29 Jun 2020

June 2020 – Whazzup at CRAVE Guitars

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

Prelude

WELCOME BACK ONCE again guitar fans and hello to any new visitors. We are now half way through an extraordinary 2020 and the world is still turned upside down in so many concerning ways. While there may be glimmers of light at the end of the tunnel for COVID‑19, there is still a long way to go and there will be profound ramifications that it will leave in its sizeable wake. At the end of last year, we had no inclination as to what was about to befall, yet here we are now. Perhaps us hooman beans really aren’t as clever as we seem to think we are (shock, horror – hold the front page!). It seems that we also still have some way to go before all people are deemed equal and can live their lives freely, responsibly and peacefully. The first half of 2020 has passed by very quickly and, frankly, good riddance to it. I don’t like wishing life away but it has been 6 months that I’m sure we could all have done without, everything being on‑hold.

Well, here we are and no more historical facts, quotes or predictions on which to ponder this month. I said at the very end of the last article that I would get back to pontificating about ‘cool & rare American vintage electric’ guitars and, at last, I can deliver on that promise/threat (delete as applicable).

There are 3 themes on which I’d like to embark this month. Firstly, I mentioned in my December 2019 article that I had bought some gear (big surprise… not) during last year but I didn’t go any further than to list what they were, without any indication as to the whys and wherefores behind the spending spree. Secondly, after 18 months, most of the 42 repatriated guitars have now been properly assessed and worked through as far as I am able. So far, I haven’t given any real sense about what I found and what I learnt from the exercise. Thirdly, there have been a number of purchases during the first half of 2020 and in due course I can reveal what those are and how they relate both to the existing ‘collection’ and to the ‘wanted’ list from that same December 2019 end‑of‑year/look‑forward roundup.

I think that there is more than enough material to occupy one article, so without further ado, let us begin at the beginning. Sitting comfortably? Good. Then, we’ll begin…

2019 CRAVE Guitars’ Purchases

An Introduction to the 2019 CRAVE Guitars

2019 was certainly an interesting year. Due to circumstances, I started out not anticipating much in the way of guitar purchases. The relatively modest vintage guitar ‘wanted’ list from December 2018 included a Danelectro of some sort, a Fender Starcaster and a Gibson Melody Maker. These had all featured on the target list for more than one year, so it seemed a fairly realistic expectation. What actually happened was a bit more fruitful than I foresaw and I think it deserves some rationale to indicate why they weren’t random purchases. In fact, 2019 resulted in nine new additions to the CRAVE Guitars family, spanning five decades (1940s‑1980s with at least one from each). I couldn’t really afford the outlay but, although it meant sacrifices in other areas, it has probably been worth a bit of hardship. I hope you find this array of short stories moderately interesting.

1982 Fender Bullet H2

This is what happened when esteemed Fender designer John Page was tasked with creating a low cost student model to carry the ‘Made in U.S.A.’ decal and replace the outgoing Mustang and Musicmaster? The result was the Fender Bullet. I’d already acquired a 1981 Fender Bullet which was essentially a Telecaster‑on‑a‑budget model. Several aspects of the first iteration intrigued me and I set about looking for a second generation model, with the more Stratocaster‑like body outline. Initially, I was looking for a ‘standard’ one with twin single coil pickups and the integrated bent steel pick guard and bridge assembly, just like the ‘Tele’ Bullet. Instead, I found a cool Fender Bullet H2 in great all‑original condition in very smart red and white with a maple neck. This version has a more robust standard integrated hardtail bridge/tailpiece with through‑body stringing. The H2 features what at first glance appear to be standard twin ‘humbuckers’. However, looks can be deceiving. The pickups aren’t actually traditional humbuckers – they are actually 4 single coil pickups arranged as two pairs in humbucking configuration. In addition to a normal 3‑way pickup selector switch, the H2 has two additional buttons that ‘split’ the humbucking pickup pairs to give a wide range of tonal options including genuine single coil sounds (unlike most tapped or split humbuckers). When it arrived, one of the 4 pickups wasn’t working and it had to be sent to a pickup expert to fix. Thankfully, it was a weak connection between the coil and pickup lead, so easily sorted. Like the earlier Bullet, the H2 has a very nice standard Telecaster neck. The diverse sounds available from this guitar are nothing short of remarkable and it makes me wonder why this particular unique configuration hasn’t been widely used since. The early USA‑made Bullets were misunderstood and tend to attract a lot of unfair criticism from purists. As a result, like the Fender Leads of the time, they weren’t manufactured for long. Judging it on its own terms, this is really not the cheap Stratocaster imitation it may seem at first glance. I realised that the Fender Bullet H2s are both cool and quite rare, so fit the CRAVE criteria. I never envisaged that it would be so fascinating and collectable while still being affordable. This Bullet H2 came with its original (if battered and stickered) Original Hard Shell Case (OHSC).

1975 Fender Starcaster

The Fender Starcaster (and, no, that isn’t a spelling error) has been a long‑standing ‘wanted’ guitar, ever since I got a 1960s Coronado. There is very little similarity between the two models but as there are very few semi‑acoustic electrics in the brand’s history, I was once again curious. Unusually, I bought this one from a retailer, so I probably paid more than I normally would have considered but it was worth it. Where the Coronado is fully hollow, the Starcaster has a solid centre block running under the pickups and the massive hardtail bridge/tailpiece assembly. Surprisingly, the Starcaster has through‑body stringing like a Telecaster. While the Coronado has DeArmond single coil pickups, the Starcaster uses the sublime Seth Lover ‘wide range’ humbuckers as used on several Telecaster variants from the 1970s. While both the Coronado and the Starcaster use bolt on maple necks, they are, again, very different and the latter is unique to the model with a maple fingerboard. Both the Coronado and Starcaster were reissued by Fender in 2013 although neither are a patch on the originals. The vintage Starcasters are instantly recognisable because of the distinctive bridge assembly and the 5 controls (2 volume, 2 tone plus master volume). When going over the guitar on arrival, I found it was a rare very early 1975 (pre‑production?) model. It has been well used but is still in remarkably good condition with the sort of genuine patina that only age can bestow. The tobacco sunburst and sunburst flame maple is just gorgeous. It is also a fantastic guitar to play with a great neck and I really like the (in‑vogue) offset body shape. Even better, it doesn’t play or sound like any other Fender, ever made. The Starcaster didn’t prove popular on its original release and wasn’t produced for long before being quietly discontinued in 1982. I can understand why it didn’t sell in large numbers but that misses the point about its exclusive charms. Make no mistake, the Starcaster is a high quality instrument just waiting to be rediscovered. This beauty is not to be confused with cheapo far‑eastern Strat imitations from the 2000s that unfortunately carried the ‘Starcaster by Fender’ moniker. The case, while vintage, is not an original Fender Starcaster case. Obtaining a Fender Starcaster was a long‑standing aspiration achieved, which can now be removed from the ‘wanted’ list. These babies are now becoming extortionately expensive on the vintage market, as the ‘collectorati’ are now cottoning onto them. Seems I got this one just about in time‑ish.

1979 Fender Stratocaster Anniversary

I already have a 1977 Stratocaster hardtail and I was kinda looking around for one from the early 1970s with a vibrato before they become unaffordable (rapidly heading that way now). Along the way, I became distracted by the 1979 Anniversary Stratocaster. I missed out on a couple before I finally attained one (once again at a higher price than I intended, unfortunately). The Anniversary is distinctive in that it was Fender’s first foray into limited edition commemorative models, celebrating 25 years since the original Stratocaster’s introduction in 1954. I was attracted by the classic look of silver, black and maple fingerboard. Whether one can regard a massive 10,000 examples as a ‘limited edition’ is debatable. It also comes with a very unsubtle ‘Anniversary’ logo emblazoned on the bass horn plus a much more understated 25^th anniversary neck plate which carries its serial/issue number. This one comes with its original certificate of authenticity and most (but not quite all) of its case candy, as well as its ABS OHSC, all of which is nice to have. Like all Anniversary models, this one is heavy at 10lbs (4.6kgs) but I can live with that because of the part this model plays in electric guitar heritage. It looks cool, sounds great and plays very nicely, although the action is a little high. Fundamentally, though, it is essentially a standard Stratocaster with a few aesthetic embellishments. This guitar is in excellent, almost mint condition, which suggests that it was kept as a memento rather than an instrument to be played, which in my view is sacrilege. These aren’t especially rare instruments and many purists would say they aren’t cool. Well, I’m going to stand my ground and say that I like it, which is why it now has a safe home here at CRAVE Guitars.

1983 Fender Stratocaster Elite

This is the first of a pair of Fender Elites that I bought in 2019 (and the second Stratocaster!), both of which I think are quite desirable. As background, the Elite series was only produced in 1982 and 1983 before it was withdrawn shortly before CBS sold Fender in 1984. It is the innovative electronics that really set the Elites apart. The signal chain starts with 3 ‘noiseless’ single coil pickups including an additional dummy coil to reduce hum. These pickups are distinguishable by the Fender logo covers with no visible pole pieces. Instead of a 5‑way pickup selector switch, there are 3 on/off buttons, 1 for each pickup, giving 8 permutations in all (including all ‘off’). This arrangement provides easy access to more sounds than the standard Stratocaster of the time. The switching is unusual but also very intuitive (far better than Fender’s current S‑1 switching). The signal then passes through an on‑board active pre‑amp powered by a 9V battery. The controls are different too and not just the nice soft‑touch logo knobs. There is the usual single master volume complemented by two master tone controls, comprising Fender’s propriety MDX (MiD‑range eXpander) boost and TBX (Treble/Bass eXpander) circuit. The Strat’s iconic jack plate is also absent, with the output moved to the body edge. The bridge assembly is also unique, here it is a top‑loading hardtail Fender Freeflyte bridge. In use, it plays just like a Strat, although it is a touch on the heavy side. The sounds though are, as you might expect, quite different from a normal Stratocaster. Before the purists clamour with cries of sacrilegious iconoclasm, the electronics went on, albeit modified, to be used in both the Eric Clapton and Buddy Guy signature guitars, so the Elite wasn’t an abortive experiment. This example looks particularly cool in creamy Olympic White with a lovely rosewood fingerboard. This Elite is in lovely all‑original excellent condition and comes with its ABS OHSC. Like many 1970s and 1980s Fenders, these are now becoming more desirable on the vintage market. These original Elites are not to be confused with the similarly named but otherwise standard Elite series instruments issued by Fender between 2016 and 2019.

1983 Fender Telecaster Elite

More?! OK then. Onto the second in the pair of Fender Elites. This one is a 1983 Telecaster Elite in lovely translucent Sienna Burst with a gorgeous rosewood fingerboard. Like the Stratocaster Elite, it is a fascinating variant on the classic design. The electronics here comprise dual‑coil noise‑cancelling Alnico 2 pickups routed through an on‑board active 9V preamp with 2 volume controls allied to the same MDX (mid‑range) and TBX (high‑range) tone controls as found on the Stratocaster Elite. Like its sister model, it has the unique top‑loading hardtail Fender Freeflyte bridge. The body has cool single binding on the top edge, similar to the original Custom Telecaster from the 1960s. For some inexplicable reason, the designers at Fender felt that a Telecaster would look good with a Les Paul‑like scratchplate. They were wrong, it doesn’t. Fortunately, the scratchplate was provided in the case, rather than being attached and even then, it could be stuck on with double‑sided tape. Personally, I prefer it without the scratchplate, revealing the woodgrain through the finish. Like the Stratocaster, the Telecaster is a touch on the heavy side but I can forgive that because of its unique position within the Fender canon. This little beauty is in near mint condition and includes its OHSC. The Elite is far from your average Telecaster and, on my unending quest for something cool and rare, it has found a good home here at CRAVE Guitars. Both Elite models (and there was also a Precision bass in the range as well) are harder to come across than standard models, so the prices tend to reflect their relative scarcity. The Elites are unequivocally ‘curio’ guitars from the last dying days of Fender’s notorious CBS era, so they tend to be frowned upon by purists, which makes them all the more appealing to the maverick side of my enduring addiction to the quirky and idiosyncratic guitars from a generally unloved period of guitar history.

1947 Gibson ES-150

Thus, we move onto the ‘Big G’. The author sadly hit one of those dreaded ‘big birthdays’ in 2019 and without much else to celebrate, I figured that I would mark my passing years with something self‑indulgent. I had been keeping my eyes peeled for a vintage Gibson ES‑150 for several years and watching as the prices escalated to, frankly, silly levels. I couldn’t afford one of the carved top pre‑war models with the Charlie Christian pickup, so I was looking around for a newer model, which would be cheaper. For those that may not know, the Gibson ES‑150 was introduced in 1936 and is acknowledged as the first commercially successful electric Spanish guitar. I eventually found a lovely 1947 ES‑150 from the first year of post‑war production and sporting a single P90 pickup. This one was way, way more expensive than I could normally justify so, because of my impending mortality, I was tempted to go for it. In fact, it is the most I’ve ever spent on a single instrument to‑date. This ES‑150 was residing in Italy, so I imported it before Brexit shuts down all opportunities to access vintage fare from our European colleagues. Owning a really old hollow body non‑cutaway jazz guitar is new territory for me, so it was with some trepidation and excitement that I was delving into this particular art form. The guitar itself is in fine all‑original condition with just surface crazing to the lovely sunburst nitrocellulose finish. There is no serial number or Factory Order Number (FON) which, along with the features, dates it to 1947. Playing it is a different experience altogether, as it needs heavy semi‑flat wound strings to get the laminated top vibrating. Then there is the limited upper fret access to contend with, so it takes some time to acclimatise to the technique. Being deep‑bodied and fully hollow, this one actually works quite well as an acoustic jazz guitar too. As you may know, I really like single pickup guitars, so there is less to get in the way of pure P90 tone. The ES‑150 is currently a bit of an outlier within the CRAVE Guitars family. One thing is for sure, it isn’t going anywhere anytime soon. Definitely not the ideal guitar of choice for metal heads though.

1965 Gibson Melody Maker

This 1965 Melody Maker was a bit of a gap filling exercise. Between 1959 and 1971, Gibson released four versions of their ‘student’ guitar, the Melody Maker. The first was a single cutaway Les Paul shape (1959‑1961), the second was a unique and really cute double cutaway model (1961‑1965), the third iteration was a somewhat crude and short‑lived double cutaway model (1965‑1966) and the final generation was SG‑shaped (1967‑1971). This is one of the rather ‘ugly duckling’ models from 1965 (weirdly often called the ‘type 2’, even though it’s the third body shape), which completes the set. The Melody Maker comprises a slab mahogany body with double cutaways, a set mahogany neck with the typical narrow headstock, one single coil pickup, and comes in a reserved cherry nitrocellulose finish. Unsurprisingly, this model has never been reissued by Gibson, although there has been a Joan Jett signature guitar. The Melody Maker name has re‑appeared a number of times since the 1960s. This example is not in pristine shape but is all‑original and it comes with its OHSC. At least this one hasn’t been butchered over the years unlike many. I was shocked that a recent guitar magazine article (which I won’t name but they really should know better) was recommending that the vintage Melody Maker body should be routed and the pickup replaced with a P90 or humbucker! Unbelievable and indefensible! I think that the narrow single coil pickups give the Melody Maker a distinct tone, which is very underrated by purists. Melody Makers are unique in the Gibson history books and unmolested examples deserve much more credit in my view. They are made from the same materials in the same Kalamazoo factory by the same people as other highly prized models and should be regarded (and treated) as worthy vintage instruments in their own right. They are very light and resonant, making them really easy to pick up and play. Compared to many Gibsons from the 1960s, Melody Makers are still relatively affordable on the vintage market and represent a good starting point for people interested in collecting vintage guitars from a major American brand. Personally, I have to admit that I am not a huge fan of this pointy body shape but now that I own one, it is growing on me.

1989 PRS Classic Electric

Having dipped my toes into the world of Paul Reed Smith (PRS) guitars with an elegant 1988 PRS Standard, I was looking around for other early hand‑finished guitars that were made in PRS’s original facility in Annapolis, Maryland. These early, so‑called ‘pre‑factory’ models are becoming increasingly collectable, especially as they are now beginning to get to vintage age (and price!). The early PRS Customs are becoming incredibly expensive, so my eyes settled on an early PRS model that was initially called the Classic Electric when introduced in 1989. The model was swiftly renamed as the CE after a legal dispute with Peavey over the original name. NB. The CE is not to be confused with the far Eastern PRS SE (‘Student Edition’) guitars. I also had my sights set on the early solid Electric Blue metallic finish, which I think is stunningly beautiful. This example is a very early Classic Electric, being only the 473^rd guitar off the production line, distinguished by its 24‑fret, bolt‑on maple neck and the plain headstock carrying the block ‘PRS Electric’ logo (soon to change to the familiar modern ‘Paul Reed Smith’ signature script logo). There are quite a few marks including one significant ding to the body and the finish on the back of the neck has worn down. The wear indicates that it has been well played, which is often a sign of a soundly put together instrument. OK, it doesn’t have the flashy flame or quilted maple cap, faux binding, bird inlays or set neck but it is still a very creditable guitar that plays very well and sounds great. The CE is one of those under‑the‑radar PRSs that the collectors tend to overlook, although genuine owners praise them very highly. PRS finally got around to re‑releasing the bolt‑on CE model in 2016 but the new ones really aren’t the same as these early ‘handmade’ examples. Despite the wear and tear, it is all‑original and comes with its OHSC but no case candy. You can’t have everything. A vintage PRS Custom to add to the Standard and Classic Electric sadly has to remain on the wish list for the time being.

1959 Silvertone 1304

I had a bit of a mad spell towards the end of the year when I was buying several guitars for the sake of it. I was looking for a vintage Danelectro and came across this funky little 1959 Silvertone 1304 with its single cutaway and dowdy brown finish. It is very similar to the Danelectro U1 (differentiated by pickup position and headstock logo), which is no surprise seeing that Danelectro manufactured Silvertone guitars for the Sears & Roebuck retail and mail order company at the time. The 1304 is actually a pretty rare model being only available in Sears & Roebuck’s ‘Wish Book’ Christmas catalogue and related advertising of 1958, 1959 and 1960. The neck and familiar ‘coke bottle’ headstock is also rare, being finished in natural, rather than colour matched to the body, apparently due to supply shortages at the time. It also has the circular electrics cover on the back and the squared off neck joint that confirms its age and lineage. The ever present Lipstick pickup and body‑edge tape will be familiar to Danelectro fans. It also feels, plays and sounds just like you’d expect a vintage Danelectro from the 1950s, i.e. great. This was the last of the Danelectro single cutaway body shapes before they moved to double cutaways in the 1960s. The single pickup and simple controls let you focus on playing and getting the most out of a very cool and groovy (and lightweight due to semi acoustic construction) instrument. It is a lot of fun to pick up and play and hard to put down. The action is a little high but that resistance actually forces one to play differently compared to a more ‘refined’ guitar. Like others in this résumé, it is in fine all‑original condition, although it sadly doesn’t come with an original 1950s case. These cool Silvertone and comparable Danelectro guitars are still amazingly affordable for vintage guitars from the so‑called ‘golden era’, perhaps because they were (generally) made in large numbers and sold to a largely undiscriminating ‘student’ audience at the time.

2019 CRAVE Amps? What Amps?

Right, that’s the 2019 guitars covered, so what else was new? Well CRAVE Amplifiers didn’t achieve anything at all in 2019 – no new additions and no losses. Nada. As it turned out, I was quite happy running two relatively similar modest little units as daily go‑to amplification during the year, a 1978 Fender Champ and a 1978 Fender Vibro Champ both in ‘silverface’ livery. Don’t underestimate these diminutive 5W Class A valve amps, they are really great for what they are. I acknowledge that I’m not a vintage amp specialist, so they are not hugely abundant here at CRAVE Guitars. Owning vintage valve amps demands space, time and effort as well as oodles of filthy lucre, so I’m not in a huge rush to buy up large numbers of vintage amps.

An Introduction to the 2019 CRAVE Effects

CRAVE Effects did a little better during 2019, although there were only five new pedals to join the clan. Having said that, two of those were outstanding examples of the type. As with amps, because I am not a vintage effect expert, I’m sticking to a few well‑known global brands from the 1960s to 1980s, rather than go too far into the realms of the unique, idiosyncratic and unusual.

1987 BOSS RV-2 Digital Reverb

It may seem heretical to many but this is the first vintage digital effect to join the CRAVE club. This Japanese BOSS RV‑2 was sought out principally because there are few vintage compact analogue reverb pedals out there. Yes there are the bulky (and expensive) vintage valve reverb tanks from the likes of Fender but I wanted something small and convenient to add an extra special dimension to the aforementioned Fender Champs, neither of which have on‑board reverb. So, a digital reverb was the way to go with this rather plain looking but flexible 1987 BOSS RV‑2. It provides a range of reverbs and it sounds quite natural without too many sibilant digital artefacts, although not quite the soft and cuddly warm tones of traditional analogue reverbs. Still, it does its job very well and it is from the right era (pre‑1990s), which is why it’s here. Interestingly, the high current draw of the digital circuitry in the RV‑2 means that it cannot be powered by batteries and requires a BOSS PSA power supply in order to do its ‘0’ and ‘1’ digi‑thing.

1969 Dallas Arbiter Fuzz Face

This is the first of two iconic classic pedals acquired in 2019. The humble but fabled English Dallas Arbiter Fuzz Face rose to stardom mainly because of none other than Jimi Hendrix. This isn’t one of the earliest Fuzz Faces that used germanium transistors but one of the first to use silicon transistors, this one dating from c.1969. It is amazing what a few cheap electronic components can end up being turned into. Truth be told, I didn’t actually intend to get this pedal. It came along via an eBay auction and I decided to take a punt and put on a (relatively) low bid and… what happened? No‑one came along at the last minute to beat me and I ended up getting it. Yikes! Yes, it was hideously expensive but not as bad as it could have been. Therefore, while it was not exactly a bargain, I suppose it was still a reasonable price for what it is. Fortunately, it delivers its fuzzy glory in all the right ways, so that’s OK then. It is in excellent all‑original condition and in perfect working order, so my initial reticence was soon overcome. It actually looks pretty cool in red too. By today’s standards, its circular form factor does take up a disproportionate amount of pedalboard real estate but, c’mon, it is a vintage fuzz pedal – what’s not to like? The original Fuzz Face was definitely a batteries only zone back in the 1960s and neither is there an LED status light to indicate when it’s on. Great though it undoubtedly is, this is clearly not one of those pedals you’d want to gig with down the local pub, that’s for sure.

1982 Ibanez PT9 Phaser

At totally the other end of the value scale from the Fuzz Face, we have a fairly widely available and averagely collectable 1982 Ibanez PT9 Phaser. CRAVE Effects has somehow accumulated more phasers than any other kind over the years and that’s probably because the late 1970s and early 1980s experienced a surfeit of these simple analogue modulation effects. Let’s be honest, your average phaser really isn’t the most exciting of guitar effects compared to what else is out there, especially in these days of ubiquitous boutique eccentricities. The PT9 is pretty utilitarian and sounds OK, but not necessarily exceptional, which is probably to damn it with faint praise. I’m guessing that Ibanez chose to change their colour scheme from the previous blue/white PT‑909 Phase Tone to the orange/black PT9 in order to compete on looks with the all‑dominating and very orange MXR Phase 90 of the time. I had been on the track of a PT9 to fill a gap in the collection for a while, so the gap was duly filled. Original PT9s are still relatively affordable phasers and they are, perhaps, a good entry point for neophytes to get into vintage effects before getting into more exclusive and expensive fare. Time to move on… Next!

1981 Ibanez TS-808 Tube Screamer Overdrive Pro

… and here is the second iconic classic pedal procured in 2019. The otherwise ordinary green Ibanez TS-808 Tube Screamer Overdrive Pro rose to hallowed status via another guitarist association, this time with the inimitable Stevie Ray Vaughan. Like the Fuzz Face, the original vintage TS‑808s are now inordinately expensive on the vintage effect market, with prices increasing all the time. This was one of those times when I felt a ‘now or never’ moment and bagged a reasonably good one dating from 1981 at just below average price. At this point, I’m going to proclaim ‘emperor’s new clothes’ and say that, while it is undoubtedly a very competent pedal, does it really deserve the unchallenged accolades above all the other competent overdrive pedals out there? Just why we guitarists spend thousands of pounds/dollars on vintage instruments and vintage valve amps and then rely on some dirt cheap solid state components to make them sound ‘better’ is beyond me. To some extent, the same goes for the Fuzz Face but at least that is a down ‘n’ dirty fuzz pedal! I understand all the well‑rehearsed arguments about compensating mid‑boost and clean low gain drive into the front end of an already cooking valve amp. Perhaps I’m missing something else obvious but I really don’t think so. I also know that it goes against the grain to defer from perceived wisdom and to test the TS‑808’s seemingly unassailable reputation. Don’t get me wrong, I’m not knocking the Tube Screamer and what it does. I just believe it is somewhat overrated for the crazy market prices being asked. Anyhow, one of the green meanies is here now and is part of the growing ranks alongside other Ibanez ‘0’ and ‘9’ series pedals. At least I no longer have to keep scanning the market endlessly for a good one at a reasonable price.

1980 MXR Micro Amp

… and right back to the other end of the value scale again with a humble 1980 MXR Micro Amp. Essentially, all a boost pedal does is to increase the signal level hitting the front end of a (valve) pre‑amp, therefore not only adding a bit of volume, but also hopefully some natural compression and a bit of smooth distortion without affecting the underlying tone. Once again, there is something of a question mark about relying on a few cheap bits of electronics to make vintage gear ‘sing’. Having said that, the Micro Amp does its job perfectly well and it can be a really useful tool in the right circumstances. However, let us be clear that it is not exactly the most exhilarating or far out stomp box out there. As an idle observation, it is funny how things come round again given long enough. Outboard pre‑amp pedals are now a ‘big thing’ in the 2020s, albeit a bit more complex than this little MXR. There are many modern‑day compact pedal pre‑amps out there, including the Hudson Electronics Broadcast, Catalinbread Epoch Pre and Fredric Effects 150 Preamp. At least the unassuming little white MXR Micro Amp doesn’t take up much pedalboard space and is oh‑so simple in operation with only a single ‘Gain’ control. Like most un‑modified MXR pedals back in 1980, the Micro Amp only eats batteries for breakfast and doesn’t come with either an LED status light or DC input.

Help Needed

Vintage guitars, effects and amps need attention from time to time to keep them working at their best. While I can undertake basic maintenance, set ups and general TLC, I know that my skills are finite. I am looking for a guitar tech or luthier who can, from time to time, take on a vintage guitar and do some sympathetic remedial work, whether it involves fretwork, electrics, repairs or whatever. I’m also looking for someone who can do occasional work on effects and amps, which is basically electronics, switches, leads, soldering, etc. With over 60 vintage guitars, more than 50 vintage effects and 6 vintage amps, I need some expert help every so often. If there is someone out there with the requisite skillset for any or all of the above, and who is local to SE Cornwall in the UK, I would be interested in making a connection. Anyone interested? Please contact me at the e-mail address at the bottom of every page on the website.

Tailpiece

Actually, I think this is a good place to pause, so I’ll stop there for now. Nine guitars and five effect pedals is enough for one month.

At this point, I must stress that I did not buy any of these items as a pecuniary investment – anyone familiar with CRAVE Guitars will know that is not my motivation. However, given that savings accounts in the UK are currently offering just 0.01% interest rate, I would prefer to be broke and have great vintage guitars, amps and effects to play with and look at. The last recession that began in 2008 apparently saw 30% wiped off the value of vintage guitars, albeit temporarily. To me, it’s still a no brainer, when funds become available, eBay here I come for some vintage gear hunting. The other thing I would add is that all of the new additions are consistent with CRAVE Guitars larger strategic grand plan to conserve ‘Cool & Rare American Vintage Electric’ guitars, amps and effects as important musical and cultural heritage. Oh, and it’s also an unhealthy obsessive addiction as well but I guess you’ve sussed that out already.

At the top of this article I mentioned that there are three themes to work through and I’ve only covered one of them. I am conscious that the ‘History of Modern Music…’ series resulted in lengthy articles and this is, compared to them, quite short. I’m also a bit fatigued by the demands of lengthy researching and writing exercises. Thus, I’ll leave the rest for future article(s). I reckon that it is best to keep these reflective articles relatively consumable. Besides, there really is no rush, is there? Are we going anywhere, anytime soon? No, I thought not.

Believe me, there is still plenty of stuff to be getting on with here at CRAVE Guitars, so I guess I’ll be getting on with stuff then. Who knows what the world will be like in the coming months. Despite the continuing stresses and challenges of COVID‑19 et al, I hope that you’ll return here in due course for your prescribed diet of diversionary diatribes. Stay home, stay safe and stay (in)sane. Remember this simple but important mantra while civilisation unravels around us, Peace, Love & Guitar Music. Until next time…

CRAVE Guitars’ ‘Quote of the Month’: “I can see where this is going because I’ve been where it went.”

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30 Apr 2020

April 2020 – The Story of Modern Music in 1,500+ Facts – Part XIII

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

April 2020 – The Story of Modern Music in 1,500+ Facts – Part XIII

Introduction

For anyone out there still surviving the appalling ‘coronapocalypse’ that is undermining and unravelling civilisation around us as we speak, it’s good that you are hanging in there and hope you’re staying healthy and safe. Take a moment and spare a thought for the many who aren’t as lucky and those that have succumbed to the deadly virus. While the general response to the pandemic shows the best characteristics in most people, it also starkly reveals the sheer idiocy and irresponsibility of a not‑insignificant proportion of the population. Shame.

Thank you again for taking the time to visit CRAVE Guitars for the latest instalment of this epic series. Given the horrifying circumstances out there, your presence here is welcomed and very much appreciated. I only hope that it can provide some idle distraction from more serious issues facing us all.

It seems that this is this is a tale that just keeps on telling. I never thought it would reach these proportions when I started out on it, just over a year ago now! I trust this 13^th part of the series is not unlucky. If you suffer from triskaidekaphobia (fear of the number 13) or even primonumerophobia (the fear of prime numbers), it may be advisable to think of this as part 12a or, to be trendy, 12+.

As has become traditional, if you would like to (re)visit any or all of the first 12 parts (and 370 years) of the story to‑date, you can do so here (each link opens a new browser tab):

The Story of Modern Music Part XIII

In the last article, I presented an array of quotes about music uttered by a diverse range of non‑musicians. This time, guess what? Yep, perhaps somewhat predictably, we’re looking at quotes about music by musicians or, to be strictly more accurate, music professionals. While this is clearly a heavily skewed sample of the population expressing themselves on the wonder (or otherwise) of music, their vocabulary is revealing about what it means to them and others. As you can imagine, musicians have quite a lot to say about their passion, hence the sheer panoply of relevant observations on all things musical. There are also a couple of sneaky lyrics thrown in just for good measure.

For this article, I have omitted quotes explicitly about the guitar as a musical instrument; these were, I felt, adequately covered in the equivalent part of the companion series, ‘November 2018 – A Potted History of the Guitar: Epilogue’.

Simply because of my obsession with the world’s most popular instrument, the quotes tend to be biased towards those with some sort of connection to the guitar, although not exclusively so. I make no apology for this, it’s just the way it has turned out. Some of the quotes are very well known and may well be familiar, while others are somewhat more obscure but still worth extolling. If nothing else, I hope they inspire you to think about mankind’s unique affiliation with music a little differently.

Like last month, the quotes are in alphabetical order of the person, rather than their quote or any sort of chronological order. After much deliberation and messing around with different formats, I finally decided to lay these quotes out in a table. This is, perhaps, the most accessible and economical way of presentation, even though it means repeating the person being quoted in many instances. I apologise if that is not the best way for you to read the content.

Quotes about music by musicians

Right… let’s go. Enjoy.

Music drives you. It wakes you up, it gets you pumping and, at the end of the day, the correct tune will chill you down	‘Dimebag’ Darrell Abbot (1966-2004)
Music is something that should speak for itself, straight from the heart. It took me a long time to understand that	Damon Albarn (1968-)
Music to me is the air that I breathe, it’s the blood that pumps through my veins that keeps me alive	Billie Joe Armstrong (1972-)
If you have to ask what jazz is, you’ll never know	Louis Armstrong (1901-1971)
Music is life itself. What would this world be without good music? No matter what kind it is	Louis Armstrong (1901-1971)
Musicians don’t retire; they stop when there is no more music left in them	Louis Armstrong (1901-1971)
When I was a little boy, I told my dad, ‘When I grow up, I want to be a musician.’ My dad said: ‘You can’t do both, Son’	Chet Atkins (1924-2001)
The true beauty of music is that it connects people. It carries a message, and we, the musicians, are the messengers	Roy Ayers (1940-)
Don’t cry for me, for I go where music is born	Johann Sebastian Bach (1685-1750)
I think it’s good if a song has more than one meaning. Maybe that kind of song can reach far more people	Syd Barrett (1946-2006)

I would rather write 10,000 notes than a single letter of the alphabet	Ludwig van Beethoven (1770-1827)
Music comes to me more readily than words	Ludwig van Beethoven (1770-1827)
Music is a higher revelation than all wisdom and philosophy	Ludwig van Beethoven (1770-1827)
Music is like a dream. One that I cannot hear	Ludwig van Beethoven (1770-1827)
Music is the mediator between the spiritual and the sensual life	Ludwig van Beethoven (1770-1827)
Music is the one incorporeal entrance into the higher world of knowledge which comprehends mankind but which mankind cannot comprehend	Ludwig van Beethoven (1770-1827)
Music should strike fire from the heart of man, and bring tears from the eyes of woman	Ludwig van Beethoven (1770-1827)
To play a wrong note is insignificant; to play without passion is inexcusable	Ludwig van Beethoven (1770-1827)
I can’t live one day without hearing music, playing it, studying it, or thinking about it	Leonard Bernstein (1918-1990)
Music can name the unnameable and communicate the unknowable	Leonard Bernstein (1918-1990)
This will be our reply to violence: to make music more intensely, more beautifully, more devotedly than ever before	Leonard Bernstein (1918-1990)
I grew up thinking art was pictures until I got into music and found I was an artist and didn’t paint	Chuck Berry (1926-2017)
Music is an important part of our culture and record stores play a vital part in keeping the power of music alive	Chuck Berry (1926-2017)
If you play music for no other reason than actually just because you love it, the skills just kinda creep up on you	Nuno Bettencourt (1966-)
Music can change the world because it can change people	Bono (1960-)
Music fills in for words a lot of the time when people don’t know what to say, and I think music can be more eloquent than words	Bono (1960-)
I had to resign myself, many years ago, that I’m not too articulate when it comes to explaining how I feel about things. But my music does it for me, it really does	David Bowie (1947-2016)
I wanted to prove the sustaining power of music	David Bowie (1947-2016)
My theory is this; I’m not a political songwriter. I’m an honest songwriter	Billy Bragg (1957-)
It is cruel, you know, that music should be so beautiful. It has the beauty of loneliness of pain: of strength and freedom. The beauty of disappointment and never-satisfied love. The cruel beauty of nature and everlasting beauty of monotony	Benjamin Britten (1913-1976)
I guess all songs is folk songs. I never heard no horse sing them	Big Bill Broonzy (1893-1958)
I only got a seventh-grade education, but I have a doctorate in funk, and I like to put that to good use	James Brown (1933-2006)
I don’t really need to be remembered. I hope the music’s remembered	Jeff Buckley (1966-1997)

Punk was defined by an attitude rather than a musical style	David Byrne (1952-)
We don’t make music, it makes us	David Byrne (1952-)
With music, you often don’t have to translate it. It just affects you, and you don’t know why	David Byrne (1952-)
You create a community with music, not just at concerts but by talking about it with your friends	David Byrne (1952-)
Music is the divine way to tell beautiful, poetic things to the heart	Pablo Casals (1876-1973)
Of emotions, of love, of breakup, of love and hate and death and dying, mama, apple pie, and the whole thing. It covers a lot of territory, country music does	Johnny Cash (1932-2003)

I was born with music inside me. Music was one of my parts. Like my ribs, my kidneys, my liver, my heart. Like my blood. It was a force already within me when I arrived on the scene. It was a necessity for me – like food or water	Ray Charles (1930-2004)
Music is about the only thing left that people don’t fight over	Ray Charles (1930-2004)
Music to me is like breathing. I don’t get tired of breathing. I don’t get tired of music!	Ray Charles (1930-2004)
Music is powerful. As people listen to it, they can be affected. They respond	Ray Charles (1930-2004)
The important thing is to feel your music, really feel it and believe it	Ray Charles (1930-2004)
Music became a healer for me. And I learned to listen with all my being. I found that it could wipe away all the emotions of fear and confusion relating to my family	Eric Clapton (1945-)
Music will always find its way to us, with or without business, politics, religion, or any other bullshit attached. Music survives everything	Eric Clapton (1945-)
The point is, technology has empowered so many musicians, you know?	Stanley Clarke (1951-)
If it’s illegal to rock and roll, throw my ass in jail!	Kurt Cobain (1967-1994)
I have one message for young musicians around the world: Stay true to your heart, believe in yourself, and work hard	Joe Cocker (1944-2014)
I want to read… poems filled with terror and music that changes laws and lives	Leonard Cohen (1934-2016)
If I knew where the good songs came from, I’d go there more often	Leonard Cohen (1934-2016)
Music is the emotional life of most people	Leonard Cohen (1934-2016)
Nobody leaves this place without singing the blues	Albert Collins (1932-1993)
Simple music is the hardest music to play and blues is simple music	Albert Collins (1932-1993)
Musicians understand each other through means other than speaking	Ry Cooder (1947-)
To stop the flow of music would be like the stopping of time itself, incredible and inconceivable	Aaron Copland (1900-1990)
There’s a lot of integrity with musicians; you really still aspire to grow, and be great, to be the best version of yourself you can be	Sheryl Crow (1962-)
Every song is like a painting	Dick Dale (1937-2019)
I don’t play pyrotechnic scales. I play about frustration, patience, anger. Music is an extension of my soul	Dick Dale (1937-2019)
If songs were lines in a conversation, the situation would be fine	Nick Drake (1948-1974)
This land is your land and this land is my land, sure, but the world is run by those that never listen to music anyway	Bob Dylan (1941-)
I have a curiosity that compels me to find ways to make music that are fresh and new	The Edge (1961-)
Music is such a great communicator. It breaks down linguistic barriers, cultural barriers, it basically reaches out. That’s when rock n’ roll succeeds, and that’s what virtuosity is all about	The Edge (1961-)
You see, rock and roll isn’t a career or hobby – it’s a life force. It’s something very essential	The Edge (1961-)
My idea is that there is music in the air, music all around us; the world is full of it, and you simply take as much as you require	Edward Elgar (1857-1934)
I merely took the energy it takes to pour and wrote some blues	Duke Ellington (1899-1974)
I need drama in my life to keep making music	Eminem (1972-)
If people take anything from my music, it should be motivation to know that anything is possible as long as you keep working at it and don’t back down	Eminem (1972-)
Aggressive music can only shock you once. Afterwards, its impact declines. It’s inevitable	Brian Eno (1948-)
I’m a painter in sound	Brian Eno (1948-)
I’m fascinated by musicians who don’t completely understand their territory; that’s when you do your best work	Brian Eno (1948-)
You should play with real musicians; the best music comes from real people interacting with each other	John Fogerty (1945-)
It really is an honor if I can be inspirational to a younger singer or person. It means I’ve done my job	Aretha Franklin (1942-2018)
Finding a good band is like finding a good wife. You got to keep trying till you find the right one	Ace Frehley (1951-)
That’s what Kiss is all about – not just music, but entertainment, y’know? We’re there to take you away from your problems, and rock and roll all night and party every day for those two hours you’re at the concert	Ace Frehley (1951-)
I enjoy being able to express myself and the band is the perfect way of doing that	Keith Flint (1969-2019)
Music is the wine that fills the cup of silence	Robert Fripp (1946-)
Hardly a day goes by without me sticking on a Muddy Waters record	Rory Gallagher (1948-1995)
Life is a lot like jazz… it’s best when you improvise	George Gershwin (1898-1937)
A song without music is a lot like H2 without the O	Ira Gershwin (1896-1983)
Until you learn to play what you want to hear, you’re barking up the wrong tree	Billy Gibbons (1949-)
Too many young musicians today want to win polls before they learn their instruments	Benny Goodman (1909-1986)
Never lose faith in real rock and roll music. Never lose faith in that. You might have to look a little harder, but it’s always going to be there	Dave Grohl (1969-)
Anyone who used more than three chords is just showing off	Woody Guthrie (1912-1967)
I’ve never missed a gig yet. Music makes people happy, and that’s why I go on doing it – I like to see everybody smile	Buddy Guy (1936-)
Listen to the lyrics – we’re singing about everyday life: rich people trying to keep money, poor people trying to get it, and everyone having trouble with their husband or wife!	Buddy Guy (1936-)
Music is the tool to express life – and all that makes a difference	Herbie Hancock (1940-)
I do know the effect that music still has on me – I’m completely vulnerable to it. I’m seduced by it	Debbie Harry (1945-)

Music is a safe kind of high	Jimi Hendrix (1942-1970)
Music is my religion	Jimi Hendrix (1942-1970)
My goal is to be one with the music. I just dedicate my whole life to this art	Jimi Hendrix (1942-1970)
We plan for our sound to go inside the soul of a person… and see if they can awaken some kind of thing in their minds	Jimi Hendrix (1942-1970)
If I’m going to sing like someone else, then I don’t need to sing at all	Billie Holiday (1915-1959)
Music is the only thing I’ve ever known that doesn’t have any rules at all	Josh Homme (1973-)
Great music seems to come from a lot of angst, and that angst is from great musicians getting together with intense chemistry. When that chemistry isn’t there, people tend not to write great music	Peter Hook (1956-)

I don’t like no fancy chords. Just the boogie. The drive. The feeling. A lot of people play fancy but they don’t have no style. It’s a deep feeling-you just can’t stop listening to that sad blues sound. My sound	John Lee Hooker (1912-2001)
It’s never hard to sing the blues. Everyone in the world has the blues	John Lee Hooker (1912-2001)
No matter what you got, the blues is there	John Lee Hooker (1912-2001)
Poor people have the blues because they’re poor and hungry. Rich people can’t sleep at night because they’re trying to hold on to their money and everything they have	John Lee Hooker (1912-2001)
The blues tells a story. Every line of the blues has a meaning	John Lee Hooker (1912-2001)
When I die, they’ll bury the blues with me. But the blues will never die	John Lee Hooker (1912-2001)
I had the one thing you need to be a blues singer, I was born with the blues	Lightnin’ Hopkins (1912-1982)
Ain’t but one kind of blues and that consists of a male and female that’s in love	Son House (1902-1988)
The blues is not a plaything like some people think they are	Son House (1902-1988)
I don’t think punk ever really dies, because punk rock attitude can never die	Billy Idol (1955-)
Rock isn’t art, it’s the way ordinary people talk	Billy Idol (1955-)
Ladies and gentleman, I’ve suffered for my music, now it’s your turn	Neil Innes (1944-)
To have someone to relate to and hopefully enjoy the music and get a positive message out of it, to make the best music that we possibly could, those were the goals	Janet Jackson (1966-)
I believe that through music we can help heal the world	Michael Jackson (1958-2009)
I believe we should encourage children to sing and play instruments from an early age	Mick Jagger (1943-)
You start out playing rock ‘n’ roll so you can have sex and do drugs, but you end up doing drugs so you can still play rock ‘n’ roll and have sex	Mick Jagger (1943-)
My mother always told me, even if a song has been done a thousand times, you can still bring something of your own to it. I like to think I did that	Etta James (1938-2012)
I grew up in a world that told girls they couldn’t play rock ‘n’ roll	Joan Jett (1958-)
If nothing else, music lets you know that you’re not alone	Joan Jett (1958-)
Music is healing. It’s a really powerful thing, not to be taken lightly	Joan Jett (1958-)
I think music in itself is healing. It’s an explosive expression of humanity. It’s something we are all touched by. No matter what culture we’re from, everyone loves music	Billy Joel (1949-)
Musicians want to be the loud voice for so many quiet hearts	Billy Joel (1949-)
Music has healing power. It has the ability to take people out of themselves for a few hours	Elton John (1947-)
I been studyin’ the rain and I’m ‘on drive my blues away	Robert Johnson (1911-1938)
Some people tell me that the worried blues ain’t bad. Worst old feelin’ I most ever had	Robert Johnson (1911-1938)
The blues is a low down achin’ chill	Robert Johnson (1911-1938)
If you think you’re too old to rock ‘n’ roll then you are	Ian ‘Lemmy’ Kilmister (1945-2015)
And as long as people have problems, the blues can never die	BB King (1925-2015)
Notes are expensive… spend them wisely	BB King (1925-2015)
I think no matter what kind of music you play, there will be moments when you feel like it’s all been done before	Kerry King (1964-)
Music is my life, it is a reflection of what I go through	Lenny Kravitz (1964-)
And I think for me, any great art is art which communicates human emotion	Greg Lake (1947-2016)
The bottom line is that musicians love to make music and always will	Jennifer Lopez (1969-)
If being an egomaniac means I believe in what I do and in my art or music, then in that respect you can call me that… I believe in what I do, and I’ll say it	John Lennon (1940-1980)
Songwriting is like… being possessed. You try to go to sleep but the song won’t let you	John Lennon (1940-1980)
Music is an extraordinary vehicle for expressing emotion – very powerful emotions. That’s what draws millions of people towards it. And, um, I found myself always going for these darker places and – people identify with that	Annie Lennox (1954-)
Nothing pleases me more than to go into a room and come out with a piece of music	Paul McCartney (1942-)
I always said punk was an attitude. It was never about having a Mohican haircut or wearing a ripped T-shirt. It was all about destruction, and the creative potential within that	Malcolm McLaren (1946-2010)
The popularity of punk rock was, in effect, due to the fact that it made ugliness beautiful	Malcolm McLaren (1946-2010)
Music is born out of the inner sounds within a soul	John McLaughlin (1942-)
Actors always want to be musicians, and musicians want to be actors	Marilyn Manson (1969-)
Music is the strongest form of magic	Marilyn Manson (1969-)
My music fights against the system that teaches to live and die	Bob Marley (1945-1981)
My music will go on forever. Maybe it’s a fool say that, but when me know facts me can say facts. My music will go on forever	Bob Marley (1945-1981)
One good thing about music, when it hits you, you feel no pain	Bob Marley (1945-1981)
I’m just a musical prostitute, my dear	Freddie Mercury (1946-1991)
Life is too short to listen to bad music	Freddie Mercury (1946-1991)
What I look for in musicians is a sense of infinity	Pat Metheny (1954-)
All musicians are subconsciously mathematicians	Thelonious Monk (1917-1982)
A musician’s or artist’s responsibility is a simple one, and that is, through your music to tell the truth	Tom Morello (1964-)
Music inflames temperament	Jim Morrison (1943-1971)
Music is the magic carpet that carries poetry	Jim Morrison (1943-1971)
Music is spiritual. The music business is not	Van Morrison (1945-)
You can’t stay the same. If you’re a musician and a singer, you have to change, that’s the way it works	Van Morrison (1945-)
Three chords and the truth – that’s what a country song is	Willie Nelson (1933-)
If it’s too loud, you’re too old	Ted Nugent (1948-)
If I ever really felt depressed, I would just start putting on all my old records that I played as a kid, because the whole thing that really lifted me then still lifted me then, still lifted me during those other times	Jimmy Page (1944-)
I’m all about inspiring young musicians to get out there and express themselves through music	Orianthi Panagaris (1985-)
Master your instrument. Master the music. And then forget all that bullshit and just play	Charlie Parker (1920-1955)
Music is your own experience, your thoughts, your wisdom. If you don’t live it, it won’t come out of your horn	Charlie Parker (1920-1955)
They teach you there’s a boundary line to music. But, man, there’s no boundary line to art	Charlie Parker (1920-1955)
You can’t go to the store and buy a good ear and rhythm	Les Paul (1915-2009)
If children are not introduced to music at an early age, I believe something fundamental is actually being taken from them	Luciano Pavarotti (1935-2007)
I don’t know, my music has always just come from where the wind blew me. Like where I’m at during a particular moment in time	Tom Petty (1950-2017)
Music is probably the only real magic I have encountered in my life. There’s not some trick involved with it. It’s pure and it’s real. It moves, it heals, it communicates and does all these incredible things	Tom Petty (1950-2017)
I don’t know how much more expressive you can get than being a rock and roll singer	Robert Plant (1948-)
Music is for every single person that walks the planet	Robert Plant (1948-)
I like music that’s more offensive. I like it to sound like nails on a blackboard, get me wild	Iggy Pop (1947-)
Music is life, and life is not a business	Iggy Pop (1947-)
‘Punk rock’ is a word used by dilettantes and heartless manipulators about music that takes up the energies, the bodies, the hearts, the souls, the time and the minds of young men who give everything they have to it	Iggy Pop (1947-)
Rock and roll music, if you like it, if you feel it, you can’t help but move to it. That’s what happens to me. I can’t help it	Elvis Presley (1935-1977)

I’m always happy. I’m never sad. I never slow down. I’m constantly occupied with music	Prince (1958-2016)
Music is music, ultimately. If it makes you feel good, cool	Prince (1958-2016)
The hardest thing with musicians is getting them not to play	Prince (1958-2016)
The key to longevity is to learn every aspect of music that you can	Prince (1958-2016)
I am flattered to have been the woman to have opened the door for female rockers to be accepted into the mainly male industry	Suzi Quatro (1950-)
Rock n’ roll! It’s the music of puberty	Suzi Quatro (1950-)
Music is enough for a lifetime but a lifetime is not enough for music	Sergei Rachmaninoff (1873-1943)
I never saw music in terms of men and women or black and white. There was just cool and uncool	Bonnie Raitt (1949-)
The great thing about the arts, and especially popular music, is that it really does cut across genres and races and classes	Bonnie Raitt (1949-)
All punk is is attitude. That’s what makes it. The attitude	Joey Ramone (1951-2001)
Rock ‘n’ roll is very special to me. It’s my lifeblood	Joey Ramone (1951-2001)
The only love affair I have ever had was with music	Maurice Ravel (1875-1937)
Music is the greatest communication in the world. Even if people don’t understand the language that you’re singing in, they still know good music when they hear it	Lou Rawls (1933-2006)
Music should come crashing out of your speakers and grab you, and the lyrics should challenge whatever preconceived notions that listener has	Lou Reed (1942-2013)
My God is rock ‘n’ roll	Lou Reed (1942-2013)
My music, I hope, takes 100% of your concentration. I know how to do that	Trent Reznor (1965-)

If you don’t know the blues… there’s no point in picking up the guitar and playing rock and roll or any other form of popular music	Keith Richards (1943-)
Music is a language that doesn’t speak in particular words. It speaks in emotions, and if it’s in the bones, it’s in the bones	Keith Richards (1943-)
Music is a necessity. After food, air, water and warmth, music is the next necessity of life	Keith Richards (1943-)
Rock and Roll: Music for the neck downwards	Keith Richards (1943-)
To make a rock ‘n’ roll record, technology is the least important thing	Keith Richards (1943-)
I’ve always said music should make you laugh, make you cry or make you think. If it doesn’t do one those things, then you’re wasting everybody’s time	Kenny Rogers (1938-)
Texas is a hotbed of insanely good bands and musicians	Henry Rollins (1961-)
The musician is perhaps the most modest of animals, but he is also the proudest	Erik Satie (1866-1925)
Anyone who loves music can never be quite unhappy	Franz Schubert (1797-1827)
There is no such thing as happy music	Franz Schubert (1797-1827)
When you play, never mind who listens to you	Robert Schumann (1810-1856)
Songs won’t save the planet, but neither will books or speeches	Pete Seeger (1919-2014)
The music that I have learned and want to give is like worshipping God. It’s absolutely like a prayer	Ravi Shankar (1920-2012)
Music is forever; music should grow and mature with you, following you right on up until you die	Paul Simon (1941-)
Music is feeling. You can try to verbalize it. It really just hits you or it doesn’t	Gene Simmons (1949-)
Artists, musicians, scientists – if you have any kind of visionary aptitude, it’s often something that you don’t have a choice in. You have to do it	Patti Smith (1946-)

I don’t think I’ll ever write a song that’ll ever move me as much as ‘Faith’, that’ll change my life as much as that song did, or encapsulates a period of my life as well as that one does	Robert Smith (1959-)
I do a job I really, really love and I kind of have fun with. People think you can’t be grown up unless you’re moaning about your job	Robert Smith (1959-)
I had no desire to be famous; I just wanted to make the greatest music ever made. I didn’t want anyone to know who I was	Robert Smith (1959-)
I honestly don’t class myself as a songwriter. I’ve got ‘musician’ written on my passport. That’s even funnier	Robert Smith (1959-)
I lose myself in music because I can’t be bothered explaining what I feel to anyone else around me	Robert Smith (1959-)
The best music is essentially there to provide you something to face the world with	Bruce Springsteen (1949-)
Half the battle is selling music, not singing it. It’s the image, not what you sing	Rod Stewart (1945-)
If you play music with passion and love and honesty, then it will nourish your soul, heal your wounds and make your life worth living. Music is its own reward	Sting (1951-)
A painter paints pictures on canvas. But musicians paint their pictures on silence	Leopold Stokowski (1882-1977)
I haven’t understood a bar of music in my life, but I have felt it	Igor Stravinsky (1882-1971)
My music is best understood by children and animals	Igor Stravinsky (1882-1971)
Too many pieces of music finish too long after the end	Igor Stravinsky (1882-1971)
People have told me songs I’ve written have changed their life. That`s remarkable. That keeps your faith	Joe Strummer (1952-2002)
Punk rock isn’t something you grow out of. Punk rock is an attitude, and the essence of that attitude is ‘give us some truth’	Joe Strummer (1952-2002)
I believe 100 percent in the power and importance of music	James Taylor (1948-)
I never wanted to get rich or be a star. I’m an old bastard but I’m still playing! That’s the point	Bernie Tormé (1952-2019)
Music acts like a magic key, to which the most tightly closed heart opens	Maria von Trapp (1905-1987)
Music – what a powerful instrument, what a mighty weapon!	Maria von Trapp (1905-1987)
Music is a great natural high and a great natural escape	Shania Twain (1965-)
I’m always pursuing knowledge; I’m a seeker of spiritual equilibrium – and music is a big part of that	Steve Vai (1960-)
Music really is a way to reach out and hold on to each other in a healthy way	Stevie Ray Vaughan (1954-1990)

I don’t know if any genuine, meaningful change could ever result from a song. It’s kind of like throwing peanuts at a gorilla	Tom Waits (1949-)
I like beautiful melodies telling me terrible things	Tom Waits (1949-)
Songs really are like a form of time travel because they really have moved forward in a bubble. Everyone who’s connected with it, the studio’s gone, the musicians are gone, and the only thing that’s left is this recording which was only about a three-minute period maybe 70 years ago	Tom Waits (1949-)
The universe is making music all the time	Tom Waits (1949-)
I been in the blues all my life. I’m still delivering ‘cause I got a long memory	Muddy Waters (1913-1983)
My blues are so simple but so few people can play it right	Muddy Waters (1913-1983)
The blues had a baby and they called it rock and roll	Muddy Waters (1913-1983)
Being a musician is a noble profession	Paul Weller (1958-)
Music is very spiritual, it has the power to bring people together	Edgar Winter (1946-)
I think the blues will always be around. It just takes one person to make people aware of the blues	Johnny Winter (1944-2014)

I couldn’t do no yodelin’, so I turned to howlin’. And it’s done me just fine	Howlin’ Wolf (1910-1976)
I don’t play anything but the blues, but now I could never make no money on nothin’ but the blues. That’s why I wasn’t interested in nothin’ else	Howlin’ Wolf (1910-1976)
I just play blues for fun	Howlin’ Wolf (1910-1976)
When you ain’t got no money, you got the blues	Howlin’ Wolf (1910-1976)
Music, at its essence, is what gives us memories. And the longer a song has existed in our lives, the more memories we have of it	Stevie Wonder (1950-)
Music is a world within itself, with a language we all understand	Stevie Wonder (1950-)
The musical soundscape is an endless road	Zakk Wylde (1967-)
I am probably the last of a generation to be able to gain an education in country music by osmosis, by sitting in a ’64 Ford banging the buttons on the radio	Dwight Yoakam (1956-)
I think the most important thing about music is the sense of escape	Thom Yorke (1968-)
Rock and roll is here to stay	Neil Young (1945-)
There’s an edge to real rock ‘n’ roll. It’s all that matters	Neil Young (1945-)
I don’t understand this phrase ‘I’ve paid my dues’. We didn’t have any money and lived on peanut butter and jelly, and I loved it. I don’t regret any of it. We never expected to make it this far, but we worked hard to get here	Ronnie Van Zant (1948-1977)
If prisons, freight trains, swamps, and gators don’t get ya to write songs, man, y’ain’t got no business writin’ songs	Ronnie Van Zant (1948-1977)

A composer is a guy who goes around forcing his will on unsuspecting air molecules, often with the assistance of unsuspecting musicians	Frank Zappa (1940-1993)
All the good music has already been written by people with wigs and stuff	Frank Zappa (1940-1993)
Information is not knowledge. Knowledge is not wisdom. Wisdom is not truth. Truth is not beauty. Beauty is not love. Love is not music. Music is THE BEST	Frank Zappa (1940-1993)
Jazz is not dead, it just smells funny	Frank Zappa (1940-1993)
Most people wouldn’t know music if it came up and bit them on the ass	Frank Zappa (1940-1993)
Music is always a commentary on society	Frank Zappa (1940-1993)
There are more love songs than anything else. If songs could make you do something we’d all love one another	Frank Zappa (1940-1993)
Without music to decorate it, time is just a bunch of boring production deadlines or dates by which bills must be paid	Frank Zappa (1940-1993)
You can’t always write a chord ugly enough to say what you want to say, so sometimes you have to rely on a giraffe filled with whipped cream	Frank Zappa (1940-1993)

Tailpiece

Well, the above represents a veritable roll call of music royalty covering multiple centuries. As you might have expected, these maxims from musicians about music are often passionate, heartfelt and powerful, almost beyond words. The historical male dominance of the industry is clear and look forward to more female music professionals being credited for their insightful observations in the future.

There is, as mentioned last month, a certain irony in using plain words to articulate the meaning of music but that is just the medium I’m using. I would encourage you to listen to the source material for many of the elements covered in this series so far. There is a lifetime of ever‑growing musical exploration to be had out there.

CRAVE Guitars posts a ‘quote of the day’, both about music and more generally about ‘life, the universe and everything’ (Douglas Adams) every day on Twitter and Facebook. The previous article and this one have allowed me to draw from that broader research and to focus resources on the collective wisdom of this particular theme.

Having now done two consecutive articles on quotations, you are probably all quoted out by now, so be reassured that there won’t be any more for a while (except my traditional personal observation at the end of every article). As far as I can tell, this is the penultimate article in this long series, which means that, all being well, we should culminate the next month, as scheduled. As a bit of bait, I will leave you to ponder what else might be espoused in the way of a conclusion. Any guesses?

Despite the global shutdown of society, I’m sticking to what I know and love doing, which is to continue my mission to share with anyone who may be interested some selfishly selected stuff about ‘Cool & Rare American Vintage Electric’ Guitars. Weirdly, I am actually very comfortable in splendid seclusion and I would be quite happy to continue a relatively hermetic lifestyle whatever comes to pass. In the meantime, above all, please look after yourselves and take care – stay home, stay safe. Until next time…

CRAVE Guitars’ ‘Quote of the Month’: “True wealth is appreciating what you have now and neither grieving for what you might have had nor for what you may wish to have”