29 Oct 2016

October 2016 – The South of England Guitar Show 2016

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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26 Jun 2016

June 2016 – What Does the (Digital) Future Hold?

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

CRAVE Guitars is returning to pretentious opinionated pontification (POP for short) for June 2016. The starting point for this month’s article is to have a bit of fun speculating about the future, especially given that musicians by and large tend to be a pretty ‘old‑school’ bunch. We tend to resist change and frequently pay considerable homage to the past as a reason to maintain the apparent status quo (not the band). The cause and effect fallacy that is past=good therefore future=not-so-good may be enhanced by selective rose-tinted specs, confusing perceptions about what was actually good with what wasn’t.

Whether you like it or not, we’ve already been experiencing the digital revolution for at least 30 years now. While previous paradigm shifts may have been triggered at a point in time, it often takes a very long period for society to move to a new zeitgeist. The industrial revolution didn’t happen overnight after all; it took decades for the benefits of modernisation to be fully realised as the norm and to become accessible to most.

I recall seeing recently that BOSS released the first digital delay stomp box in c.1984! Line 6 really turned things upside down by bringing acceptable digital modelling to the masses with its iconic POD. Digital recording now provides the mainstay of modern music production and it is generally regarded as a very good thing because it brings massive potential to musicians on a shoestring budget. We’ve also had digital music reproduction and distribution for longer than some probably care to remember. Listening to digital music wherever we are and whatever we’re doing is now the custom for the vast majority of ordinary people.

This fundamental shift raises a question about whether old and new can really co-exist in the long-term? Other than perhaps vinyl, analogue storage has now all but disappeared and unlikely to undergo a popular Renaissance. So, digital is here to stay. Get over it. It’s not clear from here on what music technologies will survive and which will be cast aside as minor entries in the history books. That natural filtering process will be down to us and whether the timing is right for a particular product.

Our obsession with musical history, whether conscious or subconscious, is likely to endure and may well influence our purchasing decisions for a very long time yet. Despite digital’s best attempts, we remain stubbornly wedded to certain bits of obsolete technology – the vacuum valves and moving magnet speakers in our amps for example. So what does digital do to capture our interest? It tries to sound just like the old stuff we had to put up with all those years ago – go figure! There is no doubt that digital provides quality, economy, reliability, consistency and convenience, as well as releasing a massive amount of dynamics, power and storage that was previously seen as unattainable. The benefits of digital music-making enable considerable freedom and choice, as well as providing new opportunities to experiment that would have been seen as ‘magic’ just 100 years’ ago.

There is no point in fighting advancement per se; the organised luddites didn’t succeed against the industrial revolution, so you won’t hold back the digital one. Individual resistance in the face of a mass movement will prove utterly futile. My supposition is sort of symbiotic relationship, with both old and new technologies relying on each other for their existence and with neither eradicating the other, i.e. we are likely to embrace the best of both worlds.

Technology isn’t what makes real music, it is musicians. We should not forget that unpredictable artistic creativity adds a crucial spark into the mix and it’s that which ultimately drives technological change (along with a sprinkling of economics). You can’t buy or make talent but you can make it easier for talent to thrive. To quote Keith Richards, “To make a rock ‘n’ roll record, technology is the least important thing”.

Neither can we ignore the benefits of innovation. The best of digital modelling allows most of us to get pretty close to experiencing rare and/or vintage equipment that we would otherwise have no hope of ever playing, let alone owning. Unless you’re a multi-millionaire, where on earth would you put all that gear even if you could afford it? Technology recreates great gear spookily well, all in a tiny box that doesn’t need much in the way of maintenance either. The rest is up to you.

However, where will it all end? Manufacturers in the digital world are continually trying to compete by leapfrogging in terms of functionality and features. Jump forward 20, 50, 100 or more years and try to think about it. A digital audio workstation of the 22nd century may well be connected directly into your brain, providing an infinite array of variables and you will adjust the tone for the minutest variation in pseudo-relic condition. No doubt, we will have digitally sampled ‘pops’, ‘crackle’ and ‘hum’ added back to a pure binary signal, just so that it sounds ‘authentic’. I would, however, assert that such a bewildering range of options can actually begin to act as a barrier to adoption, rather than an enabler. Being overwhelmed by complexity may not be good for the simpletons among us (like me).

There are also constraints on progress. For example, we guitarists have a massive dependence on the humble and archaic analogue jack plug (and socket). I’m not sure when it was invented but it is a great example of standardisation that has endured essentially unchanged since at least the 1930s. This is astounding endurance for what is actually not a very good connector. The industry has tried to move on but I’ll wager that, if you go into your local guitar store tomorrow, you won’t find a single electric guitar or amp that doesn’t still require one. After nearly a century of use, it will be a difficult item to displace, if only because of global ubiquity. Even if a new industry-wide successor is introduced, there is no way that anyone in their right mind would retro-fit a MIDI or USB port to, say, a ‘59 Les Paul Standard. Will we even still have USBs in the 22nd century and, if we do, will they be backwards compatible? Firewire anyone?

We can influence what happens. We continually tinker with the ingredients. We alter many of the variables on our guitars, e.g. strings, tunings, scale, frets, pickups, materials, etc., all in a quest for something we often can’t clearly define or articulate. Ultimately though, we keep coming back to the core, familiar product while duly tolerating such variations on a theme. A guitar is still a guitar… for now. Currently, most future guitars are still trees today; at least it’s an environmentally sustainable product. In the (nearer than you think) future, guitars may just be synthetic digital controllers, a la PlayStation. A quick Google search can be quite revealing (see the ‘future guitar’ examples throughout this article). Fascinating stuff.

So… looking forward a century to the year 2116, just what will guitar playing be like? Will we still spend our lucre on current major brands? Will we need strings or magnetic pickups? Possibly not. Will guitars colour-change for mood? Maybe – we’ve had illuminated guitars for some time anyway. Will they shape-shift for musical genre or aesthetic taste? I doubt it, but you never know. We’ve actually had guitar synths/controllers/digital guitars (e.g. Roland GK, SynthAxe, Casio DG10/20, Ibanez X-Ing) since the 1980s as well as synth effect pedals from the likes of Electro-Harmonix. Sophisticated sampling has enabled digital guitar modelling to arrive with the Line 6 Variax. Modular instruments have also been attempted and these might finally find their time and become the vogue. No-one really knows the future for sure. I bet ‘we’ will still want but won’t be able to afford that real vintage ’59 Les Paul held in a wealthy collector’s secure vault somewhere, and we will still hanker to recreate the look, feel and sound of one, even though we may never get to see one for real. Not much different from now in fact, with faithful recreations of the past.

The journey isn’t clearly defined and the outcome will evolve through a fascinating mixture of the past, present and future. You, or actually your descendants, will be able to pick up a physical vaguely guitar-shaped instrument (just 3D print a new one?) and it will still be processed through something to affect the signal (probably a cool digital app) and we need some means of being able to ‘hear’ it (sensory implants?). Will we flock to online gigs using VR headsets rather than physically trek to a distant venue to watch a live band in a sweaty beer‑stained crush? No real Glastonbury mud in the future then. Whichever way you look at it, technology will deeply affect our musical experience.

What will our musical tastes be like? Very different I guarantee. Look back at various sci-fi films from the 1950s and ‘60s that depict the then future and see a) how ‘of their time’ the music actually was, and b) how wrong they were about what was yet to come. Look back through the last few centuries to assess the increasing pace of change. The science of music (rather than the style of it), however, remains fixed because we are bound by physical laws that we cannot change or overcome. There will be unwavering and unstoppable progress, and it will be informed by the past (including what we call ‘now’). Will progress render our ability to make real music redundant, to be replaced by computer-generated musical products controlled by technologists rather than artists? I sincerely hope not.

Personally, I look forward to seeing what unfolds. I will enthusiastically grasp those tools that make music creativity quicker/easier/better and I’ll simply avoid those things that make it too difficult to play and work. In the end, I suggest that a recipe comprising pragmatism and diversity will prevail. Advances will occur at a pace that musicians will accept – no faster or slower. We will continue to worship the best of the past (while conveniently disregarding the worst). We will also learn to venerate the best of the future (whatever it may be), maybe not when it first appears but probably with the benefit of hindsight. One thing’s for sure, ‘Cool & Rare American Vintage Electric Guitars’ aren’t going to be consigned to a scrapheap anytime soon. Even CRAVE Guitar’s own 1981 Gibson RD Artist had Moog electronics back in the day.

Guitarists strive to be regarded as conservative traditionalists at one extreme while somewhat hypocritically we also desire (or feel obliged) to push the boundaries of what’s possible and acceptable at the other. Putting my highly unreliable predictions aside, a Brave New World beckons. A combination of old and new technologies will enable us to create original music in surprising and exciting ways. Be inspired, not afraid. Until next time…

CRAVE Guitars ‘Music Quote of the Month’: “Historians in the future will debate the contribution of Guitar Hero to the canon of 21st Century music. Discuss…”

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23 Jan 2016

January 2016 – The Guitarist’s Friends: Amplifiers and Effects

by Tony Drew | posted in: Opinion | 0

Most of my previous articles have focused on the venerable (electric) guitar – the source of the electrical signal that becomes music. This month, while there is probably a bit of ‘preaching to the converted’, it is perhaps worth reflecting for a moment and going back to basics.

As may be blindingly obvious, the instrument itself is only one part of the equation when making amplified music. On its own, unplugged, an electric guitar would be no good in front of a big audience. As we all know, electric guitars are dependent on some sort of amplification to convert the low-level signal from the guitar’s pickups to the speakers. Losing your amp mid-gig can be embarrassing and not great for your reputation. Even an acoustic guitar needs to be amplified in order to engage a modest sized audience and there is a whole industry now built around dedicated acoustic guitar amplifiers. This isn’t really my thang, so I won’t pontificate on what I don’t understand.

The oft-forgotten component in this signal chain after the instrument is the venerable lead. I express no opinion on this essential piece of kit other than to say that good quality interconnects are vital. If you use RF transceivers, the same principle applies. These items are integral to your overall sound and it is generally worth every penny to preserve your and your guitar’s inherent musical characteristics. They may not be shiny or ‘sexy’ but scrimp on them at your peril.

Then we get onto one’s amplifier of choice. These can be anything from a diminutive, battery powered box to an impressive backline of Marshall stacks turned up to 11. It’s amazing to think that the venerable Marshall stack was 50 years old in 2015. The advent of home recording has led to an explosion in digital modelling and even the use of the iPhone/iPad can bestow tone-enhancing functions beyond the dreams of many recording pioneers. The Line 6 Pod brought about a revolution in digital amp modelling, embraced by many musicians who could see the potential opportunities of technology. Interestingly, rather than create something unique and innovative all of its own, the digital world has gone to enormous lengths to simulate the soundscape of our favourite vintage valve amps and cabinets, perhaps suggesting that those pioneers got something right in the first place.

So… what’s your favourite sounding amp? And, before you start, yes they do have a sound of their own, irrespective of what’s played through them. Fundamentally, it’s down to individual taste. Personally, I tend to favour the ‘American sound’, such as the classic Fender amps, rather than the stalwarts from this side of the Atlantic, typified by Marshall, Vox and Orange. Gibson, surprisingly, has never been as commercially successful at making guitar amplifiers, leaving opportunities for other US makers such as Mesa/Boogie and Peavey. How about some other classic names from the past, such as WEM, H/H, Roland, Laney, Sound City and Hiwatt, amongst others – some still going while others are history. The differences between the various brands are, unsurprisingly, manifold. Nowadays there is a plethora of amps ranging from the far eastern mass-produced to the US and UK boutique builders. Ultimately, it is down to individual taste and, perhaps, what guitar you play. For info, I currently use a vintage Music Man (click here to see the amp feature…) and a modern Cornford Carrera combining the best of US and UK heritage. It is with much sadness that neither are still in production. I recently purchased the wonderful mid-70s vintage Music Man 210 ‘sixty-five’ amp to use as my main amp of choice. This means that some tranny practice and studio gear may have to become ex-loved CRAVE items soon.

Over time, there have evolved recognised and well-accepted guitar/amp pairings, such as the humbucker equipped Gibson Les Paul through a Marshall amp, or the single coil loaded Fender Stratocaster through a Fender amp. However, there are now so many different permutations that provide limitless possibilities for creating one’s own personal signature sound. Why so many guitarists strive to recreate the sound (and style) of others rather than seek a unique, individual signature of their own is probably best left for another debate. For practicality, modern valve amps are safe, reliable and sound great, while digital alternatives give a very good impression of many classics that, let’s face it, most of us will never get to play (let alone own) for real, so let’s not get too snooty. Whether you go for a traditional approach or you adopt a mix-and-match attitude to differentiate your sound, you can experiment to your heart’s content. There is no right or wrong, just what inspires your creativity. That’s the joy of our beloved hobby.

Then, in addition to amplification, there is an abundance of effects units (a.k.a. FX, stompboxes, pedals, etc.) from the mass-manufactured giants to the tiny custom-built independents. The choice is plentiful. The history of stompboxes really started in the 1960s with the fuzz and wah-wah, and has flourished ever since. Now, you can create almost any live or studio sound that you want, from subtle enhancement to unrecognisable noise sculpting. Take your pick between analogue, digital or hybrid, whatever takes your fancy. Personally, I have a soft spot for 1970’s lush vintage analogue Electro-Harmonix effects pedals, such as the Big Muff Pi, Memory Man and Electric Mistress. For modern effects, I generally use Boss and Line 6 units. So much choice, so many opportunities, so little time to experiment. One could spend a lifetime exploring the creative tonal capabilities of effects alone without ever really listening to what the guitar itself can do. Again, it is worth investing in quality leads and power supplies to avoid degrading the magic of your performance.

One characteristic I’ve noticed is the traditionalism that extends from guitars to amps and effects. Many of today’s designs are either copies of, or are heavily influenced by, the past, for example emulating the classic Ibanez Tube Screamer, Dunlop Fuzz Face/Cry Baby or MXR Phase 90. Occasionally, there is genuine innovation; the Digitech Whammy pedal or Roland Loop Station spring to mind? I wait in anticipation for the ‘next big thing’ to challenge our usually conservative prejudices. In the meantime, there is a growing interest in acquiring vintage amps and effects to add to instruments and therefore (re)create the original setups heard on iconic stages and in countless studios for what seems a lifetime of great music, effectively reconstructing the soundtrack of our lives for new audiences. A subject for a future article.

CRAVE guitars are frequently played unamplified to get a feel for the way they resonate and respond to touch without any electronics. Other times, when the mood takes, it is fun just to pile on ridiculous amounts of modification and enjoy the sonic chaos created by rampant knob‑twiddling. Isn’t the electric guitar a wonderful thing, especially when allied to your favourite sound enhancing electronics? Where would we be without them all? Enjoy. Until next time…

CRAVE Guitars ‘Music Quote of the Month’: “Learn from other musicians; don’t copy them or the best you’ll ever be is an average plagiarist”

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7 Sep 2015

September 2015 – My Top 10 Vintage Guitars (So Far)

by Tony Drew | posted in: Opinion | 0

For this article, I thought I’d explore my top 10 favourite vintage guitars and why. As usual, this isn’t as easy as I thought it would be. There are so many great guitars to choose from and that’s just from Fender and Gibson, never mind the wealth of wonderful instruments from a multitude of other manufacturers. Here I focus on guitars from the big 2 brands only – an ‘alternative’ selection may be for another time.

That got me thinking and then agonising about what to include, what to leave out, what order to put them in and how on earth I was going to justify my selection. They aren’t just CRAVE guitars (unfortunately!), they simply represent what I see as the epitome of vintage guitar awesomeness, even if it is not the accepted view of the pinnacle of guitar greatness. What are my criteria for short‑listing you ask? In the end, there was actually only one criterion, my own personal value judgement. I make no excuse for being biased and, in some ways, prejudiced in my choices. To be clear though, it has absolutely nothing to do with financial value, which in my opinion is the abhorrent side of vintage guitars and should not be the starting point for inclusion (or indeed exclusion).

There are some predictable entries and, I hope, some less than obvious ones on the list. So… here we go, the CRAVE Guitars top 10:

1. Gibson SG – specifically, for me at least, the Gibson SG Junior from the early-mid 1960s claims the prize at number 1. The single P90 pickup screams and a good one is just SO alive in your hands. The Junior can be a truly inspirational guitar to play and is clear evidence of ‘less is more’; its innate simplicity is also its vital strength. Don’t get me wrong, the Special, Standard and Custom all play their part admirably and are great instruments in their own rights with or without the bling. Whichever model you prefer, the SG is light, resonant, powerful, and has exceptional upper fret access. Many pundits relegate it unjustly to hard rock or metal duties because of its ‘devil horns’ shape but that overlooks its abilities. The SG is such a versatile guitar whether using P90 or humbucking pickups. Taking it to an extreme, just think of Jimmy Page with his twin-neck EDS-1275 in the ‘70s at Led Zeppelin’s peak. On this occasion, t’s the humble but astonishing SG Junior that takes the top spot, and deservedly so in my opinion. Simply sensational.

2. Gibson Explorer – unbelievably designed in the late 1950s, the Explorer is unique, avant-garde and a fantastic experience. Contrary to some views, they are surprisingly comfortable to play either standing or seated, although finding a guitar stand for one can be tricky! I have a soft spot for the ‘modernistic’ style, which in 1958 would have been shockingly radical for a musical instrument, even more so ‘out there’ than Fender’s Strat. After a brief reissue in the ‘70s, the Explorer was reintroduced in the 1980s and endowed with the mighty “Dirty Fingers” humbucking pickups which are something else when overdriving the right amp. They also released the arty Designer series, a flamed maple top of the E2 and CMT variations, as well as a few with 3x P90 pickups! Also like the SG, it is misunderstood – it isn’t just a metal guitar, although it is undoubtedly the progenitor of, and the archetype for, so many heavy rock guitars that followed. Like its shape, the Explorer demands something from its player – take the challenge head on and don’t shy away from it – it’s well worth it.

3. Fender Telecaster – the first mass-produced solid body electric guitar, the humble but expertly designed Tele has endured for over 6 decades and is still evolving today (the intriguing Cabronita, anyone?). For me, the standard Tele is a fabulously versatile ‘do it all and more’ guitar. However, my particular interest stems in the CBS-era variants, such as the wonderful Thinline, the Gibson‑infused Deluxe and the ‘Keef’ influenced Custom, all blessed with terrific Seth Lover designed humbucking pickup. Unfortunately, I can’t afford an original single-pickup Esquire or the Custom Telecaster with the bound body but I keep looking. In the early 1980s, there was also the “Dan Smith”‑era Elite, with active electronics to mix things up a bit. Why not search out a Tele derivative and explore what it can do, you may well be surprised? While the more esoteric models will never replace the professional’s workhorse, they complement it nicely. Like the Stratocaster, the early ones are sadly now becoming too expensive for most of us.

4. Gibson Les Paul – I’m not talking about just any old Les Paul here, let’s take a walk on the wild side within the iconic family. For me, it’s the early single-cut Les Paul Special in TV Yellow or tobacco sunburst with 2 P90 pickups that is really, well, special. The double-cut Junior and Special are also hugely underrated compared to their brethren with a delightful body shape to boot. On this occasion, though, the Special beats the Junior. More leftfield is the Recording, a low impedance design favoured by the legend with his name on the headstock. Then there’s the Deluxe with its cute mini-humbuckers giving it a unique voice. Going more mainstream, there is the Custom with all its uber-rock flamboyance which, as a young aspiring guitarist, was bewitching in its appeal. Finally, who can deny the historical significance of a ‘50s Standard in either original gold top or later sunburst finishes; if only they weren’t way out of the reach of us mere mortals. Sigh.

5. Fender Jazzmaster – another late ‘50s design. Quite bulky but, wow, what a departure from the established Strat and Tele lines. The unique single coil pickups, the rhythm circuit and the bespoke muted vibrato give it a special place in electric guitar evolution. The Jazzmaster’s partner in crime, the Jaguar is equally notable with its shorter scale and even more complex electrics. Both represent an innovative alternative to the norm. Intended to be top of the Fender range, the Jazzmaster failed to find favour with the set-neck, archtop brigade, and found its niche in surf rock of the Beach Boys, post punk, like Elvis Costello and, more latterly, with dirty indie music from the likes of Sonic Youth and Dinosaur Jr. There is another notable variation on the offset body theme, the quirky Fender Bass VI, a phenomenal instrument if you can attune to its idiosyncrasies. Another quirky variant is the Electric XII, more than simply adding 6 extra strings. If you can lay your hands on a vintage Jazzmaster or Jaguar in a custom colour, grab it, play it, and smile… a lot.

6. Fender Mustang – this may not be everyone’s choice but in my opinion, the Mustangs, along with siblings, the Musicmaster and Duo-Sonic (and obscurely, the Bronco) are not only cute but also crucial to making quality instruments available to a wider mass audience. They demand more respect and credibility in some quarters. Not everyone could afford premium instruments… or even physically play them! The quality is top notch and, looking beyond the ‘2nd class citizen’ stigma, they actually sound great and, for some, are easy to play. Without the Mustang family, many guitarists may never have picked up a guitar and eventually turned pro. As a guitarist, I find using one up makes me play slightly differently, so they are good when inspiration or a change in mood is needed. Although they are now going up in value, vintage Mustangs et al are under-appreciated by collectors and, as a result, are certainly more accessible to ordinary people on a budget which, let’s face it, is probably most of us. Recommended.

7. Gibson Firebird – now here’s an interesting instrument and one deserved of greater adoration. The Firebird dates from early ‘60s industrial design. First there was the neck-thru ‘reverse’ body with the side wings, awesome mini‑humbuckers and banjo tuners, perhaps the model most observers are familiar with. Originally not that successful and prohibitively expensive to construct, they went and changed it completely! Gibson went through a short period where more traditional manufacture was needed and the ‘non‑reverse’ body came along, which in my view is just as worthy of critical attention and, is arguably, aesthetically very attractive. Some say the ‘non-reverse’ shape ripped off Fender’s Jaguar/Jazzmaster, you decide. And… what’s with the model numbering – I, III, V, VII? The Firebird design also spawned the remarkable Thunderbird bass. The whole aura surrounding the Firebird is eccentric and intriguing. OK, so the ‘reverse’ body is unbalanced and a bit of a handful but, what the heck, just let those ‘birds fly. Like the guitar’s namesake, the phoenix has risen from the ashes for the new millennium and it really rocks.

8. Fender Stratocaster – the Strat is just SO significant in modern music history that it has a following of almost religious proportions. Its past, present and future is pretty much cemented and, arguably, it would be heresy to mess with the basic premise too much. It remains a stunning guitar even today, let alone in the mid-‘50s when it was let loose on the public for the first time. For me, though, it hasn’t quite had the diverse range of interesting, experimental derivatives to excite its way to the top of the list (compare the Telecaster and Les Paul entries). The Strat’s historical dominance almost imposes a moral obligation to include it here. My other axe (sic!) to grind is that pretty much any pre‑‘70s U.S. Strats are just so expensive on the vintage market, meaning that a genuine, good condition old Strat is now for the pros and collectors only. Undoubtedly the Stratocaster is a great instrument that, on its merits, justifies inclusion in any list of greats, although not simply by default. Equally, it cannot be ignored because of its innate familiarity, so here it is at number 8. P.S. Don’t get me wrong, one of my favourite guitars is a ‘70s Strat!

9. Gibson Melody Maker – a chart entry warranted on much the same basis as the Fender Mustang at number 6. So why, you might ask, is the unassuming Melody Maker 3 positions down from the Mustang? I think it’s a lack of coherency over its short original life, like it was trying to find its real sense of purpose and place. The early, short-lived (and therefore rare), Les Paul-like single cuts are fabulous and the 2nd generation MMs have, in my opinion, one of the prettiest body shapes that isn’t famous or in current use. The 3rd incarnation, in my view, is plain ugly, especially compared with what went before. The 4th and final vintage shape was (lazily?) based on the SG, which undermined both instruments’ credibility (but still cool). So, a bit of an identity crisis but cutting to the chase, underrated and much, much better than the traditionalists (snobs?) would have you believe. The Fender-like single coil pickups didn’t find favour with pro musicians seduced by humbuckers and P90s. Unbelievably light, resonant, easy to play and those cheeky single coil pickups are funky and cool. There is a potential ‘bargain’ to be had for many vintage enthusiasts.

10. Gibson ES-330 – perhaps another controversial entry, given all the hyperbole and plaudits associated with the ES-335. Perhaps that’s why I want to raise the profile of the P90-equipped ES-330 semi. While the humbucker-endowed ES-335 has the solid maple block running through the body, the ES-330 is fully hollow. People heap praise on the Epiphone Casino but not so much on the understated ES-330, despite the fact that they are essentially the same design, suggesting some sort of unfair partiality (and perhaps The Beatles affiliation). The single coil pickups combined with the hollow body make it light, resonant and give it a distinctive vintage vibe all of its own. OK you wouldn’t want to use it in high-gain situations but, come on, it isn’t a heavy rock/metal guitar anyway. In today’s low-decibel world, they are finding proper recognition. Acknowledgement is bestowed on the ES-335 and its upmarket siblings, the ES-345 and ES-355, as well as the Trini Lopez signature model. However, for my list, it’s the modest ES-330 that takes the last-but-not-least place in this particular top 10.

There you have it. What was left out? Well there is the Gibson Flying V mainly because it is such an impractical beast and just such a difficult instrument to play sitting down or even to put on a normal stand. I haven’t included the seminal Fender basses because, let’s be honest, I’m a guitarist, although they deserve acknowledgement. Furthermore, I would advocate every guitarist picking up a bass every now and then to take a different perspective on making music. There are plenty of other ES-range guitars, such as the ES-150 (top of my ‘wanted’ list) and ES-175, both great guitars and, for me, both just outside the top 10. The Fender thinline semis (Starcaster and Coronado) just didn’t make the grade in this company, sorry. Extending the selection to Gretsch and Rickenbacker is beyond the scope of this article (and my knowledge). Also, the list has to stop somewhere.

So there you have my opinion, as at the time of writing. It’s not right or wrong, or arrogant, just my personal perspective. It is likely to be a different list tomorrow, next week, and in 5 years’ time. Take from it what you will. How about composing your own list, along with saying why and share it with others to debate? One thing I will guarantee, your top 10 will be different from mine and that can only be a good thing. Discuss… Until next time…

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25 Jul 2015

July 2015 – Designs For Life

by Tony Drew | posted in: Opinion | 0

In the 1950s and early 1960s, electric guitar design and construction were innovative, revolutionary and brand-spanking new. As such, they represented a paradigm shift in image that reflected the zeitgeist of the era so closely as to be inseparable. Those early blueprints of today’s musical instruments, at least from the ‘big four’ (Fender, Gibson, Gretsch and Rickenbacker), are integral and clearly visible to the DNA of modern instrument manufacturing.

So… why then have the classic vintage guitar designs perpetuated, almost unchanged, for over 50 or even 60 years? Manufacturers have toyed with new designs and variations on existing models over the intervening decades with varying degrees of success. Yes, they keep playing around the margins to draw new, mainly younger, punters to shiny showrooms (and now online) with the temptation of shiny new product. However, the ‘big four’ would not be successful today without the core brand icons of the past. For Fender, it’s the Stratocaster, Telecaster and Precision bass. For Gibson, it’s the Les Paul, SG and ES-335. Fans of other models, please accept my apologies but bear with me while I make the point. The quintessential key elements from the early days of rock ‘n’ roll have been preserved intact. It would be sacrilege to change classical orchestral instruments, so does the same ‘fossilisation’ of progress now apply to our beloved 4 and 6 strings? If it does, how will they adapt and survive into the digital future, especially as us older generations pass on? Take the venerable amplifier valve, the magnetic pickup and the utilitarian jack plug; all dinosaurs from a bygone age that remain with us, but for how long?

This specific phenomenon is almost unique in 20^th/21^st century industrial design. I can’t think of many products that were introduced 60 or more years ago where the technology has sustained mostly unmolested in the face of ‘progress’. As consumers, we wouldn’t tolerate that apparent lack of evolution for our houses, cars, TVs, white goods, computers or just about anything else. If we looked at guitars in that way, they would look and play very different to the ones we know and love.

This may also help to explain why some collectors worship at the altar of originality and reject the ‘heresy’ of refinishes, repairs or modifications. The consequence is that ‘we’ now revere the inherent manufacturing inconsistencies of the early days of electric guitar production as a ‘good thing’, rather than as quality control issues, which is what they actually were. It also may explain why the value of ‘pure’ museum-quality examples is a holy grail for many, often to obsessive/compulsive levels of detail. Compare the classic car market where conservation (rather than preservation) is not only accepted but encouraged, in order to keep them going.

One of my favourite guitars (in fact CRAVE’s ‘signature’ 1975 Gibson Les Paul Standard cherry sunburst), would be an anathema to collectors, it has been refinished (twice!) and has a number of non-original parts but is otherwise solid. It has the unpopular ‘sandwich’ mahogany body with a maple neck. However, I love it. I bought it from its first keeper and have owned and played it for nearly 40 years. I think it is much prettier than its original tobacco sunburst or even its mid‑life natural finish. The repairs were necessary to keep it as a working instrument and in my opinion it is great to play and sounds as a Les Paul should. Its monetary value is peanuts compared to a ‘proper’ Les Paul of the period but I don’t care (well, maybe just a little bit).

Anyway, back to the point, when we are talking about an aforementioned Strat, a Tele, a Les Paul, an SG or an ES-335, it is testament to the talent, vision, entrepreneurialism, creativity and innovation of the original designers to create genuinely timeless artefacts that are as good today as they were when they were created, long before computer controlled design and production lines were imagined. Remember that Leo Fender couldn’t even play guitar! Another key factor that differentiates old from new is the restriction on the movement of unsustainable woods, which is actually very good for the future of our planet. It will be interesting to see how this will affect the next generations of guitars and their appeal to punters and then collectors.

Coming back to those other key models from Fender and Gibson, that defining genius still holds true including, Flying Vs, Explorers, Firebirds, Mustangs, Jazz basses, etc. Gretsch and Rickenbacker are also affected by this apparent lack of evolution. Genuinely new designs often fall at the almost impenetrable barrier of market entry with, perhaps, PRS as the major exception to the rule, now a grand 30 years old. Radical designs are often left to other companies, often using ‘unconventional’ materials to differentiate and excite. Many have tried, few have succeeded. The diversity of that failed evolution is fascinating. Many collectors focus on these extinct relics, which is actually a really good thing as they can be conserved for posterity and for future generations to appreciate. Venturing off the beaten track can also represent a real bargain, especially if you like something a bit different.

Conclusion – guitarists (and bass players) don’t seem to like major change very much. A large proportion of professional musicians still prefer to record (if not play live) with vintage guitars, so there must be something more than pure mystique. Will our wonder, adoration and sentimentality for a rose-tinted past endure unadulterated for another 60 years (think ahead to what our world may be like in 2075!), long after most of us will have met our proverbial maker? What sort of music will they be playing? Literally, only time will tell. By then, my poor‑man’s 1975 Les Paul may be desirable to someone who has yet to be born! One thing is for sure, I won’t see that day. An interesting thought nevertheless. Ponder on that until next time…

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21 Jun 2015

June 2015 – From then to now (and back again)

by Tony Drew | posted in: Opinion | 0

What is the story of your journey from the first guitar you owned to the most recent? Mine was probably pretty typical. It was never a conscious adventure towards a clear destination. I was in my early teens when my father gave me a second hand, no‑brand classical guitar, complete with nylon strings – he got it in lieu of a debt, I think. I gave it a go and, for some unknown reason, decided to persevere with it. It was the early ‘70s, so maybe I too could dream of being like Marc Bolan or David Bowie! It was a chore at first with lots of sore fingers and clumsy fumbling while learning basic chord changes and scales. Oh, and the ‘joy’ of ‘striking the pose’ of course!

For all my efforts, I wanted the reward of getting a proper, shiny, loud electric guitar. I was lucky enough to get a cheap package of guitar and amp but they didn’t last long before they were, erm, ‘adapted’! After a period in my mid-teens, during which my playing failed to improve greatly, I rose to the giddy heights of owning generic far eastern Les Paul copies (horrible things). I wanted to play in a band and had great fun learning to make music with others, including a few poorly‑attended live appearances. Oh well. In the late ‘70s, I went to work for a music distribution company, just to be part of the business. Then, at last, I got my hands on the real thing. After a Fender Mustang, I bought a ’77 Fender Stratocaster and a ’75 Gibson Les Paul, both of which I still have to this day.

I even dabbled with bass guitar, I still have them too. My playing though, sadly, did not progress with time and, after much soul searching, I came to the painful realisation that I needed to reassess my expectations and priorities. So, I reluctantly became a traditional ’grown up’ with a family, a mortgage and my unrequited dream of becoming a lycra-clad, global Rock God with big hair, recreational substances and limitless groupies was regrettably relinquished. As a result, the guitars got used less and less, until they were put away for a decade or more.

By the time I was old (in my forties!), I went into a well-known guitar shop in Cardiff and fell for an ‘88 Black Fender Telecaster, which I still have. That started the ‘gear acquisition syndrome’ (a.k.a. GAS) all over again. A rapid proliferation of diverse, newer instruments was halted when I came across a lovely black ’89 Gibson Les Paul Custom in Brighton, which I… (you see where this is going). I began an intense quest of finding cool and rare vintage electric guitars, importing several from the States. During a particularly horrendous period of my life, I was forced to cut back on all but my most prized Gibsons and Fenders, which had to be put in storage for temporary safe keeping.

Now, I am looking to the future and starting to rebuild my more-than-a-hobby. I am not at all wealthy (understatement!!!) but I am an enthusiast. I play the guitars at every opportunity, that’s what they were built for after all. My playing, well, you can guess. I still find it fun and it is very therapeutic. That’s my story… so far. I wonder where it will go from here. This web site is part of sharing my addiction with whoever wants to respect the awesomeness of these crazy lumps of wood, plastic and metal that we call vintage electric guitars. I am convinced they must have used some kind of magic hippie dust when they were made. Until next time…

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6 Mar 2015

March 2015 – Last and Next

by Tony Drew | posted in: Opinion | 0

What was the last guitar you bought and what do you think your next one might be? Here’s my take. As mentioned in previous blogs, after a hiatus period of about 8 years, I am back into the whole vintage guitar thing. In the last year, I have bought just 4 guitars (and sold none). My most recent purchase is a stunningly gorgeous 1968 Gibson SG Standard.

It was sold to me as a ’67 but after careful examination, I reckon it’s a ’68. Barring the clichéd Angus Young references, it is a stunning instrument. Crawling over it with a fine toothcomb, it has new tuners, although the replacements are modern versions of would have been fitted originally. It has one tiny screw on the Lyre tailpiece cover missing but that’s it, the rest is untouched. It has been played and is not museum grade but lovely nonetheless. The finish is a deep, dark unfaded cherry (of course) over a single piece mahogany body. It has the ‘batwing’ scratchplate which suits it, even though aesthetically I prefer the earlier small scratchplate. It plays wonderfully and sounds amazing, as you might expect.

I bought the vintage version, so that I can sell my newer 1999 SG Standard. It allows an interesting like-for-like comparison that only reinforces my bias that I prefer older guitars. There is absolutely nothing at all wrong with the 16-year old model (guitar! Pay attention please!); it’s a perfectly good instrument. Now that I’ve got an old one, I can move on to my next acquisition. Why? Please don’t ask, it’s not rational or logical. Some newer ones will have to go to make way and help fund my addiction. Like many enthusiasts, I have a (long) ‘most wanted’ list. I won’t go through these here but it is a mixture of replacing newer instruments with vintage ones and/or filling in gaps in the ‘collection’. The exciting bit is not actually knowing for sure what the next purchase will be and whether I can actually afford what I might like! I want to add more Fenders to balance the brands but there is less choice from the big ‘F’. I quite fancy a Fender Starcaster or a Bass VI but they are now getting way too expensive (sadly). I quite fancy a familiar model but an interesting esoteric version, like an ‘80s Fender Strat Elite or Tele Elite, or even a Bronco. Purists may grimace but, heh, it’s my obsession not theirs. On the Gibson front, I quite fancy the idea of a non-cutaway ES-150 archtop with a P90, historically significant and different from just about anything available now. I’m missing a ‘proper’ Flying V and quite fancy an ES-355, a Les Paul Recording or RD Artist. I would love a ‘50s single-cut Les Paul Junior or double-cut Les Paul Special but they too are out of my reach at the moment. The list goes on.

I might even be tempted to stray from the CRAVE path (shock, horror) and look at a Gretsch or a Rickenbacker, let’s see. Part of the fun is doing the research, finding worthwhile instruments that fit the ‘cool & rare’ criteria. I hope to add to the CRAVE portfolio in 2015. Watch this space…

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