivey Jr., a.k.a. Coolio died from a heart attack caused by a drug overdose in Los Angeles, California at the age of 59.
4	October	2022	Highly acclaimed American country music singer and songwriter Loretta Lynn died from natural causes in Hurricane Mills, Tennessee at the age of 90.
28	October	2022	American rock ‘n’ roll pianist singer and songwriter, Jerry Lee Lewis died from natural causes in DeSoto County, Mississippi at the age of 87.
10	November	2022	English musician and key member of space rock band Hawkwind, Nik Turner died from unknown causes at the age of 82.
21	November	2022	English guitarist, singer, songwriter and one‑time member of pub rock band Dr. Feelgood, Wilko Johnson died from pancreatic cancer in Southend‑on‑Sea, England at the age of 75.
30	November	2022	English musician, singer and member of Fleetwood Mac, Christine McVie died of Ischemic stroke and metastatic cancer in London, England at the age of 79.
4	December	2022	German musician, composer, member of Ash Ra Tempel and solo artist, Manuel Göttsching died from natural causes in Berlin at the age of 70.
11	December	2022	Acclaimed American composer of film and TV scores, Angelo Badalamenti died from natural causes in Lincoln Park, New Jersey at the age of 85.
18	December	2022	English musician, singer and member of The Specials and Fun Boy Three, Terry Hall died from pancreatic cancer at the age of 63.
23	December	2022	British musician, rapper, singer, songwriter and DJ, front man of electronic band Faithless, Maxi Jazz (Maxwell Fraser) died from undisclosed causes in London England at the age of 65.
10	January	2023	English virtuoso guitarist and former member of the Yardbirds, Jeff Beck died from bacterial meningitis in East Sussex, England at the age of 78.
18	January	2023	Legendary American guitarist and singer, member of The Byrds and CSNY, David Crosby died from COVID-19 (coronavirus) in Santa Ynez, California at the age of 81.
28	January	2023	American singer, songwriter and guitarist with alternative rock band Television, Tom Verlaine died from prostate cancer in Manhattan, NYC at the age of 73.
8	March	2023	Legendary American composer, songwriter, producer and pianist, Burt Bacharach died from natural causes in Los Angeles, California at the age of 94,
5	March	2023	American guitarist and founding member of southern rock band Lynyrd Skynyrd, Gary Rossington died from undisclosed causes in Milton, Georgia, USA, at the age of 71.
12	April	2023	Influential Jamaican dub reggae sound system and record label owner, renowned for his work in London, Jah Shaka died at the age of 75.
1	May	2023	Canadian singer, songwriter and guitarist Gordon Lightfoot died from natural causes in Toronto at the age of 84.
24	May	2023	English bass player and member of post‑punk alternative rock band The Smiths, Andy Rourke died from pancreatic cancer in New York City at the age of 59.
25	May	2023	The Queen of Rock ‘n’ Roll, American singer, songwriter and actress Tina Turner died after a long illness in Küsnacht, Switzerland at the age of 83.
6	June	2023	English guitarist, singer and founder of blues/rock band Groundhogs, Tony McPhee died from complications after a fall and a stroke at the age of 79.
20	June	2023	English guitarist with rock group The Pop Group, John Waddington died from undisclosed causes at the age of 63.
21	July	2023	Legendary American jazz and popular music crooner Tony Bennett died from Alzheimer’s disease in New York City at the age of 96.
26	July	2023	American musician, singer, songwriter, and founding member of the Eagles, Randy Meisner died from COPD in Los Angeles, California at the age of 77.
26	July	2023	Irish singer, songwriter and activist Sinéad O’Connor died from unknown causes in London, England at the age of 56.
9	August	2023	Canadian musician and guitarist for Bob Dylan and The Band, Robbie Robertson died from prostate cancer in Los Angeles, California at the age of 80.
24	August	2023	Renowned English rock guitarist with Whitesnake and UFO, Bernie Marsden died from bacterial meningitis at the age of 72.
27	August	2023	American musician best known for being one half of electronica duo Stars Of The Lid, Brian McBride died from undisclosed causes at the age of 53.
13	September	2023	British singer, songwriter and musician Roger Whittaker died from a stroke in France at the age of 87.
30	November	2023	British‑born Irish singer, songwriter, musician and frontman with Celtic punk rock band the Pogues, Shane MacGowan died from pneumonia and encephalitis in Dublin, Ireland at the age of 65.
5	December	2023	English guitarist and founding member of The Moody Blues and Wings, Denny Laine died from lung disease at the age of 79.

Music industry opinion

A lot has (or rather hasn’t) happened in the music industry over the 3 years since CRAVE Guitars suspended its main activities. First, there was the hangover from global economic recession/depression, then the coronageddon, then the cataclysmic geopolitical conflicts adversely affecting far too many innocent peoples around the globe. At best, the music industry at all levels could only hope to hold its own.

In reality, it has been a tumultuous few years, to say the least. Everyone from equipment manufacturers (including their supply chains), venues, artists, music recording and distribution, publicity and management have been hit hard. Every conceivable facet of the market has been decimated. While I haven’t been able to keep up with events in the industry as I normally would have done, it is clear that things are only now just beginning to get back to 2019 levels.

Who would have predicted three years ago, for instance, that British amp stalwart Marshall would have been acquired by the Swedish digital music company, Zound Industries. A sign of the times, I guess.

Strategically, it has been a nightmare where even the best scenario planning has failed to predict wildly off kilter outcomes. Vintage guitar prices seem to have kept up as the super‑rich collectors are basically unaffected by economic blips that are savage to the rest of us. I know that I am paying more now than I would have done in 2019 for the same thing. While I am not economically motivated and CRAVE Vintage Guitars is a non‑profit enterprise, it is a relief that the 3‑year hiatus hasn’t totally wiped out the value of CRAVE Guitars’ precious artefacts.

It will take a long time for things to settle down and start to grow again. It will be a challenge for everyone involved for some time to come. The last three years haven’t signalled the death throes of the guitar music community. Yet. It has, however been badly wounded, let us hope not mortally so.

The guitar book

A while back, I was contacted out of the blue by a book publisher wanting to use one of CRAVE Guitars’ vintage guitars in their author’s new book on the subject. After a bit of formal toing‑and‑froing, it all went ahead and the book was published earlier this year. I was happy to do this for no commercial gain and the only reward was a shiny copy of the final print version and a credit in the acknowledgement section. While it won’t make CRAVE Guitars famous, I am quite proud of this minor morsel of exposure and recognition.

The book in question is, ‘Guitar: The Shape Of Sound – 100 Iconic Designs’ by author Ultan Guilfoyle, published by Phaidon Press (ISBN: 978 183866 558 6) (2023).

Link: ‘Guitar: The Shape Of Sound – 100 Iconic Designs’

Phaidon – Guitar The Shape Of Sound (2023)

The vintage guitar that was featured in the book is my lovely 1974 Ovation Breadwinner 1251 (see page 204‑205).

The pulp novel

As you may know, I have been writing on and off for some time, going back to the dim dark origins of CRAVE Guitars back in 2007. The main examples of this are the web site features and monthly articles on the CRAVE Guitars website over the last 9‑10 years or so, as well as the usual social media activity.

Very recently, I felt an irresistible urge to write a fiction novel. Its status is currently work‑in‑progress. It will be called, ‘The Distortion Diaries’ (remember, you read it here first). It started out as an amateur musician’s journal but the early content was clichéd, derivative and, frankly, very dull. It also wouldn’t fill a novel. So, I expanded the story to include a broader variety of situations and characters. The result will be, believe this or not, an eroti‑rom‑com with PARENTAL ADVISORY for Explicit Content. Even then, it isn’t at all what you might think or expect. Heck, how it turned out surprised me too! I don’t know if anyone will ever get to read it. It doesn’t matter. It is something creative that I had to do for myself. It isn’t good enough for a publisher to pick up and I have absolutely nil experience of self‑publishing, so it might never see the light of day. I have considered serialising it through the CRAVE Musings (i.e. the monthly blog articles) but I’m not sure the public is ready for some lovey‑dovey smut‑ridden muso pulp on a vintage guitar website though. The novel may end up just an aborted, ill‑advised, folly of an average superego’s gratuitous self‑indulgence. Thoughts on a postcard please.

Whether anything comes of this probably pointless fictional venture, I have no idea but it’s been addictive and fun to come up with something non‑factual for a change. And, no, it isn’t autobiographical, just in case you were wondering. Nor is it aspirational. Sadly, seeing as the protagonist has a ‘good time’ on the whole. Lucky git.

In truth, I would actually like to try and self‑publish the novel but I have no idea whatsoever about how to go about such an endeavour, so it will probably languish in long‑lasting literary limbo (stop it with the alliteration, already!).

New 2023 albums

As it’s the time of year for lists, here is a breakdown of 2023 album releases acquired during the year. As usual, these aren’t the only albums bought and neither will they be the only 2023 albums over time. Here are this year’s 33 purchases:

100 gecs – 10,000 gecs
Alborosie – Shengen Dub/Embryonic Dub
Caroline Polachek – Desire, I Want To Turn Into You
The Chemical Brothers – For That Beautiful Feeling
Creation Rebel – Hostile Environment
The Cure – Black Sessions: Maison De La Radio Paris 2004 (live broadcast)
Depeche Mode – Memento Mori
Don Letts – Outta Sync
Dub Pistols – Frontline
Everything But The Girl – Fuse
Fred Again.. & Brian Eno – Secret Life
Gentleman’s Dub Club – On A Mission…
Hollie Cook – Happy Hour In Dub
James Holden – Imagine This Is A High Dimensional Space Of All Possibilities
King Krule – Space Heavy
King Tubby & The Observer All Stars – Dubbing With The Observer
Kurt Vile – Back To Moon Beach
Lana Del Rey – Did You Know That There’s A Tunnel Under Ocean Blvd
Laurel Halo – Atlas
Mitski – The Land Is Inhospitable And So Are We
The Murder Capital – Gigi’s Recovery
The Orb – Metallic Spheres In Colour (Feat. David Gilmour)
The Orb – Prism
Orbital – Optical Delusion
Pigs Pigs Pigs Pigs Pigs Pigs Pigs – Land Of Sleeper
Queens Of The Stone Age – In Times New Roman…
Rolling Stones – Hackney Diamonds
Skindred – Smile
Sleaford Mods – UK GRIM
Slowdive – Everything Is Alive
Steve Hillage – LA Forum 31.1.77 (live)
X‑Press 2 – Thee
Yeule – Softscars

Is there a favourite 2023 album out of that lot? Well, I keep coming back to British alternative/indie shoegaze/dream pop band, Slowdive and ‘Everything Is Alive’ more than once, so that’s a fair choice at the time of writing. The big disappointment was Don Letts’ ‘Outta Sync’. Sadly. It comprises many well-crafted pop songs but very little of what I, and I think many others, hoped for in the way of heavy dub reggae tracks.

An even bigger disappointment for me was what didn’t appear. The Cure had hinted that their first studio album since 2008’s ‘4:13 Dream’, heralded as, ‘Songs Of A Lost World’ would be released in 2022. It was notable by its absence and many enthusiasts were hoping that it would finally see the light of day in 2023. The band tempted fans by playing several of the new tracks during their live concerts during the year. However, still nothing tangible has appeared on record store shelves. Let’s hope Robert Smith & co. get around to letting us hear it in 2024. Sixteen years is a long time to wait for new material. C’mon Bob, don’t keep us waiting any longer.

Note: I haven’t gone back to cover 2020, 2021 and 2022 lists of those year’s album releases, as this article would become just a loooooong list.

Whazzup for CRAVE Guitars in 2024?

Before Covid, I used to include at the end of the ‘review of the year’, a shortlist of vintage guitar gear that I might try to acquire in the subsequent 12‑month period. Rarely were the predictions spot on, or even close. Given CRAVE Guitars’ limited activity, space and funds, there is little point in speculating other than in very broad terms.

While there is always a long list of ‘most wanted’ guitars, it’s unlikely to expand significantly in 2024. I am actually generally relatively content with my lot. For now. I am sure that GAS (Gear Acquisition Syndrome) will strike again at some point.

Having launched CRAVE Basses in 2023, there are only four vintage bass guitars in the ‘collection’ thus far. There are a few I might be interested in looking for and which may improve diversity in this area.

There are no intentions for ‘new’ CRAVE Amps at the moment. But that can change, depending on opportunity.

I am also keeping an eye open for some interesting vintage stomp boxes for CRAVE Effects but it really depends on whether anything crops up at a reasonable market price.

The overall result is that there are no specific ambitions for 2024. Next year’s annual review will probably be very short and very dull! I have learned from past experience that predictions aren’t a good idea. Not only are they over‑ambitious but also they end up way wide of the mark. So, I will take things as they come and await any surprises with great anticipation. That sounds like it might be a bit more fun than reporting on yet another failed plan.

CRAVE Guitars ‘Record(s) of the Month’

It seems that this might become a regular feature. I listen to a lot of music (see last month’s article, ‘Music Machinations’ – November 2023). There are some albums that tend to stand out from the rest. There is no rhyme or reason why they do, they just do. Over the last month, I just can’t split two albums, which I’ve been enjoying amongst all the other great material out there. They both come under the general genre category of instrumental ‘stoner rock’ but that downplays their appeal. So, on account of there being SO much great music to discover, I’m going for the plural of ‘Record’ for December 2023. Let’s just call that extra little ‘(s)’ a Christmas/New Year treat for y’all. Enjoy

Eternal Tapestry – Beyond The 4th Door (2011) – First up is this strange thing of beauty. Eternal Tapestry is an American psych rock band based in Portland, Oregon. It may not be regarded by some as their best but it was their first ‘proper’ record label release, after several previous albums. It isn’t heavy. It sounds like a group of friends getting together for a jam session. To get that right is a LOT harder than people think. It is atmospheric, dreamy and so far out of this world that it leaves the sordid real world truly out of sight. Good. laid back, hypnotic, immersive, psychedelic and otherworldly experience.

My Sleeping Karma – Soma (2012) – Not the same as Eternal Tapestry but not too far off either. My Sleeping Karma is a German psych rock band from Aschaffenburg, Bayern and ‘Soma’ is their 4^th studio album. The tracks are long, intentionally repetitive and with a gentle groove. It’s not quite an impromptu jam session but it has a distinctive psychedelic undercurrent that can be great for zoning out. I prefer this to other MSK studio albums, as it has a bit more variety within the confines of its moody origins. Emotional krautrock. Who’da thought?

Tailpiece

Good riddance to 2023. Funny (not) how I seem destined to repeat that same dreary sentiment every year. Ever hopeful and optimistically deluded, I have to remain confident that 2024 will be a bit better. Any improvement will be eagerly grasped. A new year, new opportunities.

My naïve wish and hope for 2024? Listen up all humans! Stop destroying our planet and stop killing each other. Then put all that wasted money to good use making a peaceful, sustainable civilisation, fare and just for all. A pipe dream, maybe, but one has to dream.

As far as articles for 2024 are concerned, I have a couple of ideas gestating, although nothing firmed up at this stage, Watch this space folks. Tune in, same time, same channel, next month. In the meantime, I wish you all a Happy New Year. Be good.

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

CRAVE Guitars’ ‘Quote of the Month’: “The best thing in life is freedom”

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29 Nov 2019

November 2019 – The Story of Modern Music in 1,500+ Facts – Part IX

by Tony Drew | posted in: History, Introduction, Observations | 0

Introduction

Welcome to the end of the 20^th Century. Not actually, of course, that was 20 years ago now. I mean, in the ‘Story of Modern Music’, having covered almost 350 years so far, welcomes you to the very end of the century that really transformed mankind’s potential and bestowed opportunities hitherto unforeseen and unthought‑of, including musically.

If you would like to (re)visit any of the first eight chapters of the story to‑date, you can do so here (each link opens a new browser tab):

I did think of trying to compress the last three decades into a single article and then thought better of it on the grounds that doing so might diminish the impact of the period within the overall picture. So, just for now, the millennial years will have to wait. The result is that the 1990s will have its own dedicated article, although it will be a slightly more diminutive read compared to the previous five decades/articles.

The Story of Modern Music Part IX 1990-1999

It is quite tricky to pinpoint exactly what the ‘90s meant to music devotees. It seemed to depend where you lived, your age and, perhaps, what socio‑economic ‘class’ you belonged to. Whether it was grunge, alternative, Britpop or dance music that floated your boat, there was a new and exciting scene to associate with and belong to. The psychological attachment to a musical style was important to many, especially young people who were looking for some structure to life while the old order of social and political systems seemed to be disintegrating around them. Although not quite as disobedient and defiant as previous musical archetypes, there was still an underlying seething resentment of ‘the man’, which various groups saw as attempting to control their chosen form of exuberant self‑expression. In a sense, they were tapping into the anger of the marginalised.

With previous decades, it was notable that births of familiar artists outnumbered deaths, while the ‘90s saw that trend beginning to reverse. Many future artists that may well achieve sustained fame may have been born in the ‘90s but not yet discovered, while the stars of previous eras are getting, let’s be honest, a bit long in the tooth.

Similarly, it is becoming difficult to distinguish what definitive musical gems will rise from the seeming homogeneity of releases to become revered as ‘classic’ in years to come. Arguably, the 1990s marked the last vestiges of milestone singles and albums. From then on, listening habits began to change fundamentally and that, in turn, changed the way we regard significance, at least through the traditional lens of sales figures.

Historical Context 1990-1999

Some commentators called the 1990s as the ‘best decade’, although that clearly depended on your circumstances and point of view! The dawn of the 1990s experienced widespread international political restructuring, especially in Eastern Europe following the end of the Cold War and the fracturing of the communist Eastern Bloc. The 1990s also saw the growth in environmental consciousness based on dire scientific predictions about global warming and climate change. Ironically, scaremongering about ‘greenhouse gases’ led to an expansion of ‘green’ industries in developed countries. Similarly, many commentators observed signs of societal dysfunctionality, leading to prescient dystopian novels such as ‘Generation X’ by Douglas Coupland (1991), ‘Random Acts Of Senseless Violence’ by Jack Womack (1992), and ‘Prozac Nation’ by Elizabeth Wurtzel (1994). The wealth gap between the haves and have‑nots was striking; a morally unjustifiable trend that would only worsen from the 1990s onwards. The increase in the pace of technological change in post‑industrial countries fuelled the migration towards ‘digitocracies’ and resulted in manufacturing being outsourced to low‑cost developing countries on a massive scale. A period of unprecedented growth in the use of the Internet fuelled unsustainable speculation in the value of high‑tech companies, known broadly as the ‘dot‑com bubble’, a phenomenon that was bound to burst, which it ultimately did. Many companies that had become reliant on IT during the decade were fearful of the impact of Y2K on computer systems that were not prepared for the turn of the millennium.

Year	Global Events
1990	Following the fall of the Berlin Wall and the collapse of soviet communism, East and West Germany were reunited as the Federal Republic of Germany. Political internee and equal rights campaigner, Nelson Mandela was released from prison after serving 27 years. His return to freedom effectively marked the end of apartheid in South Africa. The ground breaking American cult TV series Twin Peaks burst onto screens. Created by David Lynch and Mark Frost, and starring Kyle MacLachlan. It is considered a landmark in television drama. NASA’s Hubble Space Telescope, named after American astronomer Edwin Hubble, was launched into low Earth orbit. The telescope was designed to look into deep space. The first Middle East Gulf War started after Iraq invaded and annexed neighbouring Kuwait. A U.S.‑led coalition of 35 countries responded with Operation Desert Storm resulting in a coalition victory.
1991	Communist rule of the soviet USSR ended, resulting in a break up into a number of separate countries. The dismantling of the communist state effectively ended the 45‑year old Cold War between Russia and America. British computer scientist and engineer, Tim Berners-Lee posted a short summary of the World Wide Web project, effectively launching the Internet, initially to research institutions and then to the general public.
1992	The infamous Los Angeles riots took place after 4 LAPD officers were acquitted of using excessive force in the arrest of African-American Rodney King the previous year. The incident had been videotaped and broadcast widely on TV, sparking renewed civil rights activism. Founded in 1918, Central European country Yugoslavia descended into bitter civil war in Bosnia and Herzegovina, a devastating military conflict that lasted until 1995.
1993	Democrat politician Bill Clinton became the 42^nd president of the U.S.A. Another massive American cult TV series, The X-Files was first broadcast, created by Chris Carter and starring David Duchovny and Gillian Anderson. The European Union (EU) succeeded the European Economic Community (EEC) when 12 countries signed the Maastricht Treaty, signalling a process of closer political and economic union.
1994	The trilateral North American Free Trade Agreement (NAFTA) between the U.S.A., Canada and Mexico came into effect. Anti-apartheid revolutionary and politician Nelson Mandela was elected as president of South Africa. He was the country’s first black head of state and the first to be elected in a fully representative democratic election. The Provisional Irish Republican Army (IRA) declared a cease fire in Northern Ireland, paving the way for de‑armament and the subsequent peace process. The 38Km (23.5mile) Channel Tunnel rail link beneath the English Channel from Folkestone in England to Calais in France was opened for business.
1995	The phenomenally successful multi‑national online auction and e‑commerce website eBay was launched, founded by entrepreneur Pierre Omidyar and based in San Jose, California. Former professional American footballer O.J. Simpson was found not guilty of the double murder of former wife Nicole Simpson and her friend, Ronald Goldman. The criminal trial, held in Los Angeles, was widely broadcast on TV.
1996	Dolly the sheep became the first mammal to be cloned from an adult cell by using nuclear transfer in Scotland, UK. Dolly died in 2003 at the age of 6. Heir to the British throne, Prince Charles was formally divorced from Diana, Princess of Wales in London.
1997	The British crown colony of Hong Kong was returned to Chinese sovereignty as a Special Administrative Region of the People’s Republic of China after 156 years of British rule. Diana, Princess of Wales, was killed in a car crash in the Pont de l’Alma tunnel in Paris, France at the age of 36. Her lover, Egyptian socialite Dodi Fayed, was also killed in the crash, sparking many conspiracy theories. Albanian-Indian Roman Catholic nun and humanitarian missionary Mother Teresa died of a heart attack in Rome at the age of 87. The Pacific Rim countries were hit by the major Asian Financial Crisis, starting in Thailand and spreading rapidly across east and southeast Asia, resulting in an international financial contagion that threatened a severe worldwide economic meltdown.
1998	The male virility drug Sildenafil, commonly known as Viagra, became available for use in America. It was originally discovered by pharmaceutical company Pfizer as a treatment for heart‑related chest pain. The Internet search engine Google Search was launched. It is the most widely used search engine on the World Wide Web, with over 90% market share in 2019, handling more than 5 billion searches per day. Multinational technology giant, Apple Inc. launched the highly successful iMac computer. The multilateral Good Friday Agreement was signed in Belfast by the Republic of Ireland and Britain as part of the on-going Northern Ireland peace process. The first module of the International Space Station (ISS) was launched into low Earth orbit. The ISS has served as a multinational microgravity research laboratory.
1999	The Euro became the official single currency for the majority of European Union (EU) countries, known commonly as the Eurozone. The security of the Euro is overseen by the European Central Bank in Frankfurt, Germany. Politician, Vladimir Putin became President of Russian Federation, succeeding former president, Boris Yeltsin.

Musical Genre Development 1990-1999

The 1990s was a decade of sometimes dysfunctional music set against a background of major political change and social polarisation/alienation.

One phenomenon of the 1990s that isn’t genre‑specific but which built on the perennial success of pop music was the ‘boy band’ and its all‑girl equivalent. Artists included Backstreet Boys, Boyz II Men, *NSYNC, Take That, Westlife, All Saints, S Club 7, Spice Girls and Destiny’s Child. The record company ‘manufactured’ bands didn’t have it all their own way; solo pop music artists were also highly successful during the 1990s, including Britney Spears, Christina Aguilera, Justin Timberlake, Jessica Simpson, and Mandy Moore.

American heavy metal saw a resurgence including bands like Metallica, Megadeth, Slayer and Pantera achieving massive popularity. Meanwhile, British heavy metal was also prospering with NWOBHM bands such as Def Leppard, Judas Priest and Iron Maiden.

Hip‑hop became increasingly divisive, inciting gang warfare, gun violence and drug use, fuelling rivalry between east and west coast artists, and resulting in a number of high profile deaths including Tupac Shakur and the Notorious B.I.G.

The English ‘Manchester movement’ (or ‘Madchester’ as it was often called) was strong in the late 1980s and early ‘90s. The scene centred on venues like the Haçienda nightclub in Manchester, run by post‑punk band New Order and led by local bands such as Stone Roses, Happy Mondays and The Charlatans, although the latter were actually based in the west midlands. The music isn’t necessarily a genre per se, it was more of a loose social and cultural grouping that also encompassed fashion, art and media. The OTT craziness of the Manchester scene was faithfully represented in the film ’24 Hour Party People’, made in 2002, directed by Michael Winterbottom. Other artists associated with the vital hotpot based around the UK’s North West were The Verve, Inspiral Carpets and James, as well as Scottish band Primal Scream. The Manchester ‘baggy’ zeitgeist would be important in the growth of the drug‑fuelled rave scene later in the decade.

A fusing of genres led to the emergence of trip hop as a discrete genre that grew from its roots in Bristol, UK and was pioneered by artists like Massive Attack, Tricky, Portishead, Morcheeba and Sneaker Pimps. Sometimes referred to as ‘downtempo’, it is typified by taking electronica, hip‑hop, house, funk, dub, soul and psychedelia and creating something altogether different and fresh. While its roots were clearly experimental and atmospheric, trip hop was influential in that it led to other popular mainstream forms that became subsumed in the electronic dance craze (see below) of the 1990s and early 2000s, including breakbeat, bigbeat, drum ‘n’ bass, IDM, dubstep and acid jazz. Like the Manchester movement, trip hop was very much a UK‑led genre, which had little mainstream success in the U.S.

Like punk before it, alternative rock and its counterpart, experimental noise rock, is a musical genre that railed against the major record corporations that ran the music business and the mainstream pop and rock products they marketed. Independent producers and record labels that existed outside the studio system were very much part of an active underground movement, particularly in America, and this is where a number of bands came to public attention at the start of the 1990s. Compared to the mainstream, alternative artists found it relatively difficult to garner wide audience appeal, so word of mouth, radio and record releases were the way that the message got out. The alternative moniker is more of an umbrella term relating to artists’ status in the system, rather than having definitive identifiable genre characteristics. Notable alternative artists include Sonic Youth, Dinosaur Jr., Nine Inch Nails, Beck, Jane’s Addiction, Smashing Pumpkins and Pixies. Before they signed to a major label, R.E.M. were seen as alternative and this started a broadening of the definition that included other major artists such as Rage Against the Machine, Red Hot Chili Peppers, Foo Fighters, Queens Of The Stone Age, Radiohead and Nick Cave & The Bad Seeds. The start of the new millennium saw other alternative rock artists emerge including The Strokes, Interpol and The Rapture, extending and ensuring alternative rock’s destiny into the 21^st Century.

Grunge is a specific genre of music that developed in the Pacific North West of the United States and more specifically its epicentre in and around Seattle in Washington State. Like alternative/noise rock, grunge was an underground movement centred on an independent record label, in this case, Sub Pop records based in Seattle. Grunge is influenced by punk, metal and alternative styles resulting in something altogether different from all of them. Grunge is characterised by slow, raw arrangements and a distinctly distorted lo‑fi sound. Compositions often followed a quiet‑loud‑quiet structure. Lyrics tended to be downbeat, melancholic, anti‑consumerist and often depraved with a focus on cultural alienation and social isolation. While all of the following rejected the term ‘grunge’ as defining their music, especially after signing to major labels, the early pioneers of Seattle’s grunge scene included Nirvana, Soundgarden, Pearl Jam, Mudhoney and Alice In Chains. The core grunge scene had largely fizzled out and diversified by the end of the 20^th Century. A revival of the grunge ethic evolved in the 2010s to include artists like Courtney Barnett, Wolf Alice and Yuck.

Britpop was essentially an upbeat and positive British reaction to the dark and depressing American grunge scene. The music and its cultural background (nicknamed ‘Cool Britannia’) lasted approximately from 1993‑1997 before fizzling out. The major bands of the Britpop period included the ‘big four’; Oasis, Blur, Pulp and Suede. Collectively they expanded popularity to include other artists such as Supergrass, Cast, The Lightning Seeds, Sleeper and Elastica. The so‑called ‘Battle of Britpop’ between Oasis and Blur around 1995 was a media‑fuelled highlight catching the public’s imagination at the time. Britpop was important for influencing many quintessentially British bands that came along for the ride including Coldplay, Travis, Feeder, Stereophonics, Elbow, Snow Patrol and Keane. Further influences included Kaiser Chiefs and Arctic Monkeys in the 2000s.

Dance music (in this context, Electronic Dance Music – EDM) was a phenomenon that had its roots in the late 1980s but exploded in the early 1990s and lasted well into the 2000s. Dance music comprises largely electronically produced progressive dance music intended for use at nightclubs, festivals and (often illegal) raves by DJs who mixed and re‑mixed heavy beats through loud PA systems to audience rapture. In fact, many record labels and DJs became far more celebrated than the musical artists they played in their DJ sets. The predominant sub‑genres of dance music include house, techno, trance, drum ‘n’ bass and dubstep, although these only represent the tip of the dance sub‑genre iceberg. Dance beats generally comprise programmed synthesizers, samplers and drum machines to produce buoyant, insistent 4/4 dance rhythms. Dance music also became synonymous with recreational drug use such as ecstasy (MDMA) as well as party holiday destinations such as Ibiza and Mykonos islands in the Mediterranean Sea. Some of the famous artists of the dance scene include The Chemical Brothers, The Prodigy, Underworld, Orbital, KLF, The Shamen, The Future Sound of London, 808 State, Groove Armada, Aphex Twin, Basement Jaxx and Daft Punk. Later artists built on the foundation, include Pendulum, SBTRKT and Skream. DJs became pivotal in promoting the dance craze and became famous in their own right, including Carl Cox, Fatboy Slim, Pete Tong, Paul Van Dyk and Armin van Buuren. There are many sub‑genres of dance including acid house, IDM (Intelligent Dance Music), ambient, breakbeat, downtempo, jungle and UK garage, all ensuring that dance music remains up‑to‑date and relevant in the 21^st Century.

Musical Facts 1990-1999

Day	Month	Year	Music Fact
23	January	1990	American guitarist and co-founder of southern rock band Lynyrd Skynyrd, Allen Collins died from pneumonia in Jacksonville, Florida at the age of 37.
8	February	1990	American country and rock & roll singer and songwriter, Del Shannon committed suicide as a result of depression at his home in California at the age of 55.
18	February	1990	English singer Freddie Mercury made his final public appearance with other members of pop/rock band Queen at the Brit Awards ceremony, held in London.
20	March	1990	English electronic/alternative rock band Depeche Mode released their career-defining classic 7^th studio album, ‘Violator’ in the UK.
26	March	1990	Northern Irish blues/rock guitarist, Gary Moore released his classic studio album, ‘Still Got The Blues’.
3	April	1990	Highly acclaimed Grammy award winning American jazz singer Sarah Vaughan died from cancer at her home in Hidden Hills, California at the age of 66.
10	April	1990	American East Coast rappers Public Enemy released their politically charged 3rd studio album, ‘Fear of a Black Planet’.
16	April	1990	Indie rock giants, Nick Cave & The Bad Seeds released their 6^th studio album, ‘The Good Son’.
26	June	1990	Prolific American alternative rock band Sonic Youth released their successful and significant 6^th studio album, ‘Goo’.
24	July	1990	American heavy metal rock band Pantera released their classic 5^th studio album ‘Cowboys From Hell’.
21	August	1990	Legendary American blues guitarist and singer B.B. King received a star on the Hollywood Walk of Fame at 6771 Hollywood Boulevard.
27	August	1990	American blues guitarist, singer and songwriter, Stevie Ray Vaughan and four others died tragically in a helicopter crash in East Troy, Wisconsin at the age of 35.
31	August	1990	The funeral service of American blues/rock guitarist Stevie Ray Vaughan took place at Laurel Land Cemetery in Dallas, Texas.
3	September	1990	English heavy metal rock band Judas Priest released their 12^th studio album, ‘Painkiller’.
21	September	1990	American thrash metal rock band Megadeth released their superb classic 4^th studio album, ‘Rust In Peace’.
6	October	1990	American Heavy metal band Metallica began recording their massive studio album ‘Metallica’ (aka the ‘black album’) in Los Angeles, California.
9	October	1990	American thrash metal band, Slayer, released their mega 5^th studio album, ‘Seasons In The Abyss’.
29	October	1990	Legendary award-winning American blues guitarist, singer and songwriter John Lee Hooker was inducted into the Rock and Roll Hall of Fame.
8	January	1991	English guitarist and songwriter, Steve Clark of hard rock band Def Leppard died of alcohol poisoning at his home in London, at the age of 30.
15	February	1991	Successful English pop singer, songwriter, guitarist, record producer, and actor Ed Sheeran was born in Halifax, West Yorkshire.
21	March	1991	Legendary American inventor and founder of Fender Electric Instrument Manufacturing Company, Leo Fender died from Parkinson’s disease in Fullerton, California at the age of 81.
8	April	1991	English trip-hop pioneers, Massive Attack, released their successful debut studio album, ‘Blue Lines’ in the UK, including the dance anthem, ‘Unfinished Sympathy’.
20	April	1991	English guitarist and front man of rock bands Small Faces and Humble Pie, Steve Marriott died in a house fire at his home in Essex at the age of 44.
23	April	1991	American guitarist, singer and songwriter with New York Dolls, Jonny Thunders died in mysterious circumstances in a hotel room in New Orleans, Louisiana at the age of 38.
30	July	1991	American heavy metal rock band Metallica released their massively successful single ‘Enter Sandman’.
12	August	1991	American heavy metal band Metallica released their career-defining 5^th studio album, ‘Metallica’, often referred to as ‘the black album’.
27	August	1991	American alternative rock band from Seattle, the home of grunge rock pioneers, Pearl Jam burst onto the scene with the release of their astonishing platinum-selling debut studio album, ‘Ten’.
10	September	1991	American grunge rock pioneers Nirvana released their ‘90s anthem for disaffected youth, the near perfect hit single ‘Smells Like Teen Spirit’.
17	September	1991	American hard rock band, Guns n’ Roses, released their 3^rd and 4^th studio albums ‘Use Your Illusion’ parts I & II on the same day in the U.S.
23	September	1991	Scottish alternative rock band, Primal Scream released their massive 3^rd studio album, ‘Screamadelica’.
24	September	1991	American grunge rock pioneers Nirvana released their career-defining classic 2^nd studio album ‘Never Mind’ in the U.S. Well over 30 million copies have been sold so far.
24	September	1991	American alternative rock band Red Hot Chili Peppers released their 5^th studio album, ‘Blood Sugar Sex Magik’, produced by Rick Rubin.
28	September	1991	American jazz trumpeter, Miles Davis died of complications from a stroke, pneumonia, and respiratory failure in a hospital in Santa Monica, California at the age of 65.
14	November	1991	Legendary American guitarist and singer Jimi Hendrix received a posthumous star on the Hollywood Walk of Fame at 6627 Hollywood Boulevard.
18	November	1991	Massive Irish rock band, U2, released their storming 7^th studio album, ‘Achtung Baby’ in the UK.
24	November	1991	English singer with pop/rock band Queen, Freddie Mercury died of pneumonia resulting from AIDS at his home in London at the age of 45.
15	January	1992	Rock band, The Jimi Hendrix Experience and country music legend, Johnny Cash were both inducted into the American Rock and Roll Hall of Fame.
29	January	1992	Influential American blues singer, songwriter, upright bass player and guitarist, Willie Dixon died of heart failure in Burbank, California at the age of 76.
21	February	1992	American heavy metal rock band Pantera released their classic 6^th studio album ‘Vulgar Display Of Power’.
31	March	1992	English heavy metal rock band Def Leppard released their classic 5^th studio album, ‘Adrenalize’.
20	April	1992	English indie rock icons, The Cure released their upbeat, commercial 10^th studio album, ‘Wish’.
21	April	1992	American rap rockers, Beastie Boys, released their 3^rd studio album, ‘Check Your Head’.
27	April	1992	Indie rock giants, Nick Cave & The Bad Seeds released their great 7^th album, ‘Henry’s Dream’.
9	May	1992	American guitarist, singer and songwriter Bruce Springsteen made his live American TV network debut on ‘Saturday Night Live’ with show host Tom Hanks.
21	July	1992	American alternative rock band Sonic Youth released their cult, cool, classic 8^th studio album, ‘Dirty’.
29	September	1992	American alternative rock band Alice In Chains released their sophomore studio album, ‘Dirt’.
6	October	1992	American rock band R.E.M. released their classic top‑selling studio album, ‘Automatic For The People’.
3	November	1992	American rock band Bon Jovi released their classic 5^th studio album, ‘Keep The Faith’.
10	November	1992	American rock band Rage Against The Machine released their outstanding and career defining eponymous debut album ‘Rage Against The Machine’.
9	December	1992	Although not officially announced until January 1993, English bass guitarist Bill Wyman left The Rolling Stones.
21	December	1992	Legendary American blues guitarist, Albert King died from a heart attack at his home in Memphis Tennessee at the age of 69, just 2 days after his last concert.
6	January	1993	English bass guitarist Bill Wyman officially announced that he was leaving The Rolling Stones after more than 3 decades with the band.
23	March	1993	English alternative/electronic rock band Depeche Mode released their 8^th studio album, ‘Songs Of Faith And Devotion’ in the UK.
20	April	1993	Emerging English alternative rock band Radiohead released their debut album, ‘Pablo Honey’ in the UK.
29	April	1993	English session guitarist, songwriter and producer who played extensively with David Bowie’s Spiders From Mars among others, Mick Ronson died from liver cancer in London at the age of 46.
23	August	1993	English new romantic band Duran Duran received a star on the Hollywood Walk of Fame at 1770 Vine Street.
21	September	1993	American alternative grunge rock band, Nirvana released their 3^rd and final studio album, ‘In Utero’.
19	October	1993	American rock band Pearl Jam released their major 2^nd studio album, ‘Vs.’.
9	November	1993	American East Coast rappers Wu-Tang Clan released their incendiary debut studio album, ‘Enter the Wu-Tang (36 Chambers)’.
19	November	1993	American grunge rock band Nirvana recorded their classic live acoustic concert and album, ‘MTV Unplugged In New York’ at Sony Music Studios.
23	November	1993	American rock band, Guns N’ Roses, released their 5^th studio album, ‘The Spaghetti Incident?’
24	November	1993	Legendary American blues/rock guitarist, nicknamed The ‘Master of the Telecaster’ and ‘The Ice Man’, Albert Collins died from lung cancer at his home in Las Vegas, Nevada at the age of 61.
4	December	1993	Non-conformist American guitarist and composer extraordinaire, Frank Zappa died of prostate cancer at his home in Los Angeles at the age of 52.
1	February	1994	American pop punk rock band Green Day released their breakthrough 3^rd studio album, ‘Dookie’.
1	March	1994	American grunge band Nirvana played their last ever live concert, interrupted by a power cut, in Munich, Germany.
1	March	1994	American alternative rock artist, Beck released his 3^rd studio album, ‘Mellow Gold’.
8	March	1994	American alternative rock band, Nine Inch Nails released their career-peak 2^nd studio album, ‘The Downward Spiral’.
5	April	1994	American singer, songwriter, guitarist and member of grunge rock band Nirvana, Kurt Cobain died from a self‑inflicted shotgun wound in Seattle, Washington at the age of 27.
19	April	1994	Alternative rock band Nick Cave & The Bad Seeds released their classic, career-defining 8^th studio album, ‘Let Love In’.
26	April	1994	American country music legend Johnny Cash embarked on a whole new period of his career with the release of his classic studio album, ‘American Recordings’.
27	April	1994	The famous San Francisco music venue the Fillmore reopened its doors at 1805 Geary Boulevard. It had been closed since 1989 after being damaged in an earthquake.
23	May	1994	Influential American virtuoso jazz guitarist, Joe Pass died from liver cancer in Los Angeles, California at the age 65.
24	May	1994	American rappers, Beastie Boys, released their classic 4^th studio album, ‘Ill Communication’ in the U.S.
14	July	1994	English rave band The Prodigy released their breakout 2^nd studio album ‘Music for the Jilted Generation’.
22	August	1994	Pioneering English trip-hop band, Portishead released their ground breaking debut studio album, ‘Dummy’.
23	August	1994	Acclaimed American singer, songwriter and guitarist Jeff Buckley released his first and only studio album, ‘Grace’. A modern classic.
26	September	1994	English trip-hop outfit, Massive Attack, released their great sophomore studio album, ‘Protection’ in the UK.
4	October	1994	Versatile American ‘redneck jazz’ guitarist Danny Gatton died from self-inflicted gunshot wounds at his home in Newburg, Maryland at the age of 49.
1	November	1994	American grunge band Nirvana released their impressive award-winning live album, ‘MTV Unplugged in New York’, 6 months after Kurt Cobain’s death.
5	December	1994	English indie rock group The Stone Roses released their sophomore studio album, ‘Second Coming’.
13	March	1995	English alternative rock band Radiohead released their breakout 2^nd studio album, ‘The Bends’ in the UK.
13	June	1995	Canadian singer, songwriter, musician and producer Alanis Morissette released her classic 3^rd studio album, ‘Jagged Little Pill’.
14	June	1995	Renowned Irish blues/rock guitarist Rory Gallagher died of MRSA following liver failure caused by medication and alcohol in London at the age of 47.
9	August	1995	American guitarist Jerry Garcia of psychedelic rock band Grateful Dead died from a heart attack while at a rehabilitation centre in California at the age of 53.
2	September	1995	12 years after it was founded, America’s homage to contemporary music, the Rock And Roll Hall of Fame Museum opened on the shore of Lake Erie in Cleveland, Ohio and was celebrated with an all-star concert.
26	September	1995	American alternative rock band Sonic Youth released their great 10^th studio album, ‘Washing Machine’.
2	October	1995	Australian artists, Nick Cave and Kylie Minogue released the haunting and elegiac duet single ‘Where the Wild Roses Grow’.
7	November	1995	American alternative rock band Alice In Chains released their eponymous 3^rd studio album, ‘Alice In Chains’.
21	November	1995	American rock legend, Bruce Springsteen released his 11^th studio album, ‘The Ghost of Tom Joad’.
17	January	1996	Music greats, David Bowie, Pink Floyd and Velvet Underground were all inducted into the American Rock and Roll Hall of Fame.
5	February	1996	Australian alternative rockers, Nick Cave & The Bad Seeds released their dark 9^th studio album, ‘Murder Ballads’.
16	April	1996	American alternative rock group Rage Against The Machine released their sophomore studio album, ‘Evil Empire’.
17	May	1996	American blues, soul and funk singer, songwriter and guitarist, Johnny ‘Guitar’ Watson died of a heart attack after collapsing on stage in Yokohama, Japan at the age of 61.
15	June	1996	Legendary American jazz singer Ella Fitzgerald died of complications from diabetes in Beverley Hills, California, at the age of 79.
18	June	1996	American alternative rock artist, Beck, released his classic, top-selling 5^th studio album, ‘Odelay’.
17	July	1996	English bass guitarist with R&B band The Animals and Jimi Hendrix’s manager, Chas Chandler died of an aneurism in Newcastle, at the age of 57.
10	September	1996	American alt-rock group R.E.M. released their classic 10^th studio album, ‘New Adventures In Hi-Fi’.
13	September	1996	American rapper Tupac Shakur died of gunshot wounds following a drive-by shooting in Las Vegas, Nevada at the age of 25.
19	September	1996	American jazz guitarist George Benson received a star on the Hollywood Walk of Fame at 7055 Hollywood Boulevard.
31	October	1996	English/American guitarist Slash announced that he was leaving rock band Guns N’ Roses after a relationship breakdown with the group’s lead singer Axl Rose.
2	November	1996	Sublime American singer and guitarist, known as ‘the songbird’, Eva Cassidy died from cancer in Bowie, Maryland at the age of 33.
10	January	1997	American soul legend James Brown received a star on the Hollywood Walk of Fame at 1501 Vine Street.
12	February	1997	English singer and songwriter David Bowie received a star on the Hollywood Walk of Fame at 7021 Hollywood Boulevard.
4	March	1997	Alternative rock band, Nick Cave & The Bad Seeds released their classic 10^th studio album, ‘The Boatman’s Call’.
9	March	1997	American rapper Christopher Wallace (a.k.a. The Notorious B.I.G.) was shot and killed in Los Angeles, California at the age of 24.
11	March	1997	English former member of The Beatles, Paul McCartney was knighted by Her Majesty Queen Elizabeth II at Buckingham Palace, London.
7	April	1997	British dance/electronica/big beat duo, The Chemical Brothers, released their massive studio album, ‘Dig Your Own Hole’ in the UK.
14	April	1997	English electronic/alternative rock band Depeche Mode released their classic 9^th studio album, ‘Ultra’ in the UK.
29	May	1997	Renowned American singer, songwriter and guitarist Jeff Buckley died tragically from accidental drowning in Wolf River Harbor, Memphis, Tennessee at the age of 30.
4	June	1997	English bass guitarist and founder of rock band Small Faces, Ronnie Lane died from pneumonia resulting from multiple sclerosis in Trinidad, Colorado at the age of 51.
16	June	1997	English alternative rock band Radiohead released their top-selling 3^rd studio album, ‘OK Computer’ in the UK.
30	June	1997	British rave band, Prodigy, released their massive zeitgeist‑defining 3^rd studio album, ‘The Fat Of The Land’ in the UK.
22	August	1997	German industrial metal rock band Rammstein released their massive 2^nd studio album, ‘Sensucht’ (translated crudely as ‘Desire’).
11	September	1997	American blues legend John Lee Hooker received a star on the Hollywood Walk of Fame at 7080 Hollywood Boulevard.
30	September	1997	English trip-hop band, Portishead released their eponymous sophomore album, ‘Portishead’ in the UK.
12	October	1997	American folk singer, songwriter and guitarist John Denver died tragically in plane crash in Monterey Bay, California, at the age of 53.
19	October	1997	American guitarist, best known for his work with Alice Cooper, Glen Buxton, died of complications from pneumonia in a hospital in Mason City, Iowa at the age of 49.
10	November	1997	Highly-regarded American session guitarist and one of the most recorded musicians in popular music history, Tommy Tedesco died of lung cancer in Northridge, California at the age of 67.
22	November	1997	Australian singer and front man of the rock band INXS, Michael Hutchence committed suicide in Sydney, Australia at the age of 37.
19	January	1998	American singer, songwriter and guitarist, Carl Perkins died from throat cancer in Jackson-Madison County Hospital, Tennessee, at the age of 65.
30	January	1998	English pop singer and songwriter Sir Elton John received his knighthood from Her Majesty The Queen.
19	February	1998	Legendary American jazz trumpeter Miles Davis received a posthumous star on the Hollywood Walk of Fame at 7060 Hollywood Boulevard.
20	April	1998	English trip-hop outfit, Massive Attack, released their classic 3^rd studio album, ‘Mezzanine’ in the UK.
14	May	1998	American singer and actor, Frank Sinatra died from a heart attack at the Cedars-Sinai Medical Center in Los Angeles, California at the age of 82.
6	July	1998	Legendary American singer, guitarist and actor, nicknamed the ‘King of the Cowboys’, Roy Rogers died of heart failure in Apple Valley, California at the age of 86.
25	July	1998	American virtuoso jazz guitarist, Tal Farlow died of oesophageal cancer in New York City at the age of 77.
17	August	1998	Mexican-American guitar legend Carlos Santana received a star on the Hollywood Walk of Fame at 7080 Hollywood Boulevard.
15	September	1998	American heavy metal rock artist, Marilyn Manson released his massively successful classic 3^rd studio album, ‘Mechanical Animals’.
24	September	1998	American icon and rock ‘n’ roll legend Elvis Presley was inducted into the Country Music Hall of Fame.
1	October	1998	American guitarist, singer and songwriter and founder of rock band Creedence Clearwater Revival, John Fogerty received a star on the Hollywood Walk of Fame at 7000 Hollywood Boulevard.
2	October	1998	American country & western ‘singing cowboy’ Gene Autry died of lymphoma at his home in Studio City, California at the age of 91.
6	October	1998	American rock band Queens Of The Stone Age (QOTSA) released their self-titled debut album, ‘Queens Of The Stone Age’.
13	October	1998	The Crossroads Centre in Antigua, founded by English blues/rock guitarist and singer Eric Clapton, opened its doors to help clients with drug and alcohol rehabilitation.
3	November	1998	American alternative rock singer, songwriter, musician and producer, Beck, released his 6^th studio album, ‘Mutations’, the follow up to the massive ‘Odelay’.
29	November	1998	American jazz pioneer of the 7-string guitar, George Van Eps, died of pneumonia in Newport Beach, California at the age of 85.
25	December	1998	English pop/rock band, The Beatles, received a star on the Hollywood Walk Of Fame at 7080 Hollywood Boulevard.
30	December	1998	American surf rock band The Beach Boys received a star on the Hollywood Walk of Fame at 1500 Vine Street.
15	March	1999	Legendary American singer and songwriter Bruce Springsteen was inducted into the American Rock and Roll Hall of Fame.
28	April	1999	American rock band Tom Petty & The Heartbreakers received a star on the Hollywood Walk of Fame at 7018 Hollywood Boulevard.
17	May	1999	Award-winning American singer, songwriter, guitarist, electronica musician and producer Moby released his mega-successful 5^th studio album, ‘Play’.
15	June	1999	After a long break, American Latin rock band Santana released their highly successful 17^th studio album, ‘Supernatural’.
16	June	1999	English rock singer, drummer and member of progressive rock band Genesis, Phil Collins received a star on the Hollywood Walk of Fame at 6834 Hollywood Boulevard.
24	June	1999	English blues/rock guitarist, Eric Clapton auctioned many of his guitars in New York City. The proceeds were used in support of the Crossroads Centre he founded in Antigua as a residential treatment centre for alcohol and chemical dependencies.
11	August	1999	American rock band KISS received a star on the Hollywood Walk Of Fame at 7080 Hollywood Boulevard.
7	September	1999	American virtuoso guitarist, singer, songwriter and producer Steve Vai released his astonishing 5^th studio album, ‘The Ultra Zone’.
2	November	1999	American alternative rock band Rage Against The Machine released their 3^rd studio album, ‘The Battle Of Los Angeles’ in the UK.
23	November	1999	American alternative rock artist, Beck, released his adventurous 7^th studio album, ‘Midnite Vultures’.
17	December	1999	American smooth jazz, funk and soul saxophonist, Grover Washington Jr. died of a heart attack in New York City at the age of 56.
26	December	1999	Highly acclaimed American soul singer, songwriter, guitarist and producer, Curtis Mayfield, died from complications of diabetes in a hospital in Roswell, Georgia at the age of 57.

Tailpiece

The 1990s was certainly a strange decade both musically and culturally, notably as a segue to the 21^st Century. While it seems very recent, it is actually receding into long‑term memory, thereby affecting our perceptions of what it meant to us at the time. Still to come, the new millennium is temptingly beckoning and it will prove as frustrating as it was liberating.

Now… we have a minor problemo. I was hoping to conclude this series of articles conveniently in December at the very end of the current decade. However, there are still one, two or maybe even three articles still to write before we are done. December 2019’s article will therefore, ceteris paribus, interrupt the sequence in that it will cover a summary of 2019 through the eyes of CRAVE Guitars, meaning that the ‘History of Modern Music’ will resume early in 2020, all being well. This series has been a gargantuan task thus far, so perhaps a short break in proceedings won’t do any harm. Heaven knows what will follow after it has been concluded though. Looking into the crystal ball of the future is largely futile, so I’ll have to start thinking hard about the ‘next big thing’ very soon. However, that can wait for next year/decade. Until next time…

CRAVE Guitars’ ‘Quote of the Month’: “It is a moral travesty that, if you have got everything, you think you can get away with anything.”

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28 Aug 2016

August 2016 – Guitars Are Everywhere

by Tony Drew | posted in: Observations, Opinion | 0

The CRAVE Guitars web site is intentionally a serious place. Its mission is clear – to bring you “the coolest American vintage electric guitars from the biggest guitar companies on the planet”. What constitutes ‘cool’ is obviously for each of us as individuals to judge – one person’s love affair is another’s anathema and so on. A pervious article covered ‘A Matter Of Personal Taste’ (April 2016), so I won’t revisit that debate other than to say that the instantaneous gratification of ‘love at first sight’ can often obscure the deeper and sometimes (?!) more rewarding, meaningful relationship that can develop with ‘ugly duckling’ guitars over time. The same goes for people, apparently! However, as usual, I digress; let’s reset the starting point…

The CRAVE Guitars web site is intentionally a serious place. Its mission… you get the idea. There is a point coming, honestly, please bear with me. The main web site is a window into CRAVE’s ‘collection’ of guitars, amps and effects, and it is presented with a respectable reverence for the subject matter. If some guitars aren’t significant now, they may be one day and I’m just looking after some of them on their long journey that will probably outlast me.

As a full time slave to ‘the man’, I only have time when I’m not working to write one article a month at the moment and these are generally verbose monologues like this one (sorry about that), which attempt to look beyond the feeble façade of visual adoration and the abhorrent avarice of economic exclusivity.

In addition to the dedicated web site, CRAVE Guitars also has some social media channels that look at other aspects of ‘the guitar life’, for instance Tumblr looks at guitar brands and I hope to extend this sometime. Instagram shows ‘rose tinted’ imagery of CRAVE’s guitars, Pinterest and Flickr are essentially the gallery of CRAVE’s guitars. YouTube is an area where I want to expand considerably if I ever get the time. Most of these pages change their content infrequently. LinkedIn gets a new ‘quote of the day’ every day, either from musicians or people who think deeply about the human condition.

That leaves Twitter, Facebook and Google+. These 3 are my childish ‘playground’ for everything guitar-related. The thing is, in order to stay sane in our increasingly mean and nasty world, humour and positivity are vital ingredients, as is a strong vein of irreverence (and occasional mischievous iconoclasm) for the topical. On Twitter, which drives CRAVE’s daily commentary, there are no ‘sacred cows’ where guitars are concerned. The discipline of Twitter’s brevity and rapid throughput is, I find, actually a great liberator. If anyone looks at CRAVE Guitars’ Twitter feed, you’ll know that I try and do something different every day, which in itself can be a challenge. To me, there’s nothing duller on social media than rampant repetition. The way I try to ‘keep it real’ is to create ephemeral ‘themes of the day’, which look at guitars and other stuff from all sorts of angles, ranging from the serious to stuff that is completely off the planet. It really doesn’t matter on Twitter et al. One follower generously tweeted recently, “You guys put out some amazing stuff! :-)”, so I guess I’m doing something right.

Once the strategy was set, the question of how to keep material varied and ‘fresh’ came up. Actually, it has proved quite easy, although time-consuming doing the research required. It has been fun creating new themes, finding relevant images and writing the supporting narrative in just 116 characters (140 less image/link). What it demonstrated to me – ah-ha! Finally, the point!!! (Ed) – is that ‘Guitars Are Everywhere’. I didn’t comprehend just how pervasive they are; pretty much wherever you look and whatever you listen to. The inspiration conjured up by this one simple instrument, either directly or indirectly, permeates the very fabric of our society in a way that surprised me and in a way that very few other manmade objects seem to do. Whichever way you turn, a quick look under the surface reveals that there is a fundamental human connection with this humble little music-making device.

I can’t and won’t try to explain why this penetration into our psyche may have come about or why it should be so strong. There are probably some learned academic papers somewhere that explore this enduring phenomenon. I’m certain that there is a fascinating psychological study in there somewhere, perhaps around attachment theory. My naïve perspective is that successive cultures in some way relate to the guitar’s particular characteristics and guitars, in turn, adapt to the prevailing zeitgeist in a way that no other instrument seems able to emulate. My subjective amateur observations, not reinforced by empirical evidence I hasten to add, appear to support this crude hypothesis.

As a result, the guitar has enabled me to post thousands of Tweets so far and there is no sign of this letting up. I have many guitar-related themes in reserve, all ready to use when it feels right to do so. Currently, the ones that have been used can only be uncovered by wading through the backlog of Tweets, which isn’t very user-friendly. Maybe, I’ll start expanding these themes into the other, currently under-utilised, social media channels when I can get around to it. For me, it means that I have plenty of diverse material already researched for months of daily Tweets and I still think of new themes regularly, ranging from the sublime to ridiculous. Planned themes don’t include topical events that come up as part of going about our daily lives. Still variety is supposedly the spice of life. It’s certainly keeping me on my creative toes. Hopefully, amongst it all, there is some idle amusement for spectators, including some loyal followers (who’d have thunk!). HUGE thanks to anyone who takes even the slightest interest in CRAVE’s frankly flippant social media output.

Now, it may be that by revealing this little ‘secret’ to the world that others will commandeer my ideas for their own purposes. Well, in the spirit of sharing, I’m not precious about what I do and the more that the online community participates the better. For instance, I’m only tapping into the vast Internet resources that are already out there and applying some structure to it for my own purposes, so there is no way that I could legitimately claim this as my territory. Having said that, CRAVE Guitars is growing a modest online reputation, so perhaps there is a latent mine of interest to be tapped.

Hopefully, sharing these tiny titbits of transient titillation entertain a few similarly minded souls out there on the global hinterwebthingummy. Sometimes, my Tweets are intended as an essential distraction from the evil ghastliness that seems to saturate our so‑called ‘civilised’ modern world. Using puerile humour when things look bleak and desperate may be seen as trivial. However, the intention is worthy and there is an undercurrent of hope for a better world (it’s the ‘hippy’ in me, I guess). Manipulative? Possibly. ”Peace begins with a smile”, as Mother Theresa once wisely pronounced; something we can all surely promulgate at no cost and very little effort. Go on, try it – we can make a difference. Or perhaps I’m just another guitar-obsessed weirdo, deluded at the thought that we should all try and co-exist in harmony! Buddha rightly observed, “Better than a thousand hollow words, is one word that brings peace”.

All these things in combination may go some way to justifying why the guitar has become the world’s favourite musical instrument and, getting back to the title of this article, why ‘Guitars Are Everywhere’. Like the influence it has bestowed, it doesn’t seem that guitars are going anywhere anytime soon. Let’s face it, guitars, or rather their distant progenitors, have been around in one form or another for thousands of years, albeit in varied and unrefined forms. Despite appearances of being quite conservative, guitars continuously adjust to trend; for example, see my article, ‘What Does the (Digital) Future Hold?’ (June 2016 ) for a glimpse of the (conceivable) future.

It is possibly worth remembering at this particular juncture that guitars are not just objects to be disseminated for purely fashionable purposes; they have a very real and crucially important purpose, which is to enable people to make music. Music is undoubtedly a powerful remedy for our emotional and spiritual well-being and its healing properties are often underestimated. Whether the music/noise we guitarists generate pleases others who (are forced to) listen to it is another matter. Playing and listening to music can definitely be therapeutic and cathartic in an increasingly mad, mad world. At any rate, it has to be better than brandishing lethal weapons on each other.

Anyway, I’ve got to go, I’ve just thought of a new guitar-related Twitter theme that needs exploring – you know where to look – or follow the links at the bottom of any CRAVE Guitars web page. Alternatively just search the popular Social Media sites for CRAVE Guitars and see what pops up.

Remember, ‘Guitars Are Everywhere’! Resistance is futile. Until next time…

CRAVE Guitars ‘Music Quote of the Month’: “Music affects us in a very basic way that we don’t fully understand. Thankfully!”

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18 Oct 2015

October 2015 – What’s New at CRAVE Guitars

by Tony Drew | posted in: News | 0

Quite a lot has been happening at CRAVE Guitars over the past few weeks. Firstly, the web site has had quite a major overhaul. While it doesn’t look very different at first glance (intentionally) it has been comprehensively updated with nearly all pages having had some work done on them to one degree or another. There are now quite a few new pages added to the original ones, so now there are even more reasons to (and fewer excuses not to) revisit CRAVE Guitars.

For example, the footers on each page now show the last 2 tweets from CRAVE’s quite prolific Twitter output. Twitter is where the general, topical and fun stuff about guitars appears, usually with multiple tweets daily. Don’t take it seriously, it is just light entertainment. The Twitter feed is basically replicated on Facebook and Google+. You can now also subscribe by e-mail to these opinionated ramblings, so you don’t need to visit the site to see if there’s something new that I’m waffling on about. I only post ‘blogs’ about once a month with longer, more in-depth articles like this, so it isn’t a daily deluge of irrelevant irreverence! For a more business-like approach, CRAVE is now also on LinkedIn and I’m trying to work out what to do with it that’s different and a bit more, well… professional and fundamentally meaningful than the lighter side of the guitar universe on Twitter. Why not take a look?

CRAVE Website Footer Screenshot — CRAVE Website Footer

There are new Galleries on ‘amplifiers and effects’, Instagram, ‘impressions’ and YouTube. These are the beginnings of more visual content to come in the future. The Features section now includes short articles on brand histories of the major US guitar manufacturers whose past output provided us with the instruments we now cherish as vintage guitars. All vintage guitars were shiny and new once. I am also writing some new features to add to the site in the future. There will also be new features on vintage amplifiers and effects; the first of which has just appeared (see more below). I have lots of vintage Electro Harmonix effects to dig out for instance. All the guitar features have been improved with some brand new and some updated material. There are a couple of new(ish) matching Danelectro instrument features (1 guitar and 1 bass) which aren’t quite part of the core CRAVE ethos but which are modern takes on cool American guitars of the past (1963 to be precise). Fantastic colour too (aqua).

The Resources section of the site has been completely revamped and extensively expanded from a single web page to 7 pages with, hopefully, a cornucopia or even a smorgasbord (i.e. lots) of interesting and useful information about guitars, guitarists, guitar music and guitar references. There is too much to go into here. Take a look and hopefully there is something to fire your imagination and make a visit worthwhile. I welcome input, ideas and even corrections (this isn’t a bible and it can be improved with your help), so drop me a line if there’s something you think will make it better.

There is a new ‘For Sale’ section although it’s a bit, erm… thin at the moment. I have some newer equipment and some guitar bits and pieces that I need to sell in order to feed the vintage guitar habit. This won’t be an online shop from the start but it will (I hope) promote some upcoming sales on eBay. If this proves popular, I might venture into direct e-commerce. Watch this space. I also want to use this section to highlight some relevant items on Amazon for guitarists and vintage enthusiasts to peruse (I’m testing it on the ‘guitar books’ section under Resources at the moment). It might even earn some pennies to help fund CRAVE’s non-profit enterprise.

Anyway… enough about the CRAVE Guitars website for now. While I should be selling stuff, I’m actually buying again at the moment. My ‘buy of the month’ is an exquisite mid-‘70s Music Man 210 ‘sixty-five’ guitar amp, which was not only a bargain but also a superb example of what Leo Fender designed after he left Fender. The ‘sixty-five’ was the first MM product to see the light of day in 1974 and the early ones are particularly great. These fantastic amps are so ‘under the radar’, it’s unbelievable. Ssshhh… don’t tell anyone! There is a feature on this remarkable little amp on the website (click here to see amp feature…), so I won’t repeat that here. Suffice to say, I’m excited by it. There is a personal connection here too – I used to work for Strings & Things, who imported Music Man into the UK in the late 1970s. I have finally got around to having a credible vintage amp that does justice to CRAVE’s vintage guitars. I have a funny feeling that this may be the start of a distracting side venture for CRAVE.

It’s not only amps on the shopping list; CRAVE is also back on the guitar buying trail again. I am tracking down another ‘Cool & Rare American Vintage Electric’ Guitar model which, if I’m successful in acquiring one, is likely to make an appearance on the CRAVE website before too long. This particular model isn’t either a Fender or a Gibson and it’s not a brand I’ve owned before – diversity can be a good thing and it should certainly complement other CRAVE guitars nicely. The guitar in question was a niche model and not hugely popular at the time. However, it is one that I believe the company involved should seriously consider ressurecting. Intrigued? Keep an on the website and for a future ‘blog’ post where I hope to explain ‘what’ and ‘why’.

Even though CRAVE Guitars is a demented enthusiast’s pastime and I have to work for a meagre subsistence; I may have to increase the frequency of posts to fit everything in! Until next time…

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