HERALDING A HEARTY “HELLO” to y’all for the first time in 2025. Welcome one and all this fresh, shiny New Year, albeit nearly a month old now. Personally, I dislike January. It is cold, dark, wet and definitely inclement. In addition, due to the preceding festive season, January is a month of self‑imposed financial austerity. Almost unbelievably, this year (2025) represents a quarter of the way into the first century of the second millennium already. Where does time go and, more importantly for each of us, uniquely, is where did our time go? One thing is for sure, once it’s gone, it’s gone and it can never be recycled for any purpose other than memory and, perhaps, reminiscence. As one gets older and nearer to the long rest of inevitable mortality, time becomes disproportionately more precious and ephemeral.
Now, ‘they’ say that those who can’t do, teach, those who can’t teach, teach teachers and those who can’t teach teachers write about the things they can’t do or teach. So here I am writing about stuff that I don’t really feel qualified to discuss. Again. Some readers will know way more about vintage guitars than I ever will. Wait… hold on a sec… that’s never stopped me. Oh, what the heck, let’s do this.
This month, I’d like to get back to the subject close to my heart, vintage guitars. It’s been a while because I’ve been writing about other things. This month, while I’m still trying (and not getting far) to work on ‘The Distortion Diaries’, I was thinking about what I like about vintage guitars and what I don’t like about them. One might think that my experience might be entirely positive. However, the reality is a great deal more pragmatic.
The free‑ranging thought processes led me to this month’s article, ‘Ten Things…’ In previous articles, I have attempted to understand the appeal of vintage guitars compared to modern instruments and other old stuff. However, this was inherently a predisposed approach, using positive reinforcement to justify a lifelong preoccupation. Time then, I thought, to take a more contemplative, critical and non‑prejudicial approach by questioning what I love about vintage guitars and the polar opposite of what I hate about vintage guitars.
For info, the majority of the quotes this month are from William Shakespeare’s ‘Taming of the Shrew’ (c.1590‑1594) and a romantic comedy film loosely based on the play, ‘10 Things I Hate About You’ (1999). This is intentional and fitting.
“You can’t just buy me a guitar every time you mess up, you know” – Kat from the film, ‘10 Things I Hate About You’
Understanding universal balance
Before we start, please bear with me while I take a bit of an existential ‘helicopter view’, then we’ll get to the point. Like most things in the universe (at least our universe if you believe in multiverses), there exists a natural balance that, overall, maintains a steady state of equilibrium over time while also allowing for chaotic fluctuations.
Once again, I’m looking to the east for cultural inspiration. In ancient Chinese philosophy, the concept regarding opposite but complementary, interconnected and self‑perpetuating cycle is known as yin and yang. The opposing forces of yin and yang interact to form a dynamic system in which the whole is greater than the parts and the parts are integral to the whole. The concept is represented by the Taijitu (the familiar diagram of the ‘supreme ultimate’, c.3rd Century BCE) with black representing yin (the female/passive/negative) and white representing yang (the male/active/positive). The contrasting dots in the Taijitu represent the one co‑existing within the other. Yin and yang are co‑dependent – they cannot exist in isolation, only in perpetual, infinite duality (called a unity of opposites). With yin & yang, the duality exists between the opposing cosmological forces of order and chaos. In human socio‑political terms, the duality is signified by the tension between order and disorder, good and evil, etc. The concept of universal balance applies equally to the past, the present, and the future of existence. Put simply, opposites exist for a reason. Right, that’s the mind‑bending bit over. Deep breath time.
Taijitu
“You’re 18, you don’t know what you want. And you won’t know what you want ’til you’re 45, and even if you get it, you’ll be too old to use it” – Walter from the film, ‘10 Things I Hate About You’
Applying universal balance
So… balance is important. The fundamental and elemental ‘rules of engagement’ represented by yin and yang are applicable to every aspect of “life, the universe and everything” (NB. A reference from ‘The Hitchhiker’s Guide to the Galaxy’ (1979) by author Douglas Adams).
Thus, when it comes to vintage guitars (and, by extension, equally to vintage basses, effects, amps, etc.), there is a universal balance that provides for the existence of these bits of wood, plastic and metal, and how we feel about them. Accepting the principle of equal and opposing absolutes; light and dark, good and bad, black and white, truth and lies, men and women (at least in my day), concepts of heaven and hell, N and S magnetic poles, etc., let’s start with the positives before we move onto the negatives.
Please remember that this is my, albeit biased, personal opinion under the guise of establishing objective fact. Readers will undoubtedly think differently, so please regard these ‘10 things…’ as the author’s own perspective – nothing more, nothing less. Above everything else, though, this perfunctory examination is for entertainment purposes only. Reader discretion is advised.
I will, however, attempt to curtail my typical tendency to alliteration, my personal propensity for hyperbole, my fun‑filled metaphor mixing and other intentional grammatical sins.
“Better once than never, for never too late” – William Shakespeare from ‘The Taming of the Shrew’
10 Things…
For once, I am not going to go into great depths and will limit each point for brevity. I trust that the implied message behind a few words (for me) is sufficient to convey what I struggle to express. Right, without further ado, let’s get into the action.
10 Things… I Love About Vintage Guitars:
The Heritage and the History – Vintage guitars are the epitome of heritage and they chart the sights and sounds of music over many decades. Many guitars are associated with artists and musical genres that embody and reflect social culture of their time. They play a fundamental and integral part of music history. These aren’t just ‘antiques’ to be stuck on a dusty shelf, they can (and should) actually still be used to make music. My playing skills are inadequate but that doesn’t matter. Holding and playing vintage instruments imbues an intangible, almost mystical appreciation of a zeitgeist stored within the materials. They are vintage because of the long life they have lived, not just the number of years since manufacture. It is, however, all too easy to slip into a deceptively romanticised view of the past.
The Ownership – Fundamentally, people like to own stuff and, for me, that means vintage guitars. Once we start accumulating stuff, there are deep‑seated psychological reasons why we develop a compulsion to collect more stuff. There is no space here to cover that, so you’ll have to take my word for it (for now – I feel another article topic coming). Watching guitars on stages, TV and, yes, even viewing them in museums is one thing but the thrill of having them literally to hand and being able to pick up a vintage guitar and to play it is massive part of the ownership experience. Simply owning and playing some of these old instruments is a pleasurable exercise. Once acquired, I don’t feel inclined to move any of them on; they become part of my life. Protracted ownership is one of the key reasons I’m not a dealer.
The Uniqueness – Back in the day, guitars were largely manufactured by hand and it is unlikely to find two that were identical even back at the factory. On top of that, add in all the things that have happened to them over many years and they bear the marks of time, giving them their mojo and making each and every one of them even more unique and genuinely so. No fake aging here. There is something uniquely satisfying about knowing that the guitar in your hand is unlike any other on the planet, not because it’s been messed with but because it has lived a life of music making over the decades.
The Authenticity – Vintage guitars are the real thing. Not reissues, not New Old Stock (NOS), not relics. They show in every way that they’ve had a life of playing and making music. They don’t just look the part, they are the genuine archetypes on which many modern guitars are styled. I must admit that I prefer vintage guitars that are all‑original if possible, even though this isn’t always practical. I am divided on the topic of refinishes. Generally speaking, original is best – once a refinish has been undertaken, the original can never be reinstated. I do not advocate modifying a vintage instrument unless it can easily be put back to original.
The Variety – Particularly but not exclusively in the 1950s, there was an explosion of design creativity as far as American (and other) electric guitars are concerned. This brought us the Telecaster, Stratocaster, Precision bass, Les Paul, ES‑335, Explorer, Flying V, etc. etc. This means that, although the number of vintage guitars for a specific period is finite, there remains a great deal of diversity, even though there were no such things as ‘mod shops’ or custom shops at the time. In particular, I tend to like the unusual guitars that many others detest. My choice. Their loss.
The Look – I can sit and look at vintage guitars for ages. Wabi sabi is the Japanese concept that something can be perfect because of its imperfections. Whether it’s the patina, the light reflections, the bumps and nicks, the lacquer fading, finish crazing, the genuine wear and tear mean that there is always something that draws the eye over and over again. In my view, the best guitars are well‑used instruments and far more interesting that pristine museum‑grade examples. Where others might see ugliness, I see loveliness in droves.
The Feel – Looks are one thing, feel is another. Most vintage guitars are well played in, although some are worn out. The materials age naturally over time, giving them a tactile feel that is far from the generic newness of mass produced modern guitars. Modern machine manufacturing is very different from the somewhat haphazard and idiosyncratic construction methods of the past. Many modern manufacturers try (and fail) to mimic the physical effects of extended age and use in new instruments. One can almost feel the honest history of each instrument every time it is picked up and played.
The Tone – After the previous two points, one cannot ignore the tone. Many modern guitar designers spend inordinate amounts of time trying to replicate the tones of original instruments. Tone woods are unique and age uniquely. Pickups for instance were often made out of what was available at the time and, while it is possible to emulate the materials, the passage of time seems to exert a permanent change in the physical structure which not only makes each one unique (see above) but makes them impossible to replicate in every way. Modern technology and techniques can only get so far. There are also plenty of under‑the‑radar vintage guitars that can provide a wide range of tones beyond the ‘classic’ sounds of the icons.
The Mythology and the Truth – The absence of genuine documentation leads to much interpretation and opinion. Even the most fastidious research can only uncover some of the truth. The rest is, and will probably likely always will be, unknown. The scant facts result in a truth vacuum within which stories have been created and promulgated, with varying degrees of truth. The fact that only some things can be verified, means a wide variety of opinions persevere. In the absence of documentation, who really knows what these instruments have been through in their lifetime? Using one’s imagination imbues them with intangible mystery that may or may not be deserved. Generally speaking, the more pristine the example, the less storied its history.
The Privilege of Stewardship – Ownership is one thing (see above). However, many vintage guitars not only predate their owners but also will probably outlast them, possibly many times over. This means that ‘owners’ are essentially only temporary and are transitional guardians of important historical artefacts. It is good to be part of their story, perhaps being documented for only the first time in their long life. While I’m here, I am trying hard to do my bit for prolonging posterity, even if I won’t be there to enjoy it once my time is up.
“No profit grows where is no pleasure ta’en. In brief, sir, study what you most affect.” – William Shakespeare from ‘The Taming of the Shrew’
10 Things… I Hate About Vintage Guitars:
The Economics of Collectors vs. Enthusiasts – Regular readers will know that I abhor the whole ‘vintage guitar collector’ world and its elitism, asset accumulation, profiteering based on return on investment and flaunted status symbols of wealth. Most ‘golden era’ vintage guitars (c.1950‑1965) from the major American brands are now so far out of the reach of enthusiasts that many will never get to appreciate the charms of these icons. A case could be made that collectors help to preserve heritage but only if they can make a profit along the way. I can’t abide, let alone change, the arrogant avarice and scornful snobbery associated with vintage guitar ‘collecting’ but at least I can attempt to share my ardent enthusiasm. I recognise that dealers have to make a profit but some take the price of ‘exclusivity’ to extremes. This particular gripe is not about vintage guitars per se but directed at the leeches that avidly feed off them. It is even worse when those pariahs can’t even play them while at the same time denying others the joy.
Provenance and Celebrity Ownership – What distinguishes a standard guitar from the same model owned by a famous musician. Normally nothing really, other than the artist association. A guitar that would otherwise cost just a few thousand pounds/dollars can be escalated to stratospheric, often seven figure sums. Owning a celebrity guitar wouldn’t make me sound like them (why would I want to?) and it doesn’t make me play any better (sadly). I am interested in the instruments, not the artists. While it is good to have some genuine insight to a guitar’s history, I will leave the quest for insanely costly instruments with documented provenance to others. If I mention that auction house, Christie’s of London sold part of the late, great Jeff Beck’s guitar collection on 22 January 2025, raising over £8.7m ($10.7m) in the process, you’ll possibly kinda see where I’m coming from.
The Maintenance (Inc. Parts & Accessories) – Keeping vintage guitars is not straightforward; they require ongoing care and attention. If vintage guitars are used (as they should be), wear and tear ensues. Taking care of vintage guitars often exceeds the skills of amateur meddling and benefit from (expensive) professional skills. Finding a luthier who really knows what they are doing and can be trusted is not an easy task. Sourcing genuine vintage parts is becoming harder and more costly meaning that it is a challenge to keep them vintage correct AND usable. Worn out and badly treated vintage guitars are a sad sight and some, in all honesty, are just not worth conserving. Refinishes devalue an otherwise great instrument. Refrets are, however, sometimes necessary. Neck breaks unfortunately determine eternal ‘player’ status. The prices of vintage guitar cases on their own can also be quite daunting, not to mention case candy, sales tags, manuals and sales documents, normally discarded many decades ago.
The Environment – Vintage guitars are more sensitive to environmental conditions than new ones – temperature, humidity, UV light, etc. Different materials respond differently over time. The ideal environment for vintage guitars often differs from what people experience in day‑to‑day living areas. Most vintage guitars, in my view, should not be locked away in secure environmental storage, meaning that there has to be compromise for us ordinary enthusiast owners. Managing the environment in a normal home without climate control is therefore not ideal but, at least in my case, good enough (just). Thankfully, most electric guitars are less susceptible to changes in environment than acoustics, although archtops and semi‑acoustics can prove problematic. Prevailing wisdom is that guitars should be kept in their cases at a temperature of 21‑24˚ (70‑75˚) and a relative humidity (RH) of 40‑50%. The most important factor here, though, is ‘stability’, avoiding extremes and rapid fluctuations.
The Playing Experience – Part of the mythology is that vintage guitar playing is some transcendent spiritual experience that cannot be matched by mere mortals with ordinary instruments. The reality is, however, much more mundane. However, no matter what period vintage guitars were originally manufactured, some are great, many are OK and some are dogs. The consistency and accuracy of manufacturing back in the day means that many are not always the easiest or most pleasant to play. Sometimes, however, the challenge may also inspire different approaches to playing. Bottom line, the truth is that a guitar of a certain edge doesn’t guarantee blissful nirvana, not by a long way. Be prepared for fret buzzing, high action, scratchy pots, stiff or loose tuners, inaccurate intonation, ineffective truss rods (if any), etc.
The (Lack of) Documentation – Even today, accurate information isn’t always easy to come by but with vintage guitars, it is often almost impossible to get to the bottom of things. From serial numbers, to manufacturing/shipping numbers, to seemingly contradictory features and specifications, identifying and dating vintage instruments can be a nightmare, despite best efforts and extensive research. Even George Gruhn’s illustrious ‘bible’ has plenty of errors and omissions. The best approach is to undertake diligent research and, if possible, find corroborating information from someone who may know more. Sometimes, one just has to use one’s experience and take a punt on an undocumented instrument.
The Noise of the Opinionated Ignorant – The usual example of this is the vociferous and damning condemnation of CBS‑era Fenders and Norlin‑era Gibsons, et al. Such broad‑spectrum denigration simply isn’t justified. These disparaging views are sustained by many people who don’t really know and understand what they are talking about – they just spout out the derivative, clichéd rhetoric of the lazy and uninformed. While there may be no smoke without fire, it is plain wrong to assume that sweeping generalisations apply to every instrument. Don’t believe everything you read; make up your own mind, based on real experience. Extrapolating the point further, the noise of self‑appointed, erratically opinionated commentators over time can create a broad perception that is not necessarily true but, if restated sufficiently strongly, people will believe it anyway (the so‑called illusory truth effect). Such automatic assumptions need to be challenged and re‑evaluated. I strongly advocate an open mind and critical questioning of blind dogma. The symptom may be exacerbated by selective positive reinforcement, i.e. someone agreeing with similar views while dismissing opposing views. File under guitar snobbery, hogwash and boloney.
Fakes and Copies – Where there is money involved, often lots of it, there are unscrupulous companies and individuals wanting to exploit innocent victims for financial gain. There have long been fakes of classic guitars pervading the vintage market and some of them are hard to identify and root out, let alone the possibility of bringing the perpetrators to justice. A lesser ‘crime’ is companies imitating classic guitars and selling them in large numbers. I can understand some people wanting the look without the cost but it is not a thing to be proud of and it often isn’t good for the industry. The most infamous cases were in the 1970s with the lawsuit‑era guitars where flagrant copies by Ibanez (and others) were almost identical to the originals. Then there was the Gibson vs. PRS battle in the early 2000s over the single cutaway Les Paul outline. Now, cheap Chinese knock offs are flooding western markets with an adverse impact on genuine models and are, politically, impossible to litigate against. There really is no need to counterfeit the classics – do something original and improve the breed with integrity.
The Preserve or Conserve Dilemma – Should museum grade vintage guitars be locked up in vaults or in glass cabinets so they can be ‘preserved in aspic’ or should vintage guitars be used for what they were intended to be used for, making music? A case can be made for protecting a very few historically significant items but not all by any means. In my view, playing vintage instruments is good for them, even if it means that they experience greater wear and tear in the process. An old guitar that hasn’t been used for some time sounds dull and lifeless. Playing a stored vintage guitar can bring it back to life. My generally pragmatic stance here is to conserve but not to preserve. One should never feel afraid to touch, pick up or play a vintage guitar.
The Responsibility of Stewardship – While temporary stewardship of vintage guitars is a privilege (see above), it also carries a great deal of responsibility so that they can be passed on for the benefit of future generations of players and enthusiasts (and, begrudgingly, collectors) in a condition that befits their previous ownership. It is up to current ‘owners’ that the legacy can continue untainted into the future. Those that don’t take the responsibility seriously probably shouldn’t own a vintage guitar. For instance, my advice is not to mess with an original vintage instrument unless unavoidable. Far too many guitars have been modified in the past – often when they were near new – and can’t easily be restored to original. Things like tuners, nuts, frets, pickups, bridges, scratchplates, electrics, knobs and strap buttons should be kept original if at all possible. Some mods may be ‘tolerable’, for instance where changes can be 100% reversible without any damage, as long as the original parts are kept with the instrument. Routing out a guitar body to accommodate inappropriate pickups, for instance, may be considered a travesty.
“If you repeat a lie often enough, people will believe it, and you will even come to believe it yourself” – a ‘law of propaganda’ attributed to the Nazi Joseph Goebbels (1897‑1945), used as evidence to substantiate ‘the illusory truth effect’.
I have tried, objectively, to explain why I am addicted to allure of vintage guitars. So… If it isn’t about money and it isn’t about vanity and it isn’t about my playing ability, just what is it about? That’s the subjective, intangible bit that I still find hard to articulate.
Regarding the subject matter, I suspect that my passion for these objects doesn’t come across particularly well. That is my prosaic inadequacy for which I apologise.
In conclusion… if my idle observations carry any substance, there is some semblance of universal balance after all and the equilibrium is sustained. The same principles apply to just about anything you might care to think about.
“Don’t let anyone, ever, make you feel like you don’t deserve what you want” – Patrick from the film, ‘10 Things I Hate About You’
10 Images which you may love or hate
Below are 10 CRAVE Guitars images for you to feast your eyes upon and, perhaps, crave (sic!). NB. None of which are to be found on the web site (until now).
Final thoughts about 10 Things…
When I started accumulating (rather than collecting) guitars in the mid‑late 1970s there wasn’t really a broadly accepted awareness of electric guitars let alone basses, effects and amps being ‘vintage’ (a word that is hard to define in this context). The original CRAVE Guitars are the 1975 Gibson Les Paul Standard, the 1977 Fender Stratocaster, the 1977 Fender Precision fretless bass and the 1978 Music Man Stingray Bass – I still have all four of them. They may be considered vintage now but back in the day, they were just guitars. Only the Music Man Stingray was acquired new, the others were simply second hand. How things have changed in the intervening 40‑50 years. Now I feel old… sorry, vintage!
If you haven’t gathered already, I love genuine, original vintage guitars. I know that they aren’t essential to civilisation’s survival but they do represent a peaceful diversion from the meanness of the modern world. Exploring the ‘Ten Things I Love/Hate’ leads inexorably onto insatiable cravings (sic!) and obsessional pursuits. For many, this is more widely known as G.A.S. (Gear Acquisition Syndrome). For many vintage guitar enthusiasts there is an additional layer of addiction and passion that has real world consequences (e.g. funds, space, etc.).
“You don’t always have to be who they want you to be, you know” – Kat from the film, ‘10 Things I Hate About You’
Not everything about vintage guitar ownership is hunky dory. There is a zen-like steady balance to ownership, which is kinda the point I’m getting at, in rather a circuitous route. There are times of excruciating sufferance and moments of ecstatic exuberance. The latter more or less cancel out the former and, thus, the status quo is maintained. There is a karmic tension that many won’t understand, some will seek to fulfil, and fewer likely to tolerate. Vintage guitar ownership requires a particular type of person and a certain degree of patience that is not for everyone. Thankfully so, as there are simply not enough of these things to go around.
Economics is a social science that studies how we allocate scarce resources for production, distribution, and consumption. In this instance, the consumption component is fundamentally about the laws of supply and demand. The inversely proportional interdependence between quantity and price is something about which many vintage guitar buffs are all too well aware. As quantity reduces, prices increase. It rarely (other than in recessionary times) goes the other way in the finite world of vintage guitar market (and why an over‑abundance of new guitars keep retail prices low).
“You’re looking at this from entirely the wrong perspective. We’re making a statement” – Kat from the film, ‘10 Things I Hate About You’
Some things about vintage guitars are intangible and subjective, so much so that it is difficult to articulate effectively. Can some of the attributes associated with vintage guitars, including many of the statements above be measured or explained definitively? The ageing of electronic parts for instance. Scientifically, it is not easy to say why one vintage pickup hits the sweet spot while another fails to sound right. Does the type and quality of the tone wood make a real difference to the feel and tone of vintage instruments? How much is real and how much is simply suspicious snake oil? One thing is for sure, vintage guitars have something that new guitars don’t. Identifying with any sort of certainty what that ‘something’ is will engage people in debate, probably forever, and that just adds further mystique and mythology surrounding vintage instruments.
“I burn, I pine, I perish” – William Shakespeare from ‘The Taming of the Shrew’
Some may accuse CRAVE Guitars of actually being a symptomatic example of the abominable ‘collectorati’, a secretive society of which I am so consistently critical. That is probably a ‘fair cop’ to some extent and it is an insinuation that I must bear and justify as a necessary compromise. However, as a not‑for‑profit entity, CRAVE Guitars is certainly not in it for money and I do my best to share the heritage with anyone who wants to look in, so not secretive. They are played, although each one doesn’t get as much playing time as I would like. In addition, I do not try to preserve them, they are too important to waste away in a sterile stasis.
“… But mostly I hate the way I don’t hate you. Not even close, not even a little bit, not even at all” – Kat from the film, ‘10 Things I Hate About You’
One thing you might ask at this juncture is (how) do I rank guitars in the ‘collection’? Well, the easy answer is that I don’t. There are undoubtedly ones that I prefer playing to others, some that I prefer to look at to others, and some that sound better than others. However, in overall terms each one has its place and is valued in different, if not directly comparable, ways. However, I cannot rule out the fact that the thorny subject of favouritism may come back under the spotlight at some point.
Where all the CRAVE Guitars’ guitars, basses, effects, amps and accessories will eventually end up, who on Earth knows? In the meantime, I’ll just continue as a curatorial custodian of valued vintage paraphernalia to the best of my (limited) ability.
One wonders what future generations will make of things if/when they look back to the 2020s and, maybe, come across this article. Even in another 40‑50 years, I am certain that perspectives will be very different again. I will also wager that many of the much maligned guitars that I personally like will be much in demand attracting inflated premium prices. Unfortunately and sadly, I won’t be around to proclaim ever so smugly, “I told you so”. Shame.
“If she and I be pleased, what’s that to you?” – William Shakespeare from ‘The Taming of the Shrew’
CRAVE Guitars’ ‘Album of the Month’
Given the subject matter of this month’s article, there is only one album that I think fits the bill (in a slightly tangential fashion).
Leonard Cohen – Songs Of Love And Hate (1971). This impressive recording was Leonard Cohen’s 3rd studio album, released in March 1971 on the Columbia record label. The album was recorded during a difficult period in Cohen’s life, suffering from depression, making it a very personal and emotionally intense album for the late, great Canadian singer/songwriter. As a whole, it is an extraordinary recording, famous for evocative tales including, ‘Avalanche’, ‘Last Year’s Man’, ‘Famous Blue Raincoat’ and ‘Joan Of Arc’. Despite Cohen believing ‘Songs Of Love And Hate’ was a failed experiment, it endures as one of his finest achievements. Many commentators assert this album as proof of Cohen’s pessimistic ‘downer’ reputation but that misses the point, as it can be a powerfully cathartic listening experience. Only 8 tracks on the original release, coming in at under 45 minutes, it was not only a commercially successful album but also it represents a priceless memoir in the annals of musical history. A fine legacy from a fine artist. Thank you Mr. Cohen (1934‑2016, 82).
Leonard Cohen – Songs Of Love And Hate (1971)
The relevance, once again, is that love and hate are interdependent polar opposites that exemplify the importance of, and need for, universal balance – the yin and yang referred to at the top of this article. If we do not understand hate, we cannot appreciate the value of love. If we do not wholeheartedly embrace love, hate will overcome and overwhelm us. Profound existentialism that provides for the equilibrium of life and humanity in the cosmos.
“Who needs affection when I have blind hatred?” – Patrick from the film, ‘10 Things I Hate About You’
BELIEVE IN MUSIC!
Tailpiece
So, 2025 is now well underway. Thank you for taking precious time out of your life to spend it here with me. I am pleased that CRAVE Guitars is back to talking about vintage guitars within a wider context. The change of scene for a few months was healthy and the subject matter fascinating but vintage guitars still rule. I hope you were able to get some interest and/or pleasure from it. The length of articles is beginning to creep up again, requiring more time to be spent on researching and writing articles than focusing on ‘The Distortion Diaries’. Note to self: Stop it! Now!
I know it’s not my place but in a world of escalating aggression and conflict, the only sensible bit of guidance I can give is for y’all to just chill the heck out (apologies for the split infinitive). Be kind to yourself and others.
Next month, ceteris paribus, we’ll be taking another oblique view about the world of vintage guitars. In the meantime, may you maintain your universal balance and find harmony and contentment therein.
Truth, peace, love, and guitar music be with you always. Until next time…
CRAVE Guitars’ ‘Quote of the Month’: “We don’t make love. Love makes us”
HOLA Y BUENOS DIAS SEÑORES Y SEÑORAS. Bonjour et bonne journée mesdames et messieurs. Hallo und guten tag, meine damen und herren, hello and good day ladies and gentlemen. Once again, we enter the twilight zone of CRAVE (Cool & Rare American Vintage Electric) Guitars and explore another subject of the author’s weird whim and fancy. Well, most of us are still alive as of July 2024, so that’s something for which we can all be grateful. Life really is too short and should be treasured, not devastated, especially by senseless conflict. This isn’t just old‑hat hippie rhetoric. This stuff matters… to everyone. While I know I say something along these lines every month, it is worth reiterating until those responsible take notice.
This month, the subject is relevant to the year we are in (2024) and how one particular American solid body electric guitar changed the way we play the instrument and make music across the globe over the last seven decades. Yes, my hearties, it is time to take an alternative peak at the Fender Stratocaster®, or the ‘Strat®’ as many like to call it, as it celebrates its Platinum 70th Anniversary. That’s an awful lot of candles on the guitar‑shaped birthday cake, I think you’ll agree. Time to indulge oneself, I reckon.
1979 Fender Stratocaster Silver Anniversary Logo
There are SO many takes on the subject that, especially this year, I felt I would try to take an altogether different perspective from everyone else. It would be very easy to lapse into following what other authors have written and indulge all the back‑slapping hyperbole surrounding one of the few genuinely legendary icons of the 20th Century guitar industry. So… we aren’t going to ‘grandstand’ or go through the trite, meticulous examination of the object in question. Instead, I thought I’d aim straight for light‑hearted entertainment value, rather than geeky, nerdy, dry, forensically‑focused examination of the Fender Stratocaster in minutiae. Even though I’ve always fancied being a learned professor, this is not an academic history lesson. For those wanting the geeky, nerdy lowdown, I apologise, you’ll have to look elsewhere – and, let’s face it, there is no shortage of resources, as you might expect. Just search the hinterwebby thingummy and you’ll find everything you could ever want and/or need to know. For those seeking the truth, though, good luck. That takes a bit more effort.
I can’t completely ignore some of the basic facts and figures that someone knowledgeable about vintage guitars will already know, so apologies for (re‑)stating the blooming obvious to those who know far more about Stratocasters than I ever will. For everyone else, it is an oblique look at the cultural phenomenon that is the Stratocaster within the perspective of the times.
We are back to normal authorship activity again this month; no AI was used in the research and writing of this article. Thankfully.
The cultural context of 1954
Before we get too far, I thought we’d start off with a brief recap at what the world was like in 1954, revealed through a few key trends and events that occurred during that year. This will give a bit of crucial cultural context for when we delve a bit deeper in due course. Just for clarity, I wasn’t born before or during 1954, I emerged into existence a few years later, so I didn’t live through these momentous occasions myself.
In 1954, the 34th President of the U.S.A. was Dwight D. Eisenhower (a.k.a. ‘Ike’, 1953‑1961). The UK Prime Minister in 1954 was Sir Winston Churchill, who served his second term as PM (1951‑1955). Queen Elizabeth II was the British Monarch, newly crowned in June 1953. Other notable political leaders included Nikita Khrushchev, the leader of the Soviet Union (1953‑1964) and Mao Zedong, who served as the Chairman of the Central People’s Government of the People’s Republic of China (1949‑1976) with Chiang Kai‑shek alongside of him, governing the Republic of China, a.k.a. Taiwan (1950‑1975).
Moving from politics to sport. The 1954 NFL Championship Game (now known as the Super Bowl) took place between the Cleveland Browns and the Detroit Lions. The Browns won 56‑10. Meanwhile, in baseball, the San Francisco Giants swept the Cleveland Indians 4‑0 in the 1954 World Series. The NBA Championship series resulted in the Minneapolis Lakers beating the Syracuse Nationals 4‑3. To complete the set, the Detroit Red Wings triumphed over the Montreal Canadiens, winning the NHL Stanley Cup series, also 4‑3. In motor racing, Racing driver, Bill Vukovich won the Indy 500, while José Froilán González and Maurice Trintignant won the 1954 Le Mans 24‑hour race, and Juan Manuel Fangio won the 1954 Formula 1 World Championship. In the UK, West Bromwich Albion beat Preston North End to win the 1954 FA Cup final 3‑2. In tennis, Jaroslav Drobný and Maureen Connolly won the men’s and women’s singles titles respectively at Wimbledon. Inn golf, Sam Snead won the US Masters and Peter Thomson won the British Open Championship.
Space exploration was in its infancy and NASA didn’t exist until 1958, so it was the National Advisory Committee for Aeronautics (NACA) that led the early US space programme.
Men’s fashion in 1954 included corduroy sports jackets, Dacron gabardine suits, wool houndstooth suits, slub weave shirts, faded denim colour sweat shirts, wrinkle shed cotton shirts and plastic raincoats. Women’s fashion in 1954 included blazer jackets, box jacket suits, tweed dresses, plaid pleated skirts, taffeta dresses, swing flared corduroy skirts, white flecked wool skirts, woven plaid dresses and woven stripe coats. Ladies’ accessories were popular, including hats, gloves, bags and scarves. More generally, women’s fashion in 1954 was characterised by prominent, pointed busts, with nipped in waists to accentuate the female hourglass silhouette. In the post‑war boom, timeless elegance, glamour and femininity were the order of the day. At the same time, general day‑to‑day fashion adopted a more casual style, with easy‑to‑wash‑and‑dry nylon materials, emphasising the practicality and functionality that began to influence fashion trends for the rest of the 1950s. Fashion icons included Audrey Hepburn, Marilyn Monroe and Grace Kelly. Fashion designers like Chanel, Christian Dior and Hubert de Givenchy were prominent figures.
Well‑known cinema releases in 1954 included, ‘Godzilla’ (Japanese), ‘20,000 Leagues Under the Sea’, ‘Creature from the Black Lagoon’, ‘On the Waterfront’, ‘Rear Window’, ‘White Christmas’, ‘Seven Samurai’, ‘Dial M for Murder’, ‘A Star Is Born’, ‘Seven Brides for Seven Brothers’, ‘The Caine Mutiny’ and ‘Them!’.
Famous actors of the time (not already mentioned) included Marlon Brando, Elizabeth Taylor, James Stewart, William Holden, Humphrey Bogart, Ray Milland, Karl Malden, Joan Crawford, Judy Garland, James Mason, Gary Cooper, Burt Lancaster and Howard Keel.
Famous novels published in 1954 included, ‘Lord of the Flies’ by William Golding, ‘The Lord of the Rings’ trilogy by J.R.R. Tolkien, ‘I Am Legend’ by Richard Matheson, ‘Horton Hears a Who!’ by Dr. Seuss and ‘Live and Let Die’ (James Bond) by Ian Fleming.
Popular American automobiles in 1954 included, the Chevrolet Bel Air and Beauville Station Wagon, Oldsmobile Ninety‑Eight Holiday Coupe, Ford Crestline Skyliner and Country Squire, Packard Panther Daytona Roadster, Mercury Monterey, Plymouth Belvedere, Chevrolet 3100 truck, Buick Roadmaster and Skylark, Cadillac Series 75 Fleetwood Imperial, Studebaker Starlight Coupe, Ford F‑100 Panel Truck, Hudson Hornet, Ford Thunderbird, Chevrolet Corvette C1 and Chevy Corvair Fastback. Nice!
Outside the US, 1954 saw family cars like the Hillman Minx, Morris Minor, Ford Anglia, Ford Popular, Rover P4, Austin A40, Riley RME, Wolseley 6/90, Citroën 2CV, Triumph TR2, MG TF, Vauxhall Wyvern and the Volkswagen Beetle. More upmarket, there was the Jaguar XK140, Porsche 356, Austin‑Healey 100, Alfa‑Romeo Giulietta, Ferrari 375 MM Coupé Scaglietti and Mercedes Benz 300 SL, all taking to the roads and making the headlines. Also nice!
Favourite girls’ (and, yes, I am being binary here) toys of the time included the Betsy McCall Doll, Super Market Check‑Out and Little Girls Perfume Kit. Boys’ top toys included, Dick Tracy Siren Squad Car, Buck Rogers Sonic Ray Light Gun, Matchbox cars (Corgi models didn’t appear until 1956), Airfix kits and Take Apart Cars Garage. LEGO, Meccano and train sets from the likes of Hornby and Tri‑ang were enduringly popular. The board game Scrabble had been introduced in 1952 and was a hit at the time, as was the perennial Monopoly. Some familiar names there.
In music, American rock & roll pioneer Bill Haley & His Comets recorded the milestone ‘Rock Around the Clock’ at Pythian Temple studios in New York City. It was originally released as a single in 1954 but didn’t chart until it was re‑released in 1955 when the track was used as the title music for the film, ‘Blackboard Jungle’ (1955).
Also in music, in 1954, a 19‑year old American singer, Elvis Presley left his job as a truck driver for Crown Electric and signed his first recording contract with producer Sam Phillips at Sun Records in Memphis, Tennessee. Sun Records recorded and released Presley’s debut single, ‘That’s All Right’ the same year.
Other popular music artists in 1954 included The Chordettes, Doris Day, Tony Bennett, Frank Sinatra, Rosemary Clooney, Perry Como, Ray Charles, Nat King Cole and Bing Crosby.
Notable musicians that were born in 1954 include, Neal Schon, Nancy Wilson, Pat Travers, Al Di Meola, Steve Morse, Pat Metheny, Eric Johnson, Elvis Costello, Stevie Ray Vaughan, Viv Albertine and Uli Jon Roth. Other entertainers born in 1954 included, Jerry Seinfeld, John Travolta, Ray Liotta, Michael Moore, Ron Howard, Matt Groening and Oprah Winfrey.
… and the one list that no‑one wants to appear in… Deaths in 1954 included; Alan Turing, Frida Kahlo, Henri Matisse, George ‘Machine Gun’ Kelly, Sydney Greenstreet and Lionel Barrymore.
Other notable events of 1954 included:
The US Supreme Court ruled that racial segregation in public schools was unconstitutional
The end of McCarthyism (the Second Red Scare), the systematic campaign of political repression of alleged Communists in the US, led by Senator Joseph McCarthy
The UK finally ended food rationing, which had been introduced during WWII
The first nuclear‑powered submarine, the USS Nautilus was launched
American company RCA released the first colour television set
The first successful kidney transplant was performed in Boston, Massachusetts
American actress, Marilyn Monroe married baseball player Joe DiMaggio
The main US immigration port of entry, Ellis Island in New York Harbour was closed
Swanson introduced TV Dinners
A hydrogen bomb test was conducted by the US on Bikini Atoll in the Pacific Ocean
British athlete Roger Bannister became the first person to break the four‑minute mile
The first practical solar cell was demonstrated by American company Bell Telephone Laboratories
IBM established the 650, its first mass‑produced computer and FORTRAN became the most widely used computer programming language
The Vietnam war (1954‑1975) started
The Breathalyzer was invented for measuring breath alcohol content
The first Church of Scientology was established in Los Angeles, California
Texas Instruments announced the development of the first transistor radio
The first issue of Sports Illustrated magazine was published in the US
The first branch of the Burger King restaurant chain opened in Miami, Florida
1954 was quite a year, then. I think we can all agree it was a very different world to today’s chaotic zeitgeist. Right, by now, you should have a pretty good idea of what the wider world was like when the Fender Stratocaster was first born, as a baby brother to the resolutely workhorse Fender Telecaster, which had been released in 1950.
The Fender Stratocaster – An introduction to a guitar that really needs no introduction
I doubt if there are many people who are interested in modern music that haven’t at some point in their lives, set their eyes on a Fender Stratocaster. People may well be familiar with the design, even if they don’t know the name or the model’s long and lauded history. It is an instrument that has become synonymous with modern guitar music across many, many musical genres over many generations.
Let’s start with the basics that most people are likely to know. The Fender Stratocaster was launched on an unsuspecting world in 1954, supplementing two other Fender instruments that have become legendary icons, the Fender Telecaster and the Fender Precision Bass.
With due deference to the online encyclopaedia that is Wikipedia, I thought I would paraphrase its definition of what the Fender Stratocaster is, rather than labour my lame brain to come up with pretty much the same thing. Consider me lazy at this point.
“The archetypal Stratocaster is a solid‑body electric guitar with a contoured asymmetric double‑cutaway body with an extended upper horn; the body is usually made from alder or ash. The neck is usually made from maple and attached to the body with screws (often referred to as ‘bolts’) and has a distinctive headstock with six tuning pegs mounted inline along a single side; the fingerboard may be maple or another wood, e.g. rosewood, and has at least twenty‑one frets. The Stratocaster’s body is front‑routed for electronics, which are mounted in a plastic pickguard. Most Stratocasters have three single‑coil pickups, a pickup selector switch, one volume control and two tone controls. Bridges generally come in two designs: the more common pivoting ‘tremolo’ bridges, and the less common ‘hardtail’ fixed bridge. Both types of bridge have six individually adjustable saddles whose height and intonation can be set independently. The innovative tremolo system is balanced by springs mounted in a rear cavity. The output jack is mounted in a recess in the front of the guitar body. Many different colours have been available. The Stratocaster’s scale length is 25.5 inches (648 mm).”
So there you go. When broken down like that, it doesn’t sound very exciting does it? Now we know what a Stratocaster actually is, you can now stop reading and go and do something altogether more exciting. Well done for making it this far. For all the avid aficionados out there, there is a lot more to enjoy… I promise. Read on my merry musical masochists.
Fender Stratocaster Infographic
“I’ve been playing a Fender since 1963, and before that it was my dream guitar. I can’t endorse it more than that” – Rory Gallagher (1948‑1995)
A few bits and pieces about Fender the man and his company
Clarence Leonidas ‘Leo’ Fender was born on 10 August 1909 in Anaheim, California to Clarence Monte Fender and Harriet Elvira Wood, owners of an orange grove business. Leo married his first wife Esther Klosky in 1934. After her death in 1979, Leo re‑married in 1980 to his second wife, Phyllis. Phyllis passed away in 2020.
Leo founded Fender Manufacturing in 1946, renaming it Fender Electric Instrument Manufacturing Co. in 1947. The historic Fender factory site (1953‑1985) owned by Leo Fender where the first Stratocasters were manufactured is at 500 South Raymond Ave. and Valencia Dr., Fullerton, Orange County, California 92381. The site is now home to Jimmi’s Nascar Bar & Grill sports bar.
It has been widely promulgated that, while he played piano and saxophone when he was young, Leo Fender couldn’t play guitar and relied on those around him, co‑workers, dealers, customers and artists, to advise him on guitar‑related matters. Leo Fender was widely regarded as an inventor, electrical and mechanical engineer and business entrepreneur, rather than a musician.
You may think that the iconic Fender logo design has been static since c.1950. However, like many long‑standing corporate brand logos, it has been redesigned many times while retaining the distinctive typeface. I don’t think anyone knows who actually designed the original logo, although some suggest it was based on Leo Fender’s signature. The design evolution goes through roughly four time periods:
The original ‘spaghetti’ logo (1950s – not an official name)
The ‘transition’ logo (1960‑1967 – designed by Robert Perine)
‘CBS’ logo (1968‑1980)
The ‘modern’ version still in use today
Nowadays, Fender uses many different (but familiar) logo styles. There is a typeface very similar to that used by Fender called, appropriately, ‘Strato’, designed by Bastien Sozoo. I resisted the temptation to publish the whole article in the font! So here is an example…
‘Strato’ Font ( by Bastien Sozoo)
Columbia Broadcasting System (CBS) acquired Fender from its founder in January 1965 for $13m, which was more than the $11.2m that CBS paid for an 80% stake in the New York Yankees Major League Baseball team in November 1964.
Leo Fender didn’t give up participating in the music industry after selling his company to CBS. After a period of ten years during which he was prevented from competition, he was instrumental (sic!) in the creation of Music Man (now owned by Ernie Ball) from 1974 and G&L (standing for George [Fullerton] and Leo) from 1979.
Leo Fender died from complications of Parkinson’s disease in Fullerton, California on 21 March 1991, at the age of 81. He was buried at Fairhaven Memorial Park in Santa Ana, Orange County, California next to his first wife, Esther.
In 2004, Fender moved its production facility from Fullerton to Corona, also in California. The current Fender Musical Instruments Corporation (FMIC) HQ is based in Los Angeles, California, at 1575 N Gower St #170. The Fender company’s legal status is listed as a private company. Hawaii’s largest private company and motor vehicle dealer, Servco Pacific Co., became the new majority owner of FMIC in January 2020. Outside the USA, Fender’s main European location is in East Grinstead, West Sussex, England, UK.
The 21st Century Fender is a modern multinational company with production facilities in various countries, including the United States (Corona, California), Japan (from the early 1980s), Mexico (from 1990), Korea, China and Indonesia. Stratocaster models range from the (relatively) inexpensive Fender‑owned Squier® brand through the mainstream Mexican and American production lines up to the high end ‘Made in USA’ Custom Shop models. Even more upmarket are the spectacular and unique Masterbuilt and NAMM Show one‑offs.
Fender also owns a number of subsidiary brands including, Squier, Bigsby, Charvel, EVH Gear, Gretsch, Jackson, PreSonus and Sunn. Since 2002, Fender has had the rights to market, produce and distribute Gretsch products. Fender also owned the Ovation and Guild brands until both were sold off in 2014.
Myths, legends, facts and fallacies
I strongly suspect that there are probably more myths and fallacies than there are legends and facts herein. I DO NOT claim any of the following to be true. In fact, I am certain that there are more than few apocryphal tales to be told. Remember, this is just for entertainment and not a doctorate thesis. Much of what follows is probably common knowledge to diehard Stratocaster fans but they aren’t really the prime audience for this article.
While I prefer to deal in well‑researched and corroborated evidence, there is very little verifiable truth to many aspects of the Stratocaster’s history. There are many peddlers of ‘truth’ out there who seem to accept anything at face value and proceed to regurgitate falsities as reality. When it comes down to it, there is actually very little genuine documentation and a lot relies on the anecdotes and knowledge of people, many of whom are sadly no longer with us. Much of the rest is fabrication and artifice.
“The Les Paul was more challenging because of the weight of it, but the tone was there that the Fender will never have and vice versa. So you have to make a decision as to what you’re going to have as your main instrument. After seeing Hendrix, I thought, ‘I’ll stick with the ‘Strat” – Jeff Beck (1944‑1923)
The Fender Stratocaster at age 0
The original design of the Fender Stratocaster was a collaborative effort by Leo Fender, Bill Carson, George Fullerton and Freddie Tavares. Work started on prototypes as early as 1951.
It is highly unusual in the business of industrial design that a first attempt represents the pinnacle of achievement and even more unusual in that the initial design endures for 70 years almost completely unchanged. The Stratocaster is one of those perennial designs (as was the Telecaster), creating an archetype. Strangely, though, in guitar manufacturing many designs have stayed true to their origins. After all, we aren’t driving around in cars that look and work like they did in 1954 and we aren’t using telephones or TVs that haven’t changed at all in their aesthetics or functionality over the last seven decades. Fender and Gibson among others got things right at the first time of trying back in the 1950s. Weird or what?
The Stratocaster was given its name not by Leo Fender but by Fender’s sales and marketing manager, Don Randall, who also came up with the Esquire, Telecaster and Champ names. The Stratocaster name was a nod to aircraft technology (Randall was also a pilot), evoking a futuristic image to go with its forward‑looking design. Unlike the Telecaster, the Stratocaster retained its name from the outset. The single pickup Telecaster was originally called the Esquire until the two pickup model became the Broadcaster, followed by a short period without a name (the so‑called ‘Nocaster’ following a trademark objection from Gretsch) before it gained its proper nomenclature that we are familiar with today.
In 1948, Paul Bigsby (1899‑1968), famous for Bigsby vibrato systems, built a guitar for country & western star Merle Travis. The headstock bore more than a passing resemblance to what would become the original headstock shape of the Fender Stratocaster. Bigsby’s design pre‑dated Fender’s by several years. Was Fender influenced by Bigsby’s guitar or did Leo Fender blatantly copy it? The jury remains out on that one.
The Stratocaster was the first production electric guitar to have three pickups. It was also the first to have a spring‑loaded floating vibrato system. Not only that, it also had the belly and forearm contours that made the guitar so slinky, comfortable, light and futuristic looking. Leo Fender always intended his guitars to be highly functional. Like the Telecaster and other Fender instruments, the Stratocaster was based around a modular design, so that parts could be replaced or upgraded easily. One example of this is Fender’s bolt‑on neck, unlike up‑market competitor Gibson’s traditional glued‑in set‑neck design.
Leo Fender designed the Stratocaster’s innovative synchronized tremolo (NB. The word tremolo is a misnomer in this context. It is technically a vibrato) system. Compared to the popular Bigsby version, Fender opted for a simple design that offered players a greater range of pitch variation as well as more reliable tuning stability. It was revolutionary because of the way that the bridge saddles move together with the bridge unit as single unit.
The Stratocaster was (apparently) intended to replace the ‘plain Jane’ Telecaster and was designed as a response to the upmarket Gibson Les Paul. However, after customer feedback, Leo retained the Telecaster and the Stratocaster was positioned to complement to the Tele as an evolution of design. The Stratocaster wasn’t a resounding success initially, with only 720 sold in 1954/1955. Initially, the revolutionary Precision Bass launched in October 1951 proved more popular than the Stratocaster or Telecaster. The Stratocaster model in one form or another has been in continuous production since 1954 – quite an accomplishment.
Images from the United States Patent and Trademark Office (USPTO) are generally considered to be in the public domain and typically not subject to copyright restrictions, so I believe that I have the rights to publish the following 1954 patent, courtesy of the USPTO. The patent was filed on 30 August 1954 and granted on 10 April 1956 to C.L. Fender for the ‘tremolo device for stringed instruments’, i.e. the Stratocaster’s vibrato system.
The Stratocaster was officially released on Thursday, 1 April 1954 (accompanied by a pre‑production run of c.100 guitars with serial numbers 0100‑0199). The first production Stratocaster with serial number #0100 is now owned by George Gruhn, famous for Gruhn Guitars in Nashville, Tennessee. Originally, the first one was sold to an ordinary customer, not to anyone famous. Note: David Gilmour’s Stratocaster bearing serial number #0001 may have the lowest serial number but it wasn’t the first to be manufactured.
According to Leo Fender’s long‑time business partner, George Fullerton, the earliest production Stratocasters never reached market due to a major issue with the vibrato system, which hastily had to be junked and redesigned. If true, the re‑tooling of the vibrato might help to explain the delay between the launch in the spring of 1954 and the full production run reaching stores and customers later that year.
As far as anyone can tell, the first commercial sale of a Fender Stratocaster took place on Wednesday, 13 October 1954, from the first full production run. The starting price in 1954 was $249.50 (vibrato) or $229.50 (hardtail), compared to a Telecaster at $139.65 or a Gibson Les Paul Goldtop at $225, it was an expensive instrument. A case added another $39 to the price. To give that some context, the average American monthly income back in the day was less than $300. For comparison, $249.50 in 1954 is approximately the same value as $2,896.91 today.
Now for the good news (?). We know that 268 Fender Stratocasters were made in 1954 and 452 were made in 1955. The bad news is that that, I’m afraid, is about as much as we know for sure.
Early demo production Stratocasters made during the spring and summer of 1954 had serial numbers on the tremolo (vibrato!) cover. The finish on the first Stratocaster bodies was two‑colour sunburst (brown to yellow) with maple necks and fingerboard.
“I met Leo Fender, who is the guru of all amplifiers, and he gave me a Stratocaster. He became a second father to me” – Dick Dale (1937‑2019)
The Fender Stratocaster through the years
There have been innumerable Stratocaster models over the decades and many of these overlap specific years. However, in order to make some simple sense of the development of the Stratocaster, there have been some six generalised periods associated with the Fender Stratocaster’s past. Please remember that these are how I think about ‘Strat eras’ and the simplification is NOT definitive:
1954‑1959 – The first pre‑CBS generation. Maple neck and fretted fingerboard, sunburst finish, eight‑screw single‑ply pickguard and the ‘spaghetti’ logo
1959‑1965 – The second pre‑CBS generation. Maple neck with initially with ‘slab’ rosewood fingerboard, solid colours or sunburst finish, eleven‑screw 3‑ply pickguard, changed dot marker material, patent numbers on headstock decal and logo style changed
1965‑1981 – The first CBS generation. Standard rosewood fingerboard on a maple neck with optional maple fingerboard, larger headstock, three‑screw neck plate from 1971, new logo, serialisation system from 1976 and five‑way pickup selector switch from 1977
1980‑1984 – A transitional restructuring period for Fender under CBS control, also often known as the ‘Dan Smith era’. The STRAT, Elite and (Japanese) JV Stratocasters added to the basic model
1986‑2016 – Post‑CBS Fender. The American Standard Stratocaster, maple or rosewood 22‑fret fingerboard on a maple neck, smaller headstock reinstated, four‑screw neck plate. Mexican production started. The Fender Custom Shop was formed in 1987
2017‑today – The American Professional, Performer, Player and Vintera series among others. The replacement for the long‑standing American Standard
Early Stratocaster bodies were primarily made of ash for the first 2‑3 years until Fender migrated to alder mid‑1956, mainly for practical reasons. Ash was still used for the its grain pattern in translucent finishes.
There have been approximately 25,580 days (a.k.a. 613,920 hours or 36,835,200 minutes, if you prefer) in 70 years from 1954 to today. It is broadly estimated that somewhere in the region 180‑200 million Stratocasters have been manufactured in all markets over the last 70 years. That equates to a whopping 7,037‑7,819 per day on average, so it may be an over‑estimate. Accurate production figures either don’t exist or are informed guesswork. Some estimates go by serial numbers but these are wildly unreliable and don’t give an accurate indication of actual production capacity. Nobody actually knows the real figures with any sort of certainty. Even Fender FMIC doesn’t know. Does anyone out there have any realistic idea, give or take a few thousand? I doubt it and, anyway, it would be hard to prove with any degree of certainty.
One might wonder what comes next for the septuagenarian Fender Stratocaster. Given that the fundamental design hasn’t changed since its launch. It would be unwise for Fender to mess with the basic concept too much. Fender has meddled with minor specification variations many times over the years but nothing substantial that has stuck the test of time. Now, Fender relies heavily on the ‘vintage’ features and various degrees of ‘relic’ finishes to evoke the past and appeal to customers. However, nothing beats a genuine vintage ‘real thing’ (but you’d expect me to say that!).
Of them all, many pundits reckon that the 1962 Fender Stratocaster (three‑colour sunburst with rosewood fingerboard and vibrato) is the absolute zenith of the model. As a result, the so‑called ‘Pre‑CBS’ Stratocasters are the most sought after by collectors (and therefore attract the highest prices on the vintage market). Those same pundits (wrongly, in my opinion) disparage any guitars made by Fender after it was sold to CBS in 1965 with 1970s being criticised as a nadir (also wrong as a generalisation in my view).
The Stratocaster was the first Fender to have a sunburst finish, initially two colours (dark Salem brown to canary yellow) and, later three colours (dark brown, through red to yellow) in 1958. The Stratocaster’s sunburst finish helped to disguise the joins in timber of the bodies made of two or more pieces glued together. Solid colours hid any joins completely.
The Stratocaster was also the first Fender to be offered in custom colours in 1957 (for a 5% upcharge). Custom colours were sourced from DuPont’s line of automotive colours for General Motors. DuPont Duco nitrocellulose custom colours included, Black, Shell Pink, Daphne Blue, Sonic Blue, Fiesta Red, Dakota Red, Sherwood Green Metallic, Foam Green and Surf Green. There were also five DuPont Lucite acrylic custom colours including, Olympic White, Lake Placid Blue Metallic, Shoreline Gold Metallic, Burgundy Mist Metallic and Inca Silver Metallic. Originally, despite assumptions to the contrary, there was no (Sea) Foam Green or Candy Apple Red to begin with.
Probably Fender’s most famous advertising campaign ran 1964‑1967 all bearing the slogan, ‘You won’t part with yours either’. The marketing featured people carrying their Fenders while undertaking ‘risky’ or unusual activities including parachuting, skateboarding, water skiing, flying, climbing telegraph poles, lying on railroad tracks, catching a bus, boarding a boat, driving, at the barber/hairdresser, at the prom, swimming, riding a motorcycle, at the dentist, at a football game, in class, etc. NB. Do not do this at home, folks! That memorable ad campaign was the work of Robert Perine, the very same man that designed Fender’s ‘transition’ logo.
Fender also ran a successful series of ‘fantasy and fairy tale’ adverts which ran 1975‑1976, known for their cleverly conceived themes, elaborate, surreal, colourful and downright trippy imagery featuring familiar fairy tale characters using Fender gear. Sadly, copyright prevents me publishing examples.
In 1976, Fender stopped stamping serial numbers on the neck plate and started using decal serial numbers added to the front of the headstock. The change prompted a new serial number system starting with a letter for the decade, followed by a digit for the year, e.g. ‘S8’ for 1978, ‘E3’ for 1983, etc. The rest of the serial number was unique.
Fender stopped shipping the cosmetic chrome bridge cover (often discarded by players, as it is entirely non‑functional) with standard Stratocaster models from the late 1970s onwards, although several ‘historically accurate’ reissues have them.
The 1979 Fender Stratocaster Silver Anniversary was the first model produced by Fender to commemorate a specific period since the Stratocaster’s launch in 1954. The 25th Anniversary’ model was produced in limited (if you can call 10,000 limited) numbers, complete with a commemorative certificate of authenticity and a ‘25’ stamped neck plate with dedicated serial number. Very early Anniversary models were made in Pearl White but finish problems saw it recalled and re‑released in Porsche Silver, perhaps more appropriate for commemorating its Silver Anniversary, although one might wonder why Fender didn’t use their own Inca Silver. It seems strange today, in the days of commemorative models appearing regularly, that no‑one had thought of issuing an anniversary model before this one.
Fender trademarked the name ‘Stratocaster’ in the US on 14 November 1972. While the abbreviation of Stratocaster, Strat, had been in common usage for years, Fender released a specific model formally called the STRAT in 1980 with a number of features that differed from the mainstream Stratocaster. Fender finally got around to trademarking the word ‘Strat’ in the US on 23 January 1996.
Fender didn’t introduce 5‑way pickup selector switches on production Stratocasters until 1977. It is strange to think that, for 23 years, the standard 3‑way selector switch was the only one available. After‑market 5‑way switches were popular to achieve the distinctive ‘in between’ tones for which the Stratocaster is so well known. Even then, the 5 positions don’t give the full range of pickup selection options, leading to many other variations and modifications over the years, including 3 on/off buttons, one for each pickup, used on the Stratocaster Elite in the 1980s that gave the most intuitive, although intensely disliked, method of getting all available permutations.
Fender’s answer to pickup selection was to introduce the S‑1 system in 2003 to provide additional options through a push button on the volume control. This provides the ‘all three’ and ‘neck and bridge’ permutations on the Stratocaster that were previously absent, along with other phase variations. As the S‑1 system does different things on different models, it has caused confusion, rather than an intuitive solution.
In 1985, twenty years after CBS acquired Fender from its founder, CBS sold Fender to an investor group led by William Schultz, CEO of FMIC for $12.5m and changed its name to the Fender Musical Instrument Company. This management buy‑out marked a new period, often referred to as the ‘FMIC era’, right up to today.
In 1987, to coincide with the launch of the American Standard Stratocaster, Fender replaced the old 6‑point vibrato with an all‑new 2‑Point Synchronized Tremolo system, which is still used today. However, this wasn’t the only vibrato system used on factory Stratocasters; during the ‘Dan Smith era’, Fender used the unique, short‑lived (1983‑1984) top‑loading Freeflyte® vibrato system on some standard Stratocasters and the Elite. The Freeflyte vibrato, made by German company Schaller, had a pop‑in vibrato arm, had no cover plate on the rear of the body and no through‑body stringing.
Fender was the first major guitar company to set up a Custom Shop in 1987, led by CEO Bill Schultz along with master builders, John Page and Michael Stevens. The Custom Shop division was based in Fender’s main American factory in Corona, Riverside County, California. Premier luthiers were dedicated to creating the finest high‑end Fender guitars built to customers’ demanding specifications. The Fender Custom Shop was the first major brand to introduce ‘relic’ finishes on their guitars, initially appearing at the 1995 NAMM trade show in Anaheim, California, where they proudly showed off their first laudable attempts at fake aging techniques.
To paraphrase the original Star Trek TV series, “it’s wood Jim but not as you know it”. In 2015, the Fender Custom Shop made a Stratocaster constructed from cardboard for its body and neck. The project to create it was apparently called ‘Cardboard Chaos’. Apparently, it sounded good and played well, just as you’d expect for a pricey Fender Custom Shop guitar.
For many people, the iconic brand name and the genuine Fender logo are the only things to have on the headstock of their guitars. The headstock has changed shape several times and the logo has been refreshed many times but a Fender Stratocaster is still a Fender Stratocaster. For others, the location of manufacture matters. Some insist that their instruments come from California, while others prefer Mexican or Japanese models. There are plenty who are happy with the budget Squier brand on the headstock and don’t care whether their guitar is made in the US or Indonesia. Some will insist on pro‑level specification working guitars while others want the bling and status of a Custom Shop one‑off to show off, while plenty just want a solid, well‑made workhorse model that sounds great and plays well. Some like ‘em shiny, others like ‘em trashed to hell, some like ‘em new, some like ‘em reliced (NB. not a verb!), some insist on authentic vintage. Some even seek out the copies, so they get the look and feel, without the Fender price tag and smug, snobbish attitude. The ‘lawsuit era’ imitations from the 1970s and 1980s are also now becoming sought after by collectors, e.g. ‘Stratocasters’ from Ibanez, Aria, Hondo, Cortez and Maya. Some like to build ‘bitscasters’ or buy DIY assembly kits, while others commission skilled independent luthiers to give them exactly what they want. There are plenty of Strat‑a‑likes (the so‑called ‘S‑type’ guitars) on the market from the likes of Kramer, Yamaha, Sadowsky, Harley‑Benton and even the ‘Silver Sky’ made by Paul Reed Smith (PRS). All this diversity goes to show that there is plenty of room for everyone and that is part of the contemporary appeal.
1979 Fender Stratocaster Silver Anniversary
Fender experimented with building and marketing its own Strat copies including the ‘Starcaster by Fender’ produced in East Asia between c.2001 and 2014, as a low‑price student model. It was sold through budget outlets in the US and often as a ‘Starcaster Strat Pack’, which included a Squier solid state practice amplifier. NB. This model has absolutely nothing to do with the genuine 1970s Starcaster semi‑hollow body (or its reissues).
Fender also made other models based to a greater or lesser extent on the fabled Stratocaster, including the Fender Lead and Fender Bullet ranges. There is more on these particular Strat‑like instruments later in the article.
The sky‑high vintage market prices of pre‑CBS Stratocasters means that many historically significant examples are confined to museums or elite collections, ruling out ownership by genuine enthusiasts (like me). The downside is that the number of scarily accurate fake instruments, especially from China, are entering the market. Where’s there is money to be made, there will be unscrupulous criminals trying to screw honest people to make a buck.
Sadly for Fender, the Covid‑related boom ended and the post‑Covid market has stalled amid global volatile economic operating environments. The result is market saturation and stock piles. The Covid‑related collapse of live entertainment didn’t help either. The commercial viability issues have led to closures, cut backs and staff reductions. The global downturn has hit many manufacturers in many industries, including Fender. Fender’s response is to double down on providing ‘build‑your‑own’ and ‘mash‑up’ guitars in an attempt to attract new customers and to compete by using agile and efficient production methods. We wait to see how successful Fender is at weathering the storm.
There will undoubtedly be many more significant anniversaries for Fender and the Stratocaster. Sadly, I don’t think I’ll still be around to celebrate the Stratocaster’s centenary in 2054.
Some notable artists associated with the Stratocaster
Buddy Holly (1936‑1959) was one of the first pop stars to use a Fender Stratocaster. He acquired a 1954 sunburst Stratocaster in 1955. He is pictured with one on the front cover of his first album, ‘The ‘Chirping’ Crickets’ in 1957. He also played a Stratocaster when he appeared on TV on The Ed Sullivan Show on 1 December 1957. Both exposures helped to promote both the company brand and the model.
After seeing Buddy Holly with a Stratocaster, Hank Marvin (1941‑) of The Shadows was the first guitarist to receive a Stratocaster in the UK, imported directly from Fender (there was no UK distributor at the time) in 1959. Availability of American guitars in the UK was highly restricted by a post‑World War II import trade ban on US goods entering Britain. Hank’s Stratocaster was in a Fiesta Red finish with gold‑plated hardware and birds‑eye figuring on the neck. In fact, Hank’s guitar was one of the last maple fingerboard Stratocasters before Fender changed to Rosewood.
“It came in a tweed Fender case with the red plush lining and this magnificent‑looking thing was just lying inside. It was like something from space, really, it was so futuristic in its design” – Hank Marvin (1941‑)
When Bob Dylan (1941‑) appeared at the Newport Folk Festival on 25 July 1965, he was booed by the diehard traditional folk audience for the ultimate sin of using an electric, rather than acoustic, guitar… and playing with a backing band. The guitar that Dylan used at Newport was his 1964 three‑colour Sunburst Stratocaster.
The guitar that Jimi Hendrix (1942‑1970) famously burnt and smashed on stage at the Monterey Pop Festival on 18 June 1967 was allegedly a cheap substitute guitar and not his Stratocaster. The switch was made without anybody realising it at the time. Jimi Hendrix also played a white 1968 Stratocaster at Woodstock when he appeared on the morning of August 18, 1969 and, famously, used it for the sonic mayhem of his rendition of ‘The Star Spangled Banner’, a defining moment for the festival, Hendrix, rock music and the Stratocaster.
Eric Clapton’s (1945‑) famous ‘Blackie’ Stratocaster was a hybrid of three guitars he bought in 1970, a 1956 body and 1957 neck with pickups from a third. Clapton auctioned ‘Blackie’ for almost £1m in 2004 in aid of his Crossroads Foundation. The Fender Custom Shop has made a faithful replica of the famous axe.
Rory Gallagher bought his 1961 sunburst Stratocaster second hand for £100 on credit from Crowley’s Music Store in Cork, Ireland in 1963. The Strat, along with a borrowed Telecaster, was stolen in 1966 after an appearance in Dublin. Following a TV programme called Garda Patrol on RTÉ, the guitars were returned to Rory a few days later, a bit worse for wear after being recovered from a ditch. The combination of play wear, exposure, numerous modifications and Rory’s well‑documented caustic sweat probably being the main culprits for the major degradation in his guitar’s finish over years of use. Apparently, early 1960s Fender finishes were more prone to wear than ones from the late 1950s.
Some other Stratocaster stories
Fiesta Red was actually based on the 1956 Ford Thunderbird car colour. As a Fender custom colour, Fiesta Red is, well, red (duh!), not pink. Over the years, Fiesta Red has become synonymous with the Fender Stratocaster. It has, however, been the subject of much debate, possibly more than any other Fender colour. Over time, Fiesta Red has been known to have had a number of shades varying from bright red to dark pink. It is, though, definitely more orange than the darker Dakota Red. There has been some confusion caused by the variations in shade of Fiesta Red, made worse over the years as the colour faded, lacquers yellowed and older guitars were refinished. Hank Marvin’s Fiesta Red Stratocaster was erroneously described by him as ‘flamingo pink’, which was not an official Fender colour. Other similar colours such as Salmon Pink and Coral Pink also added to the confusion.
1956 Ford Thunderbird Fiesta Red
Only an Englishman would actually go as far as to marry a Fender Stratocaster. Seriously! A British man called Chris ‘Fenderman’ Black did just that, in 1995. His ‘bride’ was a c.1960 model, apparently called ‘Brenda the Fenda’. He followed through with wedlock after his actual wife joked that he spent so much time with his Stratocaster that he should marry it. Black allegedly said, “We’ve had such a long engagement that I decided it was time we did the decent thing”. He also might have said, “it doesn’t answer back!” Fair point. A friend performed the ceremony after a local vicar refused to do it. Mr Black reportedly said that he wants to be buried with his wife (the Fender Strat). Mrs Black (the human female) was apparently unimpressed by her husband’s antics. I know not what happened to the three of them, post nuptials.
Many guitarists use a piece of hardwood to prevent the Stratocaster’s spring‑loaded vibrato block from moving and effectively disable the vibrato altogether. The often‑used ‘mod’ was done in an attempt to stabilise tuning, improve tone and increase sustain. Eric Clapton, Rory Gallagher and Mark Knopfler were all known to ‘block’ their Stratocasters’ vibratos. Hardtail Stratocasters with through‑body stringing were available right from the outset in 1954.So, why customers didn’t just buy a hardtail Strat in the first place, who knows?
While on the subject of Stratocaster vibrato issues… One problem is that the springs can cause an irritating ringing sound. The solution? A piece of foam rubber coaxed under the springs. Another problem encountered by some is a loose or swinging ‘trem’ arm. The solution? Don’t lose the little spring in the arm socket or get one and restore the stiffness.
It has been said over many years by many people (whether true or not – how do they actually know?), that the Stratocaster is the most copied guitar design ever. Fender got seriously fed up with its iconic design being copied, resulting in lost sales that it felt something had to be done to stop Intellectual Property Theft, as they saw it. In 2003, Fender instigated legal proceedings to trademark its designs in the US, including the Telecaster, Stratocaster and Precision Bass body shapes. The trademark action was targeted at ESP Guitars, Sadowsky Guitars, Lakland Musical Instruments, Peavey Electronics, Warmoth Guitar Products and Schecter Guitar Research amongst others.
After five long, expensive years, Fender’s Trademark Application was rejected on 31 March 2009. Unfortunately for Fender, the Trademark Trial and Appeal Board of the United States Patent and Trademark Office ruled that, “The applicant has not established acquired distinctiveness such that these two‑dimensional outlines of guitar bodies, standing alone, serve to indicate source… The evidence overwhelmingly demonstrates that these configurations are so common in the industry that they cannot identify source… In fact, in the case of the [Stratocaster] body outline, this configuration is so common that it is depicted as a generic electric guitar in a dictionary.”
Similar legal trademark applications had previously been rejected, both in the UK and the rest of Europe, so it always looked like Fender was onto a loser in the US, if only through international precedent. NB. Gibson also lost a similar action against PRS for its single cut Les Paul body shape in 2005.
The names, ‘Stratocaster’ and ‘Strat’ are, however, the sole property of FMIC, as is the exact iconic headstock design is a registered trademark in the US, Canada and Europe.
A few famous guitarists have been honoured with artist signature Stratocaster models, including Jimi Hendrix, Dick Dale, Buddy Guy, Eric Clapton David Gilmour, Stevie Ray Vaughan, Yngwie Malmsteen, Jeff Beck, Ritchie Blackmore, Billy Corgan, Dave Murray, Kenny Wayne Shepherd and Jim Root, amongst many others.
“I mainly use Stratocasters. I like a lot of different kinds of guitars, but for what I do, it seems that a Stratocaster is the most versatile. I can pretty much get any sound out of it, and I use stock pickups” – Stevie Ray Vaughan (1954‑1990)
The American Rolling Stone magazine awarded the Stratocaster ‘American Icon’ status in 2003. The magazine’s senior editor, David Fricke, said that the Stratocaster is rock & roll’s “ultimate guitar … a knockout package of the sex and futurism in the music itself.”
In 2003, the author was able, for a few short minutes, to get his hands on a black Strat owned by Stevie Ray Vaughan. The guitar was in the vault of the Hard Rock Café in London (a former bank). NB. I also ‘played’ a left‑handed Gibson Flying V owned by Jimi Hendrix. Modesty, however, prevents me from posting photos.
If you like your guitars diminutive, there are plenty of miniature models of the Stratocaster (note: other guitar makes and models are available!). Also, if you feel so inclined, you can get your hands on an official LEGO® Ideas Fender Stratocaster Guitar Set 21329 (priced at around £120‑140GBP), which includes a 1970s Stratocaster with red or black interchangeable bodies, a model ‘65 Fender Princeton Reverb valve combo amp with footswitch, guitar stand, strap and lead. The kit comprises 1,074 pieces and the completed model is 14” (36cm) tall. What’s not to like? It might even make my Christmas list if Santa thinks I’ve been a good boy (hint, hint Mr Claus).
Lego Ideas Fender Stratocaster (courtesy of Lego)
In contrast, if you like your guitars massive, the world’s largest playable Stratocaster apparently stands an impressive 13 feet (3.96m) high. Fender even allowed their name to be used on the sizeable headstock. It was listed on eBay in the US in 2012 for $79,999. A matching playable Telecaster was also constructed.
The familiar image of the Stratocaster can be found all over the world and in many different ways, over the years. There have been numerous sculptures made as an homage to the Stratocaster in a variety of materials including metal, glass, plastic, wood, clay, etc. Massive Stratocaster sculptures feature outside many Hard Rock Café Hotels as well as outside the Rock & Roll Hall of Fame in Cleveland, Ohio. The instrument is immortalised at Jimi Hendrix’s grave and a statue in his home city of Seattle, Washington State, USA. In addition, the Stratocaster is integral to Rory Gallagher’s statue in his home town of Ballyshannon, County Donegal, Ireland. In fine art, graphic design and film, the Stratocaster is a familiar theme. There have been many impressive Stratocaster cake designs to whet your palate. The Strat has also been used on ornaments, clothing and to inspire jewellery such as pins, earrings, key rings, necklaces, rings, etc. For gamers, the Stratocaster was used as a controller for the Sony PlayStation Guitar Hero video game.
Strat Birthday Cake
Some Fender Stratocaster lists
Some list‑o‑phobes prefer narrative prose while others revel in the realm of lists and lists of lists, etc. So, for the avid list‑o‑philes out there, here are three lists of Stratocaster stuff.
Ten famous artists forever associated with their famous Fender Stratocasters (in alphabetical order):
Eric Clapton – ‘Blackie’ (1956/1957) and ‘Brownie’ (1956)
Rory Gallagher (1961)
David Gilmour – ‘Black Strat’ serial number #0001 (1969)
George Harrison – ‘Rocky’ (1962)
Mark Knopfler serial number #68354 (1961)
Yngwie Malmsteen – ‘Duck’ (1971)
Robbie Robertson – ‘The Last Waltz’ (1954)
Nile Rodgers – ‘The Hitmaker’ (1960s)
Eddie Van Halen – ‘Frankenstrat’ (1970s?)
Stevie Ray Vaughan – ‘Number One’ (1962/1963) and ‘Lenny’ (1963/1964)
Forty famous Stratocaster players (in alphabetical order):
Randy Bachman (Bachman‑Turner Overdrive)
Jeff Beck
Ritchie Blackmore (Deep Purple, Rainbow)
Joe Bonamassa
Robert Cray
Dick Dale
Tom Delonge (Green Day)
The Edge (U2)
John Frusciante (Red Hot Chili Peppers)
Rory Gallagher
Lowell George (Little Feat)
Janick Gers (Iron Maiden)
Buddy Guy
George Harrison (The Beatles)
Jimi Hendrix
Steve Hillage
Buddy Holly
Ernie Isley (The Isley Brothers)
Eric Johnson
Carol Kaye
Ed King (Lynyrd Skynyrd)
Mark Knopfler (Dire Straits)
Mike McReady (Pearl Jam)
Yngwie Malmsteen
Hank Marvin (The Shadows)
John Mayer
Dave Murray (Iron Maiden)
Ed O’Brien (Radiohead)
Bonnie Raitt
Chris Rea
Jim Root (Slipknot)
Richie Sambora (Bon Jovi)
Adrian Smith (Iron Maiden)
Ty Tabor (King’s X)
Richard Thompson (Fairport Convention)
Peter Townshend (The Who)
Robin Trower
Eddie Van Halen
Cory Wong (Vulfpeck)
Ronnie Wood (The Rolling Stones)
Finally, nine very, VERY expensive Fender Stratocasters owned or once‑owned by famous guitarists (in value order – low‑high):
George Gruhn’s Fender Stratocaster #0100. Price: c.$250,000
Stevie Ray Vaughan’s Fender Stratocaster, ‘Lenny’. Price: $623,500 in 2004
Eric Clapton’s ‘Blackie’ Fender Stratocaster. Price: $959,500 in 2004
Bob Dylan’s 1964 ‘Newport’ Fender Stratocaster. Price: $965,000 in 2013
Jimi Hendrix’s 1968 ‘Izabella’ Fender Stratocaster. Price: $1,650,000 in 2000
David Gilmour’s 1954 Fender Stratocaster #0001. Price: $1.815 million in 2019
Jimi Hendrix’s 1964 Fender Stratocaster. Price: $2.1 million in 2015
The ‘Reach Out To Asia’ Fender Stratocaster. Price: $2.7 million in 2005
David Gilmour’s 1969 ‘Black Strat’. Price: $3.975 million in 2019
Very shortly, there will be a tenth entry to add to the list. Rory Gallagher’s famous 1961 Stratocaster will be auctioned at Bonhams in London on 17 October 2024, after Dónal Gallagher, Rory’s brother and manager, made the difficult decision to sell the cherished guitar thirty years after the guitarist’s death. Rory’s iconic Strat is being auctioned along with other instruments and gear from ‘The Rory Gallagher Collection’ and is estimated to reach between £700,000 and £1 million (and may well reach more).
CRAVE Guitars’ Fender Stratocasters
I won’t reiterate all the details of CRAVE Guitars’ Fender Stratocasters here. If you want more information, follow the links to the feature pages on each specific instrument. None of CRAVE Guitars’ Stratocasters are ‘standard’ models per se – there is something non‑standard about all of them. These four instruments show some of the diversity of the CBS‑era Stratocasters and show off some of the idiosyncrasies that make the diversity fascinating to me.
1977 Fender Stratocaster – My first ‘real’ Fender guitar. I traded in my lovely 1978 Fender Mustang for this baby and it has been with me ever since. I bought it second hand over 45 years ago and still counting. It certainly evokes the 1970s with its natural polyester finish. I prefer rosewood fingerboards and hardtail bridges, so this suited me perfectly at the time. Overly fixated detractors will moan about the large headstock, the ‘bullet’ truss rod adjuster, the 3‑bolt neck plate and the underpowered pickups. Personally, I don’t give a hoot what they think and I have never experienced any problems with neck stability or tuning. It remains one of my favourite guitars.
1979 Fender Stratocaster Silver Anniversary – Fender’s first commemorative (25th) anniversary guitar, finished in lustrous Porsche silver. This comes complete with its certificate of authenticity and anniversary (4‑bolt) neck plate. Like most Anniversary models, it is too heavy for a Strat but I like it nevertheless. Ignore the rather crass ‘ANNIVERSARY’ logo on the upper horn. Remember, this is the where the whole anniversary model trend began. It is amazing to think that this guitar is already 45 years old and, here we are now at the 70th anniversary. This means that this very clean example is closer in years to the 1954 Strat than it is to the 2024 anniversary model by a clear 20 years. Crazy!
1983 Fender Stratocaster ‘Dan Smith’ – Fender was restructuring at the time under the guidance of finance director Dan Smith, charged by CBS with rejuvenating Fender’s fortunes. Keeping manufacturing costs under control while producing better quality instruments was key to success. Now, I am going to be heretical. I have never liked the original Stratocaster’s 1 volume, 2 tone control layout. This model dispenses with the second tone control leaving one master tone. The consequential empty hole in the scratchplate was used for the jack socket, meaning all the electrics were in one place – good idea. The ‘iconic’ jack socket plate of the past was discarded (at least for a while). Similarly, the Freeflyte® vibrato system dispensed with the cavity on the rear of the body, simplifying the construction process further. The resulting ‘two knobber’ Strat, as it was humorously nicknamed, is certainly an oddity in the Fender canon. Everybody seems to hate them but I love the simplicity and uniqueness. Lovely colour too.
1983 Fender Stratocaster Elite – Another CBS‑era Stratocaster and another oddity. If you are looking for a traditional approach, look elsewhere. Delving under the familiar façade is a guitar that bears hardly any relationship to the first ones off the production line in 1954. The electrics feature ‘noiseless’ pickups (with a dummy coil), active electronics, unique 3‑button pickup selection, unique knobs and that is just for starters. The bridge assembly is a Freeflyte hardtail and the jack socket is now on the edge of the body. It was a short‑lived experiment but with many influential features that would reappear over time. The weight associated with the 25th Anniversary models was also being addressed.
Over the years, I have owned modern FMIC‑era Stratocasters and they have all moved on to better homes. After becoming captivated by vintage guitars, the more modern guitars just felt mass‑produced, generic, lacking character and personality. That can’t be said of the ones listed here.
Not all Stratocasters are Stratocasters. Confused? You will be…
1982 Fender Bullet H2 – After Fender withdrew the lovely offset ‘student’ models including the Musicmaster, Duo‑Sonic, Mustang and Bronco, they were replaced with the Bullet range. When I first started collecting, I hated what they’d done but I’ve come to find them intriguing. This Bullet H2 is actually a very good instrument. OK, so the Telecaster neck on a Stratocaster body does look odd but dig behind the aesthetics and the quad single coil pickups combined into two hum‑cancelling pairs, along with the unique pickup selection proves to be quite interesting. Fender were, again, experimenting with the Stratocaster fundamentals to see what would work and what wouldn’t before using features on the Strat. The now quite rare ‘Made in USA’ Bullet H2 was an inevitable but fascinating dead end but one I’m glad they tried out. Remember that this was long before the Mexican built guitars fulfilled the role of the now‑defunct Bullet.
1981 Fender Lead I – Alongside the budget Bullet, Fender wanted to fill the gap between the budget line and the long‑established, much more expensive pro‑level models. The mid‑range ‘Made in USA’ Fender Lead came in three different types (I, II and II depending on pickup configuration). The neck is all‑Strat, while the body is definitely derived from the Stratocaster but the proportions aren’t quite ‘right’ and it can look ungainly from the wrong angle. The Van Halen‑like single humbucking bridge pickup and dual selector switches provide a different range of sound compared to a conventional Stratocaster. It is a very nicely put together instrument and plays very well. However, the Fender Lead is one model that certainly justifies the description of one of the ‘lost Fenders’ of the CBS‑era. Over in Japan at the same time, Fender was experimenting with the format in other ways, without affecting Fender’s valuable American‑made Stratocaster reputation. Ultimately, though, the Lead was another, albeit fascinating, dead end. Sorry, no floorboard photo of this one. For the curious, the neck is a stanard Stratocaster neck and fingerboard but with the ‘Lead’ decal on the headstock.
These six guitars go to show what can be done to differentiate models using a stable platform on which to try out new and different things (although that is tautology because, by definition, new is different).
The Official 2024 Fender 70th Anniversary Stratocaster®
To celebrate the last seven decades, Fender has an enviable array of 70th anniversary Stratocasters. The following images courtesy of the fine people at FMIC, show two contrasting 70th anniversary Stratocaster models, revealing the immaculate manufacturing and echoing the specification difference between 1954 and 2024 models. Expect these to be classified as ‘vintage’ around the time of the Stratocaster’s centennial in 2054. The UK retail prices for these two beauties as at July 2024 are:
Top – Limited Edition 70th Anniversary 1954 Stratocaster® Heavy Relic®. Price: £4,899GBP Bottom – 70th Anniversary American Professional® II Fender Stratocaster®. Price: £2,169GBP
At the time of writing, the cheapest 70th anniversary commemorative Stratocaster made by Fender appears to be the Mexican made, Fender 70th Anniversary Player Stratocaster PF, 2‑Colour Sunburst, priced at a mere £699GBP. Bargain.
For further information on 70th anniversary Stratocaster models, take a look at Fender’s website and any retailers stocking Fender products.
If you want a piece of commemorative Fender history that is sort of affordable, go for one of the 2024 70th anniversary models. The Stratocaster won’t have another 70th anniversary after all. Let’s face it, you probably couldn’t afford a genuine original 1954 Strat which, for info, is probably somewhere in the region of $60,000‑$200,000 in 2024. That’s an awful lot of pocket money in anyone’s book. Expect another anniversary model at 75 (in 2029).
CRAVE Guitars’ hobbyhorse moment – 1970s Fenders
Excuse me for a moment, while I have a personal, opinionated rant, outburst, tirade, bombast, invective, broadside, diatribe, polemic and a few other nouns to similar effect. Hold on to your hats, folks, here we go…
I wholeheartedly reject the cynics’ simplistic argument that states that all pre‑CBS Strats are great and everything else since, particularly from the 1970s, was rubbish. That sweeping generalisation is widely promulgated as ‘fact’ and it isn’t helpful when looking at individual instruments. I would go as far as to say that such assertions are ignorant and biased and I steadfastly refuse to jump on that bandwagon (NB. Another American idiom that comes from mid‑19th Century, when political candidates would use an actual open wagon during campaigns and parades to appeal to voters. People would literally jump onto the vehicle to show support). The ‘golden era’ of the 1950s had their own major gaffs. Just look at the very early Fender Esquires without a neck truss rod or the early Gibson Les Pauls with the wrong neck angle!
However, I recognise that I am in the minority and what I say will potentially undermine my credibility in some people’s views. Just wait until collector prices spiral beyond all reasonable sensibility then that perspective will change. The elitists will talk up the 1970s’ Strats (the next‑in‑line to increase in value now that the 1960s are largely unobtainable – even post‑1965 CBS‑era ones!). The greedy prospectors will want to attract top dollar and get the credit for being ahead of the game. All I am saying is that there are good and bad examples throughout the last seven decades and that one shouldn’t assume that something is the truth just because enough self‑opinionated people with an axe to grind say it is true. Just sayin’.
The guitar that I have owned longer than any other is my 1977 Fender Stratocaster hardtail. I think it looks lovely, plays very well and sounds great. I don’t have any issues with the polyester finish, the stability of the 3‑bolt neck joint, the ‘bullet’ truss rod adjuster, the pickups, the 3‑way pickup selector switch or the ‘F’ on the neck plate. If it was a ‘bad’ guitar, I wouldn’t have kept it for 46 years. I am still happy with it and grateful for the opportunity to own and play it whenever I feel like it. Suck on that, sycophants!
Some people bang on endlessly about the dire quality of CBS‑era Strats. Well, that didn’t deter possibly the world’s G.O.A.T. guitarist, one James Marshall Hendrix from using them. If he could do what he did armed with a CBS‑era Strat, perhaps the naysayers should moderate and reconsider their often over‑stated prejudices and criticisms. Get over it people. If ya don’t like ‘em, don’t buy ‘em and shut up with the whinging and whining already. I am sure that too many people simply accept and reiterate this apocryphal and questionable ‘fact’ without doing their own due diligence. Meanwhile, I seem isolated in my regard for 1970s’ Fenders but I stand by it. It’s called integrity.
Guitarists tend to hate change. CBS introduced a raft of new features. For instance, the ‘large headstock’ appeared in December 1965. Allegedly, Leo Fender designed the larger headstock to accommodate a larger, more visible logo before he sold the company that bears his name, so don’t blame CBS for that one. Even the stylised ‘F’ that appeared on the neck plate caused apoplexy. Why? Many associate Fender’s innovative Micro Tilt neck adjustment (sometimes referred to as Tilt Neck adjustment) and its 3‑bolt neck plate with CBS‑era Stratocasters but the feature wasn’t actually introduced until mid‑1971. There were some issues with over‑sized neck pockets, which is what actually caused the ‘neck instability’ problem. After a decade, Fender reverted to 4‑bolt neck joints (and smaller headstocks) by mid‑1981. Traditionalists also reacted negatively to other ‘new’ features including the ‘bullet’ truss rod adjuster at the headstock end of the neck, cast bridges, cast bridge saddles, and more stable and durable polyester finishes. It didn’t matter whether changes were better or worse, some stuck to quasi‑religious dogma and collective prejudice. I challenge such ill‑perceived hallowed ground. All this malarkey just goes to show that you can’t please anyone any of the time. Nuff said. Deep sigh. Count to 70…
The Fender Stratocaster: Judgement Day
After all this, you might be curious as to what I think about the venerable Fender Stratocaster. I guess it is time for me to give my personal opinion. To do this, I have to recognise its past, present and future and to acknowledge its highly respected place in music. I respect the genius of Leo Fender, although he had nothing to do with the ‘real’ Stratocaster since 1965. I also have to set aside all the diverse views of others and concentrate on my own assessment for a few paragraphs. Here, I am going to be controversial and provocative, so brace yourselves.
Let’s begin with the attraction of the exalted icon that is the Fender Stratocaster. If I didn’t have one, I would want one. No question there. There is also a reason why my longest‑owned guitar is a Stratocaster. It carries with it a strong sense of a comfortable long‑term relationship. However, a strong obsession to own one doesn’t carry an enormous amount of weight when considering what the Stratocaster actually is and does. Stratocaster ownership at its most basic for many people could be construed as a tick‑in‑the‑box exercise and, perhaps, the ‘genuine article’ represents an aspirational status symbol.
Going back to basics though, the Stratocaster is fundamentally (now) just a mass‑produced musical instrument, constructed out of the same materials using the same manufacturing processes as numerous others. There is little to differentiate one factory product from the next. Think back to Wikipedia’s description at the start of this article. Bland and straightforward. The Stratocaster may have been space age and futuristic back in the 1950s and now it is possibly the most ubiquitous of electric guitars on the planet alongside the Telecaster, Les Paul, SG and ES‑335, so we tend to take its presence in our lives for granted nowadays. It even looks a bit traditionalist, like a septuagenarian wearing a pair of pressed corduroy trousers and comfy slippers. Some of its appeal is the aesthetic as much as its functionality. As a professional musician’s tool, the Stratocaster’s excellence set a high standard early on and it continues to fulfil its pro‑level role today. Again, I’m not arguing against all that. If the Stratocaster didn’t exist, there is still plenty of choice amongst the alternatives. In the absence of the Strat, professional working musicians like Hendrix, Beck, Gilmour, Clapton, Rodgers and Gallagher would simply have been driven to use something else.
If I reluctantly have to admit that I am a low‑level guitar collector – both in number and in value – the Stratocaster compares favourably with many other electric solid body guitars. However, it is not the be‑all‑and‑end‑all of electric guitars. It just cannot be. There are things that other instruments do better than the Strat and against which the Stratocaster simply cannot compete. It plays well, sounds great, it is (generally) light and a very flexible instrument, well‑suited to many musical genres, especially when adapted to a specific guitarist’s need. Beyond that, though, I don’t regale the Stratocaster with the exaggerated plaudits that many Fender die‑hards do. It is one of innumerable instruments available on the market today and it has to earn its keep against stiff opposition. It isn’t unassailable and it doesn’t constitute an absolute monopoly. Admittedly, the world would be far worse off if there were no Stratocasters but great music would still be made. The Stratocaster just happens to have been around a very long time and has been hugely influential in the development of modern music. BUT, it is the guitarist that makes the magic, not just the instrument. It is the synergy between the two – the guitarist and their guitar – that makes some great music unique. Give any cheap Strat knock‑off to a guitar legend and they’ll make it sound great. Give a great Strat to a novice and it won’t.
If Gibson made a mid‑range electric, with a body built out of multiple cuts of wood, with a bolt‑on maple neck, it would be criticised from launch until it was withdrawn. Gibson has actually tried to do just that several times but you won’t find one in the shops today. So, the Strat’s construction really isn’t anything special today, and neither are the electronics. The basic specification just doesn’t stand out in today’s crowded marketplace. The Strat has traded on its heritage and its legacy for decades. Its future is also constrained by the very same thing. Others have taken the concept further, for instance the super‑Strats of the 1980s.
Vintage prices for all‑original pre‑CBS Strats are unashamedly unobtainable for the average player and, in most cases that status is only warranted by scarcity, hyperbole and the economics of supply and demand. The ‘law of lucre’, as I call it, strikes again. Regular readers will know that I have an anathema for wealthy elitists solely seeking profit from precious artefacts locked away in their personal vaults, thereby barring access to the hoi polloi (NB. from ancient Greek meaning ‘the many’ or ‘the common people’). Many of us will never get their hands on the rarest early models and we cannot judge for ourselves whether they are really special musical instruments or not. The result is that the 1954‑1965 Strats are put on such a high pedestal that most of us can only look up at and aspire to ownership, and regretfully a wish that will probably never be achieved. That, though, has nothing to do with today’s genuine pragmatic merit. There is simply too much vintage mojo lore out there to make any real‑world sense of it all.
Extrapolating that previous point further. If you’ve got this far, you’ll have seen the outrageous prices that famous vintage Stratocasters, owned by famous guitarists and carrying the vital photographic and paperwork records, go for on the vintage guitar market. While I can understand the appeal of owning an important part of music heritage, do the actual guitars themselves really deserve 7‑figure prices that elitists can afford to spend on them for dubious reasons? When the uber‑expensive guitars were originally made, they were just another Stratocaster off the Fender production line. The only difference between the ‘celebrity’ guitars and ordinary Stratocasters is purely down to their provenance. The sad thing is that they are now way too valuable to be played regularly on stage where people can see and hear them being used for their intended purpose. The same holds true for guitars behind museum glass cases and horded away in elitist collectors’ personal treasuries. It is a lofty, rarefied atmosphere well out of my, and I’m sure most people’s, reach. You can probably tell that I’m not a fan of this hoarding practice. However, it is what it is and there is no point bleating about such an anti‑pluralist system. Doh! I just did.
The Stratocaster’s presence today can be viewed a little like MacDonald’s or Starbucks. They are instantly recognisable products and, most of the time, you know exactly what you are going to get. That consistency, reliability and longevity is very important for the conservative brigades out there. There is nothing wrong in that but sometimes a connoisseur meal or an instant coffee will do just as well. Quality, ultimately, is subjective – it actually doesn’t mean that something is good or bad, it means that something is ideally fit‑for‑purpose. People tend to use the words ‘quality’ and ‘characteristic’ interchangeably, confused by what they actually mean. After all, you wouldn’t wear a pair of Christian Louboutin shoes to wade knee deep in a sewer drain and you wouldn’t wear a pair of threadbare dirty trainers to a swanky nightclub. Or would you? Quality is not a measurable absolute, it is relative and subjective.
The worthiness or desirability imbued by a company like Fender and a product like the Stratocaster is ultimately determined by the customer – not by the likes of me… or Fender for that matter. It is the customer that makes an economic decision about whether a product meets the end consumer’s perceived need (or want).
CRAVE Guitars’ whole raison d’être is Cool & Rare American Vintage Electric Guitars, so a new Stratocaster – even a ‘heavy relic’, ‘vintage inspired’, signature model or Custom Shop one‑off – does absolutely nothing for me. Sorry FMIC. For many others, an old, used and imperfect guitar, especially one with a disputed reputation like a CBS‑era Strat, isn’t for them. The beauty of the market is that there is plenty of choice and all options have validity.
Purely from a practical point of view, I personally find the Strat’s 25½” (647mm) scale length just a bit too much of a stretch for my short, stubby fingers. The shorter Gibson scale length of 24¾” (629mm) is sometimes more comfortable and I have a fondness for Fender’s 24” (609mm) short scale guitars, for instance the Jaguar and Mustang et al. I prefer hardtails too, so the vibrato is not a ‘must have’ for me. As mentioned earlier in the article, I simply do not like the Strat’s standard 1 volume, 2 control layout. In addition I sometimes like more oomph from pickups. It’s not just that the Stratocaster generally sports single coil pickups, I am thinking here of the sheer grunt of a good P90 for instance or even the punchy refinement of Fender’s own Seth Lover‑designed CuNiFe (copper, nickel and iron alloy) ‘wide range’ humbucking pickup (1971‑1979), as used on the Thinline, Deluxe and Custom Telecasters as well as the original Starcaster (not the re‑issues!). Incidentally, that last point also goes to prove that the CBS‑era Fender came up with some amazing stuff.
Fundamentally, the Stratocaster, when viewed objectively for what it really is today, is just another guitar, made out of wood, metal and plastic, the same as millions of others. What makes the Stratocaster special is its history and that it is, after everything that has been said, a very good guitar. I am a Stratocaster fan but I am not a Stratocaster fanatic. You may consider my conclusions glib and pedestrian or even blasphemous. Let us be clear, I am not screaming from the rooftop, “Emperor’s new clothes” (NB. A literary folk tale by Danish author Hans Christian Anderson, 1837), but I think I am being genuinely pragmatic and realistic. When push comes to shove (NB. Another American idiom that seems to come from the novel, ‘Black Thunder’ by Arna Wendell, 1936), I like playing a lot of different guitars, the Stratocaster included. They all have their foibles and respective pros & cons. There is no single ‘perfect’ guitar in my view. There simply can’t be. One good thing is for certain, the legendary Fender Stratocaster isn’t going anywhere, anytime soon. There, I have put my candid and forthright opinion on the public record for good or bad. Long live the Fender Stratocaster. Respect!
Final thoughts about the Fender Stratocaster
Seventy years down and who knows how many more to go in the Stratocaster’s illustrious and storied past, present and future. Let us hope that the current economic troubles pass and future generations of guitarists can continue to revel in the guitar’s magic. Whether you are a Strat fan or not, it cannot possibly be overstated just how influential the Stratocaster has been on the music industry from manufacturing, retail, song writing, recording, live performance, collecting and so on.
Whether it’s just me or not, I don’t recall such a fuss being made about the Telecaster at 70. Actually, I shall go against prevailing opinion and say that I actually prefer the Telecaster to the Stratocaster. Why? It seems more versatile despite having at least one fewer pickup, one fewer tone controls and (generally) no vibrato. There is also something so ruggedly utilitarian about the Tele, while the Strat is more svelte and comely. Also, the Tele has had a wider range of variant including the Esquire, the Custom, Deluxe and Thinline. The latter three all introduced during the CBS era and the latter two, I particularly like with their ‘wide range’ humbuckers. Then again, I also like the Jazzmaster, Jaguar, Mustang (and its siblings) and Starcaster, so go figure. Never mind all the other brands out there.
Fender currently has over 100 Stratocaster models on the market across all its lines and price points, barring all the custom options. The downside of being spoilt for choice is deciding which is right for the individual consumer. A massive wall of Stratocasters in a showroom can be intimidating. When I bought my first Stratocaster, I had a choice of fingerboard material (maple or rosewood), colour (fairly limited standard off‑the‑shelf finishes) and bridge type (vibrato or hardtail). That was it. I went for rosewood (always my inclination), natural (it was the 1970s!) and hardtail (more solid and reliable). The pickups at the time, while widely criticised, although I find they have a lovely ‘hollow’ tone to them, which I find unique and tasteful. Heck, what do I know, eh?
At the time of writing, Fender released a very low cost Squier Stratocaster in an attempt to compete with Far Eastern Stratocaster copies that are flooding American and European markets. Not for the first time: it is like the 1970s happening all over again. This time around, though, the knock‑off importers are far more aggressive, ruthless and harder to control through established legal and regulatory frameworks, therefore posing a significant risk to the western guitar‑making economy. The Chinese in particular are not going to be deterred by the likes of Fender taking legal action without Federal support. The deluge of well‑made, cheap copies of US classics like the Stratocaster could mean the end of American guitar supremacy. Once sincerely hopes not.
Time for a quick word about hybrid Stratocasters. The original Fender Stratacoustic was made by Fender 2000‑2005, comprising an acoustic guitar‑type construction with a vaguely Stratocaster body outline. The innovative successor to the Statacoustic, currently known as the Fender Acoustasonic® Stratocaster, was launched at NAMM in 2019 with its ground breaking construction and on‑board modelling electronics. People remain divided as to whether it is a ‘real’ Strat or not. While the Acoustasonic Stratocaster (along with its Acoustasonic Telecaster and Jazzmaster stablemates) has certainly received positive press since its launch, it/they won’t be to everyone’s taste. The Acoustasonics certainly bear little resemblance to the classic vintage guitars that inspired them, either visually or sonically. You pays yer money and makes your choice.
It is difficult to predict where the strategic future lies for the Stratocaster. Fender may have a true icon in their hands but its formidable legacy also limits what they can do with it that hasn’t already been done, either by Fender or someone else. As mentioned above, it is basically the same guitar now as it was in 1954. Better? Worse? Well, the answer to that question depends on the individual consumer and what they crave (sic!). The safe route would be to stick to the formula and make more of the same but will that be enough to sustain a successful business model? One thing is for sure, Fender isn’t going to pension off the venerable Stratocaster off any time soon.
I can’t help wondering that, if the guesstimate of 180‑200 million Stratocasters mentioned earlier in the article is in the right ballpark, where are they all now? Some will have been destroyed (thanks Pete Townshend et al). Personally, I can vouch for four of them but that leaves an enormous number still out there somewhere.
Do I have a dream Stratocaster that I would give almost anything to own? Actually… nope. I know that may sound strange but it’s true. Owning a pre‑CBS Strat would be nice but I don’t feel compelled to sell my soul for one – because that is what it would take – they are SO expensive now and, frankly, not worth it. I have no interest in acquiring an artist‑owned Strat with provenance. It is just an ordinary guitar owned by someone famous. Any more Stratocasters beyond the ones I have already got (and grateful to have) would be around the margins and diminishing returns. I certainly wouldn’t turn down a 1950s or 1960s Strat if I was offered one though. Dear Santa (again)…
So, HAPPY BIRTHDAY Fender Stratocaster! I am willing to speculate that, back in Fullerton, CA in 1954, when Leo Fender, Bill Carson, George Fullerton and Freddie Tavares were formulating a new guitar model to supplement the austere workhorse that was the Telecaster, they had no idea that their new creation would still be highly celebrated 70 years later, almost completely unchanged. While we may take the Strat very much for granted these days, it is clear is that the Stratocaster has a strong future for years and decades to come, as long as Fender strategically looks after their prize cash cow.
CRAVE Guitars’ ‘Album of the Month’
Given the subject matter of this month’s article, it makes sense to feature a diehard Stratocaster player. Of all the guitarists to brandish a Fender Stratocaster from start to finish, this month’s selection may seem to be a bit off the beaten track. Not only is Irish blues rock guitarist Rory Gallagher a massively underrated musician and song writer but also the album I’ve chosen isn’t necessarily the one that most Gallagher commentators would choose. Rory’s reputation as a live performer was phenomenal and many believe that the energy and dynamism never transferred from the stage to the studio. Well that may be true but any recording by the ‘G‑Man’ is better than none. For many guitarists, Rory was hugely influential with a unique flair that subtly blended Celtic folk styles with the fiery blues and conventional hard rock.
Rory Gallagher – Against The Grain (1975) – The late, great Irish guitarist and Stratocaster wielder, Rory Gallagher released his 5th studio album and 7th overall, ‘Against The Grain’ in October 1975. The album was his first for the fledgling Chrysalis record label. It may not be his best or most well‑known blues rock album but it struck a chord (sic!) with me when it came out. That perspective shouldn’t downplay the quality of Rory’s abilities that shine through on this release. ‘Against The Grain’ demonstrates that he was so very much more than just another wannabe bluesman with long hair, denim jeans, a check shirt and a worn out guitar. Note the album cover photographs, which feature his iconic 1961 Fender Stratocaster.
Rory Gallagher – Against The Grain (1975)
The author was lucky enough to see Rory Gallagher with his trusty 1961 Fender Stratocaster (amongst others) a couple of times in the 1970s. He was certainly a livewire powerhouse dominating the stage with his regular band comprising, Rod de’Ath (drums), Gerry McAvoy (bass) and Lou Martin (Keyboards). Sadly, Rory died of MRSA complications following a liver transplant in 1995 at the age of just 45, leaving a lot of people’s lives enhanced by his presence and his music, me included. A fitting tribute to a great Stratocaster player.
There were many other contenders for this month’s plaudits, including ‘Made in Japan’ (1972) by Deep Purple, ‘Performing This Week… Live At Ronnie Scott’s’ (2008) by Jeff Beck, ‘Are You Experienced’ (1967) by Jimi Hendrix, ‘L’ (1976) by Steve Hillage and ‘Live’ (1976) by Robin Trower. It is interesting that there is not much there beyond the 1970s. We desperately need more guitar heroes from modern times to keep things relevant and up‑to‑date.
Tailpiece
Wow! I bet you are all well and truly Strat‑ed out now. Unlike some multi‑part series that I’ve published in the past, this is a one‑off. That means it can stand alone and (hopefully) enjoyed in one sitting. I hope that, in amongst all the somewhat necessary prosaic knowledge about a worthy industry icon, there was something interesting that was new. Believe it or not, I had to do an awful lot of digging to come up with some of the off‑the‑beaten‑track info and I hope it was worth it. Note to self: I must limit writing about guitars and get back to playing them.
Next month will, I think, go back to a reasonably well‑established theme. After that, I am totally clueless about what I’m going to ramble on endlessly about. It seems that we’ll all have to wait and see, won’t we (rhetorical)?
For now, though, it is time to enjoy the balmy late summer season 2024 (up here in the Northern Hemisphere) and hope that unhinged megalomaniacs don’t blast us all out of existence out of malice. There is a very good reason why the Cold War concept of Mutually Assured Destruction was abbreviated to MAD. Just what is their deranged dealio? For the life of me, I cannot comprehend why deranged despots feel compelled to behave the way they do. In the meantime, I will reiterate my naïve but important demand for global peace and the right of every citizen to live in freedom without fear. Apologies again, but this is my only mouthpiece.
Finally, from the lovable lore of Looney Tunes, “That’s all folks!”
Truth, peace, love, and guitar music be with you always. Until next time…
CRAVE Guitars’ ‘Quote of the Month’: “The main difference between solitude and isolation is the positivity of hope and the avoidance of fear”
BIENVENUE, WILLKOMMEN, BIENVENIDO, Velkommen, yokoso, huānyíng, welcome and a warm summer howdy one and all, as long as you come in the spirit of truth, peace, love and music. With escalating military tensions, political turmoil, economic volatility and social unrest rampant pretty much everywhere you look, this is one safe place where you can come as a sanctuary from the world’s ills and an oasis of positive karma.
It’s been a while since CRAVE Guitars has delved deeply into a specific modern musical genre, so I thought I’d have another go at one that interests me. This time, the focus is on Heavy Metal, or just Metal, as it is now known to cover all its various facets. Love or loathe the deep dark dungeons and ominous oubliettes of moody Metal mania, you can’t ignore it or its massive global appeal.
“Still heavy man!” Yup. Who would have thought that a casual throwaway remark from the beatnik and hippie counter‑cultures of the 1950s and 1960s would end up defining something so powerfully aggressive in the 1970s, eh? Although it may not seem like it, Heavy Metal is still a relatively new genre with only 50 or so years of history. Compare that with Classical, Blues, Jazz or Country and Metal really does seem like a new kid on the block.
Metal has generated many convoluted factions and divisions of opinion over time, which leads to some fascinating dynamics in this fledgling genre. Metal has also faced its fair share of controversy, criticism, and censorship over the years and has survived all the turbulence. While most of us thankfully live in the ‘free world’, spare a thought for those less fortunate. Metal music is either illegal or driven underground by state oppression in several countries including Iran, Saudi Arabia, Russia, North Korea and China. Probably not surprisingly, these countries tend to be autocracies that reject any sort of assumed deviant subversion. Metal is seen as sacrilegious blasphemy to conservative religions and as insurrectionary, seditious propaganda to paranoid dictators. No real revelations there. To quote the Rolling Stones, “It’s only rock & roll but I like it” (1974).
Many readers will think that I’ve drawn the boundaries too broad (NB. it is to provide relevant context) while others will think the boundaries are too confining (NB. there is already way, way too much material to fit into a full‑blown encyclopaedia). Writing articles like this just proves you can’t please any of the people any of the time. The scope of the subject matter established c.1970 is extensive, so apologies upfront for another long but ultimately superficial article. Bear with me, though, it’s worth the effort.
“Heavy metal is a universal energy; it’s the sound of a volcano. It’s rock, it’s earth‑shattering. Somewhere in our primal being, we understand” – Billy Corgan (Smashing Pumpkins, 1967‑)
At least Metal in its widest sense is mainly a guitar‑centric genre. CRAVE Guitars’ last two genre articles (Dub Reggae [August 2023] and Ambient Electronica [September 2023]) were less associated with guitar music. Guitars are great. Guitar music is more greaterer.
Although one may not consciously think too much about it, electric guitar (including bass) is really the only contemporary musical instrument that sounds spectacular when heavily distorted. Metal would certainly not be the same without it. Thankfully.
Judging by Kirk Hammett of Metallica’s purchase of Peter Green’s/Gary Moore’s vintage 1959 sunburst Gibson Les Paul Standard, ‘Greeny’ in 2014, Metal also involves some serious vintage guitar tone. Let’s not forget why we’re here, after all.
After the three previous articles exploring Artificial Intelligence, I can state quite categorically that no AI was used in the research and writing of this piece of amateur, entirely biological indulgence. Enjoy.
“I associate heavy metal with fantasy because of the tremendous power that the music delivers” – Christopher Lee (actor, 1922‑2016)
It is Metal time
Yup, it is time to get down and dirty folks. Pile on the distortion and then pile on some more and, just for good measure, a sprinkling of yet more filthy fuzz on top. Actually, good recording engineers will tell guitarists to dial down the dirt and they will assert that it is surprising how little distortion you need to sound heavy. Studio producers stress that too much distortion makes the sound all mushy, loses definition and increases compression, resulting in the guitar’s sound getting lost in the mix. That’s all very well but just look at the sheer number of high gain guitar pickups, effect pedals and muscle amps out there. People love oodles of distorted guitar. Distortion isn’t just amorphous noise. Distortion adds texture, enhances sustain, and provides harmonic overtones that seem to resonate with primal human senses. Guitarists use distortion that cuts through the mix to express their power, passion and raw emotion.
Sadly, long gone are the days of multiple cooking 100W valve amps and stacks of 4×12” cabinets as a stage backline but perhaps that’s just me being old school. It’s now mostly digital processing and direct input (DI) into mixing desks, front‑of‑house PAs and in‑ear monitors. One might wonder what a modern ‘silent stage’ at a metal gig feels like. Mind you, there are many different types of distortion and many different ways to achieve the desired sound, anywhere from mild clean boost, through overdrive, to distortion and, finally, fuzz. I love fuzz! When you start to ‘stack’ (i.e. daisy chain) these demonic devices, things can get very interesting.
As a listener, Metal music really needs to be played LOUD to get the most out of the visceral impact – both aural and physical. Time to turn the volume up to 11. Some people might think all Metal music sounds the same; an auditory onslaught of cacophonous clatter and tumultuous pandemonium. However, Metal subverts expectation and is actually a highly nuanced and multi‑faceted genre, and far from any semblance of sameness.
“It’s a very empowering kind of music, heavy metal is” – Rob Halford (Judas Priest, 1951)
Metal is vast, and I mean VAST. It seems to me that Metal is unique in its proliferation of sub/micro‑genres and artists that makes it both confusing and intriguing. By its nature, Metal is inclusive, however, the complexity of its family tree and the social subculture, may make it seem to neophytes as intimidating and hard to access. So perhaps we need to try and understand what Metal is and where it came from.
“When life gets tough, I just turn up the volume and let the music take me away. I don’t believe in luck, I believe in hard work and determination. If it’s too loud, you’re too old” – Lemmy Kilmister (Motörhead, 1945‑2015)
Some people take Metal far too seriously. There is a lighter side as well. While metalheads are protective, they generally don’t mind mocking their own lifestyle. Apart from the rock mockumentary antics of the film, ‘This Is Spinal Tap’ (1984), there is the phenomenon of Air Guitar. Air guitar is defined as, “a form of dance and movement in which the performer pretends to play an imaginary rock or heavy metal‑style electric guitar, including riffs and solos” (courtesy of Wikipedia). Performing air guitar is a fun diversion for many non‑guitarists, even fostering fiercely contested competition events. The technical pyrotechnics of real Metal music feeds quite well into excessive air guitar parody. Perhaps the less said about that the better.
CRAVE Guitars Vintage Air Guitar
Hee, hee!
Metal roots
First things first. Question. What exactly is Heavy Metal? Well, excluding scientific metallurgy, one definition among many that I came across was, “Heavy metal is a genre of rock music that is intense, virtuosic, and powerful, characterised by the aggressive sounds of the distorted electric guitar”.
Well that is not very helpful is it? Neither are more lengthy descriptions about what Metal is (or isn’t). Perhaps this inability to nail it down concisely is what creates the illusion of Metal mystery. Maybe you have to live Metal in order to understand Metal fully.
“It is just that heavy metal musicians write in minor keys, and when you do that, you frighten people” – Ronnie James Dio (1942‑2010)
There are many theories as to where the title Heavy Metal came from. Chemists have referred to the heavy metal elements of the periodic table for centuries. For information, the heavy metals include chromium, arsenic, cadmium, mercury, lead, titanium, vanadium, manganese, iron, cobalt, nickel and bismuth. American author, William S. Burroughs used the term ‘heavy metal’ in his novels, ‘The Soft Machine’ (1961) and ‘Nova Express’ (1964). A rather obscure album, ‘Featuring the Human Host and the Heavy Metal Kids’ (1968) by an equally obscure British underground band, Hapshash and the Coloured Coat introduced the term to music. ‘Heavy metal’ was also used in the lyrics of Steppenwolf’s hit single, ‘Born To Be Wild’ (1968). Band names also referenced heavy metals including, Iron (Butterfly, Maiden), Le(a)d (Zeppelin), Steel (Panther) and, tangentially, Metallica. Over the years, the term ‘heavy metal’ has become so deeply embedded in the English language that we rarely stop to think about ‘why?’
For many metalheads, Metal is much more than mere music; it represents a prominent counter‑culture movement or at least a subcultural lifestyle choice. Symbols of the Metal subculture include identifiable fashion including jewellery, hairstyles and makeup, tattoos, gestures (the characteristic symbol hand sign of the ‘devil horns’), language, alcohol/drugs, behaviour, fiction, journalism (e.g. Kerrang! and Metal Hammer) and a somewhat high‑handed disregard for other musical genres. Metal wouldn’t be Metal without headbanging (typically, shaking one’s head up and down in rhythm with music – normally around the 145BPM mark. Origin 1969/1970) and mosh pits (areas close to the stage where participants ‘dance’, push or ‘slam’ into each other. Origin: late 1970s). For the uninitiated, both can prove harmful. Take care. You could end up like Beavis and Butt‑Head.
Metal Hand Gesture [courtesy inksyndromeartwork]
Personally, I like metal in many (but not all) of its various incarnations, especially having been a keen music‑mad pre‑teen when the revelatory and awesome ‘Black Sabbath’ by Black Sabbath was released in 1970 to an unprepared public. It may seem tame now but there was simply nothing else like it at the time. I firmly believe that the release of this classic studio album was the moment that the Heavy Metal maelstrom was born in all its gory, gothic splendour. There may be a lot of debate about who was ‘first’, although that really doesn’t actually matter here, as Black Sabbath provided the seminal moment for Metal’s ‘Big Bang’, from which today’s entire Metal landscape has been propagated. A bold but justifiable claim.
Scratching the Metal surface
No angle grinders here folks. The core of Heavy Metal music comprises guitar, bass, drums and vocals, often accompanied with keyboards and even orchestral backing. Guitar has been an essential element, in the front and centre of most Metal for over five decades. So, that makes it worth taking an in‑depth look, at least as far as I’m concerned.
“The same sensations that you get in heavy metal are in horror movies. Heavy metal sounds evil and horror movies are evil, ha ha!” – Kirk Hammett (Metallica, 1962‑)
While many perceive Metal as the music of choice for rebellious, alienated working‑class males, it is actually most popular in the advanced, tolerant, and technologically equipped countries in the world, often endowed with a significant degree of wealth, as well as personal and political freedoms. This suggests a degree of gentrification and intellectualisation of the genre over time. Scandinavian countries, particularly Norway and Sweden, are often cited as the happiest places to live (and also have relatively low suicide rates – Sweden had 14.7 suicides per 100,000 population in 2019). These countries also have the highest proportion of heavy metal bands per capita population. Some analysts have been led to suggest that there is a correlation between a country’s prevalence of Metal music and the happiness of its citizens. The cultural and social implications of Metal have therefore become of interest to sociologists and psychologists worldwide. On a wider scale, there are more metal bands per capita in Europe and North America than in other regions. Nowadays, Metal is a global phenomenon and unequivocally part of the mainstream music industry (even if bands and metalheads reject that suggestion on principle).
“Strange as it may seem, heavy metal springs not from the poisoned slag of alienation and despair but the loamy soil of post‑industrial prosperity” – Florida & Mellander 2014
Some may think that Metal music is violent, aggressive, nihilistic and confrontational. While some is undoubtedly challenging, intentionally so, many metalheads think otherwise (perhaps predictably). Psychologists, however, suggest that people who listen to Heavy Metal are actually pretty well balanced in the mental health stakes. Dr Nicole Andreoli PhD, a New York‑based clinical psychologist and therapist states that, “Heavy metal has been found to lessen negative emotions by reducing cortisol levels, which helps to lessen stress. Research has found that people who listen to heavy metal tend to think more logically and in more complex terms than those who don’t listen to heavy metal. Heavy metal has been found to help the most with focus.” And, “Now, lyrics in heavy metal do tend to focus on rage. But there is no research linking listening to heavy metal with a desensitisation to violence… Listening to heavy metal has been found to be a positive way to process anger safely.” So, there you have it, science says that the music behind head banging and mosh pits may be good for you.
“Why would heavy metal ever go away?” – Scott Ian (Anthrax, 1963‑)
Not only is Metal in its widest sense insanely popular, it is also commercially very successful. Studies have gone so far as to demonstrate that the number of heavy metal bands per capita is also an indicator of a country’s economic success. Metal certainly contributes to the global economy. Music distribution group TuneCore stated that Metal was the fastest growing music genre globally in 2019. According to Pollstar Boxoffice, Thrash Metal pioneers Metallica sold almost 22.1 million concert tickets and grossed around $1.4bn between 1982 and 2019. Not only that, Metallica’s 5th studio album, ‘Metallica’ (a.k.a. ‘The Black Album’, 1991) currently ranks as the highest selling Metal album of all time with over 31 million copies sold (not including streaming). It entered the Billboard 200 at number one, selling 598,000 copies in the first week and was certified platinum in two weeks. Not bad going.
“If heavy metal bands ruled the world, we’d be a lot better off” – Bruce Dickinson (Iron Maiden, 1958‑)
Digging deeper into Metal
Probably more than any other genre, Metal is an intricately complex web of influences, legacies, interactions, interdependencies, fusions and sub‑genre proliferation. However, in 2024, the multiplicity of Metal styles, sub‑genres and micro‑genres can be massively perplexing. So… I thought… perhaps foolishly, that I would try to make some sense of the Metal scene from its origins to the present day. This ‘rationalisation’ of the genre is intended to be informative, entertaining and accessible, such that newbies are able to learn about the subject while not totally alienating those already deeply inculcated in the genre. As usual, this is not an academic paper, it is intended purely as an enjoyable excursion. Experts on the subject are far more knowledgeable than I can ever be. Trying to achieve a fine balance is probably impossible but I’ve never been one to shy away from such a challenge. After all, impossible is only the possible that hasn’t been done yet. I recognise that by trying to simplify and reveal Metal’s charisma is potentially laying my proverbial sacrificial head on the chopping block (very metal, don’t you think?) and open to ridicule, criticism and rebuttal. So be it. Also, I admit that I did have another agenda in attempting to decipher Metal and that was to learn something more about it myself.
“The guitar influence that affected my songwriting came from the New Wave of British Heavy Metal” – Dave Mustaine (Megadeth, 1961‑)
The first step was to position the various Metal components into hypothetical chronological Metal Eras. These are largely of my own invention and are arbitrary, although fairly logical in my view. The next step was to position the various high‑level Metal genres into each of the Metal Eras under widely accepted genre/sub‑genre (and micro‑genre) titles. Finally, there was the monumental task of allocating artists into each genre/sub‑genre to complete the picture. None of this is easy, accurate or definitive and there are SO many exceptions to the Metal ‘rule book’ that various compromises have had to be made for the sake of ‘clarity’ and ‘simplicity’. At first this seemed undo‑able, like trying to film an un‑filmable novel. Forgive me, for I have sinned (also very metal) in doing so.
“Without metal, I don’t think I would be alive… Metal gave me a reason to live” – Ozzy Osbourne (Black Sabbath, 1948‑)
There are also many credible writings on the subject of Metal already out there that it would be easy simply to piggy back on those and to plagiarise the ‘facts’ with little additional effort. However, hopefully readers will know that I don’t take the easy route and simply copy what others have already done. In doing the research for this article, there seemed to be a huge number of sources but when I realised that many of them were simply clumsy regurgitations of someone else’s work (inexcusable in my view), I decided that I HAD to bring something new to the table, rather than just restate existing information. In doing so, I trust that readers will cut me some slack in attempting to provide a different slant on the subject matter that is both enlightening and engaging as well semi‑original (recognising that nothing in this world is entirely new).
“All that stuff about heavy metal and hard rock, I don’t subscribe to any of that. It’s all just music. I mean, the heavy metal from the Seventies sounds nothing like the stuff from the Eighties, and that sounds nothing like the stuff from the Nineties. Who’s to say what is and isn’t a certain type of music?” – Ozzy Osbourne (Black Sabbath, 1948‑)
Some care has to be taken with genre classification, which can be misleading. There are some inevitable generalisations. For instance, Extreme Metal is a loosely defined umbrella term for a cluster of harder, more abrasive, less commercial sub‑genres including Black Metal, Death Metal, Doom Metal, Speed Metal and Thrash Metal, rather than a discrete genre in itself. Therefore, at least for this article, the terms Metal and Extreme Metal are generally descriptive, rather than genres per se.
Another problem with Metal multiplicity is that any analysis can fall into the trap of meaningless long lists in a vain attempt to be comprehensive. Another impossibility therefore presents itself. Ultimately, this means that a great deal has had to be left out of this article. Even so, there is an annoying element of repetitiveness that cannot be avoided (sorry, it annoys me as much as I expect it will annoy you). Apologies to artists and readers for any unintentional but inevitable major omissions. I did my best. Honest.
“Heavy metal is immortal, but we’re not” – Rob Halford (Judas Priest, 1951)
Author’s note: Throughout this article, I have capitalised genres for consistency and to make it clear when I’m referring to a genre, sub‑genre or micro‑genre as opposed to more general musical terms.
Metal Eras
The result of my thought processes is a ‘Metal Framework’ (or Heavy Metal Periodic Table, as I like to think of it), resulting in five broad ‘Metal Eras’ along with the genres/sub‑genres that kinda fit into them as a sort of hierarchy. This, I think, provides a common sense structure for the rest of this article.
Pre History of Metal: 1960‑1969 a. Pre‑Metal Rock b. Psychedelic Rock c. Hard Rock d. Shock Rock
The Golden Era of Metal: 1970‑1979 a. Heavy Metal b. Progressive Rock c. Glam Metal d. Punk Rock e. Hardcore Punk f. Power Metal g. Pop Metal h. Gothic Rock
The Diversification of Metal: 1980‑1989 a. New Wave of British Heavy Metal (NWOBHM) b. Speed Metal c. Neo‑Classical Metal d. Stoner Metal e. Noise Rock f. Progressive Metal g. Alternative Rock h. Alternative Metal i. Thrash Metal j. Black Metal k. Death Metal l. Emo m. Funk Metal n. Grindcore o. Grunge p. Industrial Metal q. Sludge Metal r. Doom Metal
The Nu Nineties: 1990‑1999 a. Metalcore b. Gothic Metal c. Post Grunge d. Rap Metal e. Nu Metal f. Groove Metal g. Dark Ambient h. Folk Metal i. Symphonic Metal
Millennium Metal: 2000‑ a. New Wave of American Heavy Metal (NWOAHM) b. Blackgaze c. Djent
There, that amounts to 42 (NB. ‘The answer to life, the universe and everything’, from the novel, ‘The Hitchhiker’s Guide to the Galaxy’ [1979] by author Douglas Adams) ‘top level’ Metal sub‑genres, more than enough to be getting on with. Then there are is the constantly changing elaborate rabbit warren of manifold micro‑genres (hundreds if not thousands of them).
Part of the difficulty with any formal categorised structure is that it is inherently a flawed and imperfect model. Genres don’t just have a clearly defined beginning and end or precise boundaries. One of the problems is genre fluidity. Once a (sub‑)genre has been established, sometimes it will fade away quickly, sometimes it will grow and endure, sometimes it will come and go repeatedly over time, and sometimes it will morph into something else altogether.
Another problem is slotting artists into either a period of time or a particular (sub‑)genre. Many artists are difficult to pin down to a discrete genre, as they may change style, crossover or fuse genres over time such that they may appear in multiple genres dependent on their stage of evolution. Genres are also not all the same; some (sub‑)genres are narrow (e.g. Kawaii Metal, a.k.a. Cute Metal or J‑Pop Metal), while others are very broad, (e.g. Alternative Rock/Alternative Metal); some are clearly delineated while others are more amorphous. I will do my level best to make some sense of it all as we go through it.
Right. Ready to dive in? Let’s rock…
Metal Era #1 – Pre‑History of Metal: 1960‑1970
Pre‑Metal Rock (‑1966)
In CRAVE Guitars’ 14‑part series of articles, ‘The Story of Modern Music in 1,500+ Facts’ (March 2019 to May 2020), I postulated in a very general sense that, after classical music, the vast majority of modern music originated from just the three founding pillars of Blues, Jazz and Country. A blending of these styles over several decades led to the emergence of Rock & Roll in the mid‑1950s and pretty much everything thereafter sprouted from that specific paradigm shift in popular music. From the 1950s onwards, modern popular music evolved and diversified at a tremendous rate. Moving forward a decade or so from rock & roll, the origins of Metal’s direct ancestors rose from vibrant sub‑genres such as Blues Rock, Garage Rock, Surf Rock, Psychedelic Rock, Acid Rock, Jam Band and Pop.
Many commentators point to the Dave Davies’ distorted guitar riff on The Kinks, ‘You Really Got Me’ (1964) as the catalyst for guitar‑driven distorted rock music. Britain’s former colony, the United States of America (sorry dudes) might point to the king of Surf Rock, Dick Dale’s, ‘Misirlou’ (1963) as another fertile seed germinating in the growth of rock. Other notable claims might include Link Wray, ‘Rumble’ (1958), The Animals, ‘The House of the Rising Sun’ (1964), The Troggs, ‘Wild Thing’ (1966) and Steppenwolf, ‘Born to be Wild’ (1969).
Related Genres: Rock & Roll, Blues Rock, Garage Rock, Surf Rock, Psychedelic Rock, Acid Rock, Jam Band, Pop, Pop‑Rock
Examples: Elvis Presley, Little Richard, Link Wray, The Animals, The Troggs, The Beatles, The Kinks, The Who, Cream, Groundhogs, MC5, The Stooges, Man, Quicksilver Messenger Service, Dick Dale, Rolling Stones, and many, many more.
Psychedelic Rock (1966‑1978)
Psychedelic Rock – or just Psych – is a style of Rock music that emerged in the mid‑1960s that often attempts to emulate or enhance the way music sounds to people while under the influence of psychedelic drugs such as LSD (a.k.a. acid) and ‘shrooms’ (a.k.a. psilocybin ‘magic’ mushrooms). Songs typically include heavily distorted, phased and reverb‑drenched electric guitars, extended guitar solos, effected vocals, and drug‑influenced lyrics. Other common characteristics include the use of keyboards and elaborate studio effects like backwards recording, echo, flanging and phasing. It is also not uncommon for Psychedelic Rock groups to incorporate prominent elements of other genres including Folk, Blues, Jazz, and South Asian/Far Eastern music.
The beginning of Psychedelic Rock is generally considered to be c.1966, with the release of The Byrds’ ‘Fifth Dimension’, notably their hit single, ‘Eight Miles High’, and ‘The Psychedelic Sounds of the 13th Floor Elevators’ (1966) by, erm, 13th Floor Elevators. NB. The 13th Floor Elevators were the first band to use the word, ‘psychedelic’ in relation to music.
Psychedelic Rock emerged alongside Psychedelic Pop and Pop Rock, especially in the UK. Many albums from the mid‑1960s incorporated elements of psychedelia, notably The Beatles’ 7th studio album, ‘Revolver’ (1966).
From 1967, the popularity of Psychedelic Rock expanded significantly and it became clearly differentiated from Psychedelic Pop by moving away from Pop‑oriented song structures. Psychedelic Rock incorporated elements of Garage Rock and Blues Rock, as well as the drug‑infused Acid Rock sub‑genre. The genre hit a peak in 1969 with the Woodstock Festival. However, it experienced a substantial decline in popularity by the start of the 1970s with the demise of the hippie counter‑culture. Psychedelic Rock played a big part in influencing many other genres, including Progressive Rock.
Related Genres: Acid Rock, Psychedelic Pop, Space Rock, Progressive Rock, Hard Rock, Jam Band, Pop, Pop Rock, Krautrock, Garage Rock, Blues, Blues Rock, Jazz, Folk, South Asian Music, Progressive Rock, Fractal Rock
Examples: The Doors, Jefferson Airplane, Captain Beefheart, The Byrds, The 13th Floor Elevators, Jimi Hendrix, Cream, Pink Fairies, Can, Love, Pink Floyd, Hawkwind, Eternal Tapestry, Loop
Hard Rock (1966‑)
Hard Rock is a sub‑genre of Rock music rooted in 1960s Blues Rock, Garage Rock and Psychedelic Rock (especially Acid Rock). Hard Rock features distorted guitars and power chords, and frequently includes Blues Rock‑inspired song structures and chord progressions. Flashy guitar solos were common and vocals are typically sung in a forward, forceful manner.
Hard Rock was pioneered in the late 1960s by British artists, who were connected to the British Blues scene. The fanatical popularity of The Beatles and the so‑called ‘British Invasion’ of the US opened up opportunities for experimentation and cross‑fertilisation. Early Blues‑influenced British Hard Rock bands cranked their amplifiers, using distorted guitar to provide the signature sounds of Hard Rock from the likes of Led Zeppelin, Deep Purple and Cream. Many might suggest that these bands belong to Heavy Metal, although history will probably (properly) regard them as Hard Rock that influenced the development of Heavy Metal.
Hard Rock saw considerable commercial success during the 1970s, when American artists infused their songs with a more melodic style and radio‑friendly sound. The late 1970s saw the appearance of AOR (Adult‑Oriented Rock), a softer derivative of Hard Rock that proved both popular and commercial. AOR was characterised by slick studio production, prolific use of ballads, and a keen awareness of Pop as a vehicle for success.
Hard Rock focused on familiar Blues Rock composition. While Hard Rock’s original creative peak was in the 1970s, it continued to be popular, experiencing commercial success in the 1980s. Hard Rock has been reinvented and rejuvenated many times over the intervening decades, proving to be enduringly popular with consumers. The early 1990s saw many fans desert traditional Hard Rock music in favour of the edgier sounds of Alternative Rock, Alternative Metal, Grunge and their associated sub‑genres, only for it to experience another Renaissance in the 21st Century. Hard Rock remains in vogue today and doesn’t look like it’s going away anytime soon.
Related Genres: British Blues, Classic Rock, Heavy Rock, AOR, Heavy Metal, Grunge, Alternative Rock, Post‑Grunge, Glam Metal, Southern Metal
Examples: The Who, The Jimi Hendrix Experience, Steppenwolf, Pink Fairies, Blue Cheer, Grand Funk Railroad, Budgie, Led Zeppelin, Deep Purple, Cream, UFO, Blue Oyster Cult, Mountain, Iron Butterfly, Free, Bad Company, Wishbone Ash, Thin Lizzy, KISS, AC/DC, Joe Satriani, Van Halen, Ted Nugent, The Darkness, Queens of the Stone Age, Audioslave, Shinedown, Alter Bridge, Aerosmith, Nazareth, Boston, Foreigner, Styx, Airbourne, Black Stone Cherry, Michael Schenker Group, Thunder, Wolfmother, Eagles of Death Metal
Shock Rock (1968‑1983)
Unlike any other genre, Shock Rock is defined by its extravagant visuals, gaudy showmanship and controversial public image, rather than by its musicianship and sound. The key thing is that it was intended to… well… shock and to stimulate a reaction. Shock Rock has its roots firmly in the edgier side of the 1960s expressive freedom, youthful rebellion, sexual liberation and a rejection of the west coast ‘love & peace’ hippie counter‑culture movement. Shock Rock was fuelled by pushing the boundaries of the genre through the use of disturbing, horrifying and sexual themes. Shock Rock was largely rejected by the conservative majority of Americans, which unwittingly fed its popularity, especially with alienated youths who didn’t buy into the previous generation’s conventional societal norms and values. Shock Rock influenced Glam Rock in the 1970s, Black Metal in the 1980s and to Industrial Rock and Industrial Metal in the 1990s. The ability of music to shock has significantly diminished in contemporary times. Desensitisation strikes again.
Shock rock is a combination of Hard Rock and/or Heavy Metal, often featuring highly stylised theatrical live performances emphasising over‑the‑top symbolism for effect. Shock Rock live performances included staged violence and provocative behaviour, the use of attention‑grabbing techniques such as costumes, masks, face paint and live animals, or special effects such as pyrotechnics and fake blood. Shock Rock also included lyrical references to literature, cinematic horror and pornography.
Related Genres: Glam Rock, Hard Rock, Heavy Metal, Punk Rock, Black Metal, Industrial Rock, Industrial Metal
Examples: Screamin’ Jay Hawkins, Arthur Brown, Alice Cooper, New York Dolls, Kiss, Ozzy Osbourne, Venom, W.A.S.P., Gwar
Metal Era #2 – The Golden Era of Metal: 1970‑1980
Heavy Metal (1970‑1979)
Here we are at last. THE milestone moment in Metal. Also now known as ‘Classic’ Heavy Metal or Traditional Heavy Metal, Heavy Metal was a pivotal point in modern music that emerged first in the UK and then America. Today, the term Heavy Metal has become a generic retrospective term referring to a specific musical genre style from a specific time period.
Heavy metal is a direct descendant of Hard Rock, Psychedelic Rock and Acid Rock of the late 1960s and early 1970s. Black Sabbath is widely considered to be the first and foremost band to establish Heavy Metal as a ‘thing’. However, Black Sabbath’s sound didn’t appear fully formed; the band was influenced by British Blues Rock and Garage Rock in its early days. Black Sabbath were responsible for the foundations of what would become an entire music genre. At first, many Heavy Metal bands didn’t identify themselves with the title, preferring to play it safe unless Heavy Metal failed. The prominent use of lead guitar and vocals over a solid bass and drum foundation was used to create an imposing, epic sound. The darker and more sinister aesthetic of Heavy Metal was influenced by Shock Rock artists including the use of satanic and occult imagery.
Heavy Metal is constructed around key components of Hard Rock such as power chords (NB. a dyad comprising the root note and the fifth note of a major or minor scale) and riffs (NB. a repeated chord progression). Heavy Metal tends to be played with greater intensity than Hard Rock and commonly uses heavy distortion (NB. intentional clipping and production of higher order harmonics created by overdriving the valves in an amplifier’s pre and/or power amp stages). Heavy Metal also tends to reject the Blues elements of its predecessors, giving it a distinct harder edged sound. Heavy Metal lyrics are generally darker than those of Hard Rock, featuring themes of war, death, loss, the supernatural, the occult and Gothic fantasy.
Another key feature of Heavy Metal is the widespread use of what is known as the dangerous ‘devil’s interval’, also called a tritone because it is a music interval of three whole tones. The Latin term ‘diabolus in musica’ (literally, the Devil in music) originated in the Middle Ages where the sinister dissonant use of the tritone was considered an offence against God and therefore must have come from hell. Just listen to the eponymous track, ‘Black Sabbath’ (1970) or Metallica’s ‘Enter Sandman’ (1991) amongst many others and you’ll recognise it instantly. Unsettling, dark, powerful and scary? Absolutely.
During the 1980s and 1990s, Heavy Metal would take a back seat to rise of other forms of Metal. However, it remained influential, particularly with its influence on Doom Metal and Melodic Death Metal. Heavy Metal would also see a resurgence in popularity during the mid‑2000s with the New Wave of Traditional Heavy Metal (NWOTHM) harking back to its original sound.
Related Genres: Hard Rock, Psychedelic Rock, Blues Rock, Garage Rock, Acid Rock, Heavy Psych, NWOBHM, Doom Metal, Speed Metal, Power Metal, Thrash Metal, Glam Metal, Melodic Death Metal, Alternative Metal, Groove Metal, NWOTHM, Christian Metal, Latin Metal, Southern Metal
Examples: Black Sabbath, Heaven & Hell, Budgie, Coven, Nazareth, Thin Lizzy, early Queen, Judas Priest, AC/DC, Rainbow, Whitesnake, Iron Maiden, Vanilla Fudge, Steppenwolf, Iron Butterfly, Blue Cheer, MC5, The Stooges, Alice Cooper, KISS, ZZ Top, Blue Öyster Cult, Aerosmith, Ted Nugent, Van Halen, Black Label Society, King Diamond, Rob Zombie, Venom, Mercyful Fate
Progressive Rock (1970‑1976)
Traditional Progressive Rock – or simply just ‘Prog’ to its many admirers – is a genre associated with complex harmonies and technical virtuosity inspired by Classical Music and contemporary Jazz. Generally, song structures consist of multiple sections and typically feature shifts in intensity, mood, tempo, key and time signature. Prog also embraced broader instrumentation compared to other Rock genres, including keyboards, wind instruments, percussion and strings. Progressive Rock also tended to lessen the prominence of the guitar as the principal lead instrument. Progressive Rock bands are often known for releasing concept albums (often double albums), relating a story through cohesive connected song themes, and with longer track times than other genres. Songs often reflected subjects like history, science fiction, and fantasy, with lyrics drawing inspiration from poetry, literature, and cinema.
The roots of Progressive Rock date back to the innovations introduced by Psychedelic Rock and Baroque Pop sounds of the mid‑1960s, with groups using new recording techniques, lush orchestral arrangements, integrating broader more esoteric musical influences, and focusing on complex compositions. The earliest Progressive Rock bands emerged in the UK during the late 1960s, seeking to innovate and to push existing musical boundaries. Progressive Rock saw a massive rise in popularity during the early 1970s gaining considerable commercial success and critical acclaim.
Progressive Rock went on to achieve global interest and became particularly influential on other technical music genres. Many modern Metal bands continue to reference original Progressive Rock tropes. Some Jazz‑Rock fusion‑style musical developments such as the so‑called Canterbury Scene in the UK and the Paisley Underground in the US exhibited similarities to Progressive Rock from the 1970s onwards. Even in the late 1990s, Alternative Rock and Post‑Hardcore bands also adopted progressive characteristics, ultimately leading to Progressive Metal.
On reflection, many commentators use pejorative hyperbole like pretentious, pompous, self‑important, haughty, arrogant and conceited to describe the ‘highbrow attitude’ of Progressive Rock artists. Progressive Rock saw a rapid decline in the mid‑late 1970s when Punk Rock revolutionised popular music. Punk, in particular, was the antithesis of Progressive Rock, rejecting the corporate nature of the mainstream and, explicitly, the bloated, grandiose ostentatiousness of Prog.
Related Genres: Classical Music, Jazz, Jazz‑Rock, Hard Rock, Psychedelic Rock, Canterbury Scene, Paisley Underground, Baroque Pop, Progressive Pop, Progressive Metal, Alternative Rock, Post‑Hardcore, Krautrock, Math Rock
Examples: The Nice, Soft Machine, Caravan, Procol Harum, The Beach Boys, The Beatles, The Moody Blues, Frank Zappa, Jethro Tull, King Crimson, Emerson, Lake & Palmer, Van Der Graaf Generator, Yes, Genesis, Pink Floyd, Uriah Heep, Mahavishnu Orchestra, Journey, Styx, Kansas, Rush, Gong, Goblin, Dream Theater, Porcupine Tree, Opeth, The Mars Volta, The Aristocrats
Glam Metal (1973‑1990)
Glam Metal is a form of Hard Rock that arose in the late 1970s and early 1980s, originating mainly from the fashionable club scene of the Sunset Strip in Los Angeles. Glam Metal was characterised by arena anthems and flamboyant stage antics, along with the androgynous aesthetics of 1970s Glam Rock, Glam Pop and Hard Rock bands. The music placed an emphasis on catchy hooks and memorable guitar riffs, sing‑along choruses, and lyrics often glamorising the excesses of the ‘sex, drugs and rock & roll’ lifestyle. Power ballads also became very common to the genre. Glam Metal shares a lot of similarities with its direct predecessor Shock Rock.
Glam Metal hit the mainstream when the studio album, ‘Metal Health’ (1983) by Quiet Riot rose to number one on the Billboard 200 chart. Glam Metal coincided with the massive popularity of MTV (Music TeleVision) and rock radio at the time. The glossy visuals and showmanship of high‑budget music videos gave bands heavy rotation on MTV and the sound gradually became more polished and less Heavy Metal. The genre’s global popularity grew even further with established Rock artists adopting elements of the style. Exploiting the reputation of Shock Rock and Glam Metal, a basic raw, grubby sub‑genre known as Sleaze Rock also developed.
Rightly or wrongly, Glam Metal may well be remembered for artists’ rampant and unapologetic excesses more than the music. Many journalists criticised Glam Metal for reducing Metal to a caricature because of its combination of tired pop cliché, overtly immature misogyny and blatant sexual overtones.
By the early 1990s, the bubble had burst and the popularity of Glam Metal rapidly declined as the more ‘authentic’ genres of Grunge and Alternative Rock came to the fore. ‘Hair metal’ and ‘Cock Rock’ became common, often derogatory, terms to describe 1980s showmanship of Glam Metal bands. Nevertheless these genres have proved hard to kill off and fond reminiscence has led to continued popularity and rejuvenation of the music over time.
Related Genres: Hard Rock, Glam Rock, Shock Rock, Glam Pop, Sleaze Rock, Grunge, Alternative Rock
Punk Rock is a very important, although short‑lived genre originating from America and the UK in the mid‑1970s. Punk was a fierce rejection of progressive, commercial and sentimental mainstream rock music. In addition, the anger of Punk was fuelled by severe economic disadvantage and social change of the time. While Punk had its roots in America during the 1960s with Proto‑Punk and Garage Rock, it didn’t fully take off as Punk Rock until the mid‑1970s. Punk Rock’s initial success attracted a huge global underground and cult following before it erupted on the mainstream.
Punk rock is characterised by fast tempos, loud and distorted power chord guitar riffs, simple focused song structure, angry lyrics, and shouted vocals. Punk Rock is typically very antagonistic and confrontational, often dealing with topics considered forbidden in mainstream music. Anti‑establishment rants, anarchic behaviour and heated political protests feature strongly as an integral part of the Punk Rock scene.
Punk wasn’t just about the music, it generated a subculture that felt alienated, powerless and let down by ‘the system’. Punk attitude was also reflected in distinctive fashion, hairstyle, makeup, journalism, art and controversial attitudes. While Punk Rock didn’t outlive the 1970s and, while isn’t really Metal, it has been massively influential across many musical genres over the years particularly in Hardcore Punk and Post‑Hardcore.
“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)
Related Genres: Proto‑Punk, Garage Rock, Hardcore Punk, Post‑Hardcore, Pop Punk, Post‑Punk, Anarcho‑Punk, Goth Rock, Goth Metal, New Wave
Examples: Ramones, The Stooges, Patti Smith, Blondie, New York Dolls, MC5, Monks, Sex Pistols, The Clash, The Damned, The Ruts, The Vibrators, UK Subs, Sham 69, The Stranglers, Generation X, Buzzcocks, The Jam, X‑Ray Spex, The Adverts, Television, The Slits, Rancid, T.S.O.L., NOFX
Hardcore Punk (1976‑1979)
Often just called ‘Hardcore’, Hardcore Punk initially borrowed much from Punk Rock’s original approach and has been associated with the releases of independently‑run record labels. As Punk Rock became moderated by the mainstream, Hardcore Punk took on the mantle and heaped on the frenetic energy, made it faster, heavier and more aggressive, while retaining Punk’s anti‑establishment attitude and lifestyle. Other common characteristics include an extensive use of shouted vocals, paired‑down production and the tendency towards short, gutsy, gritty songs. Hardcore Punk eventually dissipated into other sub‑genres and derivative forms in a similar way that Punk Rock fragmented and evolved into Post‑Punk and New Wave. Although not as influential as Punk Rock, Hardcore Punk contributed to the development of many other sub‑genres.
Related Genres: Punk Rock, Garage Rock, Melodic Hardcore, Grunge, Pop Punk, Sludge Metal, Riot Grrrl, Alternative Metal, Thrash Metal, Beatdown Hardcore
Examples: D.O.A., Dead Kennedys, Discharge, Black Flag, Napalm Death, Circle Jerks, The Exploited, Minor Threat, GBH, Misfits, Bad Brains, Cancer Bats, Agnostic Front, Fugazi, early Teddybears, Gallows, Girls In Synthesis
Power Metal (1976‑)
Power Metal is a sub‑genre of Heavy Metal, originated in the early 1980s in both Europe and America, as a response to NWOBHM. Basically, it adds more ‘power’ (duh!) to conventional Heavy Metal, aided by slick studio production. As it evolved, Power Metal combined elements of traditional Heavy Metal with Speed Metal, Glam Metal and Thrash Metal. Power Metal played down its Blues Rock roots and made distorted guitar riffs more aggressive and complex and the vocals were more forceful. Power Metal is distinguished by ‘more’ – more speed, more commercial appeal, more epic, more ‘powerful’ and a more uplifting sound, compared to its slower heavier counterparts. Over time, Power Metal adopted some of the distinctive dissonance of more extreme forms of Metal to give the music an edge, as well as Pop appeal to sell product in greater quantity. US Power Metal (USPM) uses the American prefix to differentiate it from its European Power Metal counterpart.
Related Genres: Heavy Metal, NWOBHM, Speed Metal, Thrash Metal, Blues Rock, US Power Metal (USPM), European Power Metal, Pirate Metal, Kawaii Metal, Pop
Pop Metal is a very close relation to Glam Metal and Power Metal and tends to be used as an umbrella term for the commercial combination of Heavy Metal and Hard Rock that feature prominent Pop music elements such as catchy hooks and arena‑friendly anthemic choruses, which became hugely popular in the 1980s. The genre is also applied to some mainstream bands and artists that have formed since the 1990s that blend the lighter, radio‑friendly aspects of Pop with the grittiness of Heavy Metal into their sound. Some of the Pop Metal artists are regarded by Metal purists and music critics alike as ‘sell outs’, putting fame, fortune and financial reward before Metal musical integrity.
Related Genres: Glam Metal, Heavy Metal, Hard Rock, Power Metal, Pop, Pop Punk
Examples: Quiet Riot, Van Halen, Whitesnake, Def Leppard, Europe, Lita Ford, Guns N’ Roses, The Darkness, Bon Jovi, Architects, Bring Me the Horizon, Poison, Mötley Crüe, Ratt, Halestorm, Ghost, In Flames, In This Moment, Lacuna Coil, Shinedown, The Pretty Reckless, We Are The Fallen, Weezer
Gothic Rock (1979‑1990)
Emerging from the smouldering ashes of Punk Rock, the British Post‑Punk movement took on the role of genre innovation, taking it in many different directions. While Gothic Rock was an offshoot of the broader Post‑Punk scene, it quickly became defined as a separate genre in the early 1980s. Gothic Rock is differentiated from other genres by dark and atmospheric songs, a heavily stylised Goth aesthetic and inspirations from Gothic art, literature and cinema. Gothic‑style lyrics reflected sadness, nihilism, dark romantic idealism, loss, tragedy, melancholy, mortality and the supernatural.
Gothic Rock heavily influenced the distinctive and popular Goth subculture and lifestyle that included Goth clubs, stylised fashion and publications. While it may not be considered as true Metal, it is a key stepping stone along the yew‑lined cemetery path to Gothic Metal.
Metal Trivia: Historically, the Goths were a Germanic tribe of barbarians that led the sack of Rome in 410CE. The roots of the modern Gothic aesthetic go to back to the European Middle Ages of the 12th‑16th Centuries with its distinctive ‘barbaric’ Gothic architecture, which was revived again in the 18th‑20th Centuries. The Medieval architectural style became the backdrop to popular atmospheric Gothic romantic, horror and fantasy literature of the 18th‑19th Centuries. The first Gothic novel was ‘The Castle of Otranto’ (1764) by Horace Walpole (1717‑1797).
Related Genres: Post‑Punk, Gothic Metal, Gothic Pop, Emo, Dark Wave, Ethereal Wave, Death Rock
Examples: Siouxsie and the Banshees, The Cure, Bauhaus, Joy Division, The Damned, The Cult, The Mission, Killing Joke, Sisters Of Mercy, Adam and the Ants, Cocteau Twins, Dead Can Dance, The Fall, Evanescence, All About Eve, The Twilight Sad, Alien Sex Fiend, Rome Burns, Southern Death Cult, This Mortal Coil, Pixies, Fields of the Nephilim
Metal Era #3 – The Diversification of Metal: 1980‑1989
New Wave of British Heavy Metal (NWOBHM) (1979‑1983)
NWOBHM is a clumsy acronym for ‘New Wave Of British Heavy Metal’. NWOBHM started off as an injection of fresh new ideas to slow and then reverse the decline of early British Traditional Heavy Metal as well as to adapt to the emergence of high‑energy Punk Rock. NWOBHM bands took some of the elements of Punk and merged it with Heavy Metal. Like Punk Rock, many NWOBHM bands funded and released their own records in the early days. While many Metal fans rejected Punk, it continued to influence Metal in a significant underground Metal scene that began to grow and gain momentum. Eventually, the media, record labels and consumers could no longer dismiss NWOBHM as a passing underground fad and it rapidly became a major force in modern Metal music. The primary band associated with the emergence of NWOBHM was Iron Maiden.
NWOBHM is very diverse and it didn’t tend have a signature ‘sound’ of its own. Instead, the genre is more focused on location and period (the UK in the 1980s). At its peak, it didn’t last long but it has had a lasting impact over the decades. By the early‑mid 1980s, NWOBHM came to define the global mainstream success of Heavy Metal. While predominantly British in origin, NWOBHM had a major global influence on later forms of Metal, including the inevitable American version (NWOAHM).
Related Genres: Heavy Metal, Punk Rock, Hardcore Punk, Doom Metal, Thrash Metal, Speed Metal, New Wave Of American Heavy Metal (NWOAHM)
Examples: Motörhead, Def Leppard, Judas Priest, Quartz, Saxon, Iron Maiden, Tygers of Pan Tang, Diamond Head, Angel Witch, Girlschool, Raven, Holocaust, Tank, Elixir, Praying Mantis, Blitzkrieg, Samson, Grim Reaper, Witchfinder General, Dragonslayer
Speed Metal (1981‑1993)
Speed metal is a bit of a minor but important transitional sub‑genre of Metal originating from NWOBHM and influenced by Hard Rock and Heavy Metal bands, as well as influencing early Thrash Metal.
Speed Metal is usually considered less abrasive and more melodic than Hardcore Punk before it or Thrash Metal after it. However, Speed Metal is usually faster (duh!) and more aggressive than traditional Heavy Metal. It also tends to feature incendiary virtuoso guitar solos and short instrumental passages between conventional verse and chorus song writing structure. While sounding relatively straightforward now, the studio album, ‘Welcome to Hell’ (1981) by British band Venom has been suggested as the first Extreme Metal release.
Related Genres: Hard Rock, Heavy Metal, NWOBHM, Hardcore Punk, Doom Metal, Thrash Metal
Examples: Venom, Slayer, Motörhead, Exciter, DragonForce, Annihilator, Anvil, Heathen, Helloween, Piledriver, Racer X, Whiplash, Bewitched, Midnight, Annihilator, Children of Bodom
Neo‑Classical Metal (1983‑)
Neo‑Classical Metal is a niche, largely Instrumental Rock sub‑genre with its roots firmly in Hard Rock, Heavy Metal and Speed Metal, while taking considerable inspiration from traditional acoustic instrumental Classical Music. The main characteristic of Neo‑Classical Metal is its highly technical virtuoso guitar playing and particularly the fast and complex ‘shredding’ techniques that became widely popular during the 1980s. Deep Purple guitarist Ritchie Blackmore was probably the pioneer of this particular style of guitar playing before that role was passed on to Swedish guitarist Yngwie Malmsteen. The genre took its cues mainly from the Romantic and Baroque periods of 17th and 18th Century Classical Music. In turn, Neo‑Classical Metal influenced many genres including Progressive Metal.
Related Genres: Hard Rock, Heavy Metal, Speed Metal, Classical Music, Instrumental Rock, Power Metal, Symphonic Metal, Progressive Metal
Examples: Ritchie Blackmore, Yngwie Malmsteen, Randy Rhoads, Jason Becker, Uli Jon Roth, Marty Friedman, Paul Gilbert
Stoner Metal (1982‑)
Stoner Metal is a sub‑genre of Metal that combines key components of Doom Metal with elements of Psychedelic Rock and Blues Rock to create a melodic yet heavy sound. Like Stoner Metal’s close genre relative Stoner Rock, heavily distorted guitar riffs feature strong grooves and psychedelic effect‑driven atmospheric sounds, while the tempo is generally slower than many other Metal genres. Guitars and basses are frequently down‑tuned with a particular emphasis on a solid, bass‑heavy sound.
Several Stoner Metal bands and fans shared a common use of marijuana, hence the genre name. The focus on weed can be found within the lyrics of many Stoner Metal tracks, combined with the heavy and psychedelic sound of the music. Due to the similarities in styles, some Stoner Metal bands also adopted and incorporated certain aspects of Sludge Metal and Heavy Psych.
Related Genres: Stoner Rock, Sludge Metal, Heavy Psych, Instrumental Rock, Doom Metal
Examples: Sleep, Kyuss, Monster Magnet, Cathedral, Down, Electric Wizard, Black Mountain, Corrosion of Conformity, Clutch, Karma to Burn, Saint Vitus, Orange Goblin, Pulled Apart by Horses, Royal Blood, Om, Madmess, My Sleeping Karma, Pigs Pigs Pigs Pigs Pigs Pigs Pigs, Melvins, High on Fire, Eternal Tapestry
Noise Rock (1983‑2010)
Noise Rock is a broad genre that arose from Punk Rock and Post‑Punk. Noise Rock artists incorporate a high degree of experimental sound manipulation, heavy distortion, guitar feedback, prominent use of effects, dissonant musical intervals and lo‑fi production. The most commonly used instruments are guitars, bass and drums, as well as extensive use of drum machines, guitar effects, studio electronics, tape‑manipulated soundscapes, and random industrial noises added to supplement the already‑abrasive core sound. Song structures defied convention and often rely on dirge, drone or discordant tonal textures. German Krautrock (a.k.a. Kosmiche Musik or Cosmic Music) also heavily influenced Noise Rock.
The first Noise Rock artists predated the genre, emerging in New York in the 1960s and the first Noise Rock studio album was arguably, ‘White Light/White Heat’ (1968) by The Velvet Underground. The tracks made extensive use of guitar feedback, distortion effects, simple recording, and unstructured Jam Band sessions. Noise Rock reached its peak in the 1990s with bands like Sonic Youth leading the evolution of the genre before they disbanded in 2011. Despite it seeming to be a musical dead end, Noise Rock influenced many future Metal sub‑genres, such as Industrial Metal.
Related Genres: Punk Rock, Post‑Punk, Jam Band, Sludge Rock, Drone Metal, Industrial Rock, Industrial Metal, Krautrock, Experimental Rock
Examples: The Velvet Underground, Lou Reed, The Stooges, Sonic Youth, Big Black, Nirvana, Dinosaur Jr., Membranes, Thurston Moore, Lee Ranaldo, Black Midi, Deerhoof, Tropical Fuck Storm, Boris, SUNN O))), Melt‑Banana, Merzbow
Progressive Metal (1984‑)
Heavy Metal was influenced by Progressive Rock and, in turn contributed towards Progressive Metal. Today’s Progressive Metal continues to use the layered, textured sounds and intricate arrangements of Prog and combines it with heavier, more distorted sounds of Metal. The 1990s saw a rejuvenation of Progressive Rock and the emergence of Progressive Metal through a new generation of artists using innovative sounds and recording techniques.
Progressive metal is a genre that features Metal’s electric guitar‑driven sound and fuses it with technical proficiency and Progressive Rock‑inspired virtuosity. It uses unorthodox song writing featuring complex harmonies, long track times, multiple passages, shifts in mood, texture, tempo, key changes and uncommon time signatures. Like Progressive Rock, Progressive Metal frequently uses additional instrumentation such as keyboards, percussion, wind instruments and strings. Lyrics are often poetic, elegiac, melancholic, and introspective, and it tackles themes such as philosophy, science fiction, fantasy and politics. Progressive Metal is known for its high‑gain guitars and heavy guitar riffs. It is fair to say that Progressive Metal has heavily influenced many other forms of late 20th Century and early 21st Century Metal.
Related Genres: Progressive Rock, Heavy Metal, US Power Metal, Thrash Metal, Technical Death Metal, Black Metal, Metalcore, Djent, Avant‑Garde Metal, Experimental Metal, Post‑Metal
Examples: Rush, Savatage, Queensrÿche, Fates Warning, Voivod, Dream Theater, Meshuggah, Porcupine Tree, Tool, The Dillinger Escape Plan, Opeth, Gojira, Mastodon, Coheed and Cambria, Steve Vai, King’s X, Devin Townsend, Between the Buried and Me,
Alternative Rock (1985‑2010)
Alternative Rock (a.k.a. Alt‑Rock) is a massively diverse range of styles and has become regarded as a bit of an all‑encompassing umbrella term for a wide range of music that doesn’t easily fit elsewhere, almost to the point of not being a cohesive genre. Alternative Rock developed in the independent record label music scenes of the 1980s, being heavily influenced by Punk Rock, Post‑Punk and Hardcore. Common characteristics typically include a blend of melodic, traditional song writing with more eccentric sounds drawing from Punk, using idiosyncratic lyrics, as well as plentiful amounts of distortion.
In America, Alternative Rock bands combined Punk Rock and Post‑Hardcore with Folk Rock and Power Pop. Later groups took on a more raucous, jarring approach, influenced by Noise Rock and Experimental Rock.
Alternative Rock wasn’t met with a great deal of commercial success compared to some other forms of Metal and Rock because of its diversity. The term ‘College Rock’ was coined to describe many of the early Alternative Rock bands because they were popular on American college radio channels and, perhaps predictably, MTV.
By the start of the 1990s, several previously independent artists signed to major labels and the success of Grunge bands launched Alternative Rock along with Alternative Metal into mainstream popularity. Multiple other commercial offshoots and derivatives of Alternative Rock began to appear as either revivals of past genres or breakthroughs in new areas. A number of artists during this period exploited the creativity and experimentation of Alternative Rock to push the genre’s already nebulous boundaries. While Alternative Rock isn’t very Metal, Alternative Metal would not have evolved in the way it did without its direct forebear.
In the 2010s, Alternative Rock largely faded from the mainstream and returned to the underground. Indie Rock tended to take over from Alternative Rock and continued to enjoy moderate success until Indie also experienced a major decline by the 2020s.
Related Genres: Hard Alternative Rock, Indie Pop, Indie Rock, Garage Rock Punk Rock, Proto‑Punk, Post‑Punk, Pop Punk, Psychedelic Rock, Post‑Rock, Alternative Dance, Neo‑Psychedelia, Shoegaze, Dream Pop, Slacker Rock, Post‑Hardcore, Folk Rock, Power Pop, Experimental Rock, Britpop, Art Rock, Slacker Rock, Emo, Emo Rap, Electronica, Funk Rock, Ska Revival, Hip Hop, Pop Rap
Examples: R.E.M., Dinosaur Jr., My Bloody Valentine, Violent Femmes, Hüsker Dü, The Replacements, Pixies, The Smashing Pumpkins, Faith No More, Jane’s Addiction, Living Colour, Sonic Youth, Red Hot Chili Peppers, The Flaming Lips, Pavement, Yo La Tengo, Wooden Shjips, Guided by Voices, Weezer, Nine Inch Nails, Radiohead, TV on the Radio, Car Seat Headrest, Mitski, Courtney Barnett, Kid Cudi, Six By Seven, Stabbing Westward
Alternative Metal (1985‑)
Alternative Metal is another catch‑all sub‑genre of Metal music and a close relative of Alternative Rock that also emerged in the late‑1980s. Alternative Metal pushed the borders of Alt‑Rock, with a medium‑tempo similar to Groove Metal. Unlike other, more traditional Metal genres, Alternative Metal adopted a straight‑forward sound. Vocal styles vary hugely, depending on the band. Alternative Metal lyrics also focus on more prosaic, down‑to‑earth themes than many other Metal genres. Like its Rock counterpart, Alternative Metal is noted for its variety and a willingness to experiment with unconventional musical styles beyond the confines of straightforward Metal music.
Alternative Metal actually increased in popularity when Grunge took alternative music into the mainstream in the first half of the 1990s. The genre took another step forward with the emergence of Rap Metal, Nu Metal and Post‑Grunge in the mid‑1990s.
Alternative Metal’s popularity continued undiminished into the 21st Century and continued to evolve into the New Wave of American Heavy Metal (NWOAMH), which harked back to preceding Metal genres and built on them. The influence of Alternative Metal can clearly be heard in other Metal genres, such as Metalcore.
Related Genres: Heavy Metal, Alternative Rock, Groove Metal, Funk Metal, Grunge, Nu Metal, Post‑Grunge, NWOAMH, Metalcore
Examples: Faith No More, Red Hot Chili Peppers, Jane’s Addiction, Prong, Living Colour, The Smashing Pumpkins, Primus, Rage Against the Machine, Disturbed, Avenged Sevenfold, Five Finger Death Punch, Architects, Bring Me the Horizon, Enter Shikari, John 5, Hundred Reasons
Thrash Metal (1983‑1995)
Thrash metal was, arguably, one of the first Extreme Metal genres characterised by fast tempos and an aggressive tonel. A new generation of American Metal bands emerged, headed up by ‘the big four’ Thrash Metal bands, Metallica, Anthrax, Slayer and Megadeth. These four bands combined influences from classic Heavy Metal, NWOBHM and Speed Metal, developing them further to great success. Thrash Metal’s popularity peaked in the early 1990s before beginning to decline.
Thrash Metal frequently features tight rhythms, down‑tuned and palm‑muted heavily distorted guitar riffs. Talented Thrash Metal lead guitarists ably demonstrated highly technical ‘shred’ solos using two‑hand ‘tapping’, sweep picking and fast legato licks, along with unusual scales. Thrash drumming frequently uses rapid double‑bass drum patterns. Vocals range widely from melodic singing to angry shouting. Themes tackled by Thrash Metal include politics, war, socio‑political commentary, Satanism, science fiction, introspection and hedonistic lifestyles.
In America, two main Thrash Metal scenes developed; Bay Area Thrash and East Coast Thrash, eventually evolving into what is known as Crossover Thrash. In Germany, Teutonic Thrash Metal emerged in parallel. Thrash Metal heavily influenced Alternative Metal and Grunge, as well as Groove Metal. In the 2000s and 2010s, Thrash Metal saw a resurgence, with 1980s bands reuniting or returning to their original sound, alongside emerging new bands.
Related Genres: Heavy Metal, Speed Metal, NWOBHM, Bay Area Thrash, East Coast Thrash, Crossover Thrash, Teutonic Thrash Metal, Alternative Metal, Grunge, Groove Metal
Examples: Metallica, Slayer, Anthrax, Megadeth, Pantera, Anvil, Exodus, Overkill, Kreator, Destruction, Sodom, Sepultura, Testament, Death Angel, Municipal Waste, Marty Friedman, Legion of the Damned
Black Metal (1984‑)
Black metal is a style of Extreme Metal typified by penetrating, distorted, trebly electric guitar riffs, screamed vocals, and double‑bass drum‑driven rhythms with a distinctively intense style called ‘blast beat’ (NB. a term coined by British Grindcore band, Napalm Death). Tempos can reach a potent 300bpm, roughly double the ‘norm’. Studio production features a raw, lo‑fi approach to mixing. Conventional song structures generally include strong ideological themes such as opposition to organised religion, devil worship, the occult, paganism, Satanism and neo‑Nazism. Lyrics were delivered by gruff, guttural vocals. Black Metal’s origins date back to 1980s Speed Metal with Venom’s 2nd studio album, ‘Black Metal’ (1982), which gave the genre its name. Black Metal aesthetics strongly reflect its overtly ominous lyrics and darkly deviant ideology, lashings of corpse paint included as standard.
Black Metal is widely regarded as comprising two distinct ‘waves’. The first wave established the genre’s prototypical roots, derived from a wide range of early Extreme Metal styles, particularly Thrash Metal and Germany’s Teutonic Thrash Metal scene. Support for the first wave declined by the end of the 1980s due to the rising popularity of other genres such as Death Metal.
The second wave of Black Metal arose during the 1990s, epitomised by Norwegian Black Metal and originating from the major cities of Oslo and Bergen. This wave was characterised by a more progressive, repetitive, riff‑driven style, less structured compositions and powerful instrumental passages. As its popularity increased, Black Metal spread out from Scandinavia and became an international phenomenon. Rather than pushing existing boundaries, Black Metal asserted that there were no boundaries, leading to an ever increasing spiral of destructive, aberrant excess.
By the 1990s, Black Metal had become dangerous and notorious, associated with very real events such as arson attacks on Christian churches, brutality, self‑harm, suicide and murders, rather than the music. Such was the controversy, the Hollywood film, ‘Lords Of Chaos’ was released in 2018. The film was a historical biographical horror/drama portrayal of the Norwegian Black Metal scene of the early 1990s and specifically focussing on the band Mayhem. The film was based on the book, ‘Lords Of Chaos: The Bloody Rise Of The Satanic Metal Underground’ (1998) by Michael J. Moynihan and Didrik Søderlind.
Metal Trivia: The notoriety surrounding the Black Metal band Mayhem was immense. Swedish vocalist ‘Dead’ (Per Ohlin) committed suicide in 1991, aged 22 (his corpse was pictued on an unofficially released Mayhem album cover). Norwegian guitarist ‘Euronymous’ (Øystein Aarseth) was murdered at the age of 25 in 1993 by former bandmate and rival ‘Varg’ (Kristian Vikernes), who was sentenced to 21 years in prison in 1994 for murder and arson (released after 15 years in 2009). Varg continues to make music under the name Burzum.
Metal Trivia: The term Kvlt (an alternative spelling of cult), referring to Nordic or pagan culture, is used by Black Metal fans to prove their knowledge of the obscure and to mock others’ ignorance. Ironically, the term has been turned around by followers of other Metal genres to provoke fans of Black Metal. Now you know.
Related Genres: Satanic Metal, Heavy Metal, Speed Metal, Black Ambient, Norwegian Black Metal, Industrial Black Metal, Black Doom, Post‑Black Metal, Blackgaze, Pagan Metal
Along with Black Metal, Death metal is another style of Extreme Metal whose influences derive from the raw sound and inflammatory style of early 1980’s Speed Metal and Thrash Metal. Death Metal features heavily distorted, commonly down‑tuned guitars playing fast, palm‑muted riffs and double‑bass drum ‘blast beat’ rhythms. Chromatic chord progressions and abrupt changes in volume, tempo and time signature are also common. Vocalists adopt stressed, guttural vocal styles such as growling, squealing and grunting, with lyrics that emphasise aggression, violence, anti‑religion, politics, philosophy, science fiction, environmentalism and (unsurprisingly) mortality and death.
The first Death Metal bands emerged in America during the mid‑1980s, closely followed by the UK. This period is often now referred to as Old School Death Metal (OSDM). The guitarist with the band Death, Chuck Schuldiner, became known as ‘The Godfather of Death Metal’. A specific offshoot of Death Metal based around the Tampa Bay area formed the discrete Florida Death Metal scene.
During the early 1990s, Swedish Death Metal came to the fore, based around the country’s major cities of Gothenburg and Stockholm. The Swedish Death Metal band Entombed released their debut studio album, ‘Left Hand Path’ (1990), which established Death Metal’s signature ‘buzzsaw’ guitar tone by using the BOSS HM‑2 Heavy Metal effect pedal (see CRAVE Guitars’ feature). Rarely has a music genre been defined by a single guitar stomp box. Another offshoot, Melodic Death Metal, employs a highly melodic (duh!) style relying on guitar harmonies and vocals, often overlapping in style with Doom Metal. Another Scandinavian country also jumped on the bandwagon with the Finnish Death Metal sub‑genre, which flourished by using off‑kilter rhythms, guttural vocals and doom‑laden lyrics.
Further offshoot sub‑genres also emerged throughout the 2000s and 2010s, including Technical Death Metal, Brutal Death Metal and Deathcore. By the late 2010s, Death Metal bands went back to their roots and revived elements OSDM, including lo‑fi production, riff‑centric song writing, and resonant vocals.
Related Genres: Speed Metal, Thrash Metal, Old School Death Metal, Swedish Death Metal, Melodic Death Metal, Deathcore, Industrial Death Metal, Finnish Death Metal, Florida Death Metal, Technical Death Metal, Brutal Death Metal, Death ‘n’ Roll, Goregrind, Slam Death Metal, War Metal, Dissonant Death Metal, Death Doom Metal
Examples: Possessed, Tiamat, Death, Autopsy, Morbid Angel, Obituary, Cannibal Corpse, Deicide, Immolation, Vader, Six Feet Under, Kataklysm, Dying Fetus, Nile, Amon Amarth, At the Gates, In Flames, Hypocrisy, Dark Tranquillity, Entombed, Grave, Unleashed, Dismember, Demigod, Amorphis, Arch Enemy, Soilwork, The Haunted, Carcass, Bolt Thrower, Carnifex, All Shall Perish, Necrophagist, Origin, Blood Incantation, Legion of the Damned, Children of Bodom, The Black Dahlia Murder
Emo (1987‑)
On first impression, one might think that Emo is an abbreviation for ‘emotional’. In fact, it stands for ‘Emotive Hardcore’, which originated in Washington, D.C. in the summer of 1985 from the city’s Hardcore Punk scene, incorporating more melodic song writing, acoustic instrumentation, poetic lyrics, and highly expressive, passionate vocals. Since its inception, the genre has evolved substantially with a wide range of styles. The tortured soul of Emo is its heartfelt outpouring of emotion and sentiment. Emo artists attempt to build a strong emotional connection with their followers. Often seen as a subculture as well as a musical genre, Emo’s lifestyle influence extends to fashion, culture, and deeply felt introspective mind‑set. While the uninitiated may perceive Emo and Gothic as interchangeable, they are separate genres and subcultures, each vehemently defending their own territory and identity. Emo did however influence Gothic Rock/Metal and vice versa.
For a while in the early days, Emo was also known as Emocore, as a way of differentiating it from Hardcore Punk. Emo uses slower tempos with melodic lyrics that were more personal, thoughtful, allegorical and elegiac than its counterparts. Over time, the ‘core’ was dropped and there became a distinct split between old school Emo/Screamo and ‘modern’ Emo‑Pop.
Related Genres: Hardcore Punk, Screamo, Emo‑Pop, Emo‑Rap, Gothic Rock, Pop Punk, Alternative Rock
Examples: My Chemical Romance, Good Charlotte, Alkaline Trio, All Time Low, Black Veil Brides, Bring Me the Horizon, Cute Is What we Aim For, Dashboard Confessional, Death Cab for Cutie, Embrace, Fall Out Boy, Funeral for a Friend, From Autumn to Ashes, HelloGoodbye, Jimmy Eat World, Lostprophets, Panic! At the Disco, Paramore, Pierce the Veil, The Promise Ring, Sum 41, Taking Back Sunday, Thursday, The Used
Funk Metal (1987‑2006)
Funk metal is a heavier take on Funk Rock born in the mid‑late‑1980s rising out of the Alternative Rock and Alternative Metal genre. It takes the complex dance rhythms of Funk and fuses it with a Hard Rock/Heavy Metal style. With heavy guitar riffs and strident guitar solos, the genre focuses on prominent funky slap‑style basslines and groovy drum rhythms. While Funk Metal blends Funk and Metal (duh!), it also includes other influences that were very un‑metal, such as Hip Hop, Punk and even Ska Revival. The focus of Funk Metal lyrics is diverse, ranging from decadent hedonistic celebrations to barbed political criticism.
The popularity of Funk Metal grew significantly in popularity by the turn of the 1990s, attracting a great deal of exposure on MTV playlists. A lot of artists from other genres experimented, crossed over or dabbled with Funk Metal, seeing it as the ‘in thing’. However, all good things come to an end and Funk metal saw a decline in popularity as Grunge, Alternative Rock and Pop Rock took firm hold of consumers’ precious lucre. It wasn’t all bad news, Funk Metal would go on to adapt and influence the emergence and development of Nu Metal and Rap Metal.
Related Genres: Funk, Alternative Metal, Rap Metal, Hard Rock, Heavy Metal, Glam Metal, Thrash Metal, Hip Hop, Punk, Ska Revival, Grunge, Nu Metal, Alternative Metal
Examples: Red Hot Chili Peppers, Bad Brains, Living Colour, Jane’s Addiction, Primus, Rage Against the Machine, Faith No More, Incubus, Extreme, Mordred
Grindcore (1987‑)
Grindcore was a sub‑genre of Extreme Metal and Hardcore Punk that emerged in the mid‑1980s. Grindcore features a highly aggressive and chaotic sound, such as intense sixteenth‑note ‘blast beat’ and ‘skank’ drum patterns, down‑tuned guitars alternating between tremolo‑picked power chords and groovier down‑picked techniques. Vocal styles ranged from shouts, barks and growls to grating screams and howled shrieks. Grindcore is known for its brutally short song structures, dubbed ‘microsongs’, where tracks regularly last for less than a minute.
Metal Trivia: English Grindcore band, Napalm Death holds the world record for the shortest song ever recorded with their track ‘You Suffer’ from their debut album, Scum (1987). The song is precisely just 1.316 seconds long.
Grindcore lyrics feature defiant and coarse language delivered with attitude and themes including anti‑establishment, anti‑religion, slasher‑inspired horror films and gratuitous sexual behaviour. While being fairly niche in Metal terms, Grindcore has influenced many related sub‑genres (often incorporating the word ‘grind’).
Related Genres: Hardcore Punk, Coregrind, Noisegrind, Deathgrind, Electrogrind, Goregrind, Pornogrind
Grunge, a.k.a. ‘the Seattle Sound’ arose from Washington State in the American Pacific North West. Grunge emerged primarily in the city of Seattle during the mid‑1980s and was closely associated with Alternative Rock. Grunge is generally characterised by moderate tempos, combining the anarchic energy of Punk Rock with the heavier guitar sounds of Hard Rock, Heavy Metal and Classic Rock. Grunge’s mixture of many different styles and influences makes its status as a discrete genre in its own right subject to some debate. However, a shared dingy, dirty, messy sound and lifestyle aesthetic generally unites bands and fans under the ‘Grunge’ umbrella… at least to begin with. Grunge lyrics are noted for their anxiety‑induced themes, including troubled relationships, mental health struggles, drug addiction and social (in)justice. Lyrics were often delivered with a distinctively brash, angry, ‘raspy’ vocal style.
While Grunge was an underground genre from the outset, with music released on small, independent labels like Sub‑Pop Records, it wouldn’t stay that way for long, as it gradually rose in popularity towards the end of the 1980s. Grunge would burst into the mainstream, with the landmark commercial success of two studio albums, ‘Nevermind’ by Nirvana and ‘Ten’ by Pearl Jam (both 1991). Grunge symbolised a major cultural shift and reflected the melancholic, angst, isolation and alienation felt by many young people at the time. However, pure Grunge didn’t last long and it declined rapidly after the death of Nirvana frontman Kurt Cobain on 5th April 1994 at the age of 27 – forever immortalised as a member of the infamous ’27 Club’.
“I was looking for something a lot heavier, yet melodic at the same time. Something different from heavy metal, a different attitude” – Kurt Cobain (Nirvana, 1967‑1994)
Related Genres: Alternative Rock, Hard Rock, Heavy Metal, Classic Rock, Post‑Grunge
Examples: Nirvana, Soundgarden, Pearl Jam, Mudhoney, Tad, Screaming Trees, Melvins, Green River, Skin Yard, Alice in Chains, Mother Love Bone, Stone Temple Pilots, Foo Fighters
Industrial Metal (1988‑)
Industrial Metal is a niche genre that fuses Heavy Metal and Noise Rock with elements from Industrial Rock and Post‑Industrial music. In addition to traditional Metal instrumentation, Industrial Metal adds electronic instruments such as synthesizers, samplers and sometimes drum machines. The distorted down‑tuned repetitive guitar riffs and dissonant noises give the genre a highly mechanical sounding quality. Other common characteristics include distorted vocals and a heavier, discordant abrasive sound.
The prominent influence of Industrial Metal generated popular sub‑genres through the 1990s such as Cyber Metal and Neue Deutsche Härte (New German Hardness) which, in turn, influenced many other Extreme Metal artists.
Related Genres: Industrial Rock, Post‑Industrial, Cyber Metal, Neue Deutsche Härte, Teutonic Thrash Metal, Industrial Black Metal, Industrial Death Metal, Electro‑Industrial, Dungeon Synth, Dark Wave
Examples: Ministry, White Zombie, Godflesh, Nine Inch Nails, Fear Factory, Throbbing Gristle, Strapping Young Lad, Orgy, Static‑X, Rammstein, Blut Aus Nord, The Kovenant, Stabbing Westward, ohGr, Skinny Puppy, Mortiis
Sludge Metal (1989‑)
Sludge Metal is a genre of Metal that emerged in the early‑mid 1990s combining the slow, dark instrumentals and atmosphere of Doom Metal with the aggressive, harsh vocals reminiscent of Hardcore Punk. The word ‘sludge’ gives a sense of the sluggish, grubby atmosphere of the genre. Sludge Metal makes extensive use of guitar feedback, slow groovy distorted guitar riffs, and angry pained vocals. It is also common for Sludge Metal tracks to engage in occasional fast passages and technicality normally attributed to Hardcore. Lyrics borrow both from the angry social and political commentary of Punk and from the sad and melancholic themes of Doom Metal. This merging of styles results in frustrated and embittered messages, often directed either at society or, in a quirk of ironic self‑awareness, at itself.
Many Sludge Metal artists have attempted to experiment with a fusion of Doom Metal and Punk Rock. This includes Progressive Metal, Grindcore, and Crust Punk, among many others. A large number of bands combined the severe qualities of Sludge Metal with the psychedelic aspects and repetitive riffs of Stoner Metal and Heavy Psych.
Many artists have also fused elements of Sludge Metal with textures and stylings of other atmospheric genres like Post‑Rock, giving rise to Post‑Metal and Atmospheric Sludge Metal, so there are extensive genre crossovers muddying (sic!) the waters. Sludge Metal is also considered to be a major influence on other modern Extreme Metal genres.
Related Genres: Punk Rock, Hardcore Punk, Stoner Metal, Stoner Sludge, Atmospheric Sludge Metal, Progressive Metal, Grindcore, Crust Punk, Doom Metal, Powerviolence, Heavy Psych, Stoner Metal
Examples: Melvins, Black Flag, Sleep, Flipper, Neurosis, Acid Bath, Grief, early Mastodon, Dystopia, Godflesh, Cult of Luna, Bongzilla, Boris, Crowbar, Eyehategod, ISIS, Amenra, Rosetta
Doom Metal (1989‑)
The roots of Doom Metal are considered to have been planted in the early 1970s Traditional Heavy Metal and particularly early Black Sabbath. During the 1970s and most of the 1980s Doom wasn’t fully developed, although many observers now refer to this transitional period as ‘Traditional Doom Metal’. By the late 1980s, European artists had adopted the ‘Doom’ sound as a discrete genre. Doom Metal remained the standard until the early 1990s, when newcomers began to experiment in combining Doom Metal with several other Metal sub‑genres. Doom Metal has proven to be one of the most enduring and recognisable Metal genres, maintaining a relatively small but devoted fan base in many countries.
Wallowing in tension, despair and dread, Doom Metal emphasises an overbearing atmosphere more than many of Metal’s other primary sub‑genres. Doom Metal uses ponderous tempos, repeated chords, and dense, down‑tuned distorted guitars and basses intended to immerse the listener in a wash of desperate foreboding on tracks that commonly exceed the ten minute mark. Instruments generally retain the standard guitar, bass, and drums format, although it is not unusual to add keyboards to help create an ominous layer of atmosphere. Doom Metal stage decoration is usually dark, making good use of occult and Gothic aesthetics.
Doom Metal vocals can be in any of the predominant Metal styles, but all share a determined attempt to evoke a sense of emotional hopeless desperation, sadness and mental anguish. This is further augmented by lyrical themes of grief, depression, fear, resentment, and suffering that are all hallmarks of the genre.
Related Genres: Heavy Metal, Traditional Doom, Epic Doom Metal, Funeral Doom, Melodic Doom Metal, Death Doom Metal
Examples: Black Sabbath, Pentagram, Saint Vitus, Trouble, Candlemass, Cathedral, Witchfinder General, Solitude Aeturnus, Sleep, Kyuss, My Dying Bride, Electric Wizard, Paradise Lost, Katatonia, Type O Negative, Chelsea Wolfe, Goblin Cock, Esoteric, Shape of Despair, Bell Witch, Ahab, Evoken, Pallbearer
Metal Era #4 – The Nu Nineties: 1990‑1999
Metalcore (1990‑)
Metalcore is a relatively niche sub‑genre that combines elements of Hardcore Punk and Heavy Metal that began to take shape during the early 1990s. It features distorted, down‑tuned guitars, intense drumming using double bass drum techniques and varying tempos. Vocals are often delivered in a harsh screaming and shouting style. Later bands have incorporated clean sonorous vocals to contrast with the heavier elements of the songs. A distinctive feature of Metalcore is the use of breakdown passages, which emphasise a tight, percussive style rather than a focus on harmony and melody. The breakdown sections often feature half‑time tempos, with cymbal patterns and the snare drum on the third beat of the bar (reminiscent of reggae’s ‘one drop’ technique). Guitarists play slow ‘chugs’ in rhythm with the bass drum beats. Metalcore led to offshoot sub‑genres such as Melodic Metalcore.
Related Genres: Heavy Metal, Hardcore Punk, Melodic Metalcore, Electronicore, Nu Metalcore, Progressive Metalcore
Examples: Corrosion of Conformity, Dirty Rotten Imbeciles, Suicidal Tendencies, Stormtroopers of Death, Cro‑Mags, Biohazard, Machine Head, Earth Crisis, Hatebreed, The Dillinger Escape Plan, Atreyu, Eighteen Visions, Converge, Architects, Bring Me The Horizon, Caliban
Gothic Metal (1990‑)
Gothic Metal is a genre derived directly from Gothic Rock in the UK in the early 1990s, retaining much of its predecessor’s Goth aesthetic and lifestyle subculture, and complementing them with heavier, more intense Metal sensibilities. Typical characteristics of the Gothic Metal sound include synthesisers and substantial use of guitar chorus, reverb and echo effects. Gothic Metal steers clear of some of Gothic Rock’s lighter, more commercial elements and tends to be heavier and slower than Goth Rock, featuring sombre, gloomy atmospherics with layered synth soundscapes and drone/dirge sequences. Vocals cover a wide range of styles, often plaintive, melodic or even spoken. Gothic Metal, like Gothic Rock, has remained popular with a dedicated core following.
Related Genres: Gothic Rock, Post‑Punk, Death Rock, Ethereal Wave, Progressive Gothic Metal, Dark Wave
Examples: Type O Negative, My Dying Bride, Fields of the Nephilim, Therion, The Gathering, Anathema, Katatonia, Theatre of Tragedy, Within Temptation, HIM, Lacuna Coil, Leaves’ Eyes, Danzig, Draconian, Paradise Lost, Witchbreed, Tristania, Moonspell
Post‑Grunge (1994‑2009)
Post‑Grunge is a direct derivative of Grunge (duh!) that takes the latter’s distorted guitar and grimy aesthetic fused with a more streamlined, groove‑based approach, often adopting a more refined sound compared to the harsh underground characteristics that shaped early Grunge. Post‑Grunge features a mellower, more melodic sound and more conventional song structures and arrangements when compared with its predecessor, though Grunge’s slow‑medium tempo remained. Both Grunge and Post‑Grunge (and much of Indie Rock) genres are known for the ‘yarling’ vocal style (NB. ‘yarling’ is a melodramatic deep, guttural vocal style with precise pronunciation). The combination of acoustic and electric guitars is particularly common in Post‑Grunge ballads. Post‑Grunge lyrics frequently dealt with mental health issues and included featured themes of fear, anxiety, melancholy and insecurity.
Emerging in conjunction with the decline of Grunge, Post‑Grunge’s early style rapidly became an indispensable feature of American commercial rock radio. Post Grunge attracted the disparaging name, ‘Butt Rock’ (NB. meaning lyrically devoid of artistic merit and reduced melodic complexity). A second wave of Post‑Grunge bands continued the genre’s popularity, though some well‑known bands began to attract a great deal of negative criticism, as bands veered more towards Hard Rock and further away from Metal. Post‑Grunge experienced a steep decline during the 2010s, as Rock generally became less popular and Indie Rock rose to prominence.
Related Genres: Grunge, Pop Rock, Arena Rock, Hard Rock
Examples: Stone Temple Pilots, Candlebox, Bush, Silverchair, Nickelback, Creed, Godsmack, Pearl Jam, Live, Foo Fighters, Staind, Candlebox, Everclear, Puddle of Mudd
Rap Metal (1992‑2006)
Rap metal is a form of Alternative Metal that features rapped Hip Hop‑style vocals. As a heavier and more aggressive offshoot of Rap Rock, Rap Metal tended to feature a greater proportion of aggressive Hip Hop electronic percussive beats incorporating Turntablism and ‘scratching’, and lesser emphasis on the highly technical shred guitar playing of other Metal genres. Lyrics also tended to draw themes from Hip Hop music, focusing on social consciousness, misanthropy, crime, gang culture, hedonism, sedition, anti‑authoritarianism and politics.
Rap Metal’s roots date back to the late 1980s when Hardcore Hip Hop groups ironically sampled Heavy Metal and Hard Rock, and Hip Hop artists collaborated with established Metal bands (e.g. Run‑DMC and Aerosmith). Rap Metal became highly popular with MTV audiences. Rap metal’s success closely paralleled that of Alternative Rock with key bands mixing Metal with Hip Hop rising to significance.
Rap metal experienced its peak in the late 1990s heavily influencing Nu Metal’s use of down‑tuned distorted guitar riffs and percussive syncopation. Along with Alternative Metal and Nu Metal, Rap Metal fell out of popularity by the 2000s, though it continued to inspire future crossovers and cross‑fertilisations between Metal and Hip Hop.
Related Genres: Hip Hop, Hardcore Hip Hop, Rap Rock, Funk Metal, Nu Metal, Turntablism, Trap Metal
Examples: Rage Against the Machine, Skindred, Senser, Biohazard, Die Antwoord, Crazy Town, Red Hot Chili Peppers, Faith No More, Ice‑T, Run‑DMC, Public Enemy
Nu Metal (1994‑2000)
Nu Metal seemed to appear from nowhere in the late 1990s. Many of the elements that made Rap Metal popular where piled on in spades by Nu Metal artists, drawing a degree of satirical criticism in the process. Nu Metal arrangements included keyboards, turntable ‘scratching’ and Hip Hop‑style rapping. Early Nu Metal came from Metal bands collaborating with established Hip Hop artists. Nu Metal also influenced Groove Metal and Hard Rock.
The calamitous Woodstock ‘99 outdoor music festival held at Griffiss Air Force Base in New York State was tainted by difficult conditions, extortionate food prices, insufficient water supply, poor sanitation, substance abuse, sexual harassment, sexual violence, rape, rioting, looting, vandalism, arson and several deaths. This notoriety – far from the 1969 Festival’s air of peace & love 30 years earlier – directly impacted the careers of many of the Thrash Metal, Post‑Grunge, Hip Hop, Rap Metal and Nu Metal artists that appeared on the festival line up. In particular, Nu Metal’s popularity declined significantly overnight.
Related Genres: Thrash Metal, Rap Metal, Hip Hop, Groove Metal, Big Beat, Electropunk
Examples: Korn, Deftones, Limp Bizkit, Linkin Park, Papa Roach, System of a Down, Kittie, Disturbed, Biohazard, Slipknot, Godsmack, Public Enemy, Faith No More, Otep
Groove Metal (1992‑)
Groove metal, a.k.a. Post‑Thrash, is a genre heavily influenced by Thrash Metal and Hardcore Punk that dates back to the early 1990s. The style is similar to Thrash Metal, but with distorted down‑tuned guitars and a tendency to focus more on syncopated rhythms and heaviness instead of speed. The focus on creating an infectious ‘groove’ gave the genre its descriptive name. Vocals typically consist of screaming, growling or guttural singing.
Groove Metal emerged in the early 1990s with key albums like Pantera’s 5th and 6th studio albums, ‘Cowboys From Hell’ (1990) and, ‘Vulgar Display of Power’ (1992), both of which helped to raise the band’s profile and cement their Groove Metal status. As a direct result of Pantera’s popularity, many Groove Metal bands quickly appeared on the scene hoping to imitate success. Some Thrash Metal bands also experimented with, and crossed over into, Groove Metal during the 1990s to give them an edge. With the start of the new millennium, a new wave of Groove Metal bands emerged, intending to keep the genre fresh and relevant.
Related Genres: Thrash Metal, Hardcore Punk, Nu Metal
Examples: Pantera, Anthrax, Lamb of God, Machine Head, Sepultura, Fear Factory, Skinlab, Prong, White Zombie, Five Finger Death Punch, Hellyeah, Demolition Hammer, Exodus, Exhorder, DevilDriver
Dark Ambient (1993‑)
Another seemingly unlikely fusing of contrasting genres. Dark ambient springs from an earlier form called Ambient Industrial in the 1980s until it was established as a separate sub‑genre in 1993. Dark Ambient’s evolution paralleled the popularity of Ambient Electronica and Ambient Dub genres. While Metal and Ambient seem to make for unlikely bedfellows, the post‑industrial drone and gloomy soundscapes were shaped by Ambient’s (lack of) structural composition, allied to Metal’s ominous and melodramatic overtones. The resulting slow, dark and menacing ambient soundscapes were intended to alienate and isolate the listener with disturbing dissonant tones and textures. While clearly not mainstream Metal, Dark Ambient has proved influential in some areas of the genre including, particularly, the emergence of Blackgaze.
Related Genres: Ambient, Industrial Metal, Ambient Industrial, Industrial Rock, Post‑Industrial, Noise Rock, Blackgaze
Examples: Deafheaven, Agalloch, Aphex Twin, Daniel Avery, Coil, William Basinski, Blut Aus Nord, Cabaret Voltaire, Ben Chatwin, Deathprod, Esoteric, Robert Fripp, Tim Hecker, David Lynch, Mortiis, Phil Niblock, Nine Inch Nails/Trent Reznor, NON, Burzum
Folk Metal (1994‑)
Folk Metal is a sub‑genre of Metal music that developed primarily in Europe throughout the early‑mid 1990s. As the name suggests, the music itself is a fusion of Traditional Folk Music with Metal, usually with prominent use of acoustic folk instruments such as the flute, acoustic guitar, violin, accordion, and various others. However, while retaining Folk’s musical inclinations, some bands excluded instruments usually associated with folk music, replacing traditional sounds with synthesisers. Lyrics are commonly related to Folk‑related themes such as nature, legends and mythology, paganism, new age philosophy, heroism, quests, community traditions and fantasy.
The first Folk Metal artists began to appear around 1990 and began to gain popularity throughout the decade. Since the genre’s origination, several regional styles of Folk Metal have arisen, including Celtic Metal, Viking Metal and Pirate Metal. In addition to geographical variations, Folk Metal is often integrated with other, more notable Metal genres.
Related Genres: Traditional Folk Music, Folk Rock, Viking Metal, Celtic Metal, Pirate Metal, Black Metal, Symphonic Metal, Power Metal
Examples: Primordial, Moonsorrow, Finntroll, Skyclad, Blackmore’s Night, Nokturnal Mortum, Turisas, Elvenking, Cruachan, Mägo de Oz, In Extremo, Subway to Sally, Agalloch, Korpiklaani, Amon Amarth, Alestorm
Symphonic Metal (1995‑)
Symphonic Metal is a sub‑genre of Metal that features elements of symphonic and classical orchestral music. In a similar vein to more conventional Symphonic Rock bands, Symphonic Metal artists frequently make use of choirs, orchestras, chamber music, strings or synthesisers to reproduce neo‑classical elements within a deliberate Metal setting. Symphonic Metal often employs female operatic‑style singing, as well as male growling vocals.
In the mid‑1990s, Swedish Death Metal band Therion (formerly Blitzkrieg) became one of the first Metal artists to switch to the Symphonic Metal sound by extensively incorporating orchestral and classical compositional techniques. European Symphonic Metal artists soon attained relative commercial success. A Black Metal version of the genre, known as Symphonic Black Metal, also developed simultaneously in the mid‑1990s.
Related Genres: Symphonic Black Metal, Symphonic Rock, Symphonic Death Metal, Gothic Metal, Neo‑Classical Metal, Power Metal
Examples: Celtic Frost, Therion, Nightwish, Epica, Dark Sarah, Within Temptation, Fleshgod Apocalypse, Avantasia, Rhapsody of Fire, Septicflesh, Apocalyptica
Metal Era #5 – Millennium Metal: 2000‑
New Wave of American Heavy Metal (NWOAHM) (2000‑)
The New Wave of American Heavy Metal also known as New Wave of American Metal, is a Heavy Metal genre that originated in the United States (duh!) during the early‑mid 1990s and expanded rapidly in the early to mid‑2000s. Some of the bands considered to be part of the movement had formed as early as the late 1980s but did not become influential or reach commercial popularity until the following decades. The term itself borrows from NWOBHM, also focusing on location and time period, rather than a distinctive sound. The term NWOAHM was reportedly coined in 2001 by Mark Hunter, vocalist of the American band Chimaira.
Related Genres: NWOBHM, Alternative Metal, Groove Metal, Industrial Metal, Nu Metal, Metalcore
Examples: Shadows Fall, Lamb of God, God Forbid, Darkest Hour, Killswitch Engage, Unearth, Chimaira, As I Lay Dying, Trivium, …And You Will Know Us By The Trail of Dead
Blackgaze (2005‑)
Blackgaze is one of the more recent Metal trends emerging since the start of the new millennium. Blackgaze seemingly represents another incongruous fusion between the harsh and aggressive sound of Norwegian Black Metal and the more introspective, atmospheric and melodic nature of British Shoegaze and Post‑Rock. Arguably, it might have resulted from Black Metal wanting to migrate from the exile of Extreme Metal into a more commercially acceptable mainstream. Alternatively, it has been suggested that it is a deliberate move to create something different by retaining the pagan and occult foundations of Black Metal while rejecting the offensive Neo‑Nazi leanings. Whether Blackgaze, as an engineered musical crossover, is a temporary niche fad or a serious attempt for discrete genre longevity has yet to be determined, although it has already been around for nearly two decades. Perhaps Blackgaze represents a quest to refresh and rejuvenate existing styles in a new and exciting way to attract a broader audience.
Related Genres: Black Metal, Shoegaze, Post‑Rock, Atmospheric Black Metal, Post Hardcore, Ambient Metal, Dark Ambient
Examples: Alcest, Møl, Agalloch, Deafheaven, Silvayne, Wolves in the Throne Room, Amesoeurs, Harakiri for the Sky, An Autumn for Crippled Children, Exclaim!
Djent (2008‑)
Djent (pronounced ‘jent’) is possibly the most recent primary sub‑genre of Metal at the time of writing, emerging from Sweden, the UK and America in the late 2000s. Djent is sometimes referred to as Math Metal, suggesting its roots lay in Mathcore and Metalcore. Djent is a style of Progressive Metal with syncopated rhythmic structures, angular melodies, and dissonant chords. The distinctive Djent guitar sound is often colloquially referred to as ‘chugga chugga’ and makes use of the same ‘buzzsaw’ BOSS HM‑2 Heavy Metal effect pedal so beloved by Death Metal bands. Typical traits of Djent include groovy polyrhythms (often 4/3 time signature), cycling patterns of varying length with more unusual and complex time signatures, a sporadic and relatively sparse use of snare drum, crash cymbals, and repetitive heavily distorted psychedelic‑style guitar riffs, to create a frenzied, chaotic atmosphere.
Related Genres: Progressive Metal, Alternative Metal, Death Metal, Math Rock, Mathcore, Metalcore
Examples: Meshuggah, Periphery, TesseracT, Animals as Leaders, Born of Osiris, Veil of Maya, After The Burial, Vildhjara, A Life Once Lost, Monuments
Final thoughts on Metal
Right, that’s it, in a pretty large nutshell. This has been a long article but it still only scratches the tip of the iceberg (regular readers will know that I like mixing metaphors!). It feels like I’ve done justice to what’s here while recognising that there is no way I could do justice to Metal as a whole. That would take an encyclopaedic tome and it is way beyond my area of expertise to accomplish.
Strangely for such a diverse and relatively youthful top‑tier genre, there hasn’t been much in the way of Metal genre innovation, development and evolution since c.2010. Most of the advancement has been around consolidating, reviving, rejuvenating, extending and expanding existing genres. That can’t be said for the bands or the music, only for the categories within which the bands and music ‘fit’. It will be interesting to see what direction(s) Metal might take for its next genetic mutation, whenever that may happen.
“The Force is strong with this one” – Darth Vader (from Star Wars IV: A New Hope, 1977)
A quick shout out to some independent Metal record labels that work hard outside the major studio system to bring Metal to consumers. Some of these labels include Nuclear Blast, Earache Records, Napalm Records, Noise Records, Sub Pop Records and Roadrunner Records, among many others. A large number of successful independent labels have routinely been swallowed up by the big corporate music businesses wanting to capture popular niches without having to build credibility and start from scratch.
Whether we like it or not, social diversity in Metal remains an issue. Inequality lies not necessarily with the audience or consumers but with the artists, which tend to remain stubbornly in the province of straight white males. Other than bands like Halestorm, Vixen, Burning Witches, Otep, Epica, Babymetal, Lovebites, Dark Sarah, Leaves’ Eyes, Lacuna Coil, Nightwish, Draconian and Evanescence, females are woefully underrepresented. Non‑white ethnicity of Metal artists also remain resolutely few and far between, bar bands like Living Colour, Sepultura, Alice in Chains, System of a Down, DragonForce and Skindred. Rob Halford, vocalist of Judas Priest became one of the first and most prominent openly gay Metal artist, helping to pave the way for greater openness regarding sexual orientation. There is, however, clearly still more to be done to level the playing field.
While writing this article, I was quite surprised at the number of artists listed that are part of my CD collection/iTunes library, with only a few omissions around the margins. There is also a surprisingly large number of Metal artists that I have on CD/iTunes that haven’t been mentioned here (e.g. Last House on the Left, 36 Crazyfists, The City Burns, Within the Ruins, Burning Skies, Iommi, Damageplan and Cave In). Writing the article has given me a very good reason to revisit many of the great Metal albums out there, as well as to check out new (to me) Metal artists. This venture has also spurred me onto new discoveries to add to my diverse, and sometimes guilty, listening pleasures.
Albums are one thing. Experiencing live music is another. There really is no substitute for seeing Metal played live, whether it’s in a local pub, a live music venue, a stadium arena, or a fully‑fledged open‑air festival. In the UK, annual Metal festivals include Download (which superseded the now‑defunct Monsters of Rock) and Bloodstock. In Germany, there is Wacken, while in France, there is Hellfest. Last but not least, there are Aftershock, Louder Than Life and Rockville in the US. These are just a few; there are numerous Metal Festivals in most countries around the globe if one is motivated to look for them. Keep Music Live.
Some of the most impressive and entertaining concerts the author has attended over the years have been Metal gigs, including German Industrial Metal band, Rammstein in 2022. Another great experience was seeing Black Sabbath’s penultimate gig of their ‘The End’ tour in 2017, concluding their long career (41 years after I first saw them play live). I also saw Metallica in 2009 and again headlining at Glastonbury Festival in 2014 (NB. the first Metal band to do so).
Rammstein Live 30-6-2022Black Sabbath Live – The End 31-1-2017Metallica Live – Glastonbury 28-6-14
Demonstrating that times have indeed changed, there is a growing acceptance of the global cultural importance of Metal. The Mongolian Heavy Metal band The HU (NB. Hu is the root of the word ‘human being’ in the Mongolian language) was named as a UNESCO Artist for Peace in 2022. The Hu’s music addresses the themes of gender equality, respect for difference and the importance of protecting nature.
A Metal gear plug
No, not the prongy thingy that you insert into a wall socket for electrical power. Rather a bit of shameless, flagrant self‑promotion. Why not take a browse around CRAVE (Cool & Rare American Vintage Electric) Guitars’ web site for some Metal‑minded matters?
Possibly my favourite vintage guitar is the Gibson Explorer, which is an ideal axe for heavier types of Rock, such as Metal. The Explorer’s ‘Dirty Fingers’ humbucking pickups featured on all CRAVE’s Explorers are absolutely superb. Explorers are great guitars to play and sound great. That’s probably why CRAVE Guitars has five of them, ranging from 1979 to 1983. The Gibson Flying V is another Metal favourite, although I find them unwieldy in comparison. Then there is the Gibson SG, complete with its own ‘devil horns’. Interestingly, while the Gibson Les Paul is commonly used for hard rock, it doesn’t seem to be as favoured by Metal guitarists.
1984 Gibson Explorer Designer Series ‘Union Jack’1984 Gibson Flying V Designer Series1968 Gibson SG Standard
Most Fender guitars aren’t really suited to Metal and don’t tend to appear often in the hands of Metal guitarists, bar a few notable exceptions such as Iron Maiden and John 5. Fender, however, did inspire the slinky ‘Super Strats’ favoured by a large number of shred Metal guitarists from the 1980s onward.
Guitar Brands such as Jackson, Charvel, Ibanez, ESP/LTD, EVH, Schecter, BC Rich, Dean and latterly PRS are more likely to be seen on TV and Metal stages in the 21st Century. PRS in particular were associated with Nu‑Metal guitarists in the 1990s. Many modern shred‑style guitars use the popular and specialised EMG active pickups and Floyd Rose vibrato systems.
Fender Precision bass guitars with their solid, percussive fundamentals are well suited to Metal, as are basses from the likes of Music Man, Ibanez, Warwick, Lakland, Schecter, Rickenbacker and ESP/LTD.
As far as CRAVE Effects goes, there are some interesting metal‑oriented stomp boxes including the aforementioned legendary 1980s BOSS HM‑2 Heavy Metal. There is an original 1960s Dallas‑Arbiter Fuzz Face (think, Hendrix) and vintage Tone Benders from Sola Sound and Colorsound, an early English Marshall The Guv’nor and a filthy ProCo Rat. Then, from Japan, there are also the OTT Ibanez SD9 Sonic Distortion and SM9 Super Metal effects to really push an amp’s front end as well as the obligatory Ibanez TS9 Tube Screamer. Then there is my all‑time favourite, the Electro‑Harmonix Big Muff π fuzz pedal from 1977.
1985 BOSS HM-2 Heavy Metal
CRAVE Amps are generally clean American low gain affairs (but great as a platform for pedals). There are plenty of high gain amps out there ideally suited for creating Metal mayhem, including Marshall, Peavey, Orange, Mesa Engineering, Friedman, Diezel, EVH Gear, PRS, Engel, Hiwatt, Hughes & Kettner, Bogner, Randall, BOSS and Soldano.
CRAVE Guitars’ ‘Album of the Month’
For this article, there really can only be one logical choice. I mentioned at the top of this article that there was an identifiable moment that the Antichrist of Heavy Metal was born. While the Devil’s spawn may have been conceived earlier, there was nothing like it before and rock music changed forever after.
Black Sabbath – Black Sabbath (1970) – Wow! What an entrance from four ordinary lads from Birmingham, England; Ozzy Osbourne (vocals), Tony Iommi (guitar), Geezer Butler (bass) and Bill Ward (drummer). From the now‑iconic, gothic and clearly occult‑ish cover to the dark and ominous musical content, this was one of those milestone studio albums that literally changed the musical zeitgeist. It isn’t the polished, glossily produced, technically proficient album of much 21st Century Metal but back in 1970 it hit hard and, more importantly, it brims with raw passion and emotion. Who knows what would have happened had it not been for Black Sabbath’s savage seven tracks spanning a mere 38 minutes. If it was released today, it probably wouldn’t make much of an impression. However, the ground‑breaking debut has stood the test of time over the last 54 years and will likely continue to impress open‑minded metalheads for the next 54.
So shocking to the conservative majority was this album’s release that it was received with hysterical claims of sinister satanic worship, panic‑stricken proclamations of occult practices and dire warnings of the adverse effect on disillusioned uneducated youths looking for an alternative way to express their suppressed inner angst. Media histrionics added fuel to the frantic fire and headlines’ disproportionate doom mongering perversely helped to cement Black Sabbath’s dark and broody reputation. That is irony. One wonders what those same critics would have made of today’s Extreme Metal. Thankfully, most of us now know much better. I think we can all agree that the real world dangers of today are far, far scarier.
Black Sabbath – Black Sabbath (1970)
[Image: Black Sabbath ‑ Black Sabbath (1970)]
While many fans might cite, ‘Paranoid’ (also 1970) as being the archetypal Sabbath studio album, particularly given the band’s signature title track, it remains a sophomore release that builds on and reinforces their stunning debut. Together, the two albums made 1970 a pivotal year for Rock and vital for the emergence and enduring popularity of Heavy Metal.
“As long as there are kids who are pissed off and have no real way in venting out that anger, heavy metal will live on” – Ozzy Osbourne (Black Sabbath, 1948‑)
Tailpiece
That’s it for this Magnificent Metal Masterpiece (conceited gratuitous alliteration as usual). I trust that it has been an interesting excursion into the heavier and darker side of modern music. I hope that newcomers to Metal found something worth extra exploration (there is plenty of further reading on the hinterwebby thingummy) and I hope readers already familiar with Metal found something enjoyable hidden in the deep dark depths of the discourse.
As a guitarist, the author has dabbled with Metal on and off over the years, although my leanings were more towards Psychedelic/Space Rock/Stoner Rock/Metal. Unfortunately, my limited abilities, poor technical skill and a complete lack of playing speed mean that I never felt confident trying to master it.
Time for a worthy acknowledgement. My son is a long-time confirmed metalhead and I sought his input when writing this article. Many thanks to him for his valuable insights and suggestions. The outcome is much better for it.
A quick, unrelated postscript. Apologies to recent visitors to the CRAVE Guitars website. There is a technical issue with the site’s theme and it is causing problems with both downtime and poor presentation of images. Hopefully, things should be resolved soon. It annoys me as much as it does everyone else.
Next month, we’ll be looking at… erm… err… I have absolutely no idea. One thing is for sure, though, it will be different, again. Watch for this cavernous space to be suitably filled in due course.
Truth, peace, love, and guitar music be with you always. Until next time…
CRAVE Guitars’ ‘Quote of the Month’: “If only I could forget much of what I remember and remember some of what I forgot”
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 25th 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 473rd 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.”
Welcome to the very end of December 2019 one and all. Due to the time of year, there is a short break in the ‘Story of Modern Music…’. After 9 straight months of factoid overload, I have taken the executive decision to take a rest and reflect on the here and now. There are other advantages of a temporary hiatus in that this article is MUCH shorter than the recent monthly detailed dissection of music history. Abnormal service will be resumed as soon as impossible.
So, that was 2019, the year that was. Not only do we end the year with this article, we also see the culmination of the ‘teenies’. Before anyone corrects me, yes, I know that technically the decades don’t change here but pretty much everyone accepts it that way, so just for once – shock, horror – I’m going with the flow. I don’t know about you but the last decade, and indeed the last 12 months, seems to have passed in a blur.
I am sure you’re fed up with the traditional lazy television programming that seems to dwell on retrospectives and lists as is usual for this time of year. You may be displeased that I’m about to do the same, although I doubt that this tangential view of existence will ever get broadcast nationally.
Personally, it’s been a really, really bad year again, with far too much pain, misery and torment, and little sign of light at the end of a (collapsed and blocked) tunnel. I genuinely cannot remember what joy or pleasure feels like. For self‑preservation, I must look to the future with some hope and positivity for a bit of much‑needed karma, justice, salvation and redemption. There, I’ve got it off my chest and I won’t bang on about it again (or maybe just a little!).
Departures in 2019
As ever, we have to say au revoir to some great guitarists who have climbed aboard that spiritual transit van to the infinite jam session with the angels (and possibly the occasional demon). In contrast to recent years, this year’s list is thankfully short, although I expect those who are on it would prefer not to be. They and their music will be missed…
Old in at CRAVE Guitars – vintage gear acquisitions in 2019
It seems to have been a better year for guitar‑related accumulation than I’d anticipated a mere 12 months ago. This is partly because of delayed house works (ggrrr!).
The trend of the last couple of years seems to be continuing, with a greater focus on the 1970s and 1980s. This is predominantly because 1960s artefacts are rapidly becoming well beyond my modest price range. Rather than pay nonsensical ‘silly money’ for older guitars just because they are old and expensive, I’m looking at what is currently a bit more reasonably priced from later decades, while also being selective about notable and interesting instruments. As you might expect, the purchases had to fit the CRAVE Guitars’ criteria (cool, rare, American, vintage electric) – the only exceptions being effect pedals from Japan and Europe. At least for the time being, some of this year’s purchases are just about ‘affordable’, while others were almost regrettably extravagantly decadent given my borderline financial disposition. Anyhoo, without further ado, time for some introductions…
CRAVE Guitars (9)
Before listing new ‘old’ arrivals, let’s just backtrack for a moment…
Example #1 – In 2016, I looked ahead and mentioned a couple of guitars on the ‘most wanted’ list. One was a 1970s Fender Starcaster and the other was a 1950s Gibson ES‑150. Perhaps not surprisingly, I failed dismally in 2017… and again in 2018.
Example #2 – In 2017 and again in 2018, I speculated about the possibility of getting a 1965 Gibson Melody Maker and… yup, failed again.
Example #3 – In 2018, I thought about finding a 1970s Fender Stratocaster and… guess what? Fail.
Remarkably, that has now changed and I managed to lay my grubby mitts on all four of the above during the last 12 months. I also went overboard just a little bit with some other spontaneous impulse buys.
So, 2019 actually saw 9 vintage guitars, covering 42 years from the 1940s to the 1980s, with at least one from each decade joining the CRAVE Guitars family. Herewith, the profligate plethora of pulchritude (apologies for the pompous alliteration)…
1982 Fender Bullet H2
1976 Fender Starcaster
1979 Fender Stratocaster Anniversary
1983 Fender Stratocaster Elite
1983 Fender Telecaster Elite
1947 Gibson ES-150
1965 Gibson Melody Maker
1989 PRS Classic Electric
1959 Silvertone 1304
CRAVE New Guitar Arrivals 2019
CRAVE Amps (0)
Despite intensive but unsuccessful searches, there were no amplifiers that joined the family during 2019. Like with guitars, in both 2017 and 2018, I set out to find a 1970s ‘silverface’ Fender Princeton. To‑date, that lustful ambition remains unrequited… for now, the search goes on.
CRAVE Effects (5)
As it turned out, 2019 was a funny year for effect purchases. It was a case of quality over quantity and I did manage to lay my hands on two highly sought after iconic (and therefore exorbitantly expensive) pedals. These weren’t just gap‑filling, they have been on the ‘to do’ list for some time but considered them to be way out of my price range. Consequently, fewer budget purchases made them just about possible. They were…
1987 BOSS RV-2 Digital Reverb
1969 Dallas Arbiter Fuzz Face
1982 Ibanez PT9 Phaser
1981 Ibanez TS-808 Tube Screamer Overdrive Pro
1980 MXR Micro Amp
CRAVE New Effect Arrivals 2019
Once the full ‘Story of Modern Music…’ has been published, I may well return to 2019’s purchases and explain the rationale behind what is a relatively diverse range of acquisitions.
Repatriation update
In addition to the newcomers, it was way back in January 2019 that I was pleased to welcome home 42 guitars, 40 of them vintage, from an extended period of enforced storage (long story!). I set out on an ambitious mission to re‑home them with respect and to lavish upon them some much‑needed overdue TLC. The aim is that they can once again be used for their intended purpose, which is to be played regularly. I wasn’t going to rush the exercise, so it has been a bit of a long haul. I wanted to ensure that each one was given the sensitive treatment it deserved. For some, it was just a clean‑up and a tweak here and there to set them up before they were re‑strung – job done. For others, some more intensive care was necessary and I have worked on them as far as I can take them, due to my lack of ability in the practical side of things. There are a few, however, that need more expert skills than I have to sort them out properly. Thankfully, I know my limits and don’t pretend to be a proficient technician.
So far, 32 of the 42 returnees have been tended to, which means that there are still 10 repatriated guitars still to work on. Six of these are vintage guitars and are next on the to‑do list. Another two are vintage bass guitars which I suspect both need some neck work, so they will be near the back of the queue. The privilege (?) of going last will go to the only two non‑vintage guitars which I own. In theory, being the newest, they won’t need as much remedial work done on them. Fortunately, none so far have been ruined. Some have degraded a bit more than I would have liked but there is nothing serious to be concerned about. Phew!
Once the ‘conservation’ work has been completed and they are once again in good playing condition, they have been/will be photographed and documented. Feature articles have also been drafted on each one. The intention is to update the web site to exhibit them at their best. Then, it will be just a case of playing and enjoying them.
Building works
I cannot let the dastardly year dissolve into history without making a comment about the long overdue building works to convert the house’s dark, dank cellar into a safe, secure accommodation for the guitar members of the family. Due to egregious actions of spiteful and vindictive neighbours, it had to be deferred yet again. Basically, this means that no progress whatsoever was made during 2019.
Music albums released in 2019 (40-ish)
Surprisingly, after a (very) slow start it actually seems to have been a pretty good year for new music. I was quite sceptical up to about two thirds of the way through the year, despairing that the musical landscape was becoming ever more moribund. Then, out of nowhere, there seemed to be a veritable flood of interesting music to close the year out. I bought a shed load of old and new music in 2019 and the following are the diverse highlights of this year’s releases for me. One can hope that there may be some future ‘classics’ among them.
!!! – Wallop
Amon Amarth – Beserker
Beck – Hyperspace
Jade Bird – Jade Bird
The Black Keys – ‘Let’s Rock’
Blood Red Shoes – Get Tragic
Cage The Elephant – Social Cues
J.J. Cale – Stay Around
Nick Cave & The Bad Seeds – Ghosteen
The Chemical Brothers – No Geography
The Comet Is Coming – Trust In The Lifeforce Of The Deep Mystery
Cigarettes After Sex – Cry
The Cinematic Orchestra – To Believe
Crumb – Jinx
The Cure – CURÆTION-25: From There To Here | From Here To There / Anniversary: 1978-2018 Live in Hyde Park
Dream Theater – Distance Over Time
Billie Eilish – When We All Fall Asleep, Where Do We Go?
Foals – Everything Not Saved Will Be Lost Part 1
Foals – Everything Not Saved Will Be Lost Part 2
Rory Gallagher – Blues
Hawkwind – All Aboard The Skylark/Acoustic Daze
Hot Chip – A Bath Full Of Ecstasy
Khruangbin – Hasta El Cielo
Trini Lopez – The Very Best Of Trini Lopez (compilation)
Membranes – What Nature Gives… Nature Takes Away
The Murder Capital – When I Have Fears
New Model Army – From Here
Rammstein – Rammstein
Lana Del Rey – Norman Fucking Rockwell!
Joanne Shaw Taylor – Reckless Heart
Sleaford Mods – Eton Alive
Sleater‑Kinney – The Center Won’t Hold
Slipknot – We Are Not Your Kind
Bruce Springsteen – Western Stars
Toro y Moi – Outer Peace
Robin Trower – Coming Closer To The Day
The Twilight Sad – It Won/t Be Like This All The Time
Underworld – Drift Series 1: Sampler Edition
Thom Yorke – ANIMA
Neil Young – Colorado
Plus (album-like) EP:
Black Stone Cherry – Black To Blues 2
Major concerts in 2019 (1):
Due to personal circumstances, there was just one major live music event in 2019:
Hyde Park – Bob Dylan, Neil Young, Laura Marling, Cat Power, Sam Fender
Unfortunately, even Cornwall’s local Looe Live music festival wasn’t attended, despite it being right on the doorstep.
Social Media Quotes from 2019:
Over the year, I’ve been posting thousands of snippets on Twitter and Facebook. The following are actual comments from some very nice people about CRAVE Guitars that came this way during 2019. I don’t usually get much in the way of acclaim, and neither do I seek external validation for what I do, so these kind words of feedback felt extra special to me. They are truly appreciated and, frankly, I am humbled and overwhelmed by them.
“I love the variety of artistry you tweet about. Keep it up!”
“Thanks for the history lessons every day from @CRAVE_Guitars”
“Hey you bring it every day, man! You’ve turned me on to things I’d likely not see otherwise! Keep on rocking it!”
“Great people, knowledge, posts and positive vibes to all!5 star”
“Thank you for expanding my guitar horizons!”
“Once again, I have been enlightened by CRAVE Guitars. They don’t teach this history in college.”
“I finally went to your website and understand you so much better now… Nice collection!!! Very eclectic and impressive! Great website, Crave!”
“You post such cool guitars. Ones that I’ve never seen before. Some truly unique ones too. Keep up the great work friend, you run a great account”
“Thank you! Hats off to crave guitars!”
“Love your photos! Thank you so much!!”
“Thank you for all your fabulous postings”
“…like always Awesome posts and great follow ups I really appreciate it, Respectfully from the USA!!!”
“Crave Guitars is one classy company”
“Thx Crave this is most excellent.”
“… thank you for sharing the great guitars and posts of Rock N Roll truly enjoy checking out your page daily.”
“Love guitars. Love music. Love Crave. <3”
“… I have to give you a separate kudos for the photography. What a picture…”
“I really enjoy these trivia posts as much as the guitar pictures. Thank you”
“That’s wonderful and thank you. Awesome page”
“You should have “A Potted History of the Guitar” as a pinned tweet. I know that you’re modest, but that thing is epic.”
“You have a great Twitter page my friend and always something to learn about with your topics.”
“Congratulations with Continued Success Great Crave Guitars!!!”
“Great stuff on your Twitter page! Love it! Keep it coming!”
“Great Twitter page! Love it. Keep it up. Always great informative and interesting.”
“You have a great Twitter Page. Love it. Great stuff. Keep it up.”
“I really like your collection. it’s very impressive and interesting.
Have a great day, Crave.”
“I totally dig your archives guitars & their players! So great! 100% fan”
Also, during November 2019, Twitter followers exceeded 6,000 for the first time. A huge “thank you” is extended to everyone who has shown interest and support.
CRAVE 6,000 Twitter Followers
So… looking forward… here is what might be coming up in 2020:
There, that’s the obligatory retrospective done, so it is now time to look forward to the coming year and the start of a brand new decade.
Vintage gear for 2020
I have been very cautious over the past few years about ‘most wanted’ gear, believing that circumstances would be very different. So, this year, I’m going to be a touch more ambitious in stating what I’m searching for in 2020, although I guarantee that not everything on the list will be procured. If the building works go ahead, the list will have to be shortened. It won’t be easy but I am back on the quest for some ‘forgotten’ models, which are more difficult to source, especially in good condition in the UK. However, apart from one wild expensive aspiration, the rest should (?!?!) be a bit more ‘affordable’ than some of this year’s purchases. I am not greedy and I don’t expect to achieve the full list, so it is purely indicative and should be considered more of a direction of travel.
Guitars
1960s Danelectro (no specific model)
1970s Fender Bass VI
Any one (or more) of the ‘forgotten’ Gibsons from the 1970s or 1980s, e.g.:
Gibson Challenger
Gibson Firebrand
Gibson Marauder
Gibson S-1
Gibson US-1
Gibson Victory MVX
Gibson Les Paul DC XPL 400
1970s Guild (S-100 and/or S-300)
1970s Peavey T-60
Amps
1970s ‘silverface’ Fender Princeton Reverb
1970s ‘silverface’ Fender Deluxe Reverb
Effects
1980s BOSS DD-2 Digital Delay
1970s Colorsound/Sola Sound Tonebender (fuzz)
1970s Electro‑Harmonix Bad Stone (phaser)
1970s Electro‑Harmonix Small Clone (chorus)
1970s MXR Micro Chorus
Help needed (x3)
I know my limitations on several fronts. It therefore makes sense to seek outside assistance with a number of up‑and‑coming key tasks. These are NOT New Year resolutions but they are effectively my self‑imposed targets for 2020. All three, however, rely on other people’s expertise.
Task #1 – I would dearly like to make progress with the long‑deferred cellar works. The first step is to understand what may be involved. If that looks promising, I may well finally proceed. I need someone who knows how to ‘tank’ a 90‑year old cellar effectively and to ensure it stays dry, warm and well‑ventilated enough for safe and secure guitar storage.
Task #2 – Routine completion of the repatriation programme should be reasonably straightforward and achievable. In terms of more involved remedial work on a number of instruments, I am looking for a competent luthier/guitar tech, experienced in working on vintage electric guitars, based local to me in south east Cornwall UK, and who would like to work with me on this extra degree of ‘restoration’.
Task #3 – In addition, I would really like to improve my guitar playing. I’m not starting from scratch but I have limited competence and confidence. I am sure I also have a number of bad habits. This means taking up guitar lessons on a one‑to‑one basis, principally for the interaction, as I’ve never got on well with self‑learning books or videos. I have never been formally trained and feel that I could do much better. I would benefit from an additional level of inspiration, technique and knowledge that a tutor could bring.
If there is anyone out there who could either help or knows someone who could help with one, two or all three of the above, please contact me. I shall report back on degree of achievement, if any, during and at the end of 2020.
Major gigs
There will be very few opportunities to see live music in 2020. However, one major concert has been lined up, which I’m really looking forward to:
Rammstein (Cardiff in June 2020)
Hopefully, I might get to participate in the local Looe Live festival in September.
Web Site
Another thing that I really, really must get to grips with is a long overdue major overhaul of the CRAVE Guitars’ web site. The material is there, so it will be a case of expunging the procrastination and get on with it.
Proceed to check out
I really don’t think that there is much more that I can add at this juncture, so it is time to wrap things up for 2019 and the ‘teenies’. Roll on the New Year and hope that the (roaring or whimpering) twenties are an improvement on the last 2 challenging decades.
On a broader front, one has to remain optimistic that humankind will come to its senses and live in sustainable peace, equitable prosperity and cordial harmony. One can dream.
On a practical level, ceteris paribus, I will hopefully get back to the ‘Story of Modern Music…’ next month. In the meantime, it’s back to refurbishing and playing some vintage guitars. Result!
Happy New Year/Decade everyone. Until next time…
CRAVE Guitars ‘Quote of the Month’: “The idea of peace, love and music may not have the power to change the world in the way we might hope but just think about what the world would be like without it.”
Hello again guitar fans and welcome to anyone else who may be curious about the big wide world of guitar addiction and obsession. As the great Jimi Hendrix once proclaimed, “Music is a safe kind of high”, so I’m happy to admit my perennial affliction. I trust that 2019 is treating you all well as we begin the move from dreary winter into nascent springtime.
I don’t have any particular theme for this month, so apologies in advance are probably due for what seems to be a generally incoherent rambling round up of various bits and pieces thrown together. One beneficial consequence is that this is a shorter tome than some.
State of Guitarville 2019
In the grand scheme of things, the guitar‑centric sector of the wider music industry is a relatively small but vibrant arena. While the general shrinking and decline of the ‘business’ continues well into the post‑recession era, the core elements seem in fairly good health overall. There is cautious optimism out there within the context of an unpredictable and challenging operating environment. There has been some progress since this time last year but not as much as many commentators might have wished.
Even though I wasn’t at the event, Winter NAMM 2019 held at the end of January in Anaheim, California saw a lot of activity and relatively good business was done. There were few ground‑shaking announcements at the convention but there was the usual excitement about shiny new gear from established brands. It was reassuring to see Gibson back at NAMM after their absence in 2018 and their new CEO is making all the right noises about what to expect from the company. Let’s hope that good intentions translate into achieving the right balance between quality and price, along with appropriate innovations alongside traditional instrument manufacturing. It is interesting that some of the more contentious technologies that were being used to reposition Gibson as a lifestyle company are now likely to be jettisoned in order to re‑establish confidence about, and a focus on, what really matters to their customers.
It is hardly a surprise that digital continues to make significant inroads into the analogue domain that has been the bedrock for so many generations of musicians across the globe. With the influx of ever more convincing digital inventions, one really does have to wonder how long analogue will remain the force it has been up to now. At some point, even the most hardened of luddites will be lured to make the jump either by the metaphorical lure of the carrot or the fear of the stick. There is still some way to go before all the components in a guitarist’s signal chain provide everything that the working professional musician needs for writing, rehearsal, live and recording settings.
The advantage for CRAVE Guitars and many other vintage enthusiasts is that we generally don’t need to worry about learning the operational demands and subtleties of this new‑fangled complex digital stuff and we can stick with what worked for us when we started out, complete with all its charming analogue idiosyncrasies (?!?!). One day, soon, digital will be the default and vintage gear will become a bit like vinyl records in there will be a market for it, even if it ultimately becomes a niche for nerdy specialists. For up‑and‑coming musicians who may not know any different, though, the current‑day smorgasbord of choice is phenomenal and, although the value‑for‑money equation on some equipment can be debated, the benefits are there to be discovered and exploited.
My sense, at the beginning of 2019 is that there is a degree of consolidation in design, manufacturing, marketing and distribution. The on‑going battleground between ‘brick & mortar’ retail and Internet business is still bitterly being fought out. At some point, an equilibrium will be reached where both channels will co‑exist, even if it means that the retail experience will be different from how it is now. Many consumers still greatly value going into a physical store, looking at, trying out and talking about equipment, so they will endure, even if those establishments have to offer other value‑added services on top of the traditional mainstay of shop floor sales. Companies that rely heavily on Internet operations will find overheads increasing, margins tightening and profitability harder to come by, thereby impacting sustainability and beginning to level the playing field a bit.
As far as guitars are concerned, as mentioned above, Gibson is poised for resurgence and Fender seem to be on their game and producing some very competent and attractive models at all price points. PRS are on a creative stretch of their own and doing OK judging by headlines. Gretsch, Rickenbacker and Danelectro also seem to be faring well, perhaps needing a bit of additional cool vibe to secure their future. Rejuvenated brands like Supro and Harmony are aiming to join the ranks as ‘go to’ guitars, while many other familiar names are managing to stay afloat. Acoustically, Martin and Taylor are both actively vying for top dog status with new innovations, which ultimately means some great guitars for the consumer. The last 12 months has seen some small‑scale luthiers go under or simply disappear, which is regrettable but, sadly, not surprising given the volatile international economics of the industry.
In the amp arena, there are three major directions of travel; a) the relentless digital onslaught from the likes of Fractal, Kemper and Line6 among others, b) ranges of very good valve and solid amps from the mainstream names such as Fender, Marshall, Vox, Orange and others, including some faithful reissues of classic models, and c) the continued rise of boutique builders catering for individual tastes in small numbers. We guitarists are, though, a conservative breed. It seems that the valve is dead, long live the valve!
One area where digital is revolutionising sound is on the pedalboard, which is a current ‘big thing’. There are some astoundingly inventive ways of mangling your guitar tone, both in variations of established FX types and some intriguing all‑new creations that take advantage of digital technology. Some exciting products are appearing from the likes of Catalinbread, Strymon, Eventide, Fulltone, Thorpy, Keeley, Electro‑Harmonix and Wampler, to name just a few. If you prefer multi‑effect pedals, then you are likely to have stalwarts like Line6, Boss and Zoom in your sights. Then there are pedalboard switching systems to help you organise your complex myriad of stompers, e.g. the Gig Rig 2 and Headrush. Likewise, the ever‑improving pedalboard power supplies derive from companies such as Truetone, Voodoo Labs and MXR. Looking from the outside, there are some tremendous bits of alluring kit becoming available, way beyond the vision of manufacturers and musicians back in the 20th Century when digital was just starting out. Whatever your budget, the choice, it seems, is yours.
Music publications across the board, including the trade press, are still suffering a seemingly unstoppable shrinkage of their market. Sales of paper magazines continue to dwindle and digital subscriptions are not filling the gap. As a result, high street transactions along with the advertising revenue streams they need to survive are decreasing. As the absolute size of the readership reduces, the risk of becoming uneconomic goes up disproportionately. Strategically, there are few options available and quite what will remain once an inevitable shake‑out occurs remains to be seen. The consequence of this is that the quality of content is likely to suffer in the long term. Music industry journalism needs to adapt, although there are major challenges ahead as people find alternative ways of acquiring the information they need (or, perhaps more worryingly, not bothering at all). Although referring to something slightly different, one is reminded of a whimsical quote from Frank Zappa who suggested that, “Most rock journalism is people who can’t write interviewing people who can’t talk for people who can’t read.” Discuss…
Another area of stagnancy appears to be in the quality of music pervading distribution channels. Video/TV, radio and physical media sales are stagnant at best, while digital streaming is becoming the dominant force. This re‑jigging of supply channels, though, isn’t the issue. Although a sweeping generalisation, it seems that since the turn of the millennium music output has increased in volume and decreased in quality. While this is a highly subjective observation, it is borne out by (vaguely) reliable anecdote across generational divides. There is no doubt that there is some extremely good music being made. However, finding the glittering gems amongst the deluge of dross is difficult and, as a result, the good stuff is constantly battling to reach a mass market, thereby making success a tough task for genuine aspiring talent (rather than vacuous celebrity wannabees!). Financial rewards for artists from streaming services is a travesty and needs addressing before it’s too late. Quite how the tide can be turned to reveal new genre twists and identify the next swathe of outstanding musicians will be a challenge for the 2020s. One can hope that something will happen, as it has always has, it just remains to be seen who, what, when and where it will pop up. Another consequence of generic music produced by generic people is that the desire for genuine instruments will decrease, thereby ultimately affecting sales of guitars.
Getting back to the point, core consumer demand for music gear continues to be resilient, although customers are understandably more discerning and, as a result, potentially more fickle. Reliance on past sales and brand loyalty are continually being chipped away at by targeted marketing and tough rivalry. However, strong competition and the downward pressure on street prices can prove to be a double‑edged sword for price sensitive customers. On the whole, one thing I can easily predict is that the popularity of the guitar will persist no matter what, despite regular prognoses that ‘guitar music is dead’. Quite what the musical landscape will be like in years to come is best left for others to forecast. Whatever happens, it’s going to be an exciting time in Guitarville.
As CRAVE Guitars is based in the UK, it is incumbent on me to mention ‘Brexit’ at this point. There are NO scenarios where leaving the European Union can benefit the country or its citizens. Prices are already increasing, not only because of increased costs and perceptions of risk but also as a result of exploitative selling practices by the unscrupulous trying to secure and bank revenue before the catastrophe strikes. Things are bad enough as they are (remember ‘Rip off Britain’?) and we don’t need any further unnecessary pecuniary pressures. After the severance has occurred and whatever the outcome is of the disastrous ‘deal or no deal’ shenanigans, import barriers, tariffs and currency speculation will affect Britain’s international trade relationships without question. The risk of further recession and national isolation rank high on the concerns of many British businesses. Given the fragile nature of the UK music industry, any weaknesses and threats will be heightened and only those that are able to adapt will survive. Hypocritical UK politicians, pedalling their own prejudices while protecting their personal interests should be ashamed of the damage that will result in the short‑term and aftershocks will continue to impact on the prosperity of the country for generations to come. What is regrettable is that there will be recourse to hold the inept self‑seeking minority accountable for engineering this chaos in the first place and having no idea about how to deliver it successfully. On this basis, I am not optimistic in the slightest. I hope, however, that I am proved wrong. Personally, my view is that there can be no backtracking and we need to get on with making the most of a bad situation. End of whinge!
Repatriation Update
I covered the long‑overdue reunion of a significant proportion of CRAVE Guitars’ vintage instruments in the last article. What I didn’t do is say much about what actually came back. So… if only for completeness, here is the full list of the (42) returnees:
1966 Epiphone Olympic
1966 Fender Coronado II
1965 Fender Duo-Sonic II
1965 Fender Jaguar
1965 Fender Jazzmaster
1965 Fender Musicmaster II
1966 Fender Mustang
1972 Fender Mustang Competition
1977 Fender Precision Fretless Bass
1977 Fender Stratocaster
1983 Fender Stratocaster Dan Smith Era
1972 Fender Telecaster Thinline
1973 Fender Telecaster Deluxe
1974 Fender Telecaster Custom
1988 Fender Telecaster
1983 Gibson Corvus II
1963 Gibson ES-330 TDC
1985 Gibson ES-335 Dot
1982 Gibson Explorer E2
1983 Gibson Explorer
1984 Gibson Explorer
1984 Gibson Explorer Custom Shop Edition
1984 Gibson Explorer ‘Union Jack’ Graphic
1966 Gibson Firebird III
1976 Gibson Firebird Bicentennial
1980 Gibson Flying V2
1975 Gibson Les Paul Standard
1977 Gibson Les Paul Deluxe Gold Top
1989 Gibson Les Paul Custom
1998 Gibson Les Paul Standard DC
2002 Gibson Les Paul Standard
1961 Gibson Melody Maker D
1964 Gibson Melody Maker
1982 Gibson Moderne Korina Heritage
1981 Gibson RD Artist
1965 Gibson SG Junior
1968 Gibson SG Standard
1962 Gretsch 6120 Chet Atkins Double Cutaway Hollowbody
1965 Gretsch 6135 Corvette
1978 Music Man Stingray Bass
1974 Rickenbacker 480
1964 Silvertone 1449 ‘Amp in Case’
Some of the guitars have only been ‘stored’ for a short period of time but many have been incarcerated for nearly 8 years!!! It is these ‘long‑termers’ to which I will probably need to pay most attention in the coming weeks and months. While they were safe and secure, a domestic loft space is definitely not an ideal environment in which to keep vintage guitars for any length of time. The fluctuations in temperature and relative humidity over an extended period are far too great to do them any good at all. Given the circumstances at the time (back in 2011), it was a necessary urgent solution borne out of a severe predicament and I had no practical alternative. I never anticipated that it would take over 7 years to get them all back – I was clearly naïvely deluded in thinking that it would take ‘about’ 6 months at the most to sort things out! Essentially, completely rebuilding one’s entire life from scratch took considerably longer and it has been an extremely arduous journey. Still, we are where we are, none of us can turn the clock back, so one has to be positive, forward looking and take it from here. At least the precious cargo has been rescued and they are now finally back where they belong and, primarily, that is what really matters.
At the moment, the only tangible evidence of the little treasure trove listed above is several stacks of dusty guitar cases. Excitement about the potential is also tinged with an element of guarded apprehension about what will be found when the contents are properly ‘exhumed’ and examined for need of repair and sensitive renovation. If at all possible, any replacement parts needed during restoration will be of the appropriate vintage. That presents a major quandary in 2019-2020. For instance, finding and procuring period‑correct components will be both time consuming and costly. While one could be practical and use modern replacement parts, I prefer to conserve these precious historically significant instruments with genuine components that are as close as possible to the originals as I can find (and afford). Only if that approach fails will I resort to pragmatic use of new stock items. Back in the pre‑recession boom, there was little difficulty in sourcing these useful bits and pieces. Now, however, it has become considerably more difficult.
Not only are vintage spare parts and accessories hard enough to find on the usual hinterwebby platforms, decent vintage guitars and amps also seem to be increasingly scarce, at least in the UK. I’m not sure why this should be. Perhaps people are hanging onto their instruments, perhaps there’s a mistrust/dislike of the usual web sites and the way they are run, or perhaps the post‑recession/pre‑Brexit uncertainty is still suppressing supply. The laws of economics dictate that continued demand combined with a shortage of (finite) supply means only one thing… increased prices. Wading through eBay is bad enough at the best of times but UK sourcing is particularly hard work at the moment. Disadvantageous exchange rates with the USA now seem to be a permanent fixture and, on top of that, CITES is a real bane. In addition, eBay searches are flooded with Japanese items that you just know are bogus. All round it’s not much as much fun as it should be when hunting down scarce ‘most wanted’ artefacts.
I am not treating the repatriation project with any sort of hysterical urgency. The guitars have been exiled for so long that a few more weeks in their new home before I get round to them won’t do any harm. In the first month, I have only attended to 2 out of 42 guitars (1964 Gibson Melody Maker and 1966 Fender Coronado) and I have to be cautiously optimistic that there is no lasting compromise to their integrity. Phew! I hope I don’t get any nasty surprises lurking in the remaining 40 to be uncovered.
Vintage guitars really need to be played. That may be ‘stating the bleeding obvious’ but the difference after a bit of TLC and playing for a few days is phenomenal. There is a transformational change in their playability, sound, feel and looks. I wonder if this may be one reason why some people pick up a (possibly neglected) vintage guitar and find it dull, lifeless and uninspiring. When they magically come back to life again, it is both a relief and a delight. The journey of rediscovering these instruments may well explain why I’m taking my time and not getting very far very quickly. Well, that and the fact that there isn’t a local guitar tech on whom I can rely when more extensive remedial works are required. I know my limitations and any attempt on my part to mess around with repairs and adjustments that are best left to experts would almost certainly be a regrettable mistake.
Another interesting observation is that, while I wasn’t overly attached to some of the guitars all that time ago – a proportion were originally intended to become the staple of a start‑up business – I have now developed an emotional connection to them because of everything I and they have been through over the intervening years. That may be a good thing because I now value them more for what they are than what they may be worth. Also, I simply wouldn’t be able to afford many of them on today’s market, so I’m just glad to have them now. However, it means that I may well have a struggle with my conscience if CRAVE Guitars does become an economic entity and I have to break those newfound relationships. Until that time, the guitar ‘collection’ is an integral part of the family and they are definitely not for sale in the short to medium‑term. My philosophy and attitude mean that the guitars still represent a not‑for‑profit conservation of the musical heritage, rather than any sort of potential gold mine.
As previously mentioned, a pressing priority over the next few months is to provide them with proper accommodation. This means that I need a competent builder to ‘tank’ the cellar and make a suitable home for the guitars. After that, I can possibly start thinking positively about what the future of CRAVE Guitars might one day become. One step at a time.
New in at CRAVE Guitars
So that I don’t fall into the same trap as last year, here’s a quick ‘new arrival’ section. As I predicted back in December 2018, things got off to a slow start this year. In fact, there has been only one purchase in the first 2 months of 2019. Surprisingly, it was an item that was actually on the ‘wanted in 2019’ shortlist.
CRAVE Effects is a relatively modest side venture that runs alongside the guitars and amps. The Cool & Rare American Vintage Electric’ acronym doesn’t actually work 100% in this context because CRAVE Effects comprises a diverse selection of stomp boxes from around the world. Whatevs! I can break my own rules.
One of the ‘classic’ effect pedals that was notably absent was the venerable Ibanez TS‑808 Tube Screamer Overdrive Pro from Japan. This was partly because availability of both the right pedal and the resources needed to acquire it were in short supply. Good ones are few and far between and, when they do come up, they go for silly money. So when an original 1981 TS‑808 turned up on eBay UK for an aforementioned silly price, but arguably not exorbitantly so, it had to be pounced upon. Thus, the notable gap has at long last been duly filled. To think that I could have added another ‘budget’ vintage guitar for the same price as the Tube Screamer puts things into perspective.
As is often the case with vintage Tube Screamers, this example shows typical signs of use (good) but not abuse (bad), so it has just the right amount of mojo, otherwise known as ‘wear and tear’, needed to be confident that it was a safe purchase. Thankfully, apart from a replacement battery snap, it is in all‑original condition and it works very well indeed for a 38‑year old pedal, which is testament to their durability.
As anyone acquainted with my opinionated drivel (or should that be overdrivel in this case?) will know, my heretical views don’t always accord with those of the self‑appointed ‘establishment’. The original TS‑808 is good but I don’t believe it really deserves its insanely elevated and almost mythological status in the minds of many guitarists. Like numerous effects from the late 1970s and early 1980s, it can sound great or grim depending on how it’s used. It is player, guitar, effect and amp dependent, so it needs to be carefully matched in order to make it sound its best. Although new TS‑808 and TS9 reissues are not the same as the old ones, they are still very good overdrive effects. Therein lies a fundamental truth that applies equally for any stomp box made at any time – you pays your money and make your choice. Regardless of my biased view, the much‑imitated and often re‑issued Tube Screamer has become the de facto benchmark for overdrive pedals and there is no getting away from it.
The web site feature on the TS‑808 has already been prepared but, like most gear purchases over the last year, it hasn’t yet been published on the web site. Sigh! Yet another job waiting in the pipeline. Watch this space…
Sign‑off
That’s about it for February 2019. This has been a necessarily short soliloquy compared to many of my verbose outpourings. Inspiration, motivation and time have been in limited supply so far this year and articulating much of any interest at all has been a bit like hard work. Therefore, there is no point in proverbially flagellating a deceased dobbin and it is probably best to stop here for now.
That means that I can get back to the immediate task in hand, which is looking after a few vintage guitars and, hopefully, playing some of them along the way. I’m sure there will be more on this particular topic in coming months. Until next time…
CRAVE Guitars ‘Quote of the Month’:“Conscience dictates that we understand right from wrong. Imagine what mankind might achieve if we could work together rather than conflict, and what good could be done if we stopped the immense and irreparable harm we cause.”
Well, here we are at the beginning of 2019. Wonders will never cease. We made it to the start of a new year in the history of the universe, as measured by mankind. For what it’s worth, it feels just like the universe did a human month ago but, heh, what do I know what’s been happening in the infinity of existence we call home since I last put finger to keyboard in the quest for guitar nirvana?
At the beginning of a new year, I would normally pontificate over a ‘state of the village’ observation covering what’s going on out there in guitar land. Not this year, at least not yet. I will mention that, Gibson now has a new President and CEO in James ‘JC’ Curleigh and the company was at winter NAMM in January 2019, so that’s a positive start. Here in the UK, Brexit is about to throw the country into further turmoil and mayhem that can do absolutely no good for the British music industry which is already very fragile after more than a decade of recessionary pressures. What a pathetic mess. Anyhoo… to preserve my vulnerable sanity I’m not going to expound on that any further and it’s time to get down to this month’s business‑as‑usual…
I mentioned in my end‑of‑year roundup in December 2018 that there had been a few acquisitions during the year. I also commented that the CRAVE Guitars web site hadn’t been updated for ages and things were mightily out‑of‑date. Therefore, this month, it seems time to start putting things right. Before I start, I would normally add links to the relevant web site features for the ‘new in’ gear. However, this article has been prepared ahead of publishing the features, so there is currently nothing to link to. Ggrrr. As soon as the features are in place (heck, I took the photos and wrote the narratives months ago, so no excuses!), I’ll add the links in here where they should be.
The Guitars (listed in order of acquisition)
1988 PRS Standard – First to arrive, way back in February 2018 was a stunning 1988 PRS Standard. I had been mulling over the idea of trying to get hold of an early PRS without breaking (into) the bank. I had actually been looking at a fetching early PRS CE in metallic Electric Blue when this pretty baby came to find me, purely by chance. She was local too, so no hassles over importation, couriers and all the risks that go with it.
While many punters might go for the flashy PRS Custom with figured maple cap and fancy bird fretboard inlays, I was really taken with the lovely grain of the all‑mahogany body and the understated but very attractive moon neck inlays. More importantly, it was relatively affordable compared to its more flamboyant relative (the Custom). OK, so it doesn’t have the collector‑requisites of an original case or the case candy but that made owning one achievable. More importantly, it is a very good guitar indeed with 24‑fret Brazilian rosewood fingerboard (pre‑CITES regulations and before PRS voluntarily stopped using it other than on their top‑end models). Everything that is significant, i.e. the guitar itself, is just as it should be and she plays and sounds terrific. She is also in remarkably good condition too, having been used but very well looked after. Result!
PRS guitars was founded by luthier and musician Paul Reed Smith in 1985 and this is one of the early guitars delivered from the original factory in Maryland and before PRS introduced CNC manufacturing. It may not be one of the pre‑company hand‑made instruments but they are very scarce and scarily expensive. While 1988 is modern for CRAVE Guitars, it was still early days for the fledgling PRS. I am very happy with this lovely piece of guitar history, now aging very gracefully at a mere 31 years old.
1988 PRS Standard
1978 Fender Musicmaster – Second to arrive in August 2018 was a cute little 1978 Fender Musicmaster. While this may not be everyone’s first choice as a vintage collectable, it appeared on my radar while looking for a different Fender offset (see below). The reason that this one appealed was simply that the CRAVE Guitars’ family already has Musicmasters from 1959 and 1965, so it was about adding a late example from a different decade.
By the late 1970s, the Musicmaster, like many other budget ‘Made in U.S.A.’ Fenders, was really pared down to its basics. However, it is still a very cool guitar and compares favourably to, although different from, the same model from previous decades. Presented in simple black and white, it represents a degree of purity of purpose that other, more familiar, ‘classics’ don’t exude. The covered single coil neck pickup is the same as the other ‘student’ models and has that funky sound that is characteristic of the ‘baby’ Fender lines. Good guitars from the late 1970s and early 1980s are still relatively affordable but I predict that won’t be the case for long.
All in all, I think she deserves her pride of place in the CRAVE Guitars’ clan and is a great guitar to pick up and play without having to think too much about the controls, meaning one can focus on playing. Regular readers will know that I have a thing for simple, single pickup guitars and also underrated, underdog guitars, so this modest 1978 Musicmaster scores on several fronts.
1978 Fender Musicmaster
1989 Gibson Les Paul Standard – August 2018 was a busy (-ish) time for buying. Third to arrive was a very pleasing wine red 1989 Gibson Les Paul Standard. It may seem strange to go for such a relatively ‘modern’ guitar at just 30 years old this year and right at the upper end of CRAVE Guitars’ criteria for age (pre‑1990). So what was the story here? Well… there are three reasons. The first is that one of the first ‘proper’ guitars I played was a 1970s wine red Les Paul Custom and I’ve wanted one in that gorgeous colour ever since, taking me c.40 years to achieve! The second was pure serendipity, it came up on eBay as an auction and I set a limit simply because guitars like this rarely come up for auction these days. I didn’t think that I’d win it but, lo and behold, although it reached my limit, I won and for a reasonable price too. Another result! I think that the seller was disappointed but that’s the way the cookie crumbles. The third reason is a little more intriguing. The dual humbucking pickups in this guitar are the original short‑lived Bill Lawrence‑designed HB‑L and HB‑R ‘circuit board’ pickups, which Gibson used only in 1988 and 1989. Some may criticise them but to me that is a reason to see what the fuss was about and to try them out for myself.
She certainly isn’t in museum condition but that doesn’t matter to me. I prefer a guitar to be used for its intended purpose, which inevitably means a few signs of being played. She hasn’t been abused, so no big deal, especially given that it wasn’t the most expensive Les Paul out there and certainly cheaper than a new one. A bonus is that she is very light for a Les Paul, which is refreshing. As for those pickups, well, the design is largely cosmetic. Although this guitar is not wired for it, the pickups have 4 conductors so in theory the coils could be split for added tones. To be honest, as she is, she doesn’t sound hugely different to most 1970s humbucker‑equipped Les Pauls. However, what is surprising is that I found that she plays in a different way to other Les Pauls. For some strange reason, it is one to play in a much more relaxed and laid back style. Perhaps it’s the pickups, perhaps not but, to me, it is a guitar to chill out with, rather than to thrash. All in all, it’s a great value‑for‑money guitar that’s only going to get better with age.
1989 Gibson Les Paul Standard
1971 Fender Bronco – Last but not least to arrive, also in August 2018, is a natty little bright red 1971 Fender Bronco. The Bronco was the last of the offset ‘student’ models introduced by Fender in the 1960s. As such, it is often disregarded compared to the Mustangs, Duo‑Sonics and Musicmasters. However, that fact alone makes it of interest to me. OK, so it only has a single pickup but, unlike the Musicmaster, it is located near the bridge, giving it more bite and a distinctive gnarly tone of its own. Like the Mustang, it has a vibrato bridge but unlike its older brother, it is a unique system not used on any other Fender. In my view, the Bronco deserves objective re‑appraisal within its historical context.
The backstory with this one is that it spent some time in Russia before being imported into the UK by the previous owner. That may account for the crazing in the finish that gives it a vintage mojo that suits it down to the ground. She needs a little TLC to get her back up to optimum playability including some careful work on the electrics. One feature that doesn’t affect the sound one iota is the cool use of black and silver control knobs that only appeared between 1967 and 1971. Overall, it’s not a bad little guitar for a 48‑year old. The Fender Bronco was to some extent popularised by Alex Turner of indie band Arctic Moneys, which has tended to attract the attention of collectors and push up vintage prices accordingly. It also tends to distract from the fundamentals of what is a very good, simple guitar.
1971 Fender Bronco
So, 2018 saw the acquisition of two budget Fenders from the 1970s and a Gibson and a PRS from the late 1980s. This outcome was dictated not only by a limited budget but also by space and personal circumstances during the year. In order to get the most out of them, the two Fenders really need some sensitive conservation. Despite the fact that they may not be to everyone’s taste or even qualify for what vintage snobs might consider to be ‘collectable’, I don’t care. I cannot help but express my admiration for all four of them, each in their own way. Apologies for mixing metaphors but I’ve always been one to buck a trend and swim against the tide. On reflection, it wasn’t a bad outcome at all for what was otherwise a demure year.
The Amp
The CRAVE Amps family has seen only one humble ‘new’ arrival during 2018. It may only be modest but it is as welcome as any other adoption.
1978 Fender Champ – you may ask why go for a 1970s ‘silverface’ Champ, especially when there is already a Vibro Champ from the same era in the family? The answer is partly one of keeping things as simple as possible (spot the trend here?) and, once again, opportunity. One came up on eBay and, completely unable to resist temptation, it just had to be mine! Even better, it’s a UK model wired for 240V mains. After not being used for a couple of months, it’s crackling a bit, so it may be in need of a service.
I rate these dinky little Class A valve amps and believe they deserve a much stronger reputation than the unwarranted perception of a beginner’s ‘toy’ amp, when compared to Fender’s bigger ‘classic’ amps. They are light, take up hardly any room and are fine for practice, it breaks up into distortion beautifully and works well as a good platform for effect pedals, particularly in a practice or studio environment. All‑in‑all, a solid little vintage valve amp. What’s not to like?
The Champ is clearly part of the Fender family both sonically and visually, just more compact and, in my view, cuter in all respects. Its simplicity doesn’t mean that it should be overlooked. For information, despite what the purists may assert, the ‘silverface’ Champ retains the electronic design of its predecessors and only the aesthetics changed. The point is that, where it really matters, this is a worthy little amp with quality fundamentals that are now beginning to be appreciated and much emulated by modern high‑end boutique amp builders. That Leo Fender bloke certainly knew what he was doing, even if he was running Music Man when this particular Champ was born in Fullerton, CA.
1978 Fender Champ
The Effect Pedals
Also ‘new in’ at CRAVE Effects in 2018 were a number of vintage (and, as it turns out, not so vintage) analogue effect pedals. I’ve tended to go for the popular brands to which I was exposed as a teenager, so the focus is very much on two American brands – Electro‑Harmonix and MXR Innovations – and two Japanese brands – BOSS and Ibanez. The era of interest is essentially but not exclusively from the mid‑1970s to the mid‑1980s.
Given the choice, the ‘Made in U.S.A.’ effects have always been my favourites, especially the whacky Electro‑Harmonix stomp boxes. This doesn’t mean that I’m not open to other brands, e.g. Maestro, Dod, etc. They are just the ones which I have more knowledge about and experience of using. There are so many options out there, one has to have some sort of rationale to limit the obsession.
The advantage of effects is that they are often relatively cheap to acquire and they don’t take up much room. To keep things brief, I will summarise by brand in alphabetical order.
Boss
1979 BOSS PH-1 Phaser – I already have a green PH-1 but it is ‘player’ grade, so there was an element of upgrading involved here. The incumbent worked fine but it wasn’t in totally original condition, so a slightly better and older one was found. I’ve previously written about the PH-1 and this was essentially a direct replacement, so I won’t repeat that here. Expect the old one to appear on eBay UK at some point.
1979 BOSS PH-1 Phaser
1980 BOSS CE-2 Chorus – The sky blue CE‑2 is a highly regarded ‘classic’ pedal by those in the know and it was a notable gap in the ‘collection’, so a nice one was procured. For once, I followed the trend and found a desirable ‘long dash’, silver screw, black ‘Made in Japan’ label version. Needless to say, it lives up to its envious reputation with a lovely analogue warmth and is simplicity itself to use. It is one of those that cost more than it is worth but, in this case, it was just about justifiable.
1980 BOSS CE-2 Chorus
1986 BOSS PSM-5 Power Supply & Master Switch – The red PSM‑5 is a bit of an oddity in that it isn’t an effect at all. It actually serves two functional purposes for other effects. The first is as a PSA power supply for a number of pedals. This isn’t much use to me, as most of the BOSS pedals are the earlier ones requiring an ACA supply (which actually provide up to 12V, rather than 9V). The second is as a simple effect loop, which can be of use in a basic multi‑pedal setup. It was also a cheap impulse purchase in a weak moment, so here it is.
1986 BOSS PSM-5 Power Supply and Master Switch
Electro-Harmonix
1998 Electro Harmonix Small Stone Phase Shifter – Now this is an anomaly. For one thing, it isn’t strictly vintage and it is outside CRAVE Guitars’ usual age criteria, i.e. up to but not beyond 1989. Electro‑Harmonix failed in c.1984 and part of its revival was to set up operations in Russia in 1990. The main two pedals made in the former USSR were the Small Stone phaser and the Big Muff fuzz (see below). They were based on the original American circuit boards but were constructed in a very different way. The rationale for these pedals piqued my curiosity enough to track them down. Operationally, the Small Stone is very similar to its American predecessor and it sounds as you might expect. The main draw, though, is the distinctly OTT soviet military aesthetic in sinister black and red finish. I thought it was cool enough to live alongside its vintage counterparts.
1998 Electro-Harmonix Small Stone (Russian)
1999 Electro-Harmonix Big Muff ϖ – This is the other non‑vintage pedal from the resurrected Russian incarnation of Electro‑Harmonix. This one isn’t one of the early tank‑like khaki versions, mainly because the soviet manufacturer used proprietary parts that can be a devil to maintain. EHX learnt from this and released the smaller black and yellow version which used more standard components. Crucially, this Big Muff is aurally very different from its American forebears, much more polite and with a different tone altogether. Some say that is modelled more on the Bass Muff, which may explain its tamer timbre. As such, it remains a curiosity in the EHX canon so, as with its eastern bloc comrade above, the black Russian Big Muff gets a look in.
1999 Electro-Harmonix Big Muff π (Russian)
1980 Electro-Harmonix Zipper Envelope Follower – Now we are talking the genuine article. Back in the day when I was playing psychedelic/space rock guitar, I used a Zipper alongside the Electro‑Harmonix Memory Man (echo) and Electric Mistress (flanger). While I have other envelope followers in the ‘collection’, there is nothing before or since quite like the ‘Made in NYC’ Zipper for creating touch sensitive filter sweeps. A vintage Zipper just had to (re‑)join the family and I am glad to say that it is as fantastic as I remember. Far out, man.
1980 Electro-Harmonix Zipper Envelope Follower
Ibanez
1982 Ibanez AD9 Analog Delay – here is another replacement pedal. The existing one works fine but has an unpredictable tendency to lose repeats, which can be irritating. Whether there is a fault I don’t know but I had to find out. The ‘new’ one is much better and works as anticipated. I can now appreciate why the AD9 has become a desirable classic analogue delay on the vintage market. I still prefer my EHX Memory Man but this one almost gives it a run for its money. I’m glad to have it along for the ride. I see the outgoing AD9 as a ‘player’ grade example that may well appear on eBay in due course for someone not so fussy to play with.
1982 Ibanez AD9 Analog Delay
1981 Ibanez AF-201 Auto Filter – My quest to find a creditable challenger to the EHX Zipper led to me track down the rare and collectable ‘0’ series AF-201. It is truly an intriguing little beast with a lot more controllability over the analogue filter’s parameters. Lots of sliders and switches but no rotary knobs at all. Therein lies its weakness for me. Finding just the right combination of controls can take a bit of exploration and it can be hard to recall a particular setting. What it does, it does well and it is a fascinating pedal to experiment with. The AF‑201 takes a different approach to other envelope filters.
1981 Ibanez AF 201 Auto Filter
1981 Ibanez GE-601 Graphic Equalizer – To be honest, I have never been a fan of graphic equalizers either in hi‑fi or guitars – very 1970s. However, I admit that the ability to tweak EQ can be useful in certain circumstances. After acquiring the MXR version also in 2018 (see below), I thought I would try the Ibanez ‘0’ series equivalent. They both do the same job and the Ibanez has the major advantage of a foot switch, so instant tonal variation can be applied, which also means that it doesn’t have to be ‘always on’. The downside for me is that it doesn’t have the boost/cut range of the MXR and therefore doesn’t work so well as a creative tool. I guess you pays your money and takes your choice depending on what you want to use it for.
1981 Ibanez GE-601 Graphic Equalizer
1983 Ibanez SD9 Sonic Distortion – Anyone with a solid grounding in guitar lore will be aware of the ‘holy grail’ of overdrive pedals for many, the venerable Ibanez TS‑808 Tube Screamer Pro. Well, the snot green SD9 takes the basic template and pumps it up with a shed load of steroids. A subtle pedal this is not. The ‘9’ series superseded the ‘0’ series, so it is both visually and tonally a very different animal compared to the ‘classic’ Tube Screamer. If you want more ‘meat on the bone’ without the OTT fuzziness of, say, an EHX Big Muff, the SD9 may fit the bill.
1983 Ibanez SD9 Sonic Distortion
MXR
1975 MXR Blue Box – here is another ‘upgrade’ pedal. The existing 1977 ‘script’ logo Blue Box was a bit of a bitsa. Again, it worked (if you can call what it does as working!) but it wasn’t exactly a pretty example, with a changed footswitch and baseplate. I paid well over book for the new one from a London dealer on the grounds that it was all‑original and, as is always the risk buying on the hinterwebby thing, this one arrived, also with a changed footswitch. Argh! A clear case of caveat emptor (buyer beware) if ever there was one. Other than that, it is original and in better condition. The Blue Box is a weird device combining a fuzz and an octave generator, and it sounds just as crazy as the other one – if you want manic aural chaos, this is a pedal to seek out. The outgoing one is likely to make an appearance on eBay at some point.
1975 MXR Blue Box
1976 MXR Phase 45 – The original ‘script’ logo MXR Phase 90 has become deservedly legendary over the decades. The ‘collection’ already has a vintage 1977 ‘block’ logo Phase 90, so this all‑original ‘script’ logo Phase 45 was seen as a complementary purchase. It is subtler and smoother than its big brother and, to my ears just as flattering. If you want soft swooshes, the Phase 45 is perfect and, like the Phase 90, is simplicity itself to use, just one control knob to grapple with.
1976 MXR Phase 45
1980 MXR Six Band Graphic Equalizer – I was generally scouting around for other offbeat pedals when I came across this diminutive little pedal. At the time, I didn’t have a graphic equalizer and was content to use guitar and amp controls. Then I got to thinking about what it might be able to do and the rest, as they say, is history. I took the plunge in a susceptible moment and here is the little blue SBGE (for short). It is always on, so no footswitch, which may be a limiting factor for many. However, when the cut/boost sliders are pushed to extremes (i.e. other than for basic EQ adjustment), the tonal abilities are quite fascinating. I now think of the pedal not as a glorified active tone control but as a creative utensil to transform an ordinary guitar’s limited tonal range into something else altogether. A little blue miracle worker.
1980 MXR Six Band Graphic Equalizer
Other
1970s Colorsound Swell (volume pedal) – I’m not quite sure of the age of this swell pedal without dismantling it, so for now it is just ‘1970s’. It works fine, is in very good condition and does just what it says on the tin. Volume pedals are nothing particularly exciting but they can add an extra bit of flexibility to proceedings. To be upfront, I got this one as it works better than the VOX (see below).
1970s Colorsound Swell
1960s VOX Volume/Expression – here’s another pedal that I bought on a whim, fancying a bit of the old violin‑type swell that a volume pedal could provide and I didn’t have one lying around. This one came up and, while being ergonomically modified (they originally were designed for use with VOX keyboards and came with a captive output lead), it seemed an interesting purchase. Some of these early 1960s effects are now becoming quite rare and collectable, so I couldn’t let it pass. The issue with this one is an overly scratchy potentiometer and I’m now in that dilemma of whether to replace it with a modern reliable pot or leave it for someone to decide at some point in the future. I’m still mulling that predicament over.
1960s VOX Volume
So… have any of these purchases made a great deal of difference and have they changed my opinion about vintage effects? Not really. In my view, the American pedals are just so much better suited to what I’m looking for than their Japanese and European counterparts. This is a very subjective value judgement and it should not be seen as America = good, elsewhere = bad. The far eastern pedals are very good. It’s just the way things have panned out for me personally.
The CRAVE Effects’ ‘collection’ is now much broader (although not by brand) and I have learned a lot from the experience. Sadly for the bank account, I feel the topic as a whole needs further investigation. The guitars remain the primary focus but these old analogue pedals certainly play their part in the grand scheme. Modern effect units have become, generally, far too complicated for my poor brain to comprehend, so I’ll stick with the pure and simple. No real surprise there.
There is no ‘magic’ to old/vintage gear and it won’t transform anyone into the next Van Halen. Modern tech is wonderful and that’s where the future of mainstream music production lies. The magic stems from the musician and the equipment is simply there to shape the tone that the musician hears and wants to communicate with the listener. My fascination in the ‘old school’ technology is on one hand personal preference and on the other to act as a steward of these gems the future.
Guitar Repatriation News
OK, so that’s the ‘new in’ at CRAVE Guitars from 2018. The really BIG news is actually of major significance to the enterprise and could come under a strange heading of ‘old in’ in 2019.
Now… here’s the thing… I may not have explained a particular episode from the past, so it is time to put things in context. Due to life changing events back in 2010, the majority of CRAVE’s guitars had to go into enforced exile in 2011 for as long as it would take to get things back in order. Some of them have been kept in less than ideal (but thankfully safe) storage for nearly eight years. Others have been stored on a more temporary basis having been swapped in and out over the years.
At this point, I have to give a very special shout out to my close friend Pete who looked after them for me and without his compassion (and loft space), who knows what would have happened to them. I am immensely grateful to him for doing it and putting up with me over the years. I never expected it to take as long as it has but that, I guess, is how life goes.
The major change since last month’s article is that on 21st January 2019, a total of 42 guitars – 40 of them vintage, ranging from 1961 to 1989 – were reunited with me and the other guitars that were already here. While it is a massive relief to have them all in the same place again, their arrival presents two specific challenges that now must be addressed during 2019.
Repatriation Guitar Cases
The first is to work through the guitars, evaluate their condition and assess what remedial work needs to be done. I am certain that some major TLC will be required to get them all back into good playing order. At best, this will mean a general setup, cleaning and pampering, checking electrics and all the variables associated with corrosion, restringing them all, and playing them back to health. Guitars should be played to keep them in tip top condition, so that is one particular task that I’m looking forward to.
As Cheap Trick guitarist Rick Nielsen said, “Guitars are meant to be played, and they’re happiest when they’re making music”. The improvement in the Melody Maker after a few days of being used was proof positive.
Note: I hate re‑stringing guitars at the best of times but this will be a mammoth trial of endurance, a test of patience and a pitting of my strength of will against bits of wire. I am convinced that guitar strings are a risk to health and potentially downright lethal!
I was encouraged by the first guitar out of its case, my cute 1964 Gibson Melody Maker. The strings were rusty and she wouldn’t get/stay in tune, a few frets choke out (easily sorted) and the volume pot is scratchy (I can’t recall if it was like that before). The finish looks a bit dull and the metalwork a bit tarnished but nothing serious. After 3‑4 days, the benefits of being played were immense; it feels like it is coming back to life and sustains beautifully. The electrics need sorting out but it looks promising and not too bad for a 55‑year old. If the other 41 are no worse, I will be utterly amazed and truly delighted. As ‘they’ say, expect the worst and hope for the best. Fingers crossed.
The second challenge, I actually alluded to back in December 2017 in my end‑of‑year roundup. The ‘new’ house has a dark, damp, grotty cellar that I was hoping to make into a suitable home for the guitars during 2018. Unfortunately, this did not happen, as other priorities had to be undertaken first, e.g. a new roof! Converting the cellar into a usable space means ‘tanking’ it to keep the space and the rest of the structure dry, as well as some means of controlling temperature, humidity, ventilation and security.
As with all good intentions, this major project was meant to be completed prior to the guitars’ repatriation. However, as most of these things go in my life, it has happened the wrong way round. It may, though, spur me onto getting the ‘guitar room’ appropriately reconditioned in 2019, resources permitting of course. I should mention that this is not some luxurious mansion with an extensive basement area, it is very small, built into a cliff, with no natural light or ventilation and, unless one is naturally vertically challenged there is no headroom, as it is only about 5 feet (1.5 metres) high, and that is before any work is done on it. Also, access to it is far from easy to put right and will never be ideal. Nevertheless, it is better than nothing and, once it is finished, it should provide safe and secure accommodation for the instruments, amps and effects. In the meantime, I’m sleeping amongst a few piles of dusty guitar cases. Still, as a self‑confessed guitar nut, there are worse things I can think of.
CRAVE Guitars – Cellar
You never know, having a wider choice of vintage guitars to play may even improve my musicianship, as they are inspiring to pick up and use – God knows, my playing needs to improve and not just to do justice to these fine instruments!
There are other benefits of reuniting the ‘collection’, other than getting to play them. I should be able to take new photographs (and perhaps even videos?!) to populate the web site. New images can accompany the revised narrative that has already been partially prepared. There may also be an opportunity to liven up social media output as, frankly, I’m bored of posting the same old pictures from a decade ago.
I have long wanted to share my passion with others who may have a similar persuasion and it would be good to feature some or all of them in some sort of publication. If anyone is interested, give me a while to spruce them up and let me know. I think they are ‘cool & rare’ and just may be of interest to a wider audience.
I am hopeful that, despite the many setbacks that have led to where things are today, this may just be the turning point in the evolution of CRAVE (Cool & Rare American Vintage Electric) Guitars that I’ve been waiting for and a launch pad to better things. One day, maybe.
Outro
I think that has caught up with most developments taking place at CRAVE Guitars over the last year. While the ‘Potted History of the Guitar’ series was a great thing to do, it’s also good to get back to the personal ethos underpinning CRAVE Guitars. The prematurely trailed follow up to the ‘Potted History’ series is having to be put back, as I haven’t yet done the background research to get started. The reintegration work associated with the no‑longer‑exiled guitars will also take up considerable time and effort in coming weeks and months, so who knows what will appear here next month. Why not come back at the end of February and find out?
The invigorating prospect of having so many great vintage instruments to hand will hopefully act as a catalyst for change and progress. I’m still not tempted to set up CRAVE Guitars as a business; I just don’t have the ‘killer instinct’ to trade and, anyway, the sentimental connection has become strong. So, it looks like the not‑for‑profit mission to conserve this particular aspect of popular music heritage will continue, at least for the foreseeable future. Whatever transpires, the venture will certainly keep me busy for a while and that has to be seen as a positive.
Just in case you didn’t know this already, vintage guitars are AWESOME!
Now… where on Earth do I start with the ‘old in’? I think it might just be a case of, ‘eenie meenie miney mo…’ and see what happens. Until next time…
CRAVE Guitars ‘Quote of the Month’: “I would rather fail at being great than succeed at being mediocre”
Welcome to the 50th monthly article and the inevitable end-of-year roundup and a look back at the last 12 months. As usual with retrospective roundups, it’s a time for lists and reflective hindsight. As one year ends, another is about to kick off, so it is also an opportunity for a tentative look forward. I hope all readers had a great 2018 and have the opportunity to look forward to a positive 2019.
Overall, 2018 was a very difficult and challenging year for CRAVE Guitars. I’m not about to go into personal circumstances; suffice to say that it was immensely testing and an experience I never want to repeat. That said and out of the way, let’s get onto the end‑of‑year summary.
2018 departures:
As is forlornly inevitable, all things come to pass and this year, like every other before it, has seen the demise of some truly inspirational musicians. At this time of year it is customary to take a few moments to contemplate those guitarists that we have lost in 2018 and recall what musical treasures they have left us. Their talents will be sorely missed and it is sad to think that there will be no more distinctive music from these guys (no gals this year). Rest in Peace and forever rock the big stage in the sky. Sad losses over the last 12 months include:
‘Fast’ Eddie Clarke (Motörhead), on 10th January, aged 67
Danny Kirwan (Fleetwood Mac) on 8th June, aged 68
Alan Longmuir (Bay City Rollers) on 2nd July, aged 70
Ed King (Lynyrd Skynyrd) on 22nd August, aged 68
Otis Rush on 29th September, aged 83
Pete Shelley (Buzzcocks) on 6 December, aged 63
Plus, there were many notable non-guitarists who are no longer with us, including:
Dolores O’Riordan (The Cranberries) on 15th January, aged 46
Mark E. Smith (The Fall) 0n 24th January, aged 60
Aretha Franklin on 16th August, aged 76
While nothing to do with music, I also wanted to mention that the great granddaddy of comic books, Mr. Marvel himself, Stan Lee passed away on 12th November at the age of 95. We also lost one of the world’s foremost scientists when Stephen Hawking died on 14th March, aged 76.
2018 arrivals at CRAVE Guitars
This may come as a bit of a surprise but, in the background, there were actually a number of music gear purchases during 2018. Normally, I would have covered these under ‘New In at CRAVE Guitars’ articles during the year as they happened. However, with the ‘Potted History of the Guitar’ series dominating the output, coverage of their arrival got side‑lined. Depending on how things pan out in early 2019, I may give the new arrivals a bit more of a deserved coverage. In the meantime, here is a flavourless list of what came in over the last 12 months.
Gear purchases:
Guitars (4)…
1971 Fender Bronco
1978 Fender Musicmaster
1989 Gibson Les Paul Standard
1988 PRS Standard
Guitars 2018
Amps (1)…
1978 Fender Champ
1978 Fender Champ
Effects (12)…
1980 BOSS CE-2 Chorus
1986 BOSS PSM-5 Power Supply & Master Switch
1970s Colorsound Swell (volume pedal)
1998 Electro Harmonix Small Stone Phase Shifter (Russian)
1999 Electro-Harmonix Big Muff p (Russian)
1980 Electro-Harmonix Zipper Envelope Follower
1981 Ibanez AF-201 Auto Filter
1981 Ibanez GE-601 Graphic Equalizer
1983 Ibanez SD9 Sonic Distortion
1976 MXR Phase 45
1980 MXR Six Band Graphic Equalizer
1960s VOX Volume/Expression
Effects 2018
Plus… 3 pedals were also replaced during the year:
1979 BOSS PH-1 Phaser
1982 Ibanez AD9 Analog Delay
1975 MXR Blue Box
Effect Replacements 2018
The last two years of planned and unplanned purchases seems to indicate that CRAVE Guitars is increasingly specialising in 1960s to 1980s gear. The 1960s are getting increasingly expensive for me, hence the lack of recent purchases from that particular decade. The 1970s and 1980s are often seen as an unpopular period for vintage guitars, so… for me, that’s a very good reason to focus on this period and prove the naysayers wrong. There are plenty of VERY good guitars to be had from both the 1970s and 1980s. The spotlight still accords very closely with the principle of ‘Cool & Rare American Vintage Electric’ Guitars, so I’m happy with that as a modest ambition. I’m still not running it as a business, so it is still very much a not‑for‑profit enterprise about conserving the heritage for the future.
I haven’t sold any guitar equipment this year, as is perfectly normal with a deep‑seated guitar‑affliction. However, the plan is that if planned plans go to plan, I will be selling some equipment to reinvest in the heritage, either by trading up to older/better guitars/amps/effects or perhaps just getting something new and unanticipated. Watch this space…
2018 Live concerts (2):
2018 was a sparse year for live music, so the list is short…
BST Hyde Park (The Cure, Interpol, GoldFrapp, Editors, Slowdive, The Twilight Sad, Pale Waves)
Looe Saves The Day music festival (various)
That’s it. Still, better than nothing at all.
2018 Album releases purchased (20):
2018 has proved relatively moribund at times and searching out great new music seemed harder than it should have been. There was, though, a diverse range of music from all sorts of genres. I’m always looking for cool new music to sit alongside the greats (and not so greats). Quality is variable, which is to be expected in this day and age, but there is much fun to be had discovering music both old and new, good and bad – after all, how do we recognise the greats if we don’t have the rest to compare them to? Here are the new albums from the last 12 months gracing CRAVE Guitars’ iTunes:
Courtney Barnett – Tell Me How You Really Feel
Black Label Society – Grimmest Hits
Buddy Guy – The Blues Is Alive And Well
Confidence Man – Confident Music For Confident People
Gaz Coombes – The World’s Strongest Man
The Cure – Mixed Up (Deluxe Edition – original standard release in 1990)
Editors – Violence
Tommy Emmanuel – Accomplice One
Ghost – Prequelle
Goat Girl – Goat Girl
Jon Hopkins – Singularity
Lance Lopez – Tell The Truth
Low – Double Negative
Nightmares On Wax – Shape The Future
Dan Patlansky – Perfection Kills
The Prodigy – No Tourists
Ry Cooder – The Prodigal Son
Shame – Songs Of Praise
Various Artists – This Is Trojan Dub (reggae)
Wilko Johnson – Blow Your Mind
Plus… Black Stone Cherry – Black To Blues (E.P.)
These weren’t the only purchases. They are only the 2018 album releases – I also bought quite a few albums from previous years, not included above.
Social Media
Over the last 4 years, CRAVE Guitars has posted almost 29,000 posts on social media. On 12th September 2018, CRAVE Guitars reached (and exceeded) 4,000 followers on Twitter (4,515 at the time of writing), which has taken an immense amount of hard work doing the research and building up reputation and credibility.
A big shout out to everyone who has shown an interest in the lighter entertainment side of CRAVE Guitars’ social media output. THANK YOU all! In addition to Twitter, CRAVE Guitars also has guitar‑related content on Google+, Facebook, LinkedIn, Instagram, YouTube, Pinterest, Flickr and Tumblr. Check it out.
Here are some genuine comments from Twitter followers that made me think that all the effort has been worthwhile…
“I love Crave Guitars !!!”
“… there are many who greatly appreciate your expertise and your encyclopaedic knowledge around your calling. Thank you for sharing your passion.”
“… thanks for the inspiration CRAVE Guitars.”
“Thank you for sharing your knowledge & all the beautiful guitars”
“… you post great stuff. Thanks, makes my day”
Plus… there are the usual dicks that populate the various platforms. They go with the territory I guess.
Over the year, CRAVE Guitars has showcased guitars by over 200 different guitar manufacturers working hard every day and from around the globe. The brands covered range from the famous global brands right down to individual luthiers who you may not have heard of because they make very small numbers of guitars in home workshops. I will continue to highlight the diverse range of craftsmen and women, all of whom deserve exposure in today’s highly competitive and challenging economic climate.
‘A Potted History of the Guitar’ Articles
The ‘Potted History’ series of articles took over the blog in 2018, using up 9 of the 12 months, leaving little room for other ramblings. Still, it was different from previous years and probably unlike future ones too. Variety is good.
During the year, I got some really nice unprompted testimonials on the series, so a big “Thank You” to everyone who read the blog articles and made all the research and writing meaningful. In addition, I learned a lot from doing it too. Here are some genuine comments received – thanks for your feedback…
“Thanks a million for the personal gift of your writing and pics of gorgeous guitars… You’re cool. Thanks!”
“Brilliant article, I have learnt so much.”
“Really epic article.”
“Finally read the whole series yesterday. You should turn this into a book… It was certainly worthwhile, one of those reads when you’re sorry when it ends. Hat off to you Sir for the effort.”
The ‘Potted History’ was originally intended as an entertainment piece for those that might have an interest in the general subject matter, while also having enough detail for the keen enthusiast but not so dry that it would only appeal to the clinical expert (whimsically described as ‘someone who knows more and more about less and less’). It wasn’t a forensic academic thesis, so it may not have had the requisite degree of nerd‑fodder for some. I didn’t allow comments on the articles, as I simply couldn’t cope with the interaction needed to respond to them properly.
In order to make the series more accessible and coherent, I may try to turn them into a feature on the web site. I don’t have the resources to publish them as a ‘book’, so that seems the best format, at least for the time being.
CRAVE Guitars Web Site
The CRAVE Guitars’ web site has, unfortunately been neglected this year and has hardly been updated at all, a failing that really needs to be rectified. About 15%-20% of the content needs something entirely new and about another 60% of it warrants considerably updated material. In most instances, most of the basic feature narrative has already been written and just requires finessing and the time to do it. New photos are needed for around 50% of the guitars but that requires them firstly to be relocated to ‘here’ and secondly, many of them will require essential refurbishment after a prolonged period of storage. That’s before I even begin to think about creating exciting new and creatively different ways of doing things. It’s all on the ‘to do’ list for 2019.
CRAVE Guitars Website
[Deleted] Whinge
Now that the web site is generating a lot more traffic and social media is picking up, I am getting overwhelmed by [deleted] idiots deluging my CRAVE Guitars’ e‑mail inbox with [deleted] spam and other [deleted] rubbish. I don’t [deleted] care who the [deleted] you are, if you are not interested in Cool and Rare American Vintage Electric Guitars and you are just trying to sell me your [deleted] rubbish, I will not even acknowledge your pathetic [deleted] existence so, if you [deleted] are stupid enough to read this, you know who you are, [deleted] stop wasting my life you [deleted] [deleted]. I have one very short message to you all, [deleted] off!
*Insert your profanities of choice to suit.
Home renovation
As 2018 was an extremely difficult year, no progress was made on converting the dark, damp and grotty cellar into a safe and secure home for CRAVE’s guitars. Most of the other serious structural work has, however, now been completed, so improving the cellar is the next major job on the priority list, funds permitting of course. Converting the cellar into a ‘guitar room’ is still an intention, so maybe in 2019 some headway can be made.
Looking forward to 2019
Overall prospects for 2019, sadly, look even bleaker than for 2018 with little in the way of ‘light at the end of the tunnel’. Quite what this means for CRAVE Guitars, I have no idea and, frankly, I do not wish to speculate. I will, however, endeavour to continue as long as possible and trust that things will one day turn around.
On a more positive note, what music gear tops CRAVE Guitars’ affordable vintage ‘most wanted’ list for 2019? This coming year, I will once again have to go for something modest and realistic on a tight budget. I don’t expect to get what’s on the list but, just for the sake of putting it out there, it includes…
Guitars:
1960s Danelectro (no specific model)
1970s Fender Stratocaster
1960s Gibson Melody Maker (type 3)
Effect Pedals:
1970s Electro-Harmonix Bad Stone
1980s Ibanez PT9 Phaser
1980s Ibanez TS-808 Tubescreamer Pro
1970s MXR Micro Chorus
Amps:
1970s ‘silverface’ Fender Princeton (with or without reverb)
I may have to sell one or more existing bits of gear in order to fund any purchases in 2019, which looks like it’s going to be another financially challenging 12 months.
Perhaps more importantly, many of the guitars in the ‘collection’ have been stored with a close friend for far too long while I got our act together. I am hoping that the ones that are not already here may get repatriated very soon. Even if the cellar may not be ready for them yet, the intention is to bring them home and reunite the ‘family’ again early in 2019.
Music
For 2019, I have managed to secure tickets to see Bob Dylan and Neil Young co‑headlining at Hyde Park in London for July 2019, assuming that it will be possible to go. I’ve seen Neil Young before, and very impressive he was too, but this will be my first time for Bob Dylan. The pair may be rock’s ‘old guard’ but it should still be a unique event worth witnessing.
There are no specific albums that are eagerly anticipated for 2019, so let’s just see what happens.
Musings
Much depends on capacity and resources but I am still contemplating an appropriate companion piece to the ‘Potted History’ series for 2019. All will, I hope, be revealed at some point in the New Year, ceteris paribus (but I’m not committing to exactly which New Year!). Such endeavours take up an incredible amount of time and effort. Is it really worth it? I really don’t know and it is probably not up to me to judge. The prospective audience is very limited, not only in total numbers who might read and get something from it but also whether it is pitched at the right level on the right medium to make it popular.
Conclusion
So, that just about wraps it up for another year of CRAVE Guitars’ enthusiastic and obsessive approach to conserving underdog vintage heritage guitars and generally promoting the world’s favourite instrument. It was, on the whole, a [deleted] year but one has to remain thankful for what one does have and make the most of it. Wishing you all a healthy and prosperous 2019.
If you and I are still around and still interested in 12 months’ time, why not pop back this time next year to find out if there’s been anything noteworthy to report.
I really ought to spend more time playing guitars, so perhaps it’s time to pick one up and make some noise. Until next time/next year…
CRAVE Guitars ‘Quote of the Month’: “What is so wrong about believing that peace, love and music are essential ingredients for ensuring humanity’s successful future?”
Welcome to what is, for now at least, the final part in this series of articles on the history of the world’s most popular musical instrument.
If you wish to recap on any or all of the previous seven posts before starting with this one, the whole ‘Potted History of the Guitar’ series, can be accessed here (each part opens in a new browser tab):
Part VIII – The current day and into the future. Read on below…
Having pretty much reached the present day, all that remains is to summarise where we are now and to take a somewhat flippant and imaginative look ahead. The ‘current day’ is a tricky subject, as ‘now’ is at best ephemeral. The future, on the other hand, can only ever be guesswork, even if it can be informed by the past. Perhaps the best way to predict the future is to help to create it, so that means that what happens to the next chapter of the guitar is in our hands. Can we be trusted to behave as responsible guardians of the guitar’s destiny? As Mahatma Gandhi (1869‑1948) said, “The future depends on what we do in the present”. This suggests that what will happen is not predetermined and individually or collectively, we can take action to shape the future.
There are not many images again supporting this article so, apologies to those who like pictures to speak a thousand words. Anyway, without further ado, on with the last part of the chronicle…
The guitar has come a very long way in the last 3,500 years or a road slightly less travelled in the preceding 350 years depending on whose version of the facts you want to believe. The story has finally reached that pivotal moment that lies between the past, which is, on the whole, pretty well documented and the future, which of course isn’t. There is much to be played for and the stakes are certainly high.
It is hopefully of little surprise that the future of the acoustic and electric guitar, as well as all its derivatives and distant relations, is probably well‑assured, at least for the foreseeable future. Whether it survives in the (very) long term or not, the world’s favourite musical instrument is undeniably going to be a hard act to follow, let alone surpass.
As with many industrial and technological revolutions, predictions have proved variable in terms of accuracy. As time passes, change tends to accelerate in both pace and scope. While progress may be inexorable, there is an unseen ‘force’ that tends to counteract unbridled advances and which acts as a bit of a restraint. That set of reins is the very human tendency to hold onto what is familiar while resisting change until it is either inescapable or desirable. This natural ‘drag’ effect has laid waste to many grand ideas and great inventions. Numerous well‑marketed ‘next big things’ have fallen at the hurdle of persuading the general public to take up something new or unfamiliar, especially if one’s respected peers haven’t bitten the bullet of early adoption either. Mankind’s flawed history is littered with countless failed marvels. This phenomenon isn’t, I hasten to add, just a trait of idiosyncratic musicians; it appears to be a fundamental characteristic of the human condition.
Anyway, as usual, I digress. It is time to get back to the point which is basically that whatever you read from here on has absolutely no basis whatsoever in fact and is highly likely to be extremely wrong! My consolation is that few people will regard it as portent or look back to judge its accuracy in a century’s time. There is nothing genuinely prescient here in the vein of Da Vinci or Nostradamus. Apologies if you were hoping for more in the way of a profound visionary insight. Unfortunately, my stock of that ran out last week.
General indicators of change
It is fair to suggest that popular music is often representative of, and in turn is dependent on, broader social, cultural and political movements, and guitars follow in their footsteps. Whether we like it or not, music is integral to our everyday lives, so it is not surprising that it is also inherently powerfully evocative. As a result, it can dramatically affect the way we identify with past events.
One of the key factors that drove guitar evolution has been the trends in popular music, so perhaps musical trends may provide a much generalised hint at parallel guitar developments. Let’s start by considering the (very simplistic) genre movements and the types of instrument used over the last century. Starting with the post‑classical era, there was jazz (Gibson archtops) and blues (National & Dobro resonators) in the 1930s and 1940s, country and rock ‘n’ roll in the 1950s (Gretsch & Gibson hollowbodies), pop and rock in the 1960s (Fenders and Rickenbackers), progressive and heavy metal (Gibson solid bodies) and then punk (pawn shop guitars) and hair metal (pointy super Strats) in the 1970s. Then we get to the guitar doldrums of electronica, new age and rap in the 1980s, followed by revitalised guitar music of alternative, grunge in the 1990s, and indie (retro guitars) nu‑metal (PRS) and dance in the 2000s, etc. I struggle to think of a musical genre that so far defines the 2010s or perhaps many distinctive guitars to go with them. So there is some kind of link going on here. Google has attempted to map the progression of musical genres from 1950 to the current day (take from it what you will).
The type of guitars de jour used by famous musicians, including artist associations, during these epochs often reflected the style of contemporary music they played and these have largely been well covered in previous parts of the story. Just think of Chet Atkins with his Gretsch 6120, Buddy Holly with his Fiesta Red Fender Stratocaster, The Beatles with their Rickenbacker 300s, or Jimmy Page with his Gibson Les Paul Standard and EDS-1275 double neck. The various interconnections are manifold and too many to mention here, and many have been captured in photographs to become iconic in the annals of rock history.
Cinema and television music regularly use key songs to catapult us back in space and time without the need for narrative exposition to describe what’s happening. Just think about classic movies such as American Graffiti, Stand By Me, Almost Famous, Saturday Night Fever, The Breakfast Club or 8 Mile among many, many others. Those random examples don’t include the numerous biopics (e.g. Sid & Nancy, Walk The Line, The Doors) and musicals (e.g. West Side Story, Grease) or original scores (e.g. Paris Texas) that use familiar, memorable and/or popular music to transport us to another ‘reality’. Then there are the one‑offs like the mockumentary, This Is Spinal Tap. TV programmes also picked up the strategy for domestic viewing since the 1960s and often featured manufactured artists such as The Monkees or The Archies. The lists of relevant examples are endless. Music is used to draw the viewer into the director’s vision of a certain bygone era. Many of the sound tracks of our lives rely heavily on evocative (guitar) music to manipulate us emotionally and, more importantly, intentionally.
The way that environmental factors affect local communities may spark a genre direction that is then promulgated more widely. For example, one could point to the rise of electric blues in Chicago, soul in Detroit, Mersey beat in Liverpool, punk in New York and London, rap in Los Angeles/Philadelphia, or grunge in Seattle, etc. What we cannot predict is what or where any future musical revolutions (if any) may emerge, from where, and what step‑change responses guitar builders may then make.
As with many other aspects of our 21st Century lives, the nature of music, how it is made, distributed and accessed suggests that anything genuinely ‘new’ will find it much harder to stand out from the mainstream. What is already there will continue in some form and anything new will simply be added to it, often at the margins of existing genres, hence the proliferation of sub‑genres, e.g. thrash or nu-metal in rock; house and techno in dance; raga and dancehall in reggae; dubstep and grime in urban music, etc. One only has to compare and contrast the mind boggling varieties of heavy metal music and then consider how they continuously diverge, converge and cross‑fertilise in order to keep it fresh and vibrant.
While some technological change may be more predictable, social change and the music that characterises it is certainly more unpredictable. When one looks at something as specific and tangible as the guitar, it becomes increasingly risky to anticipate with any certainty what change may occur over an extended period of time, say the next century or so.
One view is that we are powerless and don’t need to think about it, as what will be, will be. Another is that we wait passively and be subject to what transpires with little or no influence over it. A third way may be not to accept the status quo and take positive action to stimulate change, which can happen in oddly random ways. Being of an opinionated sort, I tend to fall into the latter camp. Apologies, that probably actually doesn’t help much!
Perhaps the biggest challenge to the guitar’s supremacy is likely to lie in the digital revolution that really started to make an impression in the 1970s and 1980s. Part of the reason for the guitar’s seemingly unassailable success has been that it is a hugely expressive and flexible instrument, which actually makes its nuances extremely difficult to replicate in a world constructed entirely of binary 0s and 1s. We shall see whether digital advances can fully overcome the difficulties in recreating the subtleties provided by a very analogue instrument in the hands of discriminating (and generally quite conservative) musicians.
The evidence so far suggests that digital is making ever increasing inroads into the analogue guitar’s dominance and the discernible gap between analogue and digital output is decreasing all the time. How long will it be before even the most ardent luddites finally admit that they can’t really tell the difference (despite what they may say outwardly)? However, it isn’t just the sound of guitars that appeals to guitarists; it is also the feel and the look of them that matters, as well as how they allow musicians to communicate with each other in unspoken ways.
New generations of guitarists, however, may be looking for something very different from their predecessors. What form will ‘the shape of things to come’ take? Will it be all hyper‑modernistic and crammed with tech and flashing lights and built from materials we cannot yet imagine, or will it be the same old bits of tree wood crafted into the familiar shapes of Telecasters, Stratocasters, Precisions, Les Pauls, ES‑335s and SGs that we covet today? Only time will tell how things pan out and it will be for future authors to use the convenient assistance of hindsight to determine and document what path the history of the guitar takes from here on.
Looking and learning from the past, one might simply extrapolate forward. Future guitarists may well be like their ancestors and pragmatically seek to mix the best of the past with the best of what’s to come, regardless of whether it is analogue or digital. My personal prediction is a typically ambiguous ‘sit on the fence’ one, in that guitars will probably become increasingly hybrid if they are to keep ahead of other comparable instruments. Let’s face it, there are not really any threats` to the guitar’s dominant popularity at the time of writing and it has always been a continuously evolving instrument, so it would be of little surprise if this were to continue. While the 1980’s temporary trend for synth and electronica attempted to eradicate guitar music in the minds of popular listeners, the guitar has proved very resilient and difficult to displace.
Since the 1970s, the guitar has been used to trigger digital electronics. However, while both signal tracking and polyphony still present problems, these barriers are gradually being overcome. There have been several attempts to introduce effective guitar synths over the years but they have really been analogue or digital filters activated by either an ordinary guitar pickup or by discrete signals from a hexaphonic pickup. Hex pickups, which output a separate signal for each string, were often added to an existing guitar and used to transform it into a MIDI (Musical Instrument Digital Interface) controller while still able to be used as an ordinary guitar. MIDI was a standard specification published in August 1983 by Japanese electronics giant Roland and American synthesizer company Sequential Circuits, and is commonly used to control electronic audio equipment. While attempting to revolutionise guitar music, Roland’s excursions into guitar synths since the 1980s have still relied on a standard guitar as its starting point.
Other Japanese companies specialising in electronics have also experimented with MIDI control of external synthesis engines, for instance guitars from Casio (DG20) and Yamaha (EZ-EG). It seems incredible to think that these early electronic instruments are now being considered as ‘vintage’. Today, there are now plenty of guitars on the market with MIDI capability built in. Technology has moved on and the fundamental concepts of a digital source are now ripe for being reinvestigation and improvement.
Other pioneering companies such as Line 6, now owned by another Japanese giant Yamaha, introduced their ground breaking digital modelling preamp (the Pod) and digital modelling guitar (the Variax) to indicate the direction in which development might go. Line 6’s philosophy inspired and influenced subsequent successful products such as the Kemper Profiler and the Fractal Audio Systems Axe-FX. Computer control of complex parameters, presets, firmware and downloads are commonplace for amps and effects in the 2010s and we can certainly expect this trend not only to become de facto but also to become a requirement in the near future, so a laptop at live gigs is already almost a necessity to keep your rig running smoothly – not a comfort zone for many analogue technophobe musos.
Guitar making cannot stand still and neither should it. Even the companies with a century or more of history, such as Gibson, Gretsch and Martin, have to keep moving forward or risk being overtaken. However, the tightrope of appealing to customers who appreciate the heritage is also key to the future success of long‑established manufacturers. Newer, smaller companies, though, are not constrained by the time capsule factor.
It is probably safe to say that the future is likely to be a practical symbiosis of both the familiar to satisfy the conservative traditionalists and the whizzy new gizmos to appeal to the technologically savvy experimentalists and neophytes… just as it always has been if fact. Even Gibson has been toying with the addition of digital features into its guitars, including the Les Paul HD.6X Pro and the Firebird X models. Intriguingly, Fender and other major brands have yet to declare their hands. It will be the fine balance between the opposing forces that will enable lasting incremental change, via ‘chimera’ guitars, rather than a number of fundamental radical shifts. That eventuality could prove a bit boring though, don’t you think? However, sadly, it also seems to mirror the way that modern popular music is going as well?
Leaps of unadulterated conjecture:
This next section is pure fantasy and should not be relied on as authentic in any way. It came from an idea that it can sometimes be fun to imagine what things might be like in some near or distant future. One hopes, though, that what follows doesn’t come to represent some form of self‑fulfilling prophecy.
It may be that the guitar itself could become superseded by something completely different from what musicians (rather than video game players) use today. Could it be possible that something along the lines of the PlayStation ‘Guitar Hero’ controller may someday make inroads into real instruments to create real music? I would anticipate that the majority of guitarists would sincerely hope not.
There are already some very modernistic looking instruments out there, such as the HTG Hyper Touch and the Misa Kitara (note the use of the Greek name kitara from Part I of this long story). Are these all‑electronic ‘guitars’ the sorts of instruments that will replace our beloved classic designs and become de rigeur in the near future? Alternatively, perhaps the electric guitar could somehow morph into some form of fully digital instrument via the route of hybridisation. As a logical conclusion, is the ‘Digital Guitar’ with analogue playability a holy grail and, if so, for whom? Here are some current digital guitar innovations from the 2010s…
So… suspend your disbelief for a few minutes and take a tentative look ahead to the scary world of AIs, AAs, AVs and AM (spoiler alert – these acronyms may seem familiar but in this context, they don’t mean what you think they mean today). You will be assimilated. Resistance is futile. Read on…
10 years’ hence (c.2028):
Analogue vs digital – Digital technologies will be used increasingly to enhance the analogue signal chain rather than usurp it completely. We have already seen many examples of this appearing in effects and amps, so there isn’t really any clever insight in mentioning it. Digital control of analogue signals is already becoming commonplace especially in delay and modulation effects where digital manipulation gives much more precise control over what happens in the analogue domain.
It remains unpopular to sample the original signal through an analogue to digital converter (ADC), mess around with it and then put it back through a digital to analogue converter (DAC) to turn it back into a signal for further processing. Many purists say that the act of conversion using today’s chips taints the original signal. It will be a while longer before we make that bold step of a fully digital signal chain from fingers to ears but it is getting ever closer. It will happen but possibly not by 2028, mainly because of the difficulty in engineering effective fully digital instruments and loudspeakers.
Research will continue to develop a truly digital guitar ‘pickup’ that could compare to current electromagnetic pickups and provide the first step to more complex processing in the future. Digital modelling using DSP (Digital Signal Processing) chips will continue to improve and will become almost indistinguishable from analogue electronics in effects, amps and digital audio workstations (DAWs). There will be a hardcore fan base that remains wedded to the old school stuff for many, many years to come. The guitar itself is highly unlikely to become fully digital in the next 10 years, if only because there are far too many dogmatic people invested in preserving the status quo. Auto‑Tune for the guitar anyone?
Guitar Making – In the near future, it is highly unlikely that wood will be superseded by any other material as the primary input for the majority of guitars. Wood has proved over millennia to be a very flexible, durable renewable material. Let’s face it, it can also look wonderful. One major advantage of wood is that it contributes towards the organic tone and touch of an individual musical instrument. Many alternative materials have been used in the construction of guitars since at least the 1920s, including plastics, metals, carbon fibre and a wide variety of composites. To‑date, though, wood has prevailed in terms of structural integrity allied to inherent musicality. What will change, though, is the shift away from the use of endangered exotic hardwood species such as rosewood, ebony and even mahogany to more sustainable species. For instance Pau Ferro (Libidibia Ferrea, a.k.a Bolivian rosewood) is rapidly replacing the CITES‑restricted rosewood (varieties of the genus Dalbergia) as a popular fingerboard material. Quite how fussy musicians will accept unfamiliar wood substitutes, will be determined in due course. What is clear is that guitarists really have no choice but to go with the ecologically acceptable flow in the long‑term.
Like their classical musical counterparts, the guitar itself (whether acoustic or electric) will remain very much a natural instrument for a good few years yet. The guitar will still be supremely popular and will be making great music all over the world. Guitars will be made by a broad range of entities from one man band local custom luthiers up to multinational mass manufacturers. Competition, particularly from China, will be a threat to many established western companies until their economic bubble bursts, which it eventually will at some point.
Recorded music – The vast majority of recorded guitar music will be produced on digital equipment with a few retro studios still using analogue equipment including valve preamps and tape machines. The relative accessibility of convenient digital recording equipment will continue to provide openings for all sorts of artists from the home musician to the professional mega bands using famous dedicated studio facilities such as the famous Abbey Road Studio in London. Recorded music will be increasingly distributed and accessed online, although legacy formats will maintain a solid niche popularity.
Live music – Live music will continue to grow in popularity to become the cornerstone for many successful artists, provided that they do not price themselves out of live appearances and that over‑zealous regulations don’t stop large live events from taking place. PA and monitoring systems will continue to improve significantly and sound pressure levels at venues will be severely restricted, removing some of the visceral excitement of the live music experience.
30 years’ hence (c.2048):
Analogue vs digital – Digital will be the primary domain in which music will be made, recorded, distributed and accessed. The guitar will remain analogue, although it is likely that the entire chain from the pickup onwards will be predominantly digital. However, as with current classical instruments and music, there will still be an important place for traditional analogue guitars. Amps and effects are likely to be almost totally digital. Successors to the analogue electromagnetic pickup and the loudspeaker will be introduced to a point that digital sound will be common if not universal. ‘Old fashioned’ guitars will remain very popular and will experience regular revivals and rejuvenations, even if the overall battle will be won by the digital technologies of the 2040s. New digital connectors will proliferate, as the currently ubiquitous USB port will long since have been superseded, and the jack pug/socket will be purely of vintage interest.
Guitar making – Most of the large manufacturers will be producing some sort of digital instrument as the norm, even if the vital interaction between fingers and strings will remain as it is now. All guitar tone woods will be derived from sustainable sources by strict regulation and use of rare species tightly controlled (outside the unavoidable black market). The use of alternative materials will be in full swing, reducing the reliance on today’s natural materials. New guitars will be built to be recyclable. Automated manufacturing will be the norm and the demand for traditionally made guitars will be catered for by numerous specialist guitar builders. Pure wooden analogue guitars will be vintage only and regarded with the same respect as classical instruments are now. Guitar development will be relegated to refinements around the margins, rather than core revolutions. Hybrid instruments will be fighting a rear‑guard action, with digital beginning to win the final battle. Competition to the guitar will continue but will not succeed… yet.
Recorded music – Digital will almost totally dominate recorded music production, distribution and access. Diehard analogue fans will be regarded as geeks and nerds. Vinyl albums will, however still persevere… just.
Live music – Like recorded music, live music will be, apart from the musicians themselves, almost universally digital. ‘Loud’ live music will be a thing of the distant past. Music venues will begin to disappear as discrete locations, with personalised performance content delivered direct to the individual.
50 years’ hence (c.2068):
Analogue vs digital – Analogue guitar music will be like classical music is today, a popular, niche and a largely historic pastime. All other aspects will be digital.
Guitar making – Standardisation and construction will be largely prescribed. Hybridisation will just about have peaked and on its way out. The majority of guitar production will move towards making AIs (Artificial Instruments). The focus will be on the technical facets of music making, rather than subjective, emotive ones. Guitars as we know them now will be of heritage interest.
Recorded music – Music will be manufactured in the digital domain with just a few maverick analogue‑obsessed musicians beavering away in the minority. The vast majority of contemporary recorded music will be created electronically, with few outmoded musical instruments as we know them now being used. Many artists will be AAs (Artificial Artists), rather than by artistically inclined human beings – the latter will concentrate on performing historic pieces from the golden heyday of guitar music.
Live music – There will no longer be a need to travel to a discrete venue where music is performed in person to a collective audience. ‘Live’ music will be created in computers, customised to an individual’s tastes and accessed in the home, in a domain known as an AV (Artificial Venue) giving the sight, sound and feel of a venue.
100+ years’ hence (c.2120):
Analogue vs digital – Analogue guitar music will be an historic vocation and largely a lifestyle pastime. All other aspects of ‘modern’ music will be entirely digital. Some authentic old‑style music will be recreated on historic instruments for research purposes, rather than as entertainment.
Guitar making – Even the last few old‑school luthiers will be migrating to alternative materials, automation and digital electronics. Hybrid instruments will be seen as a thing of the past. AIs will be commonplace and there won’t be a need for human musicians to learn the art or skills needed to make any type of contemporary music.
Recorded music – Popular music will be artificially created without the need for accomplished musicians. Music will be constantly morphing on a second‑by‑second basis, known as AM (Artificial Music).
Live music – Performance capture will be produced electronically and experienced direct by the listener’s visual and audio receptors, bypassing the unreliable eyes and ears altogether. Finally, the digital signal path from computerised source to the recipient’s brain will be complete and will require no human intervention whatsoever.
Alternative Reality
Or… in some alternative, perhaps more desirable dimension, the unwritten future could well be pretty much as it is today, with new generations doing just what we do now, rocking to good old electric guitar music. To many guitarists, the tactile and synergetic relationship between musician and his/her guitar in full flow with other musicians is unbreakable and simply cannot be usurped by some dystopian digital future scape.
One trusts that there will always be a place for creative artisans and a desire or the musically minded to enjoy the fruits of their vision for the guitar of the future. It is encouraging that many well‑known guitar makers are actually stepping back in time in order to move forward. This isn’t the paradox that it may first seem. Savvy guitar builders are investigating in great depth what made great guitars great in the first place and identifying what musicians actually want from their instruments today. Much of this current R&D is leading to a number of findings that indicate that what was important 100 and 200 years ago (and probably longer) is still important today but with modern consistency and reliability.
Perhaps the past masters did get it largely right in the first place and that is why their products, new or vintage, are still desirable artefacts today. While traditional manufacturers like C.F. Martin use modern production methods for some parts of the building process, they are also still using tools and equipment employed by successive cohorts of luthiers, as well as relying on many of the basic techniques and skills refined and passed down from one generation to the next. Most of the top flight guitar builders also work very hard to ensure long-term supplies of precious tone woods to make into future guitars. This focus on the best‑of‑the‑best perhaps suggests that guitars may well remain, for the large part, relatively familiar in 10, 30, 50 and 100 years from now but with improvements to the detail. Perhaps it takes that bold flight of fancy to realise that we already have what we and future generations of musicians actually need. Owning inspiring guitars inspires guitar playing and results in inspiring guitar music.
There really is no point in speculating any further ahead. The likelihood is that, even with advances in medical technology, most if not all of us reading this in 2018 will not be around to see anything beyond c.2020. The guitar is dead, long live the guitar. The passage of father time will inform just how accurate these flights of fantasy (or descents into nightmare) really are. Clearly, the further one looks into the future, the less precise any predictions become. Welcome to tomorrow’s very scary ‘brave new world’.
I, for one, am certainly not laying any bets. I’d like to think that there is something about our very personal instruments that will endure for many decades, if not centuries. If we lose that quintessential ‘something special’ about making guitars that make guitarists that make music, it will all have been for nothing. Watch this space.
Conclusion
So, that’s it. The long‑running and on‑going story of the guitar has finally reached a logical stopping off point, at least for now… However, it not the end of the story by any means. Somewhat disappointingly, the denouement to ‘A Potted History of the Guitar’ series seems to be a bit more of a whimper than some almighty bang. After so much history and so much personal investment in researching it, it seems a bit of a let‑down to leave the guitar’s evolution ‘hanging’ without some sort of definitive resolution to the script and with the various loose ends neatly tied up. Nevertheless, remember that this is not a fictional piece and let us not forget that this is definitely not the epilogue.
‘They’ say that a picture speaks a thousand words. So, to sum up the 3,500‑year, 8‑part journey in a single image that tells the story of the guitar from its origins to the possible near future, here is a fitting 27‑picture montage that possibly speaks approximately 50,000 words. Basically, I could have saved 9 months of my life and just posted this one composite picture. That, I guess, is one of the benefits of hindsight. I hope that you’ve enjoyed the expedition with me and that, like me, you have learned a little something about the guitar along the way. You wanted a potted history of the guitar? Well, how about…
From this point in time onwards is the start of the future and, whatever happens next. It will be fascinating to experience the on‑going next instalment of the long story and to observe with trepidation and excitement what is to unfold. Let us try to make it a bright and positive outcome for everyone who loves The Guitar and Great Guitar Music. Thank you for reading. Enjoy the future, whatever it holds for us guitar aficionados.
End of Part VIII and the end of this series
Now… I need a break from the relentless rigmarole of the research and write routine, which has, for the best part of a year (or more), been on top of everything else. As mentioned previously, at some point, I might adapt the eight separate ‘Guitar History’ parts into a more coherent and accessible feature set on the CRAVE Guitars’ web site.
Very shortly, I will try and start to prepare for 2019’s (hopefully slightly less) epic partner piece to this year’s gargantuan opener. For the rest of this year, it is back to opinionated hum‑drum ‘normality’ with stand‑alone observations of a more topical and transient nature.
One thing I have noticed is that I haven’t been playing enough guitar in recent months, hardly any at all in fact, which is deplorable. So perhaps now that this particular endeavour is over for now, it’s time to practice what I preach, pick up a lovely vintage guitar and plink away for a bit of cathartic enjoyment. At least, in doing so within the context of the past, I now have an enhanced appreciation of the history that led to it coming into my hands and why it is so important to conserve the heritage for that future. Until next time…
CRAVE Guitars ‘Quote of the Month’: “Let’s be honest, the future is all we really have and it is the only thing we can do anything about”
Welcome back to the latest in a long series of articles chronicling the history of the world’s favourite musical instrument. Last time, we covered the advent of production solid body electric guitars during the guitar’s ‘golden era’ from c.1950-1965. That article also covered some relevant later events, but the essence was about a period of intense invention and creativity, hence why it deserved a separate article dedicated to it, even though much of the content would be familiar to many.
This month’s article mostly focuses on ‘what happened next’ between c.1965-1987, although it does also cover the subsequent period up to the current day, albeit in less depth than the earlier years. Depending on how the rest of the story is covered, this 7th part is likely to be the penultimate episode.
If you’ve been following the various twists and turns along the way, you’ll know that I have tried very hard to strike a balance between light entertainment for the general reader and the level of detail that would appeal to the needs of the nerdiest of guitar geeks out there. As previously stated, this is not an academic thesis – I just don’t have the time or resources to reference every element along the way, so it probably will never make it into book form, which is a bit of a shame but ç’est la vie. However, once the 3,500 year history has been finished, I may try to bring it all together as a ‘box set’ feature on the web site, so it will be easier to find and come back to than monthly instalments. It also provides the opportunity to correct the content. I may also add a bit off the original longer version back in (!!) and to balance the various parts as a more coherent whole.
You may wish to recap on previous articles before starting here at Part VII. If so, the previous segments of ‘Potted History of the Guitar’ series, can be accessed here (each part opens in a new browser tab):
I hope that you’ve enjoyed the journey so far and will stick with it for just a little longer. For me, it has certainly involved a huge amount of hard work researching and learning along the way. There is an enormous amount of information that had to be excluded in order to make it digestible in an online format. As always, while I have been diligent, some errors and omissions will inevitably have crept in. Not only do I apologise if that is the case but also, I welcome feedback from readers in order to correct or clarify. I would also encourage readers who might wish to look at things either from a different perspective or with a different level of detail to explore the fascinating world of guitars for yourselves.
There are not many pictures this month, as the subject matter is largely narrative‑driven. Sorry about that, photo fans.
Post-Modern Reconfiguration, Rejuvenation and Consolidation
It has become generally accepted that the electric guitar’s so‑called ‘golden era’ started at the beginning of the 1950s with the introduction of Fender and Gibson’s solid body electric guitar models and ended in the mid‑1960s around the time that Leo Fender sold up in early 1965, followed by Gibson in 1969.
On the face of it, the years immediately after the mid‑1960s would appear to be of little historic interest, particularly as far as investors and ‘serious’ collectors are concerned. While the 1950s and early 1960s have been very well documented in countless learned tomes, the subsequent years have tended to be characterised by vociferous opinion and anecdote in a relative vacuum, rather than subject to objective scrutiny.
The Internet has, perhaps unsurprisingly, encouraged many already polarised opinions to become even more extreme. Assertive and often throwaway hyperbole of many self‑appointed ‘experts’ has possibly been consistently exaggerated to the point that they have gained some sort of historical validity. Widely read ‘unpopular opinion’ is often misinterpreted as indisputable definitive evidence. It isn’t gospel; there was more to it than what many would have you believe.
This version of the ‘facts’ is arguably simply that and, while every effort has been made to remain impartial, it should be read with a degree of realistic scepticism. This doesn’t mean that there wasn’t some ‘smoke without fire’, just that the flames may have been fuelled by circumstances and intensified by ill‑informed prejudgment.
The music industry wasn’t alone in coming in for acerbic over‑criticism; the American automotive industry was also subject to similar issues during 1960s and 1970s. The parallels extend beyond the superficial with the demise of many historic car brands and the inexorable rise of Japanese competition. As with guitars, some of these old models are now becoming highly sought after. The guitar industry during the latter part of the 20th Century, it seems, was symptomatic of wider deep‑seated socio‑political problems in the world’s largest capitalist economy.
Actually, ‘what happened next’ is an equally fascinating tale and one that is worth spending a little while looking at. At the same time, it’s also worth standing back and looking at the bigger picture as events unfolded. While it’s all a matter of degree, what transpired was rife with intrigue and machination. The appeal of these transitional years is one of the reasons that CRAVE Guitars tends to focus on ‘forgotten underdog’ and quirky cool American electric guitars from between around 1960 and 1989, although not exclusively.
Was that all‑too‑brief 15‑year ‘golden era’ the end of the story? Will guitars built in the ‘dark ages’ between 1965 and 1987 remain ignored most as gross errors of judgement? Will there be another defining period of electric guitar evolution or will musicians spend their lives experiencing mediocrity by default while harking back to that unobtainable time viewed through rose‑tinted spectacles? Perhaps digital technology will deliver the next step‑change with some Darwinian mutation that future writers will look back upon and write about. OK, enough of the rant, on with the story…
The Catalysts
The trouble really started once both Fender and Gibson been acquired by faceless corporations used to running commercial businesses, rather than important customer‑led operations. Despite post‑war prosperity and growth, the period between the mid‑1960s and the mid‑1980s could possibly be described aptly as eventful and tempestuous. In hindsight, whichever way you look at it, the sale of the industry’s ‘big guns’ was a 20th Century watershed for guitar building.
Firstly, let’s take a quick look at what actually happened immediately after the ‘golden era’ drew to a close circa 1965. The subsequent corporate merger & acquisition activity impacted directly on American musical instrument manufacturing up to the end of the 1980s. A few choice examples may help to illuminate the significant strife that befell the industry for a couple of decades (in rough chronological order)…
Rickenbacker – The only one of the major American brands that didn’t ‘sell out’ during the 1960s was Rickenbacker. They had, in some ways dodged that particular bullet, as Adolph Rickenbacker had already sold his company to music industry businessman Francis C. Hall in 1953. In retrospect, the move to transfer the undertaking and to keep it in safe hands seemed both pre‑emptive and positively prophetic. Arguably, the timing enabled Rickenbacker to capitalise on 1950s creative growth and become more resilient to what was to come. RIC (short for Rickenbacker International Corporation) has remained under the ownership of the Hall family since 1953 with John C. Hall as CEO at the time of writing.
Fender – After Rickenbacker, Fender was the first of the big names to capitulate to big business ambition. In 1965, Leo Fender sold his company to CBS (Columbia Broadcasting System) for just over $13m. The reason often given for the sale was Leo Fender’s health, although an injection of capital funding probably was also contributory. Other perspectives cite Leo Fender’s desire to pursue new ideas, which he possibly couldn’t do while running the company. CBS started making changes almost immediately and expanded capacity at Fullerton to increase supply. By agreement, Leo Fender was prohibited from setting up another music instrument company for 10 years, after which he went on to found Music Man (1974) and then G&L (1980). After 20 years under CBS control and on the brink of total collapse, division president William Schultz bought the company, forming Fender Musical Instruments Corporation (FMIC) in 1985. What followed was a period of intense restructuring, with guitar production temporarily moved to Japan for approximately two years before resuming full American manufacturing with the launch of the American Series guitars in 1987. U.S. manufacturing was moved from Fullerton to Corona, California and its headquarters were relocated to Scottsdale, Arizona. Fender was once again back on the path to success as an independent company and has remained so ever since.
Danelectro – Danelectro was originally formed by entrepreneur Nathan Daniel in 1947. Daniel built his business on the back of large scale, low cost department store and mail order demand for electric guitars, often branded as Silvertone and Airline. This enabled him to start building instruments under the Danelectro brand from 1954. By 1966, Daniel sold Danelectro to industry giant MCA (Music Corporation of America). MCA tried unsuccessfully to introduce the Coral brand and to restructure its distribution network. The outcome was that Danelectro ceased production altogether just 3 years later in 1969. The brand was resurrected by the Evets Corporation in the late 1990s and, after several faltering attempts to recapture market share, Danelectro remains in operation as a successful American company with overseas manufacturing based in China and Korea.
Gretsch – Gretsch was originally founded by Friedrich Gretsch in 1883. Two years after Fender and one year after Danelectro, Fred Gretsch sold the family business to the Baldwin Piano Company in early 1967. After many organisational troubles including relocation, factory fires, Chet Atkins withdrawing his endorsement, and misjudged model decisions, Baldwin finally ceased production of Gretsch instruments by 1981. Fred W. Gretsch acquired what little remained of the company in 1985, basically just the Gretsch name and rights ownership. After a number of abortive efforts, consistent output was eventually re‑established in Japan. Rockabilly guitarist Brian Setzer became a key endorsee for Gretsch in the 1990s and consumer interest in the brand was rekindled. Retaining family leadership, Gretsch has been under the patronage of Fender since 2002 and the famous brand is once again a significant player in the guitar industry.
Gibson – Gibson was really the last of the large American names to succumb to corporate ownership. Gibson’s parent company, Chicago Musical Instruments Ltd (CMI) followed the competition in 1969 when Gibson was taken over by a South American brewing company called ECL and then subsumed by Norlin Musical Instruments in 1974. Gibson survived cost‑cutting, relocation to Nashville and general mismanagement largely intact, although its hard‑earned reputation was severely tarnished. Gibson eventually returned to private ownership in 1986 through a consortium management buyout. Despite a major financial crisis and bankruptcy protection initiated in May 2018, there are signs of a positive future for the company.
These were just some of the big players who were able to weather the economic storms during the second half of the 1960s through the 1970s and into the 1980s. In addition to the big names, plenty of other well‑known American companies failed to survive, including:
Valco merged with Kay in 1967; a move that included familiar names such as Supro and Airline. However, the newly combined company went bust in 1968
National Dobro merged with Mosrite before the latter went bankrupt, also in 1968
Harmony lasted until 1975 before it ceased trading
Those that survived the volatility would continue to fight for survival at best. Overall, when viewed in hindsight, it proved a disastrous phase for American guitar making and collectively one that isn’t widely documented, other than in individual circumstances. The ‘golden era’ was, seemingly, definitely over.
As is often the case, the causes of American guitar manufacturing woes between the mid‑1960s and the mid‑1980s are quite complex, based on deep‑seated structural flaws. Looking at the circumstances strategically, there were probably, amongst many other contributory factors, five key issues…
Industry structure and stability – Inward investment and backing of large business should have provided a positive commercial injection to guitar companies who were either struggling with financial difficulties or were unable to grow quickly enough with existing management structures. What actually happened was that big businesses, as is their wont, were looking to cut costs and increase profit, seemingly unaware of the impact that they were having. The large companies tried to stimulate demand by experimenting and introducing new products without assessing whether what they were making was adequately meeting consumers’ needs. For small agile companies, risk taking was a vital part of the creative process, while the bigger firms focused on large scale, efficient production methods, conversely heightening the risks of failure. Remote and disconnected governing bodies tended to dictate business decisions based on balance sheets and shareholder return, rather than customer satisfaction. Arguably, though, the businesses were in dire need of ‘better’ rather than ‘different’ management both before and after takeover.
Industrial relations – Strict operational disciplines, controlled production processes and rigorously applied policies are a fundamental requirement of larger bureaucratic organisations. These management styles were generally not part of the music industry’s ‘way of doing things’ at the time. Companies needed to be managed effectively rather than efficiently and, unfortunately, the pendulum swang too far towards the latter. Business managers exhibited a flagrant disregard for the expertise and skills required to make consistent, high quality musical instruments. Production facilities were relocated, often giving long‑term highly experienced luthiers a ‘move or go’ ultimatum. In addition distribution and dealership networks were changed with little regard for what went before. Unhappy employees and belligerent trade unions led to heated industrial disputes (and worse), thereby causing significant leadership and management problems. Decades of accumulated knowledge, skills, expertise and, perhaps importantly, attitude were lost to the industry in a short space of time – something that would take years to rebuild. The outcome was that quality fell, exacerbating existing deficiencies elsewhere in the industry.
Industry culture – New corporate owners did not fully appreciate or take the time to understand why the guitar industry worked as it did, resulting in fundamental mistakes internally and externally. The latter disenfranchised those involved in the supply chain from distributors to dealers and, ultimately, impacting on paying customers. Crucially, working musicians’ requirements were not being met and, with that dissatisfaction, brand loyalty diminished as professional guitarists looked elsewhere for alternatives. In addition, musical tastes were rapidly changing and short‑lived fads required nimble organisations that knew how to adapt to changes quickly and appropriately. Smaller companies that were better‑tuned into what was going on could flex more easily. The larger corporations, however, were unable to spot change and respond, leading to mismatches and time lags between demand and supply. Many commentators suggest that it was because musicians weren’t running the show. However, guitarists don’t necessarily make good business people (or vice versa!), which might have contributed to the difficulties. Significantly, two of the most influential guitar innovators – Leo Fender and Ted McCarty – didn’t play the guitar at all. Nevertheless, they were effective leaders because they ensured that professional artists were closely involved with business decisions. Importantly, the time when musicians were listened to and relationships were actively cultivated had fallen by the wayside.
Supply problems – Availability of consistent materials, particularly the all‑important tone woods, created challenges for large‑scale American production. Variable density and therefore weight of some imported tone woods meant that it was difficult to manufacture to dependable standards. Depending on the combination of materials, the shortage of quality inputs affected builders to different degrees. Around the same time, sustainability and environmental factors were becoming an issue, leading to further supply issues. Manufacturers started looking to alternative materials including metal (e.g. Kramer, Travis Bean), plastics (e.g. Ampeg/Dan Armstrong) and composites (e.g. Gibson) that were intended to improve consistency and streamline manufacturing processes. Other moves included building guitars not from single pieces of difficult to acquire, expensive wood but from cheaper, smaller, more available cuts. Consumers saw such actions as negative and symptomatic of other perceived underlying problems. Unfortunately for the manufacturers, customers were not impressed by ‘good intentions’ and the changes were seen as cost‑cutting measures taken a step too far. Many consumers saw through superficial claims and resented the big companies for making what they felt were false marketing claims.
Far Eastern competition – Enterprising Japanese companies, revitalised by post‑WWII recovery and able to observe from outside, spotted that American labour and manufacturing costs were contributing to a combination of poor quality and high prices – an equation that would present opportunities to penetrate a previously U.S.‑dominated market. Companies such as Ibanez and Yamaha did two crucial things. The first was to use their structural advantages to make high quality instruments at lower cost, and to produce them in large enough numbers to compete with American products on their own ground. The second thing they did was to brazenly copy iconic American designs, presenting consumers with recognisable products built to (generally but not always) higher standards and sold more cheaply than the American ‘classics’. There is more on the Japanese competitive assault on American guitar makers below. They also used rapidly changing music trends to create openings for entirely new products, including their own designs, thereby beginning to build a strong and more ethical reputation of their own. When the inevitable backlash came (see below), the marketplace had already changed fundamentally.
Lawsuit Guitars and Trademark Protection
During the post‑1965 period, sales of major American brand guitars was in decline and the home industry was in disarray. This provides a broad background against which American companies had to contend. Generally speaking, the way in which the industry and marketplace was organised was not favourable for the likes of Fender, Gibson, Gretsch, Rickenbacker and many others.
The takeovers and general (mis-)management of American firms left the U.S. industry weakened and susceptible to aggressive business manoeuvres. American labour, tooling and material costs didn’t fall, so prices for finished instruments generally remained high for guitars that were increasingly poorly made. It is relatively easy to understand why the 20‑year period between approximately 1965 and 1985 was crucial to reshaping the global guitar making industry.
One particular Japanese guitar maker, Hoshino Gakki Gen, saw an ideal opportunity to enter the fragile American market. Cleverly, Hoshino recognised the potential animosity towards Japanese‑sounding products after WWII and adopted the Ibanez moniker. Incidentally, the Ibanez name was derived from Spanish guitar maker Salvador Ibáñez, who made classical guitars and sold them to Japan from the 1920s. When Ibáñez, failed during the Spanish Civil War (La Guerra 1936-1939), Hoshino acquired the rights to use the name, dropping the accents in the process. Hoshino’s next step was to take over an American company, Elger, which had already been importing Japanese guitars into the U.S. This move gave them ready access to the American territory, initially as Hoshino USA and then Ibanez USA. From 1970, Ibanez began systematically targeting and imitating popular American guitar models, particularly from Gibson, Fender, and Rickenbacker.
Initially, Fender and Gibson chose not to challenge these foreign copies unless they were identical to the originals, i.e. deliberate forgeries. Perhaps they didn’t see the early copies arriving in relatively small numbers as a significant threat and therefore not worth the lengthy and expensive battles through the American court system with no guarantee of success. Perhaps naively, they may have seen the copies as providing entry‑level experience that would lead consumers to trade up and purchase the ‘real thing’. Nobody really knows for sure. However, by taking their eye off the proverbial ball, the already struggling American brands were storing up a hornet’s nest of latent problems.
The relatively cheaply made Japanese copies often used bolt‑on necks, cheap materials and inferior hardware. Having said that, they were often reasonably well made for what they cost the consumer. The slavish copies appealed to many novice guitarists wishing to have guitars that, at least visually, looked like the more expensive American counterparts without the accompanying high price tags. Notably, and perhaps pertinently, Fender’s own low cost ‘student’ guitar lines (the Mustang ‘family’) and Gibson’s budget models (the Melody Maker) didn’t resemble their upmarket pro‑level instruments, further exacerbating the weaknesses in the eyes of customers.
The Japanese picture at the time is typically complex and confusing, particularly when trying to differentiate the production companies from the brands they made and the importers they used. Some of the companies such as Tokai, Greco, Yamaha and Suzuki followed Ibanez’s lead and jumped on the cloning bandwagon, making relatively faithful copies of American guitars.
The huge Kawai Teisco company was a mass producer that made guitars under many names, including Apollo, Domino, Kent, Randall, Sterling, Victoria and Winston. One brand, Antoria was actually a German company (Framus) that imported Japanese Guyatone (Suzuki) guitars that included replica Stratocaster copies. Others, such as British firm CSL (Charles Summerfield Limited) originally rebranded imported Ibanez guitars. Columbus was another brand that simply imported Japanese‑made guitars under its own name. Hondo was an American company that imported Japanese copies, giving them some home‑grown legitimacy. The Spanish‑sounding Fernandes, on the other hand, was a wholly owned Japanese company that also used the name Burny. Many companies made guitars for other companies, so the picture is further obscured. There were many, many Japanese manufacturers that were largely unknown outside the country but were indirectly contributory to the assault on America and Europe in the 1960s and 1970s, including Fujigen Gakki, the aforementioned Hoshino Gakki Gen (who also used the Tama brand), Matsumoku, Moridara and Tombo.
So… just what were all these Japanese companies actually targeting? In particular, Gibson’s Les Paul and SG models, as well as Fender’s Telecaster and Stratocaster came in for ubiquitous copying. Popular Martin, Guild and Gibson acoustics also came in for replication, as they were the world’s most recognisable acoustic instruments at the time. Acoustic copies including names like Takamine, Morris, Pro Martin and Ventura. Even the fonts used for headstock logos often mimicked the original American brand styles.
As volumes increased, the wave of imports understandably caused problems for the original manufacturers and it was only a matter of time before there was a defensive response. That reaction was based largely on Gibson’s famous Les Paul and particularly the outline shape of the headstock.
In June 1977, Gibson’s owners at the time, Norlin, filed a legal case against Ibanez/Hoshino for copying the Gibson ‘open book’ headstock outline. The case was settled out of court by February 1978, by which time Ibanez had already changed their headstock shape. However, since 1974, Ibanez had been astute enough to foresee the complication and had been developing and improving its own unique Artist guitar designs, thereby circumventing any further rights issues. From 1978, once the lawsuit was behind them, Ibanez focused purely on its own designs.
Despite appearances, there was, in fact, only one landmark lawsuit at the time and it only related to the design of the headstock on Gibson guitars. Presumably, other American manufacturers were watching and waiting for the outcome of the Gibson case. Not looking for potentially damaging confrontation in the courts, other Japanese companies sought to avoid the wrath of the American companies and changed their designs just enough so as not to fall foul of further litigation.
Ironically, some of the Japanese ‘lawsuit’ guitars have since become collectable in their own right. Although many copies that claim to be subject to the lawsuit aren’t, they are just guitars made during the ‘lawsuit era’ of the late 1970s. Generally speaking, Japanese guitar making – having made its mark for better or worse – went on to plough their own furrow in the multinational market, establishing a successful business model on which they could build.
The imitation game hasn’t gone away completely though. Many ‘knock off’ guitars in the 21st Century are emanating from China, where there is little effective means of legal challenge. While some of the guitars originating from China replicate American designs and are produced in large volumes, some of the fakes are appearing in small quantities as very convincing forgeries of rare and valuable vintage instruments.
Also, somewhat ironically, the big American brands struck back by strategically shifting manufacture of lower cost instruments off‑shore. Fender made guitars in Japan from 1982, only later changing the name to Squier to differentiate them from the American originals. Similarly, Gibson started Far Eastern manufacture of Epiphone guitars in Japan in the early 1970s, then in Korea from 1983, before relocating production again in 2003 to a dedicated Epiphone factory in Qingdao, China.
In 1984, PRS guitars was established by luthier Paul Reed Smith and has since become one of America’s major guitar manufacturers. To cater for all price points, PRS also introduced Korean production facilities for its SE‑branded guitars in 2003. While on the subject of lawsuits, after PRS had released the PRS Singlecut in 2001, Gibson filed a trademark infringement claim against PRS for allegedly copying the Les Paul design. Gibson’s lawsuit failed at appeal and PRS resumed production of the Singlecut, albeit slightly altered, from September 2005.
Fender now actively defends its trademarks, which exist in perpetuity, unlike patents that have a limited duration. To illustrate the issues, Fender’s defence of its trademark headstock design reads as follows, “The headstock is the key source-identifying feature of the modern electric guitar. In particular, the shape of the headstock (which, in the types of guitars at issue here, is part of a single piece of wood that also includes the guitar neck) is nonfunctional and primarily serves to identify the brand and model of the guitar. Fender owns trademark rights and federal registrations for the shapes of its headstock designs. These marks are instantly recognizable to generations of musicians and music fans as indicators of the source of Fender’s products and of the immense history and goodwill associated with Fender.”
Furthermore, Fender lost a 2009 application to trademark its guitar designs retrospectively. Opponents stated that consumers had had decades of unopposed exposure to those shapes from a wide variety of other guitar makers. This particular ruling opened the door to many look‑alike guitars, bar the familiar and distinctive headstock shapes.
Rickenbacker, unlike many of its counterparts, trademarks its important designs and vigorously protects them through the courts, hence why there are generally fewer Rickenbacker copies on the market compared to Fender and Gibson clones.
The whole issue of who owns what and how owners’ rights can be protected in a global market rife with replicas is a hugely complex issue and the nuanced legal debates are not for this story, so it is time to close this particular case and move on.
The Fallout and Time for Objective Re-assessment?
The Gibson law suit was, however, a wakeup call for American guitar building, as it proved beyond doubt that they were vulnerable to competition. While it may seem a relatively small isolated incident, it was contributory to the way in which guitar making, distribution and sales had to change. It was time for a shake‑out. By getting back to the basics, the rebuilding of American production that took place from the mid‑1980s resulted in vastly improved fortunes, even though it would take years for several companies to return to prosperity. Gibson and Fender were back in private ownership, Rickenbacker had sustained its business and, although Danelectro and Gretsch would find success, it took some time to regenerate historic popularity.
Despite what naysayers, respected journalists and wealthy vintage guitar collectors will delight in telling anyone who will listen, not all guitars built between 1965 and 1987 (when Fender introduced the landmark American Standards) are bad. Yes, there are many examples of poor quality instruments produced during those ‘dark ages’ but, let’s be honest, that has always been the case. Just look at some of the cheap and nasty instruments from the 1950s and early 1960s produced during the ‘golden era’.
Being a bit provocative and controversial, it is the author’s considered belief that there were many very good instruments built in the 1970s but these tend to be overlooked and caught up in the sweeping generalisation that ALL instruments from that period are sub‑standard. Some unique and interesting models only appeared during the 1970s and 1980s as part of the drive for experimentation. Some of these experiments were often made for relatively brief periods before they disappeared again. As a result, many of these rare examples are highly likely to be of interest to collectors in the future. As vintage prices of 1950s and 1960s guitars are rapidly increasing beyond many enthusiasts’ ability to purchase them, 1970s and 1980s guitars are also creeping up in value and are likely to become the ‘next big thing’ in the vintage marketplace. When they do eventually become desirable, which they will, that critical labelling of ‘poor quality’ is likely to be conveniently forgotten as the wheat is separated from the chaff.
Generally speaking, with the introduction of automated and computer controlled construction technologies, instruments from c.1990 onwards are generally consistently well‑made. This means that poor quality instruments are fewer and further between. Value‑for‑money since the 1990s has never been better with some very good guitars available at relatively low prices compared to the past. Broadly categorising the ensuing years between, say, 1990 and 2000 as a period of rejuvenation, resurgence and consolidation in the face of significant and multifarious challenges including economic downturn. The dawn of the new millennium saw further change including diversification, growth and a degree of reconfiguration. The reality, perhaps obviously, isn’t simply a case of general classification though, so such broad descriptions may best be regarded as a bit of artistic licence on the author’s part.
It may seem strange but it was often the inherent manufacturing variations and inconsistencies that have led to the handmade ‘golden era’ guitars becoming so desirable in the first place. As the idiosyncratic traits of the past have been ironed out, consumers have had ready access to consistent, reliable and higher quality guitars at virtually all price points. However, the increase in standardisation means that many modern mass‑produced guitars are often described as ‘generic’, samey and bland. It is also that lack of variation that has led to the boom in boutique, custom and modded guitars in the 21st Century.
Only time will really tell whether some of these maligned 1970s guitars will be re‑evaluated and achieve better recognition. Good examples will undoubtedly become increasingly sought after and collectable.
Recovery and Rejuvenation
Musical tastes continued to change and the 1980s and 1990s were no different. One trend was a move away from guitar music to highly produced electronic keyboard music. Japanese giant Roland (owner of BOSS effect pedals) tried to popularise the guitar synthesizers on the back of the electronica trend, as did consumer electronics company Casio who were more famous for calculators rather than guitars.
Another trend in musical taste was the explosion in popularity of glam, hard and ‘shred’ rock. Ironically, it was companies like Ibanez, once the scourge of copy guitars, which was ideally placed to cater for the trend with some cleverly designed genre‑appropriate instruments, such as their Destroyer, Iceman and Jem guitars.
Ibanez had cleverly repositioned themselves and continued to do so in order to sustain competitive advantage. In another canny move, Ibanez courted the new breed of virtuoso instrumental rock musicians, which proved successful. American guitarists such as Steve Vai and Joe Satriani were regularly seen using and advertising the Ibanez brand. Other Japanese companies followed suit, such as Yamaha and ESP/LTD. American brands such as Dean, Jackson and BC Rich also exploited the growing market for pointy rock alternatives to the old‑hat rock shapes such as Gibson’s Explorer and Flying V. Times had moved on and the traditional industry stalwarts were once again looking tired, on the back foot and at a strategic disadvantage.
By the time that some sort of equilibrium was restored from the late 1990s, the music and guitar landscape was very different from the end of the ‘golden era’. There was room for big music companies to grow, such as Peavey and Ernie Ball, the latter having bought out Leo Fender’s Music Man in 1984. The ‘big four’ brands were still there – Fender, Gibson, Rickenbacker and Gretsch, who continued to expand their ranges into high‑value custom shop as well as low‑priced models. In addition, once the barriers to entry were lowered, there were many small, opportunistic companies that sought to grow market share on their own terms, such as PRS. There was also a whole thriving boutique sub‑industry that focused heavily on producing custom instruments built to individual guitarists’ requirements; a healthy trend that continues to flourish well into the 21st Century.
The 2000s saw a reversal of fortunes with synth‑based dance and pop music becoming clichéd and well‑worn. This change of fortune facilitated a major resurgence in guitar music across a whole range of musical genres but specifically the burgeoning indie/alternative music scene. Indie music also triggered a renewed interest in retro‑styled instruments often evoking quirky designs from the past. This revitalisation enabled many gone but not forgotten guitars to experience a new lease of life. In addition, metal, progressive/contemporary, alt‑country and blues/rock genres have also seen rejuvenation and/or revivals, together with relevant instruments to suit. Even the likes of Fender, Gibson, Gretsch, Danelectro and Rickenbacker have benefitted through reissues of previously defunct models. All in all, many guitar‑based musical styles continue to flourish and guitar sales benefit from the 21st Century appetite for diversity.
Interestingly, in the 2000s and 2010s, with the renewed interest in both retro and vintage designs, many of the old American brand names that went out of business in the 1960s have since re‑emerged, including Supro, Valco, Airline, Harmony and Kay.
The global recession that started in 2008 has been the longest and deepest since the 1930s severely dampened demand for discretionary purchases such as musical instruments. However, the desire to own and play the world’s favourite instrument endures, despite regular proclamations of the ‘death of guitar music’.
Music Trades data shows that total guitar sales in America, either by number or value, have shown a general increasing trend per year since 2009: Year Number Value 2009 1.65m $924m 2010 1.74m $922m 2011 1.94m $921m 2012 2.34m $903m 2013 2.34m $821m 2014 2.50m $839m 2015 2.49m $935m 2016 2.47m $1,001m 2017 2.63m $1,070m
In comparison, the number of electric guitar sales in America has remained largely steady since the start of the recession. Where these figures will go in the future and whether sales will regain pre-crash levels anytime soon is a betting man’s game. The market is, judging by these indicators, likely to stay challenging for some time to come.
One very positive trend is that research by Fender in 2018 shows that 50% of new guitarists in the U.S. and the UK are females, suggesting that equality is finally making progress in the music industry.
Modern‑day guitarists have learned to become fickle and much more discerning. No longer could a few privileged brands expect musicians to be loyal or for their products to be accepted as the default ‘go‑to’ solution. While slower to adapt, the American ‘big four’ fought back and, although often constrained by their past, were forced to innovate and compete or die. Not all of those experiments have been successful but the point is that they are trying to adjust to the inevitability of the brave new world.
Looking at the bigger picture, the diverse structure of the guitar industry is healthy for both producers and consumers. While things will change again, the fragmented nature of the marketplace in the 2010s means that risks of major step change are reduced. For the long‑established brands, the asset value of the ‘classics’ is now cemented and, to some extent, can once again be relied upon in terms of quality and value. The reliance on industry standards also creates a problem for the likes of Fender, Gibson, Gretsch and Rickenbacker, as it inhibits what they can do in a way that consumers will accept, witness Gibson’s failed attempt to move into consumer and lifestyle electronics.
Ultimately, nothing is set in stone and there is very little that can be considered genuinely ‘new’. The only certainty is that change will be continuous and necessarily incremental. Digital music technology will continue to be both a threat to, and an opportunity for, manufacturers. The hybridisation of analogue instruments and digital technologies is still in its infancy and only time will tell, which companies will respond positively and which will fail to adapt and fall by the wayside (again).
That brings us pretty much up to the current day, at the time of writing (2018). As English punk rock pioneer Joe Strummer of The Clash once said, “The future is unwritten” and how true that is. We are nearing the end point of the guitar’s long story… except that the story will continue in perpetuity. All that is really left to do is to describe the current position (again at the time of writing) and to speculate, somewhat idly, about what that unwritten future may hold.
End of Part VII
Here we are at the end of yet another episode in the guitar’s extended tale. We are pretty much up‑to‑date and therefore almost at the end of the journey, with (I think) just one more article to go. I hope that you’ll join me, hopefully next month for the conclusion… as far as there can be one.
I am now beginning to deliberate about a companion series of articles for next year (2019). Before that happens, I need a rest from this massively resource intensive exercise. I can’t yet reveal what that new series is, as I am thinking about things I haven’t thought of yet (if you get my drift). I will have to consider how it might be done in a way that I haven’t seen elsewhere up to now – I need to bring something new to the subject matter, otherwise it is just regurgitating what others have already done. Watch this space… In the meantime, I have to start planning what I’m going to fixate upon for the remainder of this year.
Right now though, it’s time to stop writing about guitars and to start playing one of the darned things, so I’m off to plink my plank! Until next time…
CRAVE Guitars ‘Quote of the Month’: “Whatever was pre-modernism like?”
Hello again, guitar history fans and welcome to August 2018’s article in the series on the history of the guitar. There is no point in beating about the bush, it’s time to dive right back in where we left off last month with the birth, and now – to extend the analogy – the growth of the electric guitar from early years to adolescent hood.
If you wish to recap on previous articles before starting here, the ‘Potted History of the Guitar’ series, can be accessed here (each part opens in a new browser tab):
This part of the guitar’s story covers the period of fundamental and rapid innovation as well as pragmatic entrepreneurialism that starts around the late 1940s and early 1950s, a period of intense creativity that would come to define the modern electric guitar. Once the essential foundations were laid by Rickenbacker, Gibson and a few others, the popularity of the guitar was about to explode.
Since the time of the guitar ‘big bang’, instruments would continue to be improved and refined; an incremental process that continues unabated up to the current day. However, nothing like the level of creativity that heralded the ‘dawn’ of the electric guitar era. It was the start of a so‑called ‘golden era’ that would last about 15 years.
While acoustic guitars continued to develop after the 1930s, they were just about as loud as they were going to get without some form of amplification. Electric archtop and early solid body electric guitars had started the ball rolling during the first half of the 1930s and guitarists were buying into the increasing trend for electric guitars of one sort or another.
While not alone in influencing guitar development, today’s ‘big two’ companies – Fender and Gibson – have between them, been responsible for, or at last instrumental (sic!) in, many of the major innovations and landmark electric guitars since the 1950s. Therefore, the focus here is predominantly, but not exclusively, on the contribution from these two major manufacturers. Much credit though is due to the vast number of other guitar builders – way too many to mention them all by name – that have played their part in developing the musical landscape over the decades, and which we enjoy today. Without their competition to keep the ‘big two’ on their toes, the quality and price equation might have gone too far in opposite directions. Thankfully, there is no monopoly in the guitar market – far from it in fact – and that fact, as it turns out, is a very good thing for musicians all over the world.
However, before the story moves on to Fender and then Gibson, we need to take a short diversion before getting back on track…
Bigsby Guitars
No history of the formation of the electric guitar would be complete without some mention of Paul Adelburt Bigsby (1899-1968). P.A. Bigsby was a motorcycle racer, inventor, designer and builder based in California. Bigsby has often been quoted as saying confidently, “I can build anything”.
Historically, Bigsby might be better known for his iconic Bigsby vibrato systems. Less well known is that Bigsby was also responsible for pioneering solid body electric guitars as well as for revolutionising pedal steel guitars.
Bigsby collaborated with lap steel guitarist Earl ‘Joaquin’ Murphey (1923-1999) of Spade Cooley’s orchestra in the 1940s. Murphey helped to persuade Bigsby to start making guitars in the first place, in around 1946/1947. Bigsby built Murphey several steel guitars by 1947, with two or three necks. Murphey’s successor in Cooley’s band, another steel guitarist called Speedy West (1924-2003), not wishing to be outdone, also commissioned Bigsby to build him a custom pedal steel guitar in 1948.
Around the same time, successful country and western artist and good friend, Merle Travis (1917-1983) asked Bigsby to fix a wayward vibrato on his Gibson L-10 guitar. Bigsby subsequently went on to build a complete solid body electric guitar for Travis, based on a sketch Travis had made. Travis’s Bigsby guitar attracted a lot of attention and other artists queued up for Bigsby to make further custom guitars, including for acclaimed session guitarist with the ‘Nashville A-Team’, Grady Martin (1921‑2001).
Bigsby’s guitar designs not only seem familiar, but also seem well ahead of their time for 1948, especially when compared to anything else on the market. The Bigsby Merle Travis guitar has a single cutaway body not dissimilar to Gibson’s Les Paul models and a neck/headstock outline that bears a notable resemblance to Fender’s Stratocaster. Bigsby’s design predated both the Les Paul (1952) and the Stratocaster (1954) by several years. Many have contended that Gibson and Fender plagiarised, rather than simply being influenced by, Bigsby’s original designs. Hindsight provides the opportunity to speculate but the truth is shrouded in idle debate and misinformation.
Partly because he wanted to make most of the parts himself, Bigsby only produced a very small number of finished custom‑built instruments up until 1956, where after he concentrated on the vibrato business. However, as his guitars never entered full production, his legacy consists of a few unique examples of his craftsmanship. Unfortunately, Bigsby kept no records of his creations. The company he founded undertook extensive research and can document 47 steel guitars and only 6 standard guitars, along with a few other custom instruments surviving to the current day. Others may yet come to light at some point to be authenticated.
Bigsby’s name is now synonymous with his ubiquitous vibrato tailpieces, which have adorned countless guitars since the 1950s. Bigsby sensibly filed a patent for his ‘tailpiece vibrato’ in November 1952, which was granted by the U.S. Patent Office in March 1953. The rest, as ‘they’ say, is history.
When his health started to fail, Bigsby sold his company to retired Gibson president Ted McCarty in 1966. Paul Bigsby died 2 years later in 1968 at the age of 68. Subsequently, Gretsch bought the Bigsby enterprise from McCarty in 1999. Bigsby Guitars is now making limited edition guitars under the patronage of Gretsch.
Many of those aware of Bigsby’s pioneering work feel that he should be given greater credit for his contribution to guitar history. One might only wonder at the course of modern guitar history had Bigsby capitalised on his creative designs. Bigsby may have been first in a lot of areas but it was other companies that catered for the market and it is the commercial success brought about by mass production which is where the story then continues.
Fender Solid Body Electric Guitars
Clarence Leonidas ‘Leo’ Fender (1909-1991) was an electrical engineer by trade. He started out in business as Fender Radio Service in 1938, repairing radios, phonographs and valve amplifiers. Recognising the growing demand for his skills from the music industry, Fender looked to use his growing expertise in that area. Along with business partner and former Rickenbacker employee Clayton ‘Doc’ Kauffman, Fender co‑founded the short‑lived K&F Manufacturing Corp in 1945. K&F’s intention was to manufacture musical instruments and amplifiers, including lap steel guitars that were particularly popular at the time.
By 1946, Fender had parted ways with Kauffman and established the Fender Electric Instrument Manufacturing Company, based in Fullerton, California. The company, known to most simply as Fender, has become one of the pre‑eminent and most widely recognised manufacturers of electric guitars, basses and amplifiers in the world. Historically, Fender is particularly important because of its ground breaking role in making electric instruments and amps accessible to mass markets eager for the new‑fangled technology in the 1950s.
Leo Fender’s vision had less to do with building small numbers of bespoke instruments and more to do with commercial large‑scale manufacture of instruments using tried and tested production methods. Fender wanted the electric guitar to be straightforward to manufacture as well as easy to service and maintain. Leo Fender asked George William Fullerton (1923-2009) to join the company in 1948. Fullerton’s appointment was important, as he would become a long‑term business associate not only at Fender but also in subsequent post‑Fender enterprises, including Music Man and G&L (an acronym standing for George & Leo).
Even though Fender had introduced amplifiers in 1947, Fender’s business began focusing on guitar designs and in c.1949 the company started making prototypes of what would eventually become the iconic Telecaster. The early prototypes used a body largely designed by George Fullerton. The first prototype exhibited a 3‑a‑side lap steel‑style headstock, while the second attempt looked more Fender‑like. Both prototype headstock designs bore a similarity to those seen on Bigsby’s guitars.
Fender offered the first mass-produced Spanish-style solid-body electric guitar to the public in 1950. The initial few guitars were single pickup models called the Esquire, although confusingly, a small number of Esquires were also ordered with two pickups.
The production dual pickup model was originally named the Broadcaster until Gretsch objected to the use of the name, as they had produced drums using the Broadkaster name since the 1920s. Fender complied and for a short period between February and August of 1951, the guitar appeared with no name on the headstock, leading to the popular nickname ‘Nocaster’ to describe its curious temporary anonymity.
Fender filed a patent for the Telecaster design in April 1951, which was awarded quite quickly by the U.S. Patent Office in August 1951. The familiar twin pickup single cutaway guitar, now formally named the Telecaster was made available to the public from mid‑1951 and has, remarkably, remained in continuous production ever since.
Although instantly recognisable nowadays, the Telecaster was unlike anything that had come before. The way they were put together was revolutionary; using a modular construction comprising a single cutaway slab body of solid ash wood and a removable maple neck secured by four screws on the back of the body. The simple and sturdy design proved not only resilient but also efficient and relatively cheap to manufacture using established assembly line techniques of the time.
While there have been many variants of the Telecaster over the years, including the Custom, Deluxe, Thinline and Elite, the original fundamental design elements have remained largely unchanged over many decades.
Not content with the success of the Telecaster, Fender and this team went on to design and market the enormously popular Stratocaster in 1954. Unlike the Telecaster, the Stratocaster employed a futuristic double cutaway ash body with deep rib and forearm contours for player comfort, 3 single coil pickups and a clever floating vibrato system. Fender retained the bolt‑on maple neck, albeit with a shapelier headstock than the Telecaster and eerily reminiscent of Bigsby’s earlier design. Fender filed a patent application for the Stratocaster’s ‘tremolo’ (a misnomer – it is actually a vibrato) design in August 1954, which was subsequently awarded in April 1956. The Stratocaster, like the Telecaster before it, became phenomenally successful with consumers and has been in continuous production since its launch.
Just as revolutionary for bass players, Fender also pioneered the commercially successful electric solid-body bass guitar. The Precision bass first appeared shortly after the Telecaster in 1952 and before the Stratocaster. Before the Precision, bass players had to contend with cumbersome acoustic, hollow body, fretless upright basses. The Precision was an ergonomic godsend, especially for travelling musicians. Like a guitar, the Precision featured a fretted neck making the instrument much more accessible to neophytes wanting to jump on the bandwagon of popular electric guitar music in the 1950s and 1960s. The 34”‑scale fretted neck gave practical credence to the new bass’s name – Precision. Fender filed a patent for the bass guitar in November 1952, which was awarded in March 1953.
Initially, the Precision took many design cues from the Telecaster before updates in 1954 and 1957 gave it the now‑familiar characteristics more akin to the Stratocaster. Not resting on their laurels, Fender followed up the hugely successful Precision with the twin‑pickup offset Jazz bass in 1960.
These four models – Telecaster, Stratocaster, Precision and Jazz – represented the enduring ‘core’ models around which Fender experimented with other designs. It is very unusual in industrial design history to ‘get it right’ first time and then for those products to remain relevant for over six decades (… so far, and counting). However, Fender seemed to have achieved just that. Fender, however, not content to stand still, kept innovating.
In the late 1950s and early 1960s, Fender also introduced two luxury contoured offset‑waist body models; the 25½”‑scale Jazzmaster in 1958 and the shorter 24”‑scale Jaguar in 1962. Both models used entirely new single coil pickups and both had separate, complex ‘rhythm’ and ‘lead’ circuits. The controls were not intuitive, which put off some players. The high‑price of the Jazzmaster and Jaguar may also have deterred customers and both models failed to attract the intended target audience – traditional jazz guitarists wedded to the competition’s archtop designs. However, both the Jazzmaster and Jaguar gained a significant boost from an unexpected source. Popular west coasts surf musicians including The Beach Boys and The Ventures adopted the new offsets and gave them some legitimacy. Ultimately though, poor sales led to Fender discontinuing the Jaguar in 1975 and the Jazzmaster in 1980. Wisely, Fender has subsequently successfully reissued both models for newer generations to discover.
One of the key success factors for Fender was the introduction of custom colour options in addition to the limited standard blonde and sunburst finishes. Custom colours were based on popular automobile paints made by DuPont during the American car craze of the 1950s. Customers could custom order new guitars from a range of exciting colour finishes for an additional 5% upcharge. Fender was also open to accepting standard colour guitars for factory refinishing in the custom colours. Popular names for the custom colours included Olympic White, Lake Placid Blue, Daphne Blue, Sonic Blue, Shoreline Gold, Burgundy Mist, Sherwood Green, Surf Green, Foam Green, Fiesta Red, Dakota Red, Candy Apple Red, and Shell Pink. Early models with genuine custom colours are relatively rare and have since become highly desirable with vintage guitar collectors; some guitars fetching a hefty premium on the vintage market compared to the standard colours. Many of those original custom colours phased out by 1969 to 1972 have now become very popular again as standard colours in the 21st Century.
Strategically, Fender tried to cover all bases by also introducing a range of short-scale (initially 22½” and then 24”) ‘student’ models including the Musicmaster (1956), Duo‑Sonic (1964), Mustang (1964) and Bronco (1967). To differentiate the ‘student’ instruments from the pro‑level models, Fender designed hardware and finishes that was unique to these models. The Musicmaster and Bronco had single pickups, while the Duo‑Sonic and Mustang had two pickups. The Mustang and Bronco also featured bespoke vibrato systems while the Musicmaster and Duo‑Sonic had fixed bridges. While these budget models have found a strong following by those in the know, they have had chequered histories, all having been discontinued and reissued over the years. Seen as peripheral to the ‘core’ classics, the high volume low cost guitars undeservedly attract a lower profile and lower resale values on the vintage collector market despite being made at the same factory, by the same staff, using the same materials and tools.
In the minds of most guitarists, Fender was a solid‑body guitar maker. After the failure of the Jazzmaster and Jaguar to persuade traditionalists to change brand, Fender attempted to compete with Gibson’s popular ES range of semi‑acoustic guitars. Fender introduced the fully hollow‑body Coronado in 1966, designed by German luthier and Rickenbacker guitar designer Roger Rossmeisl. The Coronado retained Fender’s ‘bolt‑on’ maple necks with six‑a‑side headstocks, although the pickups used were unusually DeArmond single coil models. Unfortunately for Fender, the ill‑fated Coronado proved a commercial failure and was discontinued in 1972. After a short‑lived venture into archtop jazz guitars with the rare Montego and LTD models between 1968 and 1972, Fender tried again in1976 with the introduction of the upmarket semi‑hollow humbucker‑equipped Starcaster. Like the valiant attempts before it, the Starcaster met with the same consumer resistance and proved equally unsuccessful, resulting in it being summarily discontinued in 1982. Notably, both the Coronado and Starcaster models were reissued by Fender in 2013 and continue in production today.
There have been many other Fender solid body electric guitars over the years including the Bass V & VI, the Electric XII, Bullet and Lead amongst numerous others. In addition, there were many variations on a theme, for instance the Coronado came in Antigua, Wildwood, XII and bass versions. Similarly, the Musicmaster and Mustang also had short‑scale bass models. Other examples include parts‑bin oddities like the Swinger and Maverick. Many later experiments were undertaken by the Japanese arm of Fender without any risk to the company’s ‘Made in USA’ standing. Japanese‑only models include the Performer, Katana and the Gibson‑like set neck Flame. Many of these low volume under‑the‑radar guitar models are often described as ‘forgotten Fenders’.
As covered in Part IV of the story, Fender has also sustained a very successful line of guitar and bass amplifiers dating from the late 1940s right through to the current day, including landmark valve amps such as the Princeton, Champ, Bassman and the mighty Twin Reverb (among many others). Like Marshall and Vox from the UK, Fender amps have become synonymous with modern electric guitar music.
The successful honeymoon period for Fender was, however, not destined to last forever. In early 1965, Leo Fender sold his company to the Columbia Broadcasting System (CBS), reportedly for $13m. Despite investment and efforts to diversify the product lines, manufacturing quality varied considerably due to poor management and cost cutting, particularly during the 1970s. Industry reputation and credibility waned and Fender sales suffered significantly, especially in the face of aggressive competition from Japan. One of the strategies adopted by Japanese companies at the time was, despite the existence of U.S. patents, to flagrantly copy American guitar designs. Japanese companies produced large numbers of guitars built to high standards and sold at low prices. This shameless targeting of American products placed an already struggling Fender under considerable pressure. By 1981, Fender had brought in Dan Smith from Yamaha as Marketing Director to oversee selective guitar redesigns and, along with Fender luthier (and founder of the Fender Custom Shop) John Page, to breathe new life into Fender’s fortunes.
After making considerable improvements across the business, 20 years after being sold to CBS, a management buyout was initiated by CEO William Schultz (1926‑2006). In retrospect, Schultz is now widely regarded as ‘the man who saved Fender’. Fender Electric Instrument Manufacturing Company was acquired from CBS by its own employees in 1985 and the newly privatised company was renamed Fender Musical Instruments Corporation (FMIC). The sale did not, however, include the existing Fullerton factory, so Fender was forced to construct a new plant at Corona, California which started limited manufacturing in late 1985.
After two years of restructuring the business, the post‑CBS Fender American Standard Stratocaster was introduced in 1987. While superficially similar to previous models, the American Standard was a significant model that signified the company’s return to form and commercial prosperity. In the same year (1987), Fender set up their in‑house Custom Shop (nicknamed ‘The Dream Factory’), based at their Corona facility in California. The aim of the Custom Shop was to showcase just what Fender’s master luthiers were capable of building.
Fender’s headquarters are now based in Scottsdale, Arizona, with North American manufacturing facilities in Corona, California, and Ensenada in Mexico. Off-shore production of budget Squier guitars and basses is based in Korea and Japan. Fender has continued to innovate, introducing ‘custom shop’, ‘vintage reissue’ and ‘relic’ instruments and a range of electronics to a market hungry to recapture the ‘golden years’ of pre‑CBS Fender instruments and amps.
We have become so familiar with the Fender Telecaster, Stratocaster and Precision, that we sometimes forget just how revolutionary these designs actually were back in the 1950s and what they, perhaps unwittingly, came to represent. Looking a little more broadly helps to put things into context. Loud and brash electric guitars undoubtedly helped to define the musical uprising brought about by the advent of rock ‘n’ roll. At the same time, a western social and cultural transformation was taking place in the wake of post‑WWII austerity and despite prevailing conservative Cold War political paranoia. Affluent and often puritanical middle class values allied to consumers’ relentless drive to satisfy materialistic aspiration were fuelled by media, film and television. Opposing the status quo was a growing urban resentment, an angry youthful rebellion boosted by emerging anti‑conformist liberalism and radical demands for greater personal freedoms. Fundamental change was, arguably, inevitable. The turmoil created in the 1950s began to reshape the fabric of society in both the U.S. and the UK and this, in turn, propelled musical experimentation and creativity at a pace never seen before. Fender’s electric guitars not only enabled that particular wave to be ridden with verve, passion and a certain degree of teenage angst, but also came to symbolise many defining events for a frustrated generation, a subversive movement that would last well into the 1960s. When Marlon Brando was asked the question in the film ‘The Wild One’ (1953), “Hey Johnny, what are you rebelling against?” he retorted disinterestedly “whadda you got?” For a while at least, it was hip to be cool and cool to be hip.
If there are any guitars that qualify for the terms ‘iconic’, ‘classic’ and ‘industry standard’, these original Fender models have to be up there with the best and most enduring industrial design wonders of all time. In particular, the timeless design of the ‘Tele’ and the ‘Strat’ have persisted in the minds of guitarists over many decades, and will surely continue to do so for the foreseeable future.
Those ‘new’ guitars back in the 1950s are now hugely valuable vintage instruments and are part of our collective music heritage. Vintage Fender guitars, basses and amplifiers are much sought after by collectors, musicians, dealers and enthusiasts alike, with many key models originally made prior to the CBS takeover in 1965 now reaching high vintage guitar market values. Authentic vintage instruments associated with successful artists (and with documented provenance) attract an even higher price premium on the collectable market, for instance, Eric Clapton’s famous c.1956 ‘Blackie’, which was sold for $959,500 to Guitar Center at Christie’s in New York in 2005.
Gibson Solid Body Electric Guitars
The history of Gibson guitars is much longer than that of its main current‑day rival Fender and much of this has already been covered elsewhere. The crucial part that Gibson played in this stage of guitar evolution is picked up again here in the mid‑20th Century.
During the 1940s, popular American jazz guitarist, performer and musical inventor Les Paul (1915-2009) – born Lester William Polsfuss – had become increasingly unhappy with the compromises experienced by electric acoustic archtop guitars. In an attempt to overcome the shortcomings, Les Paul had been actively experimenting with guitar design from around 1939. A famous early prototype electric guitar assembled by Les Paul out of hours at the Epiphone factory around 1940 was nicknamed ‘the log’, which was essentially a solid piece of 4”x4” pine timber running the length of the body, providing the base for the strings, bridge assembly and pickups. To make the design appear more guitar‑like, Les Paul attached a traditional guitar neck and two hollow guitar ‘wings’ from an Epiphone archtop on either side of the ‘plank’.
Les Paul had originally approached Gibson as early as 1941 but no interest was shown by the company. He tried again in 1945 or 1946 and his ideas were once again rejected. It wasn’t until 1950 that newly‑appointed Gibson president, Theodore ‘Ted’ McCarty (1909-2001) brought in Les Paul to act as a consultant in response to Fender’s newly launched solid body electric guitars. Like Leo Fender, McCarty could not play the guitar, so he worked very closely with those who could.
In 1951, Gibson began producing prototypes of a solid body electric guitar designed by McCarty in consultation with Les Paul. One of the many prototype designs (shown following restoration below) is relatively close to the final production in all but detail.
Gibson was already losing ground, and business, following the introduction of Fender solid body guitars that appealed to young musicians exploring new musical ideas. To many consumers, Gibson’s models were seen as staid and, compared to the modernistic Stratocaster, frankly old fashioned, tired and boring. For Gibson, it was important that any sold body electric guitar design would be all‑new while also remaining consistent with the values, quality and reputation of the company. It was also crucial that the new instrument would be quite different from Gibson’s competition, whether existing or emerging. Crucially, before the new guitar was launched, McCarty agreed a deal with Les Paul for it to carry Les Paul’s name on the headstock and for him to be an integral part of Gibson’s advertising campaign.
In July 1952, Gibson launched the now-iconic solid-bodied guitar, the Gibson Les Paul Model, finished in metallic gold, equipped with dual P90 pickups and a trapeze tailpiece similar to those found on the company’s archtop guitars. For a number of years, the Les Paul Model and its variants were the only solid body guitars made by Gibson. The range was extended from the basic ‘gold top’ to the upmarket black and gold Les Paul Custom in 1953 featuring a standard bridge, one P90 pickup and a unique Alnico V ‘staple’ pickup at the neck, a unique design intended to appeal to jazz guitarists.
To broaden appeal, Gibson introduced two affordable slab‑body single cutaway Les Paul models, the Junior with a single P90 pickup in 1954 and Special with dual‑P90 pickups in 1955. These rather utilitarian models retained the body outline but with few of the upmarket features of the carved‑top Les Pauls.
By 1957, the Les Paul’s P90 single coil pickups began to be replaced with Gibson’s PAF (Patent Applied For) humbucking pickup. The process started with the now‑iconic 3‑pickup Les Paul Custom ‘Black Beauty’.
1958 saw the Junior and Special updated to a new double cutaway body and the option of cherry or outrageous TV Yellow, a colour allegedly designed to show up well on black & white TV screens of the time.
Following poor sales of the original Les Paul ‘gold top’ model, the guitar was rejuvenated in 1958 by renaming it the Standard. The Standard’s specification was changed substantially – a cherry sunburst finish was applied to a maple‑capped mahogany body, the PAF pickups became the norm and a tune‑o‑matic bridge and ‘stop’ tailpiece were standardised. Some, but not all, of the tops exhibited an attractive matched 2‑piece ‘flame’ maple top. Around 1,700 of the now‑legendary ‘Burst’ Les Paul Standards were produced between 1958 and 1960 and all have become highly collectable on the vintage guitar market. The original sunburst Standards have become the aspiration of many guitar enthusiasts. These rare instruments are widely regarded as representing the epitome of Gibson guitar’s ‘golden age’.
The Les Paul models weren’t the only new instruments aiming to establish Gibson’s electric guitar credentials. The late 1950s saw a number of new guitar designs including the McCarty‑designed ES-335 semi‑acoustic, which first appeared in 1958. The ES‑335 was significant because of a solid centre block running through the body and on which the pickups and bridge were mounted, essentially much like Les Paul’s ‘log’ experiment. The semi‑hollow body construction was important in reducing acoustic feedback in high gain situations compared to fully‑hollow archtops. Gibson also released a lower cost hollow‑body ES model with dual P90s, called the ES-330 and two upmarket siblings, the ES‑345 and ES‑355.
The late 1950s was a period of intense innovation at Gibson. In addition to the Les Paul and the ES series, Gibson designed two ‘modernistic’ guitars intended to compete with Fender’s popular solid guitars, the Explorer and Flying V, both of which were introduced in 1958. A third ‘modernistic’ series model, the Moderne, was patented and prototypes might have been constructed but no actual verified examples have ever come to light, let alone reached the vintage collector market. The Moderne has become something of a myth and an original 1950s example is seen by many collectors as the ‘Holy Grail of guitar collecting’. Gibson (re‑)issued a Moderne in small numbers in the early 1980s and again occasionally since.
While the futuristic Flying V and Explorer models were well ahead their time, sales of these radical instruments was very poor. In 1958, Gibson sold only 81 Flying Vs and 19 Explorers. The following year (1959), only 17 Flying Vs and 3 Explorers were sold. It is hardly surprising then that both models were withdrawn by 1959-1960. A few further examples were constructed in the early 1960s from parts. As only small numbers of the original release Explorers and Flying Vs were made, they have become very highly sought after and valued. Gibson, however, would return to these original designs and has successfully reissued both the Flying V and Explorer many years later.
Like Fender, Gibson recognised that they had to cater for the lower end of the market in order to attract new and younger players to the fold. In order to make budget guitars accessible without affecting sales of their premium models, Gibson introduced a range of simple low cost ‘student’ guitars, called the Melody Maker, from 1959. The basic Melody Makers, featuring distinctive narrow headstocks, slab bodies and all‑new Fender‑like narrow single coil pickups, were produced in large numbers at Gibson’s Kalamazoo plant alongside the classics. The Melody Maker’s body shape went through four incarnations during its lifetime, with only 2 bearing a similarity to existing Gibson electrics. Although the Melody Makers proved very popular and sold in large numbers, they were nevertheless withdrawn by 1971. Gibson has re‑used the Melody Maker name on a number of occasions since the original models.
Despite the now‑legendary reputation of the Les Paul Standard, sales of the model remained relatively stagnant and, in 1961, Gibson were forced to take action. Effectively, production of the Les Paul ceased and a new design was introduced in 1961, even though it retained the ‘Les Paul’ moniker. The new model was another design shift with a thin double cutaway mahogany body with contoured upper bouts and pointed ‘devil’ horns. Allegedly, Les Paul didn’t favour the guitar’s design and no longer wanted to be associated with it. In addition, Les Paul separated from his wife Mary Ford and the divorce settlement may also have been a pecuniary factor in his decision to drop his name from the guitar. By 1963, after Les Paul’s name was removed, the model was re‑designated the Gibson SG (standing for ‘Solid Guitar’). The Gibson SG has remained in continuous production since 1961 and, ironically, it has become the company’s most commercially successful model in Gibson’s long history. Like the single cutaway Les Paul before it, the SG model came in a number of variants, the single‑P90 Junior, the dual‑P90 Special, dual‑humbucker Standard and 3‑humbucker Custom.
The single cutaway Gibson Les Paul may have gone but it was not forgotten. It reappeared in 1968, and then only after second hand guitars became popular at around the time of the British blues explosion, led by guitarists such as Eric Clapton and Peter Green, as well as other contemporary musicians of the time, including Jeff Beck, Jimmy Page and Paul Kossoff. The Les Paul has had numerous variants over the years including notable models such as the Les Paul Deluxe, Professional, Recording, Artisan and Studio models, and many guitarists have had signature models released to celebrate the artists’ association with the company. Since its reintroduction in the late 1960s, the Les Paul has remained in continuous production and, along with the Fender Stratocaster, it has become one of the most recognisable design icons of modern‑day guitar music.
Gibson continued to innovate into the early 1960s, introducing more convention‑busting designs. McCarty, hired famed car designer Ray Dietrich (1894‑1980) to cash in on the American automotive craze of the time. The new model was called the Firebird, which featured a more rounded‑off Explorer‑like outline, through‑body construction and rear‑facing banjo tuners. These first Firebirds, produced in 1963‑1964, were known informally as ‘reverse’ bodied because the upper treble bout was more pronounced than the bass bout. Again, due to poor sales and high manufacturing costs, Gibson simplified the fundamentals and ‘flipped’ the body to produce the ‘non‑reverse’ Firebird, made between 1965 and 1969, when it was withdrawn. As with many of other unsuccessful early Gibson solid body designs, the company has reissued the Firebird in both ‘reverse’ and ‘non‑reverse’ formats since. Other variants were made including the 12‑string Firebird XII and the Thunderbird bass.
McCarty stood down from Gibson in 1966 and became president of Bigsby Guitars. McCarty later collaborated with, influenced and mentored up‑and‑coming ambitious American luthier Paul Reed Smith of PRS Guitars. Smith honoured McCarty’s contribution to guitar building by dedicating him with a PRS McCarty model. McCarty died in 2001 at the age of 91.
As with competitors, Fender, Gretsch and Rickenbacker, the 1970s was a period of controversial experimentation while under ‘corporate’ ownership. Gibson produced many other solid body electric guitars than have been mentioned so far. Among the many ‘forgotten Gibsons’ of the period, there are some notable examples, including the Challenger, Corvus, Firebrand, Invader, L6-S, Marauder, RD series, S‑1, Sonex‑180 and the Victory.
While Gibson may have had considerable success with guitars, it has never quite found the same formula for basses, amps and acoustics as some of its competitors, including Fender. That doesn’t mean to say they haven’t made notable examples; they have, it’s just that they haven’t had the popular impact and longevity to warrant mainstream success alongside the recognised ‘classics’.
After McCarty’s departure, Gibson came under increasing commercial pressure. Things came to a head in 1969, when Gibson’s parent company, Chicago Musical Instruments Ltd (CMI) was taken over by a South American brewing company called ECL and then became a subsidiary of Norlin Musical Instruments in 1974. In the same year, Norlin shifted production of Gibson guitars from its long‑term home in Kalamazoo, Michigan to Nashville, Tennessee. In 1984, Gibson finally closed its old factory at Kalamazoo.
Following a similar pattern to Fender’s travails at the time, Gibson underwent a period of poor quality control and severe financial difficulties, often blamed on corporate interference by executives who knew little about, and cared little for, the company’s pedigree and its customer base. Ultimately, as happened with Fender, the company returned to private ownership in January 1986 to focus on its core business. The Gibson Guitar Corporation was close to liquidation when it was bought by three businessmen, Henry E. Juszkiewicz, David H. Berryman and Gary A. Zebrowski. Under the new management, the business was once again repositioned as a maker of high quality professional musical instruments.
While production of Gibson’s sold body guitars remained in Nashville, further production plants were also opened in Memphis, Tennessee (1984) for semi‑hollow models, as well as Bozeman, Montana (1989) for acoustic guitars. After having bought out its main American competitor Epiphone in 1957, Gibson strategically repositioned Epiphone as a budget brand and relocated production of Epiphone guitars to Japan in 1970 and then to Korea in 1983, mainly producing low‑cost versions of famous Gibson models.
In order to cater for the more exclusive end of the market, Gibson produced select instruments under an in‑house Custom Shop operation. Juszkiewicz built on the internal Custom Shop operations, the roots of which date back to around 1984 (3 years before Fender established its Custom Shop), and which became a separate facility based in Nashville from October 1993.
The Gibson Guitar Corporation, still a private company, has its headquarters based in Nashville, Tennessee and continues to develop and produce high quality instruments into the 21st century. However, it hasn’t all been plain sailing for Gibson. In May 2018, after a period of unsuccessful diversification into peripheral consumer electronics products and rapidly rising debts, Gibson entered Chapter 11 bankruptcy protection in the U.S. The widely anticipated move was intended to give the company sufficient time to restructure the business, with Henry Juszkiewicz still as CEO. Gibson intends to focus on profitable core musical instrument products, while divesting itself of the remainder of its ill‑fated and loss‑making lifestyle ventures. It is likely that Gibson’s rationalisation programme will succeed and the company will avoid liquidation. Like the phoenix symbolised on its Firebird guitars, Gibson will surely rise again from the ashes and achieve long‑term financial security.
Many vintage Gibson solid body electric guitars are highly regarded by collectors, musicians and enthusiasts alike, with many key models reaching high or very prices on the vintage guitar market with the 1959 sunburst Gibson Les Paul Standard is held in particularly high esteem. It will be interesting to see if a resurgent Gibson will be able to recapture the pinnacles of past glory. Watch this space…
Other Major American Electric Guitar Brands
While it might seem from the previous two sections that Fender and Gibson were the only companies responsible for all the key milestones in the solid guitar’s evolution, this is in fact far from reality. There have been innumerable manufacturers from around the globe that have been highly influential in shaping the market.
Epiphone – Epiphone’s illustrious history dates back to 1873 when the Stathopoulo family emigrated from Greece, via Turkey, and arrived in New York in 1903. The family set up a business in America making banjos and mandolins. By the end of WWI, the company became ‘The House Of Stathopoulo’, then changed its name to the ‘Epiphone Banjo Company’ in 1928, the same year that they started producing acoustic guitars. The name Epiphone derived from a combination of owner Epaminondas Stathopoulo’s nickname, ‘Epi’, and the Greek word ‘phon-’ meaning ‘sound’ or ‘voice’. In addition to musical instruments, Epiphone started producing amplifiers in 1935. Epiphone was Gibson’s main competitor in the production of high‑quality instruments, particularly archtop guitars in the 1930s and 1940s, such as the De Luxe, Broadway and Triumph models. It was only after World War II that Epiphone began to struggle, eventually resulting in its acquisition by Gibson in 1957. Initially, the new generation of Epiphone guitars were still made in Gibson’s American facilities, even though many of their instruments were re‑branded Gibson models. During the 1960s, Epiphone’s Casino, which was effectively their version of the Gibson ES-330, became particularly famous because of an association with English pop/rock band The Beatles. In recent decades, the Epiphone brand has come to represent the affordable end of Gibson’s output, complementing the parent company’s product lines. In the early 1970s manufacturing was migrated to the Far East, first in Japan, then Korea and, since 2004, Epiphone guitars have been made in a dedicated factory in Qingdao, China. Other well‑known model Epiphone names from their past include Emperor, Riviera, Sheraton, Olympic, Wilshire and Crestwood.
Gretsch – Another famous manufacturer with a long history dating back to 1883 is Gretsch. The company was founded by Friedrich Gretsch (c.1856-1895). Gretsch arrived as a 17 year old German immigrant to the United States in 1872. By 1883, aged 27, Gretsch was manufacturing banjos, tambourines, and drums from a modest shop in Brooklyn, New York. It wasn’t until the big band era of the 1930s that guitars became part of Gretsch’s core business with models like the Synchromatic and Electromatic. Gretsch became hugely successful with the explosion of blues, country and rock ‘n’ roll music in the 1950s. The man behind many of Gretsch’s iconic designs including the flamboyant White Falcon was guitarist Jimmie Webster (1908‑1979), who worked as sales and demonstration representative for Gretsch. NB. Webster was known as the inventor of the ‘Touch System’ of playing in the 1950s, popularised by Van Halen as ‘two‑hand tapping’ in the late 1970s. The demand for Gretsch guitars during this period enabled Gretsch to compete head on with Gibson and Fender. Gretsch’s association with guitarist Chet Atkins propelled their now‑iconic 6120 from 1955 to massive popularity. Like many other companies in the 1960s, Gretsch struggled and was bought out by Baldwin Pianos in 1967. By 1981, after a period of significant decline Baldwin finally wound up production of Gretsch instruments. Fred W. Gretsch purchased the brand name in 1985 and several attempts were made to restart production, including manufacturing in the Far East. Gretsch has been under Fender patronage since 2002 with Fender having the controlling interest and the Gretsch family retaining ownership. A rejuvenated Gretsch company, with Fender’s support and endorsement from rockabilly guitarist Brian Setzer has, once again, become successful. Well‑known model Gretsch names from their history include the White Falcon, Country Gentleman, Tennessean, Viking, Anniversary, Jet and Corvette, often carrying obscure and confusing numerical model numbers.
Rickenbacker – Rickenbacker’s history is shorter than some of its competitors and has been widely covered in other parts of the guitar’s story. Rickenbacker only emerged in the early 1930s first as Ro‑Pat‑In then as Electro before formally adopting the Rickenbacker name. Rickenbacker was crucial in the early development of the electric guitar. However, it wasn’t until the late 1950s that Rickenbacker’s fortunes found a new lease of life and took a major upturn that would lead to the current day. In 1953, Adolph Rickenbacker sold his company to music industry businessman F.C. Hall (1909‑1999), founder and CEO of media company Radio-Tel. Under Hall’s ambitious leadership, the company introduced a number of innovative guitar models, which proved popular with many bands during the nascent rock ‘n’ roll era. In an inspired move, Halll hired illustrious guitar maker Roger Rossmeisl (1927-1979) in 1954. Rossmeisl was responsible for the design of Rickenbacker guitars including a number of iconic instruments released in the late 1950s, including the ‘Capri’ 300 series guitars from 1958 and the equally influential 4000 series basses from 1957. Both of these designs, along with a number of others, are still in production today. Rickenbacker’s artist association with, particularly, The Beatles and The Byrds in the 1960s, cemented the brand’s rightful place in guitar history.
Danelectro – While it may not be an obvious choice for coverage, it is worth mentioning Danelectro. The company was founded in 1947 by Lithuanian immigrant Nathan ‘Nat’ Daniel (1912-1994) and based in New Jersey. The company started out by making guitars, basses and baritones for other companies including Silvertone models for the Sears & Roebuck department stores and mail order, and Airline models for Montgomery Ward. The strategy enabled Danelectro to start making guitars using its own name by 1954. Daniel innovated by using unorthodox materials and construction techniques, at least hitherto unusual in the guitar building industry. The resulting instruments have a distinctive look and sound that also enabled the company to produce no-frills instruments at competitive prices for the mass market. In a clever move under the Silvertone brand, they produced guitars with a valve amp built into the guitar case, so customers could buy everything they needed in one convenient, portable package. The brand is important historically because it enabled many young aspiring musicians to buy instruments at low cost. The unique approach also attracted many professional players to use Danelectro instruments, including guitarists like Jimi Hendrix, Rory Gallagher, Jimmy Page and Beck. Like many other American companies, including Fender and Gibson, Danelectro struggled in the 1960s and was sold to industry giant MCA in 1966, only for the factory to be closed down in 1969. The brand was resurrected and started making guitars again in 2006.
PRS – Compared to some of the well established brands that have been around much longer, PRS Guitars is really the new‑kid‑on‑the‑block, founded by American luthier Paul Reed Smith in Annapolis, Maryland in 1984. In a relatively short period of time, PRS has gained an enviable reputation for high quality instruments and amps, cleverly finding a niche in the market that is different from their competitors. Taking design influences from Fender and Gibson amongst others and adding something new and fresh of their own, PRS managed to build substantial market share rapidly from seemingly nowhere. Having guitarist Carlos Santana on board from the start and bringing in ex‑Gibson president Ted McCarty as Smith’s mentor didn’t harm the company’s credibility either. PRS introduced stunning instruments, starting with the Standard and Custom, recognised for their immaculate craftsmanship. Many PRS instruments have distinctive features including exquisite highly figured tone woods, superbly engineered hardware and distinctive unique ‘bird’ fingerboard inlays. The company grew swiftly; relocating to a major new American factory in 1996 and from 2003 PRS established a range of more affordable SE (standing for ‘Student Edition’) models manufactured in Korea. PRS’s success demonstrates that the industry’s barriers to entry are not insurmountable and with the right strategy, it is still possible to enter the market and to grow market share despite well‑established competition, and without being straightjacketed by historical constraints.
Other Guitar Brands From Around the World
Guitar design, production and sales are not restricted to just a few large American companies. In America alone, there are many thousands of guitar manufacturers past and present. Many names will be familiar, such as Ernie Ball/Music Man, Peavey, Guild, Jackson, Dean, BC Rich, Ovation, Supro, National, Kay, Harmony, etc., through to innumerable custom and boutique luthiers. Some of these manufacture instruments in the U.S. while others are American companies that source part or all of their guitars from the Far East. A quick look around the globe highlights many other fertile guitar making territories…
Europe – Particularly following World War II when embargoes and tight trade restrictions limited exports of guitars from America, a combination of high demand for guitars and low supply provided an opportunity for some enterprising European companies to fill the gap. Many of these guitars followed the influence of American designs in the knowledge that young people in Europe aspired to emulate their American counterparts. Britain and continental Europe have produced many guitar brands over a long period of time including from illustrious companies such as Burns, Duesenberg, Eko, Framus, Hagstrom, Höfner, Hohner, Patrick James Eggle, Shergold, Gordon Smith, James Trussart, Vigier, Vox, Warwick, Watkins, Zemaitis, etc.
Far East – The Far East isn’t only responsible for producing low cost guitars for American and European guitar brands. During the 1970s, Japanese firms were producing affordable, high quality copies of American guitars, taking advantage of high labour prices and poor quality control in the U.S. However, there has also been a notable history of guitar manufacture in its own right, including some very quirky and idiosyncratic models. Many of the big names from Japan include, Aria, ESP/LTD, Ibanez, Italia, Teisco Tokai, Yamaha, etc.
Eastern Bloc – While not widely recognised as a guitar‑making region, largely because of its nationalistic political regime and economic protectionism, the Eastern Bloc countries have produced a diverse range of instruments over an extended period of time. There is a vast array of models bearing many unfamiliar names such as, Aelita, Formanta, Jolana, Migma, Tokina, etc.
As you might expect, the fascination with the world’s favourite instrument is genuinely global and they have been made in every corner of the world, including Australia, Canada, South America and, to a lesser extent, the middle east (where the guitar’s story began after all!) and Africa.
Other Factors
Although this section focuses on electric guitar production, it is worth remembering that acoustic guitar manufacturing is also thriving in the 21st Century with famous specialist brands such as Martin (based in Pennsylvania since 1833) and Taylor (based in California since 1974) at the forefront of innovation and technological development. Of the major American electric guitar makers, it is only really Gibson that also has a reputable range of professional acoustic instruments. Elsewhere, Yamaha has a strong range of Far Eastern acoustic guitars. There are numerous other manufacturers to be found producing fine acoustic guitars at all price points in the market.
The 21st Century landscape of guitar production is one of global diversity and differentiation. Modern guitars may have been hugely influenced, if not defined, by a small number of American companies but it is by no means a monopolistic industry; quite the opposite in reality. The long‑term viability of guitar making is inextricably linked to the music industry and what happens will rely heavily on musical trends and influences.
There have been many challenges to the dominance of the electric guitar, notably during the 1980s and 1990s with proliferation of synthesizers and in the 2000s as home production of electronic music became affordable and accessible. However, the popularity of the guitar seems (relatively) assured, despite many cynical commentators regularly proclaiming ‘the death of guitar music’. Digital technology is bringing a new challenge to guitar makers, so it will be up to countless luthiers around the world to rise to the challenge, seek new opportunities, adapt the guitar and make it truly a universal instrument and secure its future success for generations to come.
End of Part VI
Over these last six instalments, I have covered the guitar’s history from its vestigial beginnings in the ‘Cradle of Civilisation’ to the birth and proliferation of the electric guitar. There is just a little of the long and winding path left to travel and I hope you’ll join me for the remainder of the story. The next article has yet to be written, due to personal circumstances. While I hope to publish it next month, it is by no means certain. Fingers crossed. Until next time…
CRAVE Guitars ‘Quote of the Month’: “Contrary to popular opinion, great minds most definitely do not think alike. Similarly, great musicians do not play or sound alike.”
Without further ado, let’s get stuck into Part IV of the history of the guitar. As the story was left at the end of the last article during the 1920s and early 1930s, something new was needed to ensure that guitars would not only be able to compete with other instruments in a live situation but also become the catalyst for a musical revolution to mirror what was taking place in wider society. Just in case you were lulled into a sense of coherent continuity, this month’s article is a bit different from what has been covered so far.
This part is presented as part of a whole. If you wish to recap on previous articles in the ‘Potted History of the Guitar’ series, you can access them here (each part opens in a new browser tab):
Please remember that this is written purely for entertainment purposes and is not intended as an academic tome. While I have tried to be diligent in my research, there are undoubtedly improvements that could be made, so corrections and clarifications are genuinely welcomed. This is quite a long article, so I hope you are sitting comfortably.
Needing to be heard
The problem for guitarists in the 1920s was a simple but fundamental and frustrating one. The amount of volume that could be attained from purely acoustic guitar designs had got as far as it was likely to get at the start of the 1930s. Guitarists were still struggling to be heard in noisy live music environments as part of jazz, swing, big band and dance orchestras. Despite the strengths of steel strung folk guitars, archtop guitars and resonator guitars, the lack of volume continued to be a problem for guitarists throughout the early part of the 20th Century. A number of clever innovations attempted to help acoustic guitarists cut through the mix but they didn’t really capture mainstream attention and passed into obscurity, leaving demanding musicians still yearning for louder instruments.
Creative inventors, engineers and entrepreneurs were determined to find a workable solution. Perhaps the biggest game‑changing watershed in the entire history of guitar building was about to take place in America in the 1930s. The transformation depended on coincidental and mutually dependent developments; the magnetic pickup, the portable valve amplifier and its associated loudspeaker(s). Undoubtedly, the amplifier came first, simply because it could be driven by other inputs, such as early microphones, while the pickup followed to take advantage of the opportunity. Logic suggests that the converse would make little sense, as a pickup without some means of manipulating the signal s essentially redundant.
By the end of the 19th Century, early microphones were being used in telephone, broadcasting and recording industries. In 1916, the first condenser microphone was invented and in 1923, the first moving coil and ribbon microphones were developed. Given the timing, it seemed logical to experiment with microphones to capture the sound from acoustic guitars. However, the results weren’t particularly successful and the microphone proved to be a dead end for guitarists at the time. A more practical and reliable alternative was required to capture the physical energy produced by a stringed instrument and convert it into a usable electrical signal that could then be amplified and output.
Before starting to look at the early electric instruments that changed modern guitar music forever, it is worth taking a temporary detour to look at the catalysts that led to the step change. Once the technical inhibitors had been overcome and the various elements combined, electric guitars became a realistic and achievable proposition.
The electro magnetic guitar pickup
By the 1920s and 1930s, the science of using magnetism and wire coils to induce an electric current had been understood for several decades. It would, however, take some ingenuity to apply the various scientific principles involved to overcome the specific practical problems experienced by guitarists of the time. Within this context, we need to go right back to basics as a starting point.
An electromagnetic guitar pickup is basically a passive transducer that uses Faraday’s law of induction, named after English scientist Michael Faraday (1791‑1867), to produce an electromagnetic force. The physical movement of the vibrating steel string of a strummed or plucked guitar disturbs the magnetic field and induces a small voltage of between 100mV and 1V through the coil. This differs from a simple microphone, which works by converting pressure variations in the air (sound waves), into the mechanical motion of a diaphragm, which in turn produces an electrical signal (depending on the type of technology used).
A simple electromagnetic guitar pickup is generally constructed from one or more permanent magnets, wrapped many thousands of times in a coil made of fine copper wire. Most early guitar pickups comprised only one magnet and coil, hereafter referred to as single coil pickups. The weak electrical signal is then passed down an electrical lead to a separate amplifier where the signal is multiplied many times to drive a passive loudspeaker that reproduces the original signal at greater volume.
Unlike a microphone, the electromagnetic pickup does not reproduce the actual acoustic sound waves emanating from the guitar. The natural resonance of the instrument may cause the strings to vibrate in a certain way and this variation is picked up by the transducer, which may explain the differences in sound between two instruments using the same pickup, electrics, amplifier and speakers. As a result, at least in the early days, the characteristics of the pickup combined with the rest of the signal chain probably had more to do with the sound that audiences heard, rather than that of the actual instrument itself. There are innumerable permutations in which the basic components of magnets and wire can be configured to produce different outputs and over the years, pickup designers have used these variations to differentiate their pickups from those produced by others.
Gibson employee, Lloyd Loar had experimented with stringed instrument pickups as early as 1924, shortly before he left the company. Loar attempted to produce an electrical signal from vibrations passed from the strings through the bridge to the magnet and coil. Loar’s work did not lead to a successful product and guitarists had to wait a while longer.
American inventor and musician, George Beauchamp, who had been involved with the National String Instrument Corporation and the development of their resonator guitars, was also involved with another resourceful enterprise at the beginning of the 1930s. He teamed up with Adolph Rickenbacher to form the company was originally called Ro Pat In Corporation, which later became Electro String Instrument Corporation and later still, Rickenbacker, a name that most guitarists will recognise. Ro-Pat-In was instrumental in taking a fundamental new approach to electric guitar design.
Through Electro String, Beauchamp filed a patent in June 1934 setting out his pickup design as part of a complete ‘Electrical Stringed Musical Instrument’. Beauchamp’s ‘horsehoe’ pickup design comprised two ‘U’‑shaped magnets encircling the strings. Beauchamp’s application was granted by the U.S. Patent Office in August 1937. The patent was important because it was for a solid body electric guitar using a magnetic pickup, not just the pickup on its own – the development of the instrument will be covered in the next part of the story so, for now, the focus is solely on the pickup.
Ironically, in February 1936, Guy Hart filed a patent on behalf of Gibson for an ‘Electric Musical Instrument’ and this was awarded by the Patent office in July 1937, just 28 days before Beauchamp’s earlier patent application was confirmed.
Although unknown at the time, another single coil guitar pickup patent was filed in September 1944 by American inventor and entrepreneur Leo Fender. That application was for a ‘pickup unit for instruments’, which was awarded in December 1948. Although not as historically significant as other pickup patents, it was a clear indication of the direction that Leo Fender was heading prior to founding the company that would bear his name.
Another important principle of basic physics caused a significant problem for early pickup designers, and it still does even today. In addition to the desirable characteristic of electrical induction for guitar pickups, electromagnetic coils also act as directional antennae. As far as musical instruments go, this unwanted ‘feature’ means that single coil pickups not only pick up string vibrations but they also pick up interference from alternating mains current used by electrical appliances. Depending on position of the pickup in relation to other electrical equipment, of which there are usually many in a live music venue, the interference manifests itself as a continuous and insistent hum, which is then in turn amplified by a guitar amplifier.
One ingenious solution to the problem of mains‑induced hum was to invent a guitar pickup that still produced a signal from string vibrations while eradicating the interference from nearby electrical equipment. The clever answer was the invention of the ‘humbucking’ pickup, which uses two magnets, each with a coil of wire wound in opposite directions. Electrically induced mains interference affects both coils equally and, because each one is wound in opposing directions, the interference is cancelled out, thereby eradicating (or ‘bucking’) the hum. More importantly, not only do the coils still induce a voltage, they output a stronger signal because there are two coils instead of one. As the problem is all but removed at source, there is no hum to be amplified.
Arguments persist as to who invented the humbucking guitar pickup. Many commentators give the accolade to Seth Lover (1910‑1997), who was an electronics designer working for Gibson at the time and filed a patent in June 1955. Lover’s closest competitor in the race to be recognised for the humbucking pickup came from Joseph Butts, who later worked for Gretsch. Butts filed another humbucking pickup patent some 18 months later in January 1957. It was Butts’ application that was awarded first in June 1959, while Lover’s patent was awarded in July 1959. As far as many working musicians were concerned, the invention was successful and that was all that mattered.
Generally speaking (but not always, especially if obscured by a cover), it is relatively easy to spot the difference between slim single coil pickups and their larger dual‑coil humbucking counterparts. The latter normally have two coil bobbins traditionally mounted side‑by‑side. Within these two broad types, there are many, many different makes and styles of pickup to suit most needs.
Hum is not the only affliction that electric guitar builders have to deal with. All electromagnetic pickups, even those produced today, are prone to audio feedback, which is often heard as an undesirable high pitched shriek or howl. Feedback is a phenomenon called the Larsen Effect after the Danish scientist Søren Absalon Larsen (1871-1957) who discovered it. Audio feedback is caused by a sound loop that exists between an audio input such as a pickup or microphone and an audio output such as an loudspeaker fed by an amplifier. The electrical signal from the input is amplified through a loudspeaker and is then picked up again by the input and so on, continuously. The sound of the feedback is shaped by the resonant frequencies and proximity of the various components in the loop, including room acoustics. Most of the time, feedback is considered problematic and often unpredictable. However many guitarists have learned to harness and control feedback in a positive musical way to create additional sounds.
Some contemporary pickup manufacturers go to great lengths to replicate the authentic tonal characteristics of vintage pickups. One of those widely imitated pickups is also probably the most famous of humbucking pickups. Used on Gibson guitars from the late 1950s, the PAF (Patent Applied For), named after the black sticker on the baseplate, has come to define Gibson’s sound for many guitarists. The PAFs are particularly revered, as they were used in sunburst Gibson Les Paul Standards from 1958‑1960, often regarded as the ‘golden years’ for Gibson.
Today, many independent pickup builders not only pay homage to vintage designs but also strive to create their own distinctive reputation. Third party pickup builders may make OEM (Original Equipment Manufacturer) and aftermarket pickups in a huge range of types. Such companies include Seymour Duncan, Di Marzio, EMG, Lollar and Bare Knuckle, among many others. Pickup choice in the 21st Century is very much down to personal preference and the options are nigh on infinite – very different from the 1930s.
The sounds generated by single coil and humbucking pickups are noticeably different. Not only do single coil pickups tend to produce a weaker signal, they sound thinner and cleaner, while more powerful humbucking pickups tend to sound fatter and warmer. Guitarists noticed this variation and took advantage of the differences to shape their own playing style and develop their distinctive tone. In addition, humbuckers are often considered better suited to overdriving pre‑amplifiers, thereby adding some controllable, distinctive and desirable harmonic distortion, making them popular in higher gain rock music.
By the 1950s manufacturers were commonly using two or more pickups on a guitar for added tonal versatility, initially adding a second or third pickup of the same type, for instance commonly used configurations include 2 humbuckers (e.g. Gibson Les Paul) or 3 single coils (e.g. Fender Stratocaster). Many guitar makers today mix different types of pickups on one guitar to broaden the range of sounds available.
Some pickup arrangements also allow pickups to be engaged in series or parallel or in/out of phase to give musicians a greater number of tonal options. Since the 1970s, pickup designers have enabled the signal from the two coils of a humbucking pickup to be ‘split’ (NB. not ‘tapped’). By using a switch, guitarists may enable a split humbucker to sound either like a traditional humbucker or to emulate the distinctive sound of a single coil pickup. All these various techniques provide guitarists with greater flexibility from their pickup(s).
Simplistically, guitar pickups may also be described either as passive or active. Passive pickups are the basic devices that have been described so far, while active pickups incorporate some form of electronic circuitry in the guitar to modify the signal, normally powered by an on‑board battery. Outwardly, there is often little to distinguish whether pickups are active or not. Putting active electronics into a guitar has been around since at least the 1960s and can range from a simple pre‑amp to boost the pickup signal to elaborate on‑board effects or even low powered amplification.
Since its inception 1930s, the humble guitar pickup has been adapted into many diverse forms. The majority of pickups in the early 21st Century remain passive single coil or humbucking types. However, there have been other pickup innovations along the way diverging from the norm. These alternative technologies include, amongst many other pickup types; hexaphonic (that feed individual string signals to MIDI/synthesizer controllers), piezoelectric (using crystals to induce current), microphonic (converting sound wave vibrations to electricity), electrostatic (using a capacitor to vary electrical capacitance), optical (interrupting a beam of light detected by a sensor), etc.
The understanding of the science behind pickup materials and dynamics between the components has been improved and refined significantly since the 1930s. However, the basic principles behind the passive transducing electromagnetic pickup remain pertinent today and are likely to remain so for the foreseeable future. Magnetic pickups are, by far, the most common type used by electric guitars in the late 20th and early 21st Centuries. This may be about to change.
With the digital revolution, there are numerous innovations occurring today that will lead to radical new pickup designs in the future. Future musicians can expect many new ways of converting the vibrations from humble plucked guitar strings into electrical signals that can be manipulated in ways we cannot yet contemplate. The possibly unstoppable migration from analogue to digital technology will continue. We can only speculate as to how far digital processes will encroach into the hitherto staunchly analogue domain of the guitar. Already, we have seen digital devices that enable the output from a guitar’ pickup to ‘model’ other types of guitar and even other instruments by modifying the signal digitally. We have also seen guitars as being a source trigger for external synthesis and various guitar synths have been around since the 1970s. It seems somewhat ironic that the digital age is enabling ever more accurate simulations of the earliest analogue pickups including the original’s crude and accidental inconsistencies.
While this section of the story is about guitar pickups, it is worth remembering that pickups have also been used successfully on many other types of stringed instrument.
Once the concept had been proven, the next step was to apply actual real‑world pickups in a practical way. There were essentially two methods of implementing an electromagnetic pickup for use on a guitar. One way was to add a pickup to existing acoustic instruments and the other was to invent an entirely new type of guitar with the pickup as an integral part of the design. How these two approaches came about will be covered in the next part of the story.
The pickup on its own, however, is of little use in isolation. Another crucial part of the equation was to take the weak signal from the guitar’s pickup and manipulate it electronically to make it much louder, which is where a completely different solution was needed.
The electric guitar amplifier
Possibly the major challenge with introducing guitar pickups was to turn the tiny voltage produced by the pickups into a sound that provided practical real‑world volume and tone for working musicians playing in noisy bands on the road.
The essential piece of equipment actually comprises two crucial components, the electrical amplifier and one or more loudspeakers. Amplifiers largely fall into two broad categories – either as discrete units comprising the electronics in a ‘head’ unit with loudspeakers installed in a separate cabinet, or with both amplifier and speaker(s) integrated into a single ‘combo’ amp. It is worth looking at the origins of both the electronics and the loudspeaker separately.
For travelling musicians from the 1930s on, amps also needed to be portable, so size and weight were particular considerations, as was electrical safety, durability and reliability. In addition, some degree of industry standardisation to enable interchangeability between instruments, electronics and venues was important.
The Amplifier
In the early days, amplifying a signal from a pickup was all that a guitar amp was really required to do. Controls were very basic, usually just a single input channel with a volume and, maybe, a tone knob. It would take some time before more flexible electronics were added to these basic amplifier circuits. Nowadays, the diversity of amps ranges from the very simple to the incredibly complex. The latter often including, just for starters, multiple switched channels, gain controls, effects loops, digital modelling alongside advanced EQ, flexible on‑board effects and digital interfaces. However, the fundamental principles of amp utility haven’t really changed that much since amps were first invented in the 1920s and when guitarists started to use them in the 1930s.
Put very simply, an amplifier is made up of active electronics that are designed to take an input signal, multiply it many times in strength and output it to a loudspeaker at a volume that is considerably louder than the original input. The electronics of an amplifier comprise essentially two discrete parts, a pre‑amp that controls the incoming signal and shapes it ready to be boosted and output by the power amp section that then drives the loudspeaker(s). It is these two amp sections that determine the overall character and volume of the audio output.
Amplifier output is usually measured in watts and provides a crude indication of power output (volts x amps = watts). The relationship between watts and sound pressure levels heard by the human ear is logarithmic. Generalising, it takes ten times the output power in watts to double the perceived audio volume. In addition, it takes considerably more amplifier power to reproduce low-frequency sound, especially at high volume, so bass amps tend to have higher power output ratings.
While early amplifiers were configured to the environment in which they were most likely to be put, such as practice, studio or stage amps, many modern amps use various techniques to minimise this artificial distinction, such as master volume controls, power attenuators or circuits used to modify amplifier stages to suit.
Up until the 1970s, thermionic valves – also known as vacuum tubes – were a principal electronic component and one that contributed significantly to both the power and sonic character of the amplifier. A valve is a relatively simple device used to control electrical current between its electrodes. The first valve was invented in 1904 by English electric engineer John Ambrose Fleming (1849-1945).
At its most basic, a valve comprises an external glass container used to maintain a vacuum is attached to the valve base. Inside the valve there is a heater, an electron‑emitting cathode/filament and an electron‑collecting anode/plate. Electrical current, in the form of negatively charged electrons, flows through the vacuum in one direction only from the cathode to the anode. An electrical grid can be used to control the current and is the one often used for amplification because the grid can be used to vary the number of electrons reaching the anode and, thereby, controls the amount of gain. Valves are often described by the number of electrodes, for instance; diode, triode, tetrode or pentode valves (2, 3, 4 and 5 respectively). The humble valve has been used in many applications, such as amplification, rectification, switching, oscillation, and display.
Valves come in many shapes and sizes and vary according to the function they are required to perform in the amp stages. Generally speaking, pre-amp tubes tend to be smaller, while power amp valves tend to be larger.
There are numerous alternatives and variations of valves and there isn’t room to cover the range of technical differences. Thankfully, there has been a degree of commonality in amplifier design over the decades. Typical valves used in pre‑amps include models such as the 12AX7/ECC83. Typical valves used in power amps include models such as the EL-34, EL-84, KT66/77/88, 6L6/5881 and 5150. Valves impart a characteristic ‘natural’ sonic signature and tend to be sensitive to a guitarist’s playing dynamics, which is why they are still widely favoured by many musicians to this day. While technically outdated and obsolete, there is a notable modern‑day industry built around valve production, amp manufacturing and valve amp maintenance.
The valve is the technological precursor to modern semiconductors. Semiconductors are often made of silicon, although they can be made from other materials, such as germanium. A transistor is a solid‑state semiconductor that roughly performs the same function as a valve and is commonly used for amplification. Transistors are smaller, cheaper, lighter, run cooler, are more reliable and more resilient than valves. Some manufacturers produce hybrid amps that aim to take the best characteristics of both valve and transistor technologies.
Taking things even further away from archaic valve technology, electronics using complex digital microprocessors are commonplace. Not only can DSP (Digital Signal Processor) chips produce their own sounds but also they enable a single unit to model a multiplicity of amplifier models that would be impossible using traditional technology. In addition, they can also emulate multiple effects, speaker cabinets, microphone placements, studio interfaces, and so on. Reliable and robust digital processing amps able to be used equally well at home, in the studio and on stage are once again attempting to usurp territory previously held by archaic analogue amps.
Specialist amps are made to make the most of other, albeit similar, electric instruments. For instance, electro‑acoustic guitars (acoustic guitars with pickups) produce a wider frequency range and tend to be ‘cleaner’ sounding than electric guitar amps, which has led to increasingly elaborate amp electronics to cater for the particular needs of acoustic guitar players. Bass amps and speakers are also engineered specifically to provide for the demanding amplification used by bass guitarists. There are no hard and fast rules, the lines are not always clearly drawn and there is inevitably some interchangeability between the general types.
One of the keys to success is to match the characteristics of the amplifier stages to the loudspeakers, so it is worth looking next at the humble loudspeaker and the important part it plays in the guitar sound’s signal chain.
The Loudspeaker
The latter part of the 19th Century was ripe for invention in the field of sound reproduction. As with other sections, only a few of the key milestones can be covered here. Prior to the invention of the modern loudspeaker, megaphones and bulky ‘radio horns’ had been used to increase acoustic volume. However these proved impractical because of their size and weight, limited frequency range and low sound pressure levels.
German teacher, Johann Philipp Reis was, perhaps, the first to develop a rudimentary type of experimental electric loudspeaker in 1861. Alexander Graham Bell was the first to patent his loudspeaker design in 1876 for use in his telephone, shortly followed by Ernst W. Siemens who patented his ‘magneto-electric apparatus’ in 1874. Thomas Edison and Nikola Tesla were also experimenting with sound around the same time. By 1898, Horace Short was working with compressed air drivers and Oliver Lodge was developing a ‘dynamic’ speaker using magnets and moving coils with horns to amplify sound. Danish‑American engineer Peter L. Jensen (1886-1961) is often cited as co‑inventor of moving coil speakers in 1915 and he started applying the technology for use in real world situations. Jensen founded his company, Magnavox, in 1915 to market products for telephones and public address (PA) systems. Magnavox is now part of the massive Philips corporation.
Things changed considerably in the 1920s with the introduction of the first amplified moving coil loudspeaker using a conical paper speaker diaphragm, which was invented in 1925 by Edward W. Kellogg and Chester W. Rice, both of whom worked for General Electric in New York, USA. Their research was important as it established both the principle of the amplifier to boost a signal and a speaker able to reproduce a wide and uniform frequency range. Rice filed a patent for the electrodynamic direct radiating ‘loud speaker’ in 1925, which was awarded in April 1929. Their speaker was introduced to the market under RCA’s Radiola brand in 1926.
Early speakers used powered electromagnets, as permanent magnets were scarce at the time, although Jensen released a fixed magnet speaker in 1930. Lightweight Alnico alloy magnets became available after WWII, making the technology more accessible enabling further innovations to take place. Other inventions along the way included, for example, 2‑way systems using a crossover to separate frequency bands (1937) and coaxial speakers (1943). Once the concept of the moving coil speaker had been proven in practical applications, it has become the de facto standard within the music industry for nearly a century.
The loudspeaker, as we know it today, is essentially a mechanical electroacoustic transducer that serves the opposite function to a microphone in that it converts an electrical signal into sound waves. A traditional moving coil speaker is passive in that it relies on an already amplified signal being fed to it and it doesn’t require its own power supply. The incoming amplified signal is fed into a coil of wire, known as the voice coil, suspended between the poles of a permanent magnet. The voice coil is attached to the apex of a conical diaphragm known as a speaker cone, originally made of paper. The outer edge of the cone is mounted within a fixed metal chassis, usually within a cabinet. The electrical signal makes the voice coil move back and forth rapidly within the magnet thereby pushing on the cone to produce sound waves. The more air that the moving speaker cone displaces, the louder the perceived sound is. Different sizes and types of speaker are used to deliver different sound frequency ranges. Generally, larger speakers are used to deliver lower bass frequencies and smaller ones used for higher treble frequencies.
Loudspeakers are usually attached to a flat panel (baffle) with circular holes cut into it such that the sound waves produced by the speaker cones can escape directly into the listening environment. The baffle with its speaker(s) is normally mounted inside either an open‑back or closed‑back wooden cabinet.
Like amplifier outputs, speaker output is usually measured in watts, which is the electrical power needed to drive the speaker. More watts generally, although not always, indicates greater volume. Like all electrical devices, a speaker provides some opposition to the signal being fed into it, called impedance, measured in ohms. Some speakers are ‘hard to drive’ and have a low impedance, which means that it requires greater current from the amplifier to result in the same output level than a high impedance speaker. As a result, it is important to match a speaker’s characteristics to the amp that is driving it.
Most loudspeakers, even those produced today, are relatively inefficient devices with only about 1% of the electrical energy being converted into acoustic energy. Most of the remaining energy is converted into heat. The sensitivity of the speaker describes how much relative electrical energy is converted into sound pressure level, measured in decibels.
The other important factor for loudspeaker performance is its frequency response. Human hearing generally covers the range 20-20,000 Hertz (cycles per second). People’s sensitivity to frequencies is not uniform and it varies depending on pitch. Human hearing is usually most sensitive in the 2,000-4,000 Hertz range.
Famous names in the field of loudspeaker manufacturing today include Celestion, Jensen, Weber, Electro Voice, JBL, Bose, Fane, Altec Lansing, Mackie, and Peavey amongst many others.
Despite its many drawbacks, the moving coil loudspeaker was (and generally still is) the most effective mechanism for the job and they remain in very wide use today. Speakers come in a multiplicity of shapes and sizes and are used in so many different ways. However, like the pickup and amplifier, the basic principles of speaker design can be traced back to the early part of the 20th Century.
Guitar Amps
Initially, bulky battery‑powered valve amps and speakers were used in PA systems and in movie theatres of the time. Because of their bulk and relative fragility, these early systems tended to be fixed installations. From c.1927, portable AC mains‑powered amps became available and musicians started to adopt the technology.
In 1928, Stromberg‑Voisinet advertised the first electric instrument and amplifier package. However, it was not a commercial success and no verified examples exist today. In 1929, Vega introduced a portable amplifier to be used with banjos.
It wasn’t until 1932 when the Electro String Instrument Corporation – later to become Rickenbacker – was formed to bring the electric guitar to market that things really took off. Electro launched a ‘high output’ guitar amp to accompany their new solid body electric lap steel guitars, as Hawaiian music was highly popular at the time across America. The first commercial solid bodied electric guitar and amplifier made by Electro String essentially established the format for early combo amps comprising an electronic amplifier mounted inside a wooden cabinet along with a speaker. The new combo amp also had a carrying handle to make it portable and, shortly after, the company added metal corners to protect the cabinets in transit.
In 1933, Dobro introduced the first guitar amp combo with twin 8 inch speakers. By around 1935, the demand for amplified electric guitars became unstoppable and the electric guitar music revolution had begun. Other companies such as National, RCA Victor, Audio-Vox, Vivi‑Tone, Premier, Vega, Kay, Valco and Volu‑Tone, promoted their own amps to musicians, with varying degrees of success during the 1930s and 1940s. Gibson was also experimenting with amplifiers in the early 1930s although none were made commercially available at the time. Most of the early valve amplifiers were low powered by today’s standards, usually less than 10-15 watts and using small speakers, often of 10 inches or less in diameter.
In 1938, American electronics technician, Clarence Leonidas ‘Leo’ Fender (1909-1991) established Fender Radio Service to repair a wide variety of electronic equipment. He found that musicians would come to him for PA and amplifier repairs and rentals. Seeing the potential of the music industry and started to focus more on musical equipment manufacture. Fender began a short‑lived venture in 1944 with Clayton ‘Doc’ Kauffman, a former employee of Rickenbacker called K&F Manufacturing Corporation with the intention to build Hawaiian lap steel guitars and amplifiers.
In 1946, after Kauffman and Fender parted company, Leo founded the company with which he will forever be associated, Fender Electric Instrument Manufacturing Company, based in Fullerton, California. Shortly thereafter, they introduced the first guitar amps carrying the Fender name. Early Fender combo amplifiers included the Fender Princeton (1947-1979) and Champion 800 (1948-1982).
In 1952, shortly after Fender introduced their Broadcaster guitar which would become the legendary Telecaster, the company introduced what would be, perhaps, its most celebrated combo amp, the famous Fender Twin. The Twin moniker derived from its dual 12 inch speakers. The Twin has been released in many versions over its long history, with its power output ranging from its original 25 watts to a high of 135 watts in the late 1970s. The perennial Fender Twin remains in production today and has become an industry standard.
Meanwhile, based in Kent, England Tom Jennings (1918-1978) founded British company Vox in 1947 to produce musical equipment. It wasn’t until 1958 that Vox released its first guitar amp, the 15‑watt AC15. A year later, at the request of The Shadows’ guitarist Hank Marvin, Vox introduced its most famous model, the AC30, intended to compete with America’s powerful Fender Twin amp. The AC30 proved to be a very successful product and in updated form, it remains in production today.
It wasn’t until the 1950s that mass produced guitar amplifiers really became commonplace and incorporated many of the features now expected from an amp including, for instance, multiple tone controls, tremolo and reverb.
In addition, contemporary popular music of the time was developing rapidly and guitarists began to experiment by overdriving their amplifiers to distort the guitar’s sound at much higher volumes. From the mid‑1960s guitarists sought to control the level of overdrive and distortion (also known as clipping) as a creative tool. One particular characteristic of natural valve distortion is that clipping also tends to compress the signal as the volume is increased, meaning the output tends to sound ‘thicker’, rather than louder, emphasising the guitar’s sustain.
Guitarist Dave Davies of English band The Kinks is often credited with popularising guitar distortion. On one occasion, Davies himself admitted to slashing the speaker cone of his Elpico AC55 ‘little green amp’ with a razor blade out of frustration and in the process of doing so, he made it sound distorted and nasty. The Kinks’ song, ‘You Really Got Me’ (1964) is often cited, rightly or wrongly, as the first hit record featuring heavy guitar distortion (using a Vox AC30).
The search for new guitar sounds in the 1960s helped to ignite the drive for compact guitar effect pedals, initially with simple fuzz and wah effects. A whole industry developed during the late 1960s and 1970s including brands such as Electro‑Harmonix, MXR, Maestro, Boss and Ibanez, amongst many, many others. Effects have ever since been used to complement guitars and amps as an integral part of a musician’s signal chain. The market for effect pedals has grown into a massive industry in its own right.
The development of guitars, amps and popular musical styles of the 1950s defined the template on which succeeding generations of guitarists would build incrementally. Many modern amps and amplifier innovations hark back to the best examples of this ‘golden’ period. Driven by the success of the 1950s, particularly the popularity of Fender amps, the quest for more volume seemed unquenchable. The first 100 watt amps were made by Leo Fender for surf guitarist Dick Dale, while Jim Marshall of legendary British amplifier manufacturers Marshall did the same for Pete Townshend and John Entwistle of rock band The Who. Dr. Jim Marshall OBE was affectionately nicknamed, ‘the father of loud’.
High power, high gain valve guitar amps became the norm at the end of the 1960s and into the 1970s. It was not uncommon to see large stages filled with gargantuan ‘stacks’ of loudspeaker cabinets powered by banks of high powered amps. Marshall is the brand most associated with the classic guitar stack, which at its simplest comprises a 50 or 100 watt amp on top of two 4×12” closed back speaker cabinets, thanks again to Pete Townshend of The Who as well as the likes of Jimi Hendrix and Eric Clapton. The guitar stack has since become inextricably linked with hard, heavy and metal rock music. Music and its essential components very much reflected the cultural and social changes of the times.
There have been several technological challenges to the humble valve. A concerted trend away from vacuum tubes towards solid state transistor amps occurred in the 1970s, led by companies like Roland, Peavey and H/H. Other manufacturers adopted a best‑of‑both‑worlds approach by making hybrid solid state/valve amps, led by Leo Fender during his time with Music Man.
Arguably, Fender, Marshall remain the two predominant and recognisable amplifier brands and, respectively, have come to define the ‘American sound’ and ‘British sound’ respectively. Notably, unlike Fender, Gibson has never had much commercial success with building guitar amps, despite producing some credible models along the way. There are now a myriad of other amplifier manufacturers including famous brand names such as Mesa Boogie, Peavey, Ampeg, Randall, Rivera, Bogner, PRS and Supro in America, and Vox, Orange, Blackstar, Victory, Hi-Watt and Laney in the UK. Outside the USA and UK, there are many successful brands including Hughes & Kettner, Engl, Line6, Roland, Yamaha, BOSS, etc. In order to keep production costs down, many budget models are now produced in the Far East, while the majority of small boutique amp builders cater for the high‑end, being manufactured in limited numbers in America and Europe.
Many other famous brand names have passed into history, such as Traynor, Sunn, Multivox Premier, Univox, WEM/Watkins, Sound City, H/H, Selmer, Cornford and Carlsbro although, to be fair, some of these continue to operate in some form or other and may well be rejuvenated at some point. There are far too many brands, past and present, to mention here.
Ironically, there is increasing interest in capturing the retro sound and looks of the earliest guitar amplifiers. Many companies are now recreating classic analogue models of the past, often incorporating modern adaptations for reliability, safety and convenience to meet the demands of today’s guitarists. There are many boutique amp builders looking to take the best of old and new and present something different from the current mainstream manufacturers.
At this point, no article focusing on guitar amps would be complete without mentioning Dumble amplifiers. Dumble amps are made in very small numbers by Alexander ‘Howard’ Dumble in L.A., California, often by request of well‑heeled professional musicians. The Dumble Overdrive Special is widely regarded as the zenith of limited production boutique amps and, as a result of their quality and rarity, new or used examples have gained almost mythical status and demand extremely high values on the open market.
Despite the remarkable sustained popularity of valves, digital modelling technology is now making major inroads into the tube’s traditional territory. As the technological advances behind digital modelling processors that began with the iconic Line 6 Pod through to ever‑improving digital advances from companies like Fractal and Kemper. The audible difference between the ‘antiquated’ originals and modern digital recreations is rapidly diminishing to the point where professional musicians see a competitive advantage in moving to a digital platform.
Despite stiff competition from solid state and digital circuits, the valve guitar amp currently remains the de facto standard for many discerning professional guitarists, despite the decidedly old-world technology involved. It will be interesting to see how long genuine valve amplifiers will continue to prosper in the face of the digital revolution. Only time and hindsight will tell. It is likely that valve, analogue solid state and digital technologies will be able to coexist for many years yet.
Get connected
Guitars need to be connected to an amp in order to work, often with effect pedals in between. Before wireless and/or digital technology takes over completely, the venerable guitar lead has been the necessary link between input and output since the 1930s. At each end of a traditional interconnecting lead is a remarkable piece of analogue kit that most guitarists rarely think about but cannot live without. Similarly, guitars, amps and effects also have the other part of the same connection.
The essential connector in question is the ¼“ (6.35 mm) jack plug and its associated socket, which originally dates from c.1878. The first jack connector was invented by George W. Coy and was used for the first commercial manual switchboard at the telephone exchange in New Haven, Connecticut, USA. It is astonishing that, after nearly 1½ centuries, this enduring piece of industry standard equipment is still in ubiquitous use today, long after it became obsolete in telephone systems.
End of Part IV
This has been a self‑contained article that departs from the usual topic of guitars per se. While it might seem a lengthy, in‑depth examination, it only just scratches the surface. As I don’t have the space, knowledge or resources to write comprehensively on the subject, I highly recommend that readers wanting to delve into the historical detail take a look at the innumerable resources available on the ever‑present hinterwebby thing. NB. Credit to all original photographers for images used from Google Images.
Arguably, without the complementary inventions of the electromagnetic pickup, the dedicated valve amplifier and the moving coil loudspeaker, the revolution in guitar technology that started in the 1930s and which really took off in the 1950s would not have been possible. It is notable that the scientific principles underpinning today’s electric guitars are still relevant nearly a century later. It is, at least to me, remarkable that, technically, we haven’t really evolved a great deal over the intervening decades. Advances have been incremental refinements, rather than ground breaking. Digital technology may change all that. Watch this space.
At long last, in Part V, the story will finally unleash the breakthroughs that led directly to the early electric archtop and solid body guitars. The next revolution in guitar music making was about to happen. Who could possibly have anticipated the impact that the congruence of the three seemingly innocuous bits of music technology covered above would have when brought together.
I hope you have enjoyed the journey thus far and thank you for reading. I also hope that you’ll come back and join me on the next part of the guitar’s long journey to the current day. Time to get some vintage gear out and plug in. Until next time…
CRAVE Guitars ‘Quote of the Month’: “Excess in any form does not indicate wisdom; rather it evidences the lack of it”
