Prelude
HOWDY AND A HEARTY HELLO HOPEFULLY HAPPY HOMIES. Welcome to a musical spring. A whole quarter of a year down already and three more quarters left to round off 2025 – the first quarter of the 21st Century. Thank you for coming (back) to join me for the maniacally, methodical muddled, mental mumblings of an alliterative self‑confessed vintage gear junkie. I have to say that craving (sic!) for vintage guitars is a lot safer and a lot healthier than the insane expansionist power lust of deviant narcissists seeking to dominate every aspect of our very existence and remorselessly exploit whatever assets they can seize to feed their own rapacious appetites. Stop. It. Already!
Back to the point, thankfully. Things have taken a bit of an unexpected detour in recent months. It all started with ’10 Things I Love and Hate About Vintage Guitars’ (essentially now Part 1 of 3 – Universal Balance/Yin & Yang), followed by the complementary, ‘Ikigai and Vintage Guitars’ (basically now Part 2 of 3 – Reason for Living). However, that still left some material uncovered and some loose ends untied. So this month, I’ll be closing the circle and squaring the loop (yay! Maddening mixed metaphors are back too!).
So… the ramification is that, this month, we have what is effectively now Part 3 of 3 – other ‘Eastern Concepts and Vintage Guitars’. If you wish to view or review either or both of the previous articles, they can be reprised or discovered here (links open in a new tab):
January 2025 – 10 Things I Love and Hate About Vintage Guitars
February 2025 ‑ Ikigai and Vintage Guitars
As always, no AI was used in the research and writing of this article, so you can blame the author’s paltry organic grey matter for errors, omissions, wayward opines and dubious writing skills. Apologies for being a mere puny human.
Some interesting Japanese cultural concepts
In addition to ikigai, there are a number of other Japanese concepts that may help us to make sense of our life experiences. They may also help to illuminate a tiny aspect of the universal balance in everything from the infinite vastness of the cosmos to the most elusive sub‑atomic particles. As with the last two articles, each of the seven topics covered below will be introduced and then the relevance to vintage gear will be explored. For clarity, as always, the scope of vintage gear in this context includes guitars, basses, effects and amps.
In a slight change from the norm, instead of usual quotes, the numerous sayings littered through this month’s article comprise a selection of Japanese proverbs and idioms. These have been used to help illustrate the cultural foundations behind the subject matter.
“Good fences make good neighbours” – Japanese proverb (boundaries are important for healthy relationships)
I hasten to add that this is not an exhaustive encyclopaedia of eastern philosophical constructs, just a casual dipping of toes in the deep dark waters of some interesting (at least to me) alternative perspectives on life, the universe and everything.
“One who chases after two hares won’t even catch one!” – Japanese proverb (if you go after too many things, then you may end up with none)
Shikata ga nai (仕方がない)
In short, shikata ga nai means ‘control what you can control’. It is often translated as ‘it cannot be helped’, ‘there is no alternative’ or ‘nothing can be done about it’. The inference is that one should not waste one’s life on things over which one has no control; rather one should focus on those things that one can actually affect. In some ways, it may be regarded as similar to the modern Western onion‑like model of ‘levels or spheres of influence’. In addition, shikata ga nai emphasises acceptance and resilience in the face of external adversity. It is about rejecting resignation and weakness in favour of creating strength and tenacity. Shikata ga nai acknowledges that some things are outside of one’s ability to change and places the emphasis on motivation and finding a way to move forward despite challenges and setbacks.
Over the years, CRAVE Guitars has faced many seemingly insurmountable challenges, the most devastating being the total loss of home, career and assets (2010‑2012), which took many gruelling years to recover any sense of self‑determination. It was during this long salvage period (2012‑2019) that most CRAVE Guitars were safely stored by a close friend and any sort of growth was largely in abeyance. During this time, even though CRAVE Guitars was effectively in stasis, the opportunity was taken to launch the web site, introduce social media and create monthly blog articles. In many ways, re‑establishing stability is still a work‑in‑progress, even 13‑15 years later. There have been other hurdles but none compare to that cataclysmic event. Therefore, Shikata ga nai has been of particular relevance to CRAVE Guitars.
“Work in the fields on a fine day, read books on a rainy day” – Japanese proverb (adapt to circumstances and enjoy life)
Gaman (我慢)
Gaman is a Zen Buddhist term that simply means to do one’s best in distressing circumstances and to maintain self‑control and discipline. Gaman roughly translates to ‘enduring the seemingly unbearable with patience and dignity’. It emphasises strength, perseverance, resilience, and self‑discipline during periods of hardship and adversity. Gaman is, therefore, similar in many ways to Shikata ga nai. Both emphasise a reactionary approach to imposed external events. Whereas Shikata ga nai is about ability to exert influence, Gaman is about rising above the immediate dangers and managing one’s approach to overcoming threats with confidence, determination and positivity.
For CRAVE Guitars, Gaman has definitely been about riding the waves of difficulty and using near‑delusional optimism to brave the stresses and pressures of everyday modern life, as well as in the context of ‘that’ incident mentioned above. CRAVE Guitars has taken many years of patient endeavour from inception to fruition, which was almost destroyed in a few fateful days. Hopefully important lessons about truth, fortitude and wisdom have been learned. When faced with significant threat, stoicism is key, as is the necessity to safeguard one’s mental health. Nuff said on that front.
“Fall down seven times, stand up eight” – Japanese proverb (keep trying until you succeed)
Wabi‑sabi (侘び寂び)
This ancient Japanese aesthetic concept literally translated means ‘subdued, austere beauty and rustic patina’. It embraces the beauty of imperfection, transience, incompletion and nature. It’s about finding beauty inherent in the flawed, the partial and the fleeting. Wabi‑sabi encourages us to step back, open one’s mind and appreciate the simple, unadorned, and natural elements of life. Wabi‑sabi comprises seven aspects, simplicity, asymmetry, subtlety, naturalness, grace, freedom from habits and tranquillity. Wabi‑sabi is something that I have mentioned many times including the two previous articles. A brief definition even features on the home page of the CRAVE Guitars’ web site.
One of the aspects of CRAVE Guitars that I have long laboured is the uniqueness and individuality of each and every vintage instrument, whether it is the near‑mint (but never perfect) guitars or the ones that many might regard as being ‘player grade’, from expensive to the budget, from the classic to the esoteric, from respected to maligned – all are welcome here. Readers will also probably be aware that I am not an advocate of modern relic treatments that aim, let’s be honest, to fake the natural wear and tear of decades of real music‑making use. Minor damage can have its own beauty. It is safe to say that wabi‑sabi is integral to the beliefs, values and norms of CRAVE Guitars.
“Flowers even bloom on grass that has been stomped on” – Japanese proverb (you can recover from your difficulties)
Kaizen (改善)
The Japanese idea of kaizen refers to the process of unceasing and unrelenting endeavours to improve in every way. Its roots lie in post‑World War II Japanese economic reform and is closely associated with the culture of the Toyota Motor Corporation. Kaizen literally means ‘improvement’. In modern businesses, kaizen embodies the approach of ‘continuous improvement’ in leadership, management, operational and organisational processes. It’s about making numerous small, incremental changes or ongoing sustainable adjustments in all aspects of life, from personal development through manufacturing to commercial procedures. Kaizen is the means while the end is achieving long‑term strategic goals and enduring success.
As mentioned in last month’s article, three essential components of ikigai are ‘starting small’, ‘harmony and sustainability’ and ‘the joy of little things’. All of these are consistent with Kaizen and the gradual evolution of CRAVE Guitars over the last 18 years. With finite funds and space, advances to CRAVE Guitars can only be achieved through continuous improvement and positive change, at least over the things that one can control (see above). Another aim is to attempt to avoid occasional, radical change, which can be damaging, disruptive and distracting. Easier said than done. Being realistic, there really could not have been an alternative approach.
“Better to ask and be embarrassed than not ask and never know” – Japanese proverb (it is OK to question, even if it is a seems humiliating)
Shu‑Ha‑Ri (守破離)
This is a concept derived from martial arts, particularly aikido and describes a three‑stage process from learning to mastery. Shu‑Ha‑Ri has extended beyond its martial arts origins and has been adapted to various disciplines, including business, education, hobbies and personal development. The three stages can be crudely paraphrased as; Shu (‘protect’ – follow the rules), Ha (‘detach’ – break the rules) and Ri (‘separate’ – transcend the rules). Shu‑Ha‑Ri emphasises the importance of following tradition and learning from others, before developing one’s own style or approach.
Founding CRAVE Guitars was definitely the start of a long process of exploring, learning and understanding the discipline associated with vintage guitars. It involved researching, corroborating and rationalising what ‘vintage guitars’ means and how the subject could be approached objectively. Evolving CRAVE Guitars meant breaking away from traditional conventions, making the entity unique, challenging prevailing views and preconceived ideas, and avoiding assumptions from a position of informed opinion. Questioning the status quo is not about conforming to existing wisdom or spouting forth with ignorant arrogance but about improving collective knowledge through better information and greater understanding. The future of CRAVE Guitars may or may not encompass mastery, which I believe is an unending process rather than an achievable absolute outcome. Personally, I believe that ‘transcendence’ can only ever be an ongoing aspiration. That doesn’t mean that one should not strive continuously to attain mastery. CRAVE Guitars has followed, and continues to follow, the path laid out by shu‑ha‑ri.
“Even a monkey can fall from a tree” – Japanese proverb (an expert can still make mistakes)
Mono no aware (物の哀れ)
This can be translated to mean, ‘the pathos of things’ and also as ‘an empathy toward things’. It is a Japanese idiom for the awareness of impermanence and transience. It also includes the idea of wistfulness, sorrow and the gentle sadness of passing, as all things must. Mono no aware describes the bittersweet feeling of appreciation for the fleeting nature of life. It is an empathy for all things and a reminder that change is an unalterable reality of existence, including joy, sadness, beauty, death and decay. It is about cherishing the here and now and living in the present moment, acknowledging its importance and feeling gratitude for the time and things one has.
An essential element of ikigai is ‘being in the here and now’ and mono no aware is very much about the Buddhist philosophy of appreciating what one has in the present moment. In last month’s article, I talked about the role of stewardship and guardianship of vintage guitars, all of which preceded me and which will hopefully long outlive me. The past cannot be affected. The best that one can do is to act in the present moment, learning from the past and creating the best environment for the future. For CRAVE Guitars, there has been plenty of mournful remorse; regret and wasted thoughts about what might have been had external events beyond my control not intervened so profoundly. Mono no aware is therefore a crucial value for CRAVE Guitars.
“Two bodies, same heart” – Japanese proverb (two people in perfect harmony)
Mottainai (勿体無い)
Mottainai is about a sense of regret over what one discards. Alternatively, it is about the spirit of valuing and respecting resources as well as avoiding unnecessary waste or extravagance. While this concept is often associated with modern‑day environmentalism and sustainability, it can also be applied to intangible resources like time, energy and money. The Western approach of ‘reduce, reuse, recycle and repair’ stresses that we should all use limited resources fully and effectively, to express gratitude, to promote respect, and to avoid wastage. Put simply in the Western vernacular, mottainai is used as the rather bland expression, ‘what a waste’, which is a typical first world dumbing down of an important idea. The implication of mottainai is that Western cultural ideals based on capitalism and growth are ultimately doomed, as they are both destructive and finite.
Ikigai also emphasises ‘harmony and sustainability’. I have proposed the importance of conserving, rather than preserving vintage guitars for the future, keeping them functional and ensuring their longevity. CRAVE Guitars is certainly not about ephemera, obsolescence and disposability. Mottainai is the antithesis of the insistent desire for shiny new gear, only for it to be summarily disposed of when something newer or better comes along. The relevance of mottainai to CRAVE Guitars is about maximising what is already in existence and wasting nothing (or at least as little as possible). My hope is that the time and effort that I have poured into CRAVE Guitars over the last 18 years has not been in vain and, in some miniscule way, has made the world a better place. I have natural concerns about mortality and legacy – what happens to CRAVE Guitars once this mortal coil has been cast off – although, realistically, that is not my call to make.
“Dumplings over flowers” – Japanese proverb (substance over style)
Final Thoughts on Eastern Philosophy and Vintage Guitars
Hopefully, the topics explored in the two previous articles and herein make some sense and that the seven complementary concepts above help to reinforce the nature of CRAVE Guitars’ reflections on the subject of vintage guitars. Whether this is expressing the ’10 Things I Love and Hate about Vintage Guitars’ or exploring’ Ikigai and Vintage Guitars’, there is a synergy about these ideas that is both fascinatingly philosophical in its own right as well as founded in pragmatic real‑life common sense.
Humans are currently in existential crisis. We currently live in a way that is unsustainable and not in harmony with our (only) world. As things are, and unless we change, we are firmly set on a course of unavoidable self‑destruction and hominid extinction. If, as some believe, life on Earth is unique in the universe, we are seemingly determined to exploit it ruthlessly until there is nothing left. That is hubris in the extreme. Tragic fact.
“Know the pain of others by pinching yourself” – Japanese proverb (always have compassion for others)
Over the years, in my research, I believe that the not‑for‑profit entity that is CRAVE Guitars is unlike anything else and its position does not fit any convenient categorisation. Part of the reason for this has, I hope, been covered in these three articles. CRAVE Guitars is not an egomaniacal accumulation of vintage gear that would be worthy of museum curatorship or an elite private collection. Neither is it a commercial enterprise striving for maximum return on investment and profit. Furthermore, CRAVE Guitars is not about hiding away these artefacts from the world. They may not be precious but they are precious to me. Neither am I a fame and fortune‑seeking individual, far from it. One unbreakable CRAVE Guitars principle is, if I cannot afford it, I cannot own it. No exceptions. While this may limit expectations and opportunity, it is a necessary code born from experience and past events.
“To lose is to win” – Japanese proverb (sometimes it is better deliberately to step away from conflict)
I hope that, through these three articles, I have been able to demonstrate that CRAVE Guitars represents a rational perspective towards vintage guitar ownership that can be appreciated and shared. I have taken a somewhat esoteric approach to get to this point and I hope that it has in some way been entertaining, interesting and informative. While the context is not unique, the viewpoints expressed over these three months are my own. Have I succeeded in applying Eastern teachings to CRAVE Guitars in a practical way? I believe and hope so. The Far Eastern concepts have been based on many centuries of accumulated learning, knowledge and wisdom, so they have substantial proven credibility and shouldn’t be immediately dismissed as irrelevant to today’s modern Western world. This isn’t the be‑all and end‑all of things; I do believe strongly that we all have a great deal still to learn and we should open our minds to possibilities and potential as yet unused. Arguably, we should be careful not to exploit those prospects for personal gain, the detriment of others or adverse impact on our environment. Greed, avarice and materialism are not on CRAVE Guitars’ agenda. We should (and need to) be wiser than that.
“If a fish is kind to the water, the water will be kind to the fish” – Japanese proverb (quid pro quo)
Thankfully, what I have discovered through my research is congruent, rather than divergent. If it was the latter, I would now be in a heck of a confused mess. There is a remarkable level of consistency. I do not think that I have fallen into the trap of positive confirmation and manipulation (only seeking evidence that support a predetermined hypothesis and disregarding what does not), rather it has been a journey of personal discovery and enlightenment. While that statement may seem overly conceited, pompous and pretentious, there is something to what has been learned over the last three months that has been practically life‑affirming.
“A pearl to a pig” – Japanese proverb (don’t waste things on those who won’t appreciate them)
Early on, I wondered if any of this would help to determine the future of CRAVE Guitars and the direction in which it should be taken. Well… sadly, there hasn’t been any sort of inspirational epiphany that will transform CRAVE Guitars into something very different from where it has been going anyway. That, in itself, is reassuring. Perhaps my research has strengthened and reinforced my approach or perhaps it might have gone that way intuitively without basing it on Oriental, rather than Occidental, philosophical leanings. In truth, though, the answer to that particular quandary is impossible to determine post‑facto.
“A skilled swordsman has superior manners” – Japanese proverb (noble behaviour is just as important as combat skills to a warrior)
The outcome is that nothing much is likely to change and CRAVE Guitars will continue to develop and evolve in an organic way and that is OK by me. There is no need for a strategic plan or business objectives for the next few years, which is something that would be needed for a commercial operation. To be honest here, I also don’t think that that really matters. I could be wrong but, if I am relatively content with things as they are, there seems little point in changing CRAVE Guitars to be something else with which I would not be content.
“The talented hawk hides its claws” – Japanese proverb (be modest about your abilities)
CRAVE Guitars’ ‘Album of the Month’
I’m definitely going off the well‑trodden path of previous albums of the month. After three articles delving into Eastern philosophy, it makes sense to conclude the triptych with a Japanese musical work of art as the focus this month. In a very rare move, I’m contradicting my previously declared lack of appreciation for classical music. However, it isn’t typical orchestral stuff, it is a modern interpretation of classical themes. Previously, electronic synthesizers had been used mainly in experimental and avant‑garde music. It wasn’t until Walter/Wendy Carlos released, ‘Switched‑On Bach’ (1968) that electronica was brought tentatively into the (margins of the) mainstream of popular music. While that seminal work was undeniably a key benchmark, it isn’t my choice this month. Instead, that honour goes to…
Tomita – Snowflakes are Dancing (1974) – ‘Snowflakes Are Dancing’ is the second studio album by late Japanese electronic musician Isao Tomita (1932‑2016). The original album was released by RCA Records in April 1974. The ten tracks are Tomita’s arrangements of Claude Debussy’s (1862‑1918) music with the track ‘Clair de Lune’ probably being the most familiar to those not inculcated in the classics. The pieces on ‘Snowflakes are Dancing’ were performed by Tomita on a Moog synthesizer and a Mellotron, and his approach proved ground breaking in the use of extensive studio effects, sequencer programming, complex pseudo‑polyphonic sounds and quadraphonic recording techniques. While all of this may seem archaic and pedestrian today, it was an astounding achievement back in the early 1970s. The album was not only critically acclaimed, it was also reasonably successful commercially and laid the ground for Tomita’s later career moves. More recent reissues have added bonus tracks but that is superficial icing on an already very nicely prepared cake. It’s a beautiful listen for non‑classical musos.
‘Snowflakes’ could have been a sterile facsimile of music but somehow Tomita managed to extract emotion and mood from oscillators and filters. I have previously stated that classical music really ain’t my thang. That still stands and I don’t listen to ‘Snowflakes are Dancing’ in that way, I wallow in the ambient, spacy soundscapes (called ‘tone painting’) and it is that easy‑on‑the‑ear (and brain) nature that marks the difference, at least for me, from Walter/Wendy Carlos’s earlier works.
BELIEVE IN MUSIC!
“What one likes, one will do well at” – Japanese proverb (do things that you enjoy and you will become more proficient at them)
Tailpiece
Thank you all for looking in once again and suffering my ceaselessly cerebral cul‑de‑sac of ceremonial contemplation. I think that, at least for now, this article concludes the triple outing of viewing the world of vintage guitars through the binoculars of Far Eastern philosophical concepts. While it could have been hard‑going, I hope it has been entertaining and informative. I have certainly learned a great deal along the way, so it has been worthwhile adventure for that reason alone.
This month, I believe that I’ve tied up loose ends and brought things to a logical conclusion and also done it relatively succinctly (for me). While there is undoubtedly plenty more to explore, that would represent diminishing returns for monthly articles, so it is time to put this particular theme to bed, at least for now. I still desperately need to make time and space for writing ‘The Distortion Diaries’, something I have singularly and woefully been unsuccessful in achieving recently. Sigh.
“Three years sitting on a rock” – Japanese proverb (the value of patience)
Next month, I will have to contrive another source of inspiration. What I can say, though, is that it will not be a nominal Part 4 of this particular journey. Unexpect the expected.
Truth, peace, love, and guitar music be with you always. Until next time…
CRAVE Guitars’ ‘Quote of the Month’: “If money is the root of all evil, then just stop and think for a moment about who is the root of all money”
© 2025 CRAVE Guitars – Love Vintage Guitars.