28 Nov 2023

November 2023 – Musical Machinations

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

Prelude

WELCOME ONCE MORE to CRAVE Guitars’ unhurried cruise through the planet’s turbulent waters this November 2023. While there has been much to protest about in the rapid disintegration of the prevailing ‘world order’ during the 2020s thus far, one has to grasp onto any positive prospects that may present themselves. Arising from the debris and carnage of grinding attrition, the poppies of opportunity are optimistic symbols for hope and prosperity, albeit fleeting. That’s basically all flowery language for carpe diem (from Roman lyric poet, Horace’s work, ‘Odes’ in 23 BCE – literal meaning ‘pluck the day’, commonly interpreted as ‘seize the day’).

“While we speak, envious time will have fled: seize the day, to the least extent possible trusting in the next one.” Quintus Horatius Flaccus (Horace, 65-8 BCE)

I recognise that there has been little in the way of exciting news on CRAVE Guitars core ‘business’ for many reasons outlined in the previous article (October 2023). It has been slow but it hasn’t been a total wipe‑out though and I’ll come back to that on another occasion. Here, I’m focussing purely on recorded music and principally a persistent quest to unearth something a little bit different.

Once again, no AI was used to research or write this article, only the author’s meagre cranial capacity and a bit of old school pre‑AI technology.

Context

The one upside of recent times has been an opportunity to embark on an intentional journey to explore off‑the‑beaten‑track modern music. As in physics, the musical micro‑universe is continuously expanding. The challenge is that the musical catalogue since the 1950s is absolutely massive and, with each passing day, becomes even bigger – far too much to begin with, let alone keep up with. While, on the basis that one’s knowledge is inherently extremely limited, it means that any adventure has plenty of scope for discovery, even if it is only vainly scratching the surface of the iceberg’s tip (there I go mixing metaphors again!).

“I know nothing except the fact of my ignorance.” Greek philosopher Socrates (c.470-399 BCE)

On this particular excursion into the unknown, music discovery means expanding the author’s knowledge and appreciation across many aspects of contemporary music. The exercise is about not only consolidating existing music but also about travelling lands un‑trod for new music, which may mean older music that is new to me as well as recently released music that is new to everyone.

Fortunately, 21^st Century explorations are sedate experiences. No longer do we have to fear ‘hic sunt dracones’ in ‘Terra incognita’ (here be dragons in unknown land). Note: The former derives from the Hunt‑Lenox Globe (1504), the latter from Ptolemy’s Geography (c.150).

Over far too many years than I would care to contemplate, I have been buying and listening to music. Nothing unusual about that. For many reasons (space, funds, etc.), music was largely revolved around established genre preferences. Fair enough; isn’t that what it’s all about, buy what you like and don’t bother with everything else? However, such an exercise becomes largely self‑perpetuating and insular. This I was aware of and felt that there was much more to be revealed. Where to start?

During CRAVE Guitars’ 3‑year hiatus (see last month’s article, ‘Return to and from Obscurity’), I became fascinated by exposure to ‘new’ music, rather than the habitual repetitive listening to a small repertoire of familiar choons. This is no new epiphany. When much younger, I made a point of listening to BBC Radio 1 DJ John Peel (1939‑2004) and valued his nonconformist approach towards exciting new bands and their music, especially but not solely during the punk rock era. The late John Peel may not be familiar to readers outside the UK. It was because of John Peel that I bought my very first LP album – ‘Meddle’ by Pink Floyd (1971), after he debuted it in its entirety on his late night radio show.

While so many other things were getting in my way, I consciously elected to spread my musical wings again, mainly because it is something I had wanted to do and it was actually eminently do‑able, especially economically (at first!). I engaged in the hobby of ‘crate digging’ or simply ‘digging’ in the Internet age, i.e. searching anywhere for content, online suppliers and auction sites, charity shops, second hand record shops, brick‑and‑mortar retailers, etc. Buying used albums makes the exercise much more economic, fun and sustainable.

“Music is an important part of our culture and record stores play a vital part in keeping the power of music alive.” Chuck Berry (1926-2017)

Alternative sources include ‘recommendations’ from other music aficionados and using the Shazam app on a smart phone to identify something unfamiliar and interesting that pops up wherever one might be at the time.

One of the first steps was to identify what I had and where there were obvious gaps. I had already created a Microsoft Access database so that I could scrupulously catalogue the albums, EPs and singles in my possession. That soon ran into the application’s upper limit of 2 GB per database, so had to be split into multiple databases. Now that I readily know what I have (little), what I haven’t (massive). It also enabled me to log what I might want (a continuously growing ‘most wanted’ list). The systematic categorisation was reinforced by importing everything I had from source onto Apple iTunes. Between these two key resources, it became relatively straightforward to keep track of things. Then, it was on to, thankfully dragon‑free, pastures new.

My investigations are basically limited to modern contemporary music from the early‑mid 1950s – basically from the emergence of rock ‘n’ roll – to the current day. It also includes going back further into the history of some long‑standing top‑tier genres such as blues, country and jazz that were direct predecessors to, and influences on, everything from rock ‘n’ roll onwards, as well as continuing to evolve in their own right.

There have to be boundaries or I would go insane just collecting for collecting’s sake, which is not only unrealistic but also pointless. American rapper and entrepreneur Dr. Dre once stated that he accumulated 80,000 albums and kept them in storage, before realising just that basic error. I’m sure that somewhere out there is a comprehensive British Library‑esque collection of music releases over the last 100 or so years, catalogued for historical posterity. That would be one heck of a monumental task. My endeavours are, unsurprisingly, much, much more modest.

One has to enjoy, as well as feel that an avocation is worthwhile, or there is no worth in doing it. It is for this reason that I have to exclude classical music. For some reason, classical music leaves me stone cold dead. Always has done. I’ve tried repeatedly to get into it but to no avail. However, in contemporary music, there are styles of modern classical and minimalist music that blend, fuse or crossover into contemporary electronic sensibilities with classical instrumentation that I can grasp but I’m afraid that’s it. The likes of Max Richter, Tim Hecker, Philip Glass, Jóhann Jóhannsson, Walter/Wendy Carlos and Isao Tomita I can engage with, otherwise, meh. I genuinely apologise to classical music fans. I’m sure it’s fabulous n’all but it just doesn’t do anything for me and going down that particular rabbit hole is an experience I don’t want to pursue… so I won’t. My choice.

Here are just a few figures relevant to the 3‑year hiatus to bandy about. During that period, I’ve purchased circa 3,000 albums along with a (large) handful of EPs and the odd single. That equates to around 90 per month (averaging c.3‑ish per day). I dread to think of the gross expense but at least it is little and often, unlike buying vintage guitars. It’s also relatively quick and easy to do, filling those occasional idle moments. The last 3 years has basically doubled the hoard. The ‘most wanted’ (for want of a better term) list hovers around 1,500‑2,000 depending on timing and motivation. The ‘find out more’ about list of artists is, by comparison, relatively short at around 200‑250. The conclusion is that there is plenty of scope for improvement. Additions to the hoard cover about 100 genres with the largest proportions being mainstream ones.

I haven’t ventured into the realms of rare music collection – most albums I have been looking for are relatively available with patience and digging. Indeed, many have been from bargain bins. I can’t justify or afford two expensive artefact hobbies! Neither has this mission been to create any sort of ‘standout albums of the last 75 years’ or so. I don’t think anyone could possibly agree on what that might comprise.

Right, let’s get down to the business at hand; colouring in the sketch of the musical landscape, so to speak.

“Though this be madness, yet there is method in’t.” From ‘Hamlet’ (c.1600) by English playwright William Shakespeare (1564‑1616)

Genre gap‑filling

Like most people, one has favourite genres, so‑so ones, and disliked ones. However, to rule music out just because it belongs to a hitherto underappreciated genre tends to limit one’s exposure to some highly regarded music. As an example, I was never very keen on country music. Then I watched an 8‑part documentary called, unsurprisingly, ‘Country Music’ which first aired on American TV channel PBS in 2019. I was struck by a whole bunch of music that I was completely unaware of and had summarily discounted out‑of‑hand because of what it was labelled. I was fascinated by the documentary and what it portrayed. PBS also produced another documentary series called ‘Jazz’ from 2001 that opened my eyes to what that genre also had to offer. Both PBS series were directed by Ken Burns. Actually, finding out more about the cultural history that surrounded the genres provided a context that enhanced the experience of the music greatly. This observation reinforces the (perhaps) blindingly obvious fact that societal change and musical development are both interdependent and co‑dependent. Having fired my imagination, I extrapolated the concept to other genres as well. Sometimes, ‘various artists’ genre compilations can provide a suitable entrée to a musical world less wandered.

Are there any contemporary genres that are considered out of bounds? On the whole, other than aforementioned classical, generally no. I am up for pretty much anything, while still retaining my core preferences, which include reggae/dub, IDM/EDM, ambient electronica, downtempo/chillout, dreampunk/vaporwave, indie, alternative, heavy metal, gothic, dream pop, drone, rap/hip‑hop, shoegaze, grunge, punk, garage, funk/disco, deep house, blues, rock and neo‑psychedelia. That’s a pretty broad spectrum.

My two recent articles on ‘Dub Reggae Revelation’ and ‘Adventures in Ambient’ (August and September 2023 respectively) I think adequately demonstrate the potential of genre gap‑filling. That was just breaking down two genres.

One ‘genre’ that sits outside the normal categories is the Original Soundtrack (OST). Film and TV soundtracks tend to fall into two types, one camp compiles existing music brought together to accompany what happens on screen, while the other camp employs music composed (scored) specifically for the medium. Both camps can be helpful when discovering new music.

“I’m a big collector of vinyl – I have a record room in my house – and I’ve always had a huge soundtrack album collection.” Quentin Tarantino (1963‑)

There are only so many genres (my database lists over 140 of them!) but when you consider the bewildering multiplicity of sub‑genres and micro‑genres within the umbrella of, say, heavy metal, dance or electronica, there seems no end to what can be achieved. One great thing about music is that there is always something out there somewhere to match one’s prevailing mood. Genre gap‑filling actively opens doorways into finding a whole raft of ‘new’ artists, and the next task of filling in some of the blanks was added to the ‘to‑do’ list. One simple example was a brief dalliance with Cajun and zydeco music. These originated from the 20^th Century intermixing of French Canadian Acadian immigrants, native American peoples, African slaves, and freemen in Louisiana in the deep south of the USA. Fascinating. And, thus, the search goes on.

Artist gap‑filling

There were, as you might expect, quite a few artists already covered, while there were many more that I knew about or was curious enough about to complement existing artists with ones that I hadn’t previously coveted. Some of these artists work could best be exposed by buying ‘best of’ or compilation albums, especially when I wasn’t prepared to go all out and get multiple original albums. This worked well for some artists that I wasn’t overly keen on. The relative randomness of the ‘digging’ process led to many new artist discoveries, simply through browsing and taking a gamble on something that looked intriguing. ‘Digging’ is easier in brick‑and‑mortar shops than online. Although the latter works, it is definitely much less enjoyable. We need to support our mainstream and independent record shops or they will be lost forever (as in the case of Virgin Megastores, Tower Records and many others). We almost lost the HMV chain in the UK, which would have been disastrous for high street music retail. Artist gap‑filling is a never ending expedition with untold treasures to be uncovered beyond the famous big names. Along with the household headliners, there is a multitude of lesser and unknown artists producing some fantastic music. An open mind unlocks entire vistas begging to be perused.

I soon realised that my personal favourite artists are actually few and far between, many of which have had long, consistent careers. During any artist’s long‑term output, there would inevitably be good, average and poor albums. Picking out the wheat from the chaff became an integral part of my newfound preoccupation.

Surprisingly, there are some very famous artists that simply do not resonate with me, including (believe it or not) respected giants like The Beatles and The Who. Yup. Heretical I know. I have tried over and over to get into them but without success.

There are many lesser known artists that I really like at the moment and only time will tell whether they create any sort of lasting legacy. I came across many great artists that I hadn’t even heard of, many with surprisingly extensive back catalogues. They are all out there, just waiting to be found. I realised that artist gap‑filling was the simplest way to stretch one’s listening goal posts. And, thus, the search goes on.

“For me, to turn people on to new music, on to things that are going on in the world, is important.” Nikki Sixx of Mötley Crüe (1958‑)

Release gap-filling

One logical method was to fill obvious gaps in some of the existing artists’ back catalogues or the solo careers by members of established bands. I would have some releases but not others, generally through an essentially arbitrary process, rather than any sort of systematic approach. Some additions were credible releases, while with others, there turned out to be an obvious reason why they weren’t there in the first place. Oops. Other avenues to explore in addition to studio albums include live albums, EPs, singles, compilations, dubs, remixes and various artist DJ mixes. This process wasn’t intended to be comprehensive – some releases simply weren’t/aren’t available, some have been long discontinued while others were obviously a waste of space anyway. Some albums were originally on limited release and have subsequently become rare and valuable. I know that there are plenty of collectors out there prepared to pay vast sums for some of these one‑offs. I’m not in that game and can’t afford to be. There are still plenty of missing pieces but broadly speaking the main bases have (possibly) been covered.

It would be all too easy to fall into the trap of ‘completism’, i.e. getting absolutely everything released by an artist. Given how prolific some artists are, completism would be a venture all unto itself. Frank Zappa has released over 50 studio albums, Brian Eno over 65, Johnny Cash over 75, Lee Perry over 80, Tangerine Dream over 100, and Willie Nelson over 130, not including live albums, EPs, singles, compilations, videos and bootlegs. From now on, release gap‑filling will be a case of diminishing returns, as the gaps decrease along with the overall quality of content.

One notable trend during the coronavirus pandemic was a proliferation of live music releases. Artists couldn’t get out on tour and many couldn’t access recording studios, so record labels scoured existing unreleased resources as a pragmatic stop gap during the lockdowns. Some of these live concert recordings are OK and many would normally be regarded as superfluous under ordinary circumstances. However, when needs must. One silver lining to arise out of the so‑called ‘Chinese Virus’ plague has been the rate and quality of subsequent studio releases once the ‘new normal’ was established. And, thus, the search goes on.

“I look forward to the future – and going into the studio to make new music.” Diana Ross (1944‑)

Record label gap‑filling

Some collectors also go for label gap‑filling but that’s a step too far for me, although there are some great independent labels worth giving a shout out to, such as Ninja Tune, Italians Do It Better, PIAS, Sub‑Pop, XL‑Recording, Jamaican Recordings, 4AD, Bella Union, Pressure Sounds, On‑U Sound, Ariwa Sounds and Hyperdub Records. Beyond the major corporations, there are thousands of record labels out there, so chasing artists and releases starting with a record label is neither quick nor easy. If it wasn’t for the small independent labels, though, we would be subject to commercially driven mainstream mediocrity. However, the method of looking at artists belonging to a certain label can prove promising for finding ‘new’ artists, which can then lead directly onto gap‑filling of their previous works.

“John Peel made his reputation with his radio show and his record label, Dandelion, by championing the underdog.” Jimmy Page (1944‑)

Musical discovery

There is much to be said for and against ‘taking a punt’ on something with which one is unfamiliar. Sometimes it works, sometimes it doesn’t but there is always some sense of eager anticipation involved in lucky dips. This intentionally random exercise can lead onto other artists, and so on, basically ad infinitum. Due to the finite number of listening hours in any given day, week, month, year, this means that some music can only be listened to once or twice, while others warrant repeated auditions. Buying one‑off listens is not really very productive but it happens. One day, they can be re‑used by going to someone who might appreciate them more than I do. Often, genuine appreciation or enjoyment can only be gained by listening multiple times, especially with more experimental, leftfield or avant‑garde music.

“What motivates us is always new music.” Nuno Bettencourt (1966‑)

While physical media has been a main source of content for at least the last 40 years, this is rapidly changing. According to Spotify in 2021, over 60,000 tracks are uploaded to their platform every day. One, perhaps, might wonder about the depth of quality behind such figures. I know I do but then again, I’m a sceptic. There is no shortage of music to discover and no hope of listening to even a tiny fraction of it all. Spotify is also the platform that boasts the most effective method of curated music discovery. Even so, there is still a lot of inherent chance to finding something that will stay with you over the years. One might think that genuinely new discoveries would be infrequent, especially as time goes on. Far from it in practice.

Just one example, I recently came across late Canadian composer, Mort Garson (1924‑2008), renowned for his album, ‘Mother Earth’s Plantasia’ (1976), tag lined, ‘warm earth music for plants… and the people who love them’. When looking more into him and his music, I felt that, somehow, I should have been more aware of him before now. There is plenty of info on him on the hinterwebby thingummy but our meandering paths had not crossed before now. This sort of experience, which many readers who are familiar with Garson will probably snicker at my evident naivety. Such experiences are annoyingly common.

“I actually spend as much time listening to new music as to old. Probably more. I just try to get something out of it all.” Mark Knopfler (1949‑)

So, after all that preparatory exposition, you might well be wondering, just who the heck has been ‘discovered’? Here are just a few artists that I came across during the last 3 years. Some of which readers may know, some not. I might, though, challenge anyone to tick them all off so as to expose, pour scorn and ridicule my raw ignorance for what it is, sheer witlessness. Time to position the currency where my oral cavity is (lol!). The following list covers any genre and is in alphabetical‑ish order (Note: These are indicative only and should not be regarded as recommendations)…

*Shels, 100 Gecs, 2814, 9 Lazy 9, A.M.P. Studio, A Winged Victory for the Sullen, Agnes Obel, AK/DK, Aggrolites, The Airborne Toxic Event, The Album Leaf, Arms And Sleepers, Atoms For Peace, Autechre, Be, Benis Cletin, Bent, Big Thief, Blue In Tokio, The Burning Of Rome, Burnt Friedman, Cave In, Chezidek, Clark, Cloud Control, Craven Faults, Creation Rebel, Deadbeat, Deptford Goth, Desire, Devics, Dirty Loops, Divination, Dubkasm, Dynamic Syncopation, Ekoplekz, Ethel Cain, Fink, Flanger, Fragile State, Gallows, George Faith, Girls In Synthesis, Glass Candy, Goblin Cock, Helium, Hint, How To Dress Well, Hybrid, I. Benjahman, The Irresistible Force, Ital Tek, King Creosote, Konx‑Om‑Pax, Labradford, Laurel Halo, Lemonade, Lindsheaven Virtual Plaza, Loop Guru, LoveTrio, Machinedrum, Male Bonding, Man With No Name, Martyn, Midnight Juggernauts, My Sleeping Karma, ott, Plastikman, PreCog, Pretty Girls Make Graves, Psychonauts, Pure Bathing Culture, Purity Ring, The Qemists, Rakoon, Red House Painters, Rhombus, RJD2, Romare, Scrapper Blackwell, SkyTwoHigh, Sleep Token, The Slew, Sentre, Some Girls, Sparklehorse, StarOfAsh, Steve Roach, Suckle, Sunda Arc, Sundara Karma, Sunmonx, Swayzak, Symmetry, The Syncope Threshold, T e l e p a t h, Temu, Trembling Blue Stars, The Vacant Lots, Vessels, Wooden Shjips, Yellowcard and Yppah.

… plus many, many, many more. Phew! Some amazing, some good, some interesting, a few less so, etc. One may wonder how many of these artists – regardless of how ‘good’ they are – may attain the superstar status of, say, another Rolling Stones or The Beatles from the ‘good old days’. Not many, I’ll wager. And, thus, the search goes on.

“The times, they are a‑changin’” Bob Dylan (1941‑).

Physical media

From the beginning of recording and playback in 1877 (although there were earlier experiments dating back to 1857), with Thomas Edison’s phonogram, first through wax cylinders and then shellac discs, followed by vinyl discs with the advent of the gramophone, people have been collecting music. For decades, vinyl was really the only practical medium for collectors. Collecting became more popular by the late 1970s with magazines dedicated to the hobby and suggesting values for some rarer releases. Magnetic recording technology added to, rather than replaced, vinyl and became popular with reel‑to‑reel, eight track (remember that?) and audio cassettes.

Portable music was made possible for the masses by the Sony Walkman (TPS‑L2), introduced in 1979, using the then‑ubiquitous analogue compact cassette. Perhaps the most significant portent for the demise of physical media was the introduction of the Apple iPod way back in 2001, sadly now no longer made, which led into the convenient access to music on the go, now with today’s smart phones.

Digital music, mainly through the introduction of digital music Compact Discs (CDs) in 1982 led to a revolution in collecting. CD sales peaked in 2000 at over 2.5 billion worldwide accounting for 91% of the market. By 2020 sales had fallen 95% and accounted for only 5% of global sales. However, CD sales increased again in 2021, although it is too early to predict a revival. The introduction of downloads and streaming has significantly impacted CD sales, precipitating a dramatic decline in physical album sales, as more and more consumers switched to digital streaming services.

Some alternative digital formats arrived in the wake of CD but didn’t survive for long, including Sony’s Mini Disc and DAT (Digital Audio Tape), as well as Philips’ DCC (Digital Compact Cassette). HDCD (High Definition Compatible Digital) and SACD (Super Audio CD) were promising but ultimately failed to supersede CD.

By the 1990s, I had disposed of my collection of then‑seemingly redundant vinyl LPs and singles (and my turntable) and embarked on collecting CDs, starting off with replacing what I had on vinyl and then adding new content over time. Ditching vinyl was something I might have regretted, but don’t. Vinyl represents nostalgia to me and I’m not going back. It is neither practical, desirable nor possible to embark on such a regressive approach now. At the time of writing, my music hoard of CDs comprises well over 6,000 releases by over 2,500 artists. This conglomeration has recently been organised into over 50 crates packed to the gills with the little silver discs. That equates to around 85,000 tracks on iTunes and counting. I don’t know whether this is a lot or not, with all things being relative. Currently, CD remains my main medium of choice. I predict that CDs will not become totally extinct and will experience a resurgance at some point.

The advent of CD was a catalyst to the long‑running analogue versus digital debate. For what it’s worth, my view is the debate is not about encoding, it’s about something far more subjective. Vinyl reproduction flatters music in a way that digital doesn’t and that appeals to us. Digital is technically superior but not as warm and cuddly as vinyl. Simples. Fans of analogue still swear that digital is a poor representation of real music. Fans of digital swear that analogue (and even digital CD) is outmoded and obsolete. That’s a lot of swearing. Streaming has added further fuel for opposing viewpoints with the compressed versus lossless argument. The truth is, does it really matter? As long as we enjoy the music, that’s what counts, isn’t it? Focus on the content, not the carrier. If we have a preference, make the most of it. I do think that the audiophile press is somewhat hypocritical in only going along with the latest tech after having criticised it before it became commercially established. That way, we all keep buying new kit. That is a personal opinion. Ain’t hindsight great?

“The digital world is so convenient and nice, but just playing back a vinyl record is a much warmer, hotter, more present feeling.” Steve Miller (1943‑)

Music streaming

A brief recap of developments may be in order, so a short diversion first. Let us rush past the short‑lived phenomenon of downloads, which have largely been superseded by streaming (which includes off‑line listening). The storage problem associated with physical media has led to the next revolution in listening, which is to dispense with physical media altogether and access music on remote servers held in huge data centres somewhere. This marks a watershed where the listener no longer owns a tangible product but only purchases the right to listen to it. You cannot easily donate tracks to charity or sell purchased music on to other people. Mixtapes? A thing of the past. How unromantic. All this is, to me, a major drawback. I like having something tangible that I can pick up, look at, read the liner notes, view the artwork and so on. Somehow, the old‑school ownership of a physical item is something I value. Streaming just seems like an ephemeral audition of someone else’s music, rather than something personal, bestowed by genuine ownership. Is this simply a transitional symptom? Probably, maybe.

Although streaming was introduced in the early 1990s, it wasn’t until the launch of Napster in 1999, using the new compressed MP3 digital format and exploiting new Internet‑based Broadband services, that downloads and streaming became widely popular. The licensed subscription music service Spotify was launched in 2008, rising from the ashes of the flirtatious fleeting dalliance with illegal downloads. Once again, the industry ‘big boys’ have found a way to re‑assert their dominance over us. Digital streaming now accounts for more than 80% of global music industry revenues.

The Internet and the major music streaming platforms (Spotify, Apple Music, Tidal, Deezer, Qobuz, Amazon Music, YouTube Music, etc.) have facilitated exploratory listening greatly while, at the same time, enabling artists to gain exposure in a way that they couldn’t previously through the traditional studio/record label system. Streaming generally can be on demand, through curated playlists or via Internet radio stations. All are valuable resources for the curious listener. The streaming platforms often state that they have 100,000,000 (100m) or more tracks available to customers. In practice, this is both a mind‑boggling and meaningless figure. There is such a thing as too much choice. It also gives some sense of scale, although it may call into question the balance between volume and quality. Suddenly, my meagre 85,000 tracks seems somewhat miniscule in comparison. I do, however, find it a sign of progress when more than 50 crates of CDs can be stored on an SSD (Solid State Disc) that’s less than half the size of a cigarette packet (remember those too?).

“I can’t understand why people are frightened of new ideas. I’m frightened of the old ones.” John Cage (1912‑1992)

Another problem exposed by streaming is that there is now plenty of material that is not distributed or sold on physical media at all and is only available via the Internet. Streaming‑only releases are essentially simpler and cheaper than managing traditional physical distribution channels. It also pushes new customers towards expensive streaming subscriptions whereby they earn money whether they are used or not. Talk about milking a cash cow! This online‑only approach affects some genres more than others but it means that, in order to continue with this ambitious side project of mine, streaming has become a necessary additional resource. In effect, physical and virtual music has to co‑exist; being an ‘and’ rather than an ‘either/or’ approach. For info, after much deliberation, CRAVE Guitars subscribes to Apple Music.

Some streaming services provide high definition listening, such as Tidal, and they charge a premium for it. Others, such as Spotify are content to go for volume at low definition. The lesson to take from this is that streaming services are not all alike despite peddling similar wares to punters.

“You pays your money and take your choice” A British lexicographic irregular that first appeared in print in Punch magazine in 1846

Does streamed high definition music (i.e. better than CD quality) make a difference to most listeners? Big question. Well, apparently, not really. The evidence suggests that most average (i.e. non‑industry) people cannot tell the difference in blind listening tests conducted under ‘normal’ conditions. Trained listeners can, allegedly, differentiate formats but “If there’s any discernible difference, it’s so subtle and so slight, you’d have to be somebody who’s been in the business for decades like me to hear it.” (recording and mixing engineer, Prince Charles Alexander, Berklee Online study, 2019). A case of fidelity vs artistry vs money, always good for an argument. Why on Earth spoil music listening by teaching people to identify comparative digital encoding anomalies when they are so small as to be meaningless? Spotify’s strategic positioning seems to agree, while Tidal doesn’t. People who go down the high definition route are, perhaps, hedging their bets. If they have the best, it doesn’t matter whether they can hear a difference or not. No doubt there is some audiophile snobbery lurking in there too. For the sake of throwing my two penny worth into the ring, I can neither tell the difference nor can I be bothered to waste my time trying to spoil the enjoyment that music brings by attempting to do so. Time for some good ol’ fashioned snake oil to leech the contents from your bank account?

Does streaming stop me ‘digging’ for used CDs? NO. Does it stop me buying new CDs? NO. Does it encourage me to buy more CDs? Actually, YES. I still prefer to purchase and store music on CD, while recognising the inevitability of embracing the dark side of streaming culture. On the basis that vinyl and cassette have seen a popular resurgence, CD is not going away anytime soon. In practice, and probably being totally hypocritical in doing so, I tend to rip music from CD on iTunes and then stream (or rather cast) it to my music system. I know that this practice probably makes little sense but, for me, it is the best of both worlds, I have the physical media and the convenience of digital storage. Which leads neatly onto…

CRAVE Guitars’ ‘music room’

If you read my October 2023 article, ‘Return to and from Obscurity’, you will know of the sad loss of ‘mi media naranja’ (my better half) due to the vile and relentless ravages of cancer. Initially crestfallen, once accepting the loss, I set about repurposing the small ‘dining room’ which had been my wife’s bedroom into a dedicated ‘music room’, used for noodling on vintage guitars and listening to recorded music. NO TV or clock allowed! Having previously lost our home and the vast majority of our belongings (another story altogether!), I had to rebuild a hi‑fi from scratch which, in itself, was quite an exciting experience, along with uniquely decorating the room to provide a suitable listening/playing environment. It took a year of painful sacrifices involving the sale of some beloved A/V gear (I’m also a film & TV buff) to raise funds and some lengthy (re)searching for used ‘bargains’. I fully acknowledge that this indulgence seems an excess of a luxury, given everything else but other things had to be compromised to enable it. My choice.

The ‘music room’ is used every day for music listening. For those who are interested in the techy side of things, the main hi‑fi system comprises:

Naim Uniti Core music server with 2TB SSD storage
Naim ND5 XS2 music streamer
Naim CD5 Si CD player
Bryston BP17 pre-amplifier
Bryston 4BSST power amplifier
PMC Twenty.24 floor standing speakers

While this is neither a high‑end system nor a budget system, it has been carefully selected to meet the need for critical and enjoyable listening of both physical and streamed music (and within budget). My 500 or so most preferred CDs are immediately to hand in the room, as well as being stored in lossless digital form on the music server, thereby also making them available throughout the house via Wi-Fi (in due course). It’s certainly more than good enough for my tired, aging ears. Being pragmatic, the electronics are, after all, only a means to an end, which is to stimulate an emotional response through music.

At this point, you may be wondering whether I actually listen to all that music. Fair question. Well, yes, is the answer. There wouldn’t be much point in writing about it if I didn’t experience the results of my labours. While I try very hard, there may be the odd track here or there that gets shunted down a listening list but I would hope that’s the exception, rather than the rule. Heck, it’s a tough job but someone’s got to do it!

“Don’t tell me baby you gotta go, I got the hifi high and the lights down low” from, ‘I Need Your Love Tonight‘ (1959) by Elvis Presley (1935‑1977)

Personal top 20 ‘desert island’ albums

Depending on mood, I do go back to long‑term favourites, simply for the comfort and familiarity of a ‘known quantity’. Like chatting with an old friend. At the outset, I said this wasn’t about compiling any sort of ‘best albums of the last 75 years’. That doesn’t mean that there aren’t some albums for which I hold a special affection and which have been part of the hoard for many years (so not ‘new’). Here are 20 of them, all pretty well known mainstream releases, and which I feel have stood the test of time. Regular readers will see no surprises here. This is very much a personal list, chosen at the time of writing – it would undoubtedly be different on different days/weeks/months. Some entries hold special meaning and are therefore highly evocative.

I call this my ‘desert island’ security list. That is, if I could only have 20 albums as a castaway, what would they be? Perhaps, more accurately, it could also be called ‘top 20 memories’ or ’20 comfort classics’. Now how’s all that for wistful nostalgia? For what it’s worth, here is today’s list:

The Cure – Disintegration (1989)
Black Sabbath – Black Sabbath (1970)
The Doors – L.A. Woman (1971)
Pink Floyd – Meddle (1971)
John Martyn – Solid Air (1973)
Steve Hillage – L (1976)
Talking Heads – Remain In Light (1980)
Lee “Scratch” Perry – Roast Fish, Collie Weed & Corn Bread (1977)
Rage Against The Machine – Rage Against The Machine (1992)
Burning Spear – Garvey’s Ghost (1976)
Bob Marley & The Wailers – Live! (live) (1975)
Deep Purple – Made In Japan (live) (1972)
Nick Cave & The Bad Seeds – Push The Sky Away (2013)
Depeche Mode – Violator (1990)
Massive Attack – 100^th Window (2003)
David Bowie – Let’s Dance (1983)
Burial – Untrue (2007)
Tangerine Dream – Rubycon (1975)
John Lee Hooker – Boom Boom (1993)
Beck – Sea Change (2002)

“Music is the one incorporeal entrance into the higher world of knowledge which comprehends mankind but which mankind cannot comprehend.” Ludwig van Beethoven (1770-1827)

The future

OK, that’s the past, so now let’s take a brief, casual look at what may happen into the near future. While vinyl is doing remarkably well and CD is showing possible signs of life, it is clear that streaming is the future until something better comes along. It is certainly in the interests of the music industry to retain tight control over their valuable assets, although many artists say that the practice is detrimental to their income. However, this actually means little to the consumer. Better returns for the companies and artists simply mean higher prices for the public who have no say in the matter. The reality is that the few rich get much richer and the many poor get much poorer; sadly the dysfunctional norm of the modern capitalist world.

The commercial interests of multinational companies like Sony BMG, Universal, EMI and Warner Brothers rule their respective roosts. Interestingly, the major corporations don’t own the streaming companies, unlike in the parallel dimension of film and TV where the studios control all levels of vertical integration.

Mega‑artists with mega‑egos to match like Taylor Swift, Madonna, Adele, Jay‑Z/Beyoncé, U2, KISS, Dr. Dre, Timberlake and Ed Sheeran, along with many other big names in the lofty reaches of the higher socioeconomic hierarchy are laughing hysterically all the way to their already mega‑well‑stocked tax‑free offshore bank accounts. The industry ‘big four’ major record labels and powerful business artists together make up a resilient ‘pyramid of power’, that will continue to dominate the economics of the music biz for many years to come. Sadly, your ordinary talented hard working musicians don’t attract such filthy lucre. When push comes to shove, it’s all about the money. T’was ever thus, or more accurately…

“Oh! Ever thus from childhood’s hour” from the poem, ‘The Fire Worshippers’ (1817) by Irish writer and poet, Thomas Moore (1779‑1852)

Perhaps more worrying for creative artists and for many music enthusiasts is that the focus is clearly moving away from coherent album releases and more towards the production of single tracks out of context of other material by the same artist. By that statement, I don’t mean a rejuvenation of chart singles, which have long ceased to mean anything. The evidence shows that people are streaming individual songs, rather than a collection of tracks that would historically have made up a cohesive LP. Just look at the streaming stats of albums on any digital online platform and the predominance of maybe one or two tracks over the rest is unmistakeable. There is a feedback loop that encourages artists to change the way they make music and which goes on to influence curated playlists, radio coverage and, ultimately, sales, then repeat. The modern equivalent of the old‑fashioned radio playlist.

In 2016, it was reported that album releases were plummeting while EPs and single tracks were skyrocketing. Will we ever see (or, rather, hear) any more all‑time classic albums like ‘Sgt Pepper’s Lonely Hearts Club Band’, ‘Dark Side Of The Moon’, ‘Rumours’ or ‘Thriller’? Only time will tell. Will the way that music is created, distributed and accessed mark the death knell of the ‘album’ as we know it? Highly likely, but not just yet. The album may, like many things, see a revival. We’ll just have to wait and see (if we live long enough). Personally, I grew up with the antiquated concept of the album or LP, so it retains a certain sensibility but, then again, I am destined for premature oblivion myself, so what the heck do I know?

The topical buzz around Artificial Intelligence (AI) will inevitably play its part in music creation with virtual artists and AI composed tracks. It’s already here and can only evolve from here on. AI isn’t new, its roots go back to 1956 and the American Dartmouth College in New Hampshire. AI generative music goes back to the mid‑1990s. Is AI a threat? The jury is currently out. Thankfully, if AI is used for music, literature and art, it won’t be used to annihilate mankind (except, perhaps, through technological mediocrity). The ultimate demise of humans is up to humans, directly or indirectly, at least for now. Who needs doomsday generative AI when we all have to endure the antics of egregious corrupt despots like Putin, Xi, Kim and too many others of their insane immoral ilk? Don’t you just love mankind’s determined destiny of denial and doom? I digress (again).

“If we don’t end the war, war will end us.” H.G. Wells (1866‑1946)

One certainty is that music will survive in its manifold forms. One hopes that tired and clichéd genres like the current vapid world of commercial pop and dance music since the new millennium will rejuvenate into something more interesting at some point. Conversely, let us also hope that the more dynamic genres don’t descend to the deplorable depths of hideous homogeneity.

Musicians will proliferate. Music will proliferate. The way we access music will change. Whatever happens, change is inevitable and it will be fascinating to see how it evolves and how we adapt. Music as an essential component of the human condition will prevail in one form or another as long as humans exist. Music is, after all, a phenomenon unique to the human race. Thank goodness for that. And, thus, the search goes on.

“When I hear music that parents hate, or older musicians hate, I know that’s the new music. When I hear older people saying, ‘I hate rap or techno’ I rush to it.” George Clinton (1941‑)

Amateur musicology?

I do not pretend to be some sort of self‑appointed authority on contemporary music. My main obsession is still vintage guitars and vintage guitar gear. Perhaps, though, my passion for music predated my addiction to guitars. Over the decades my love of modern music does, I believe, provide a reasonable insight into the science as well as art of music, with a little alchemy thrown in for good measure.

Strictly speaking, musicology is the analysis and study of music. Musicology belongs to the humanities and social sciences, although some music research also belongs to the fields of psychology, sociology, acoustics, neurology, anthropology and computer science.

Musicology covers three general disciplines; music history, new musicology (the cultural study of music) and ethnomusicology (the study of music in its cultural context). For the life of me, I can’t really (be bothered to) differentiate between the last two of those.

Clearly, I cannot compete with professional experts in the field and my research methods are hardly scholarly. I am, however, happy to be an amateur sleuth, as it allows for significant enjoyment. Music should be overwhelmingly pleasurable, rather than playing second fiddle to methodical and clinical academic enquiry. Again, my choice.

“After silence, that which comes nearest to expressing the inexpressible is music” Aldous Huxley (1894-1963)

In addition, and hopefully obviously to readers by now, I also play music (very badly it must sadly be said). I wouldn’t hoard vintage guitars unless I could actually conjure up something vaguely creative and emotional out of them. Perhaps interestingly, I don’t play other people’s music; I much prefer to ‘do my own thing’ for better or worse. Usually the latter.

I am incessantly amazed at what I don’t know. I know that shouldn’t be the case, but society tends to prejudge ignorance as a weakness and expertise as a virtue. What others regard as the blatantly obvious is utterly oblivious to me until I encounter it. However, isn’t that what exploration and discovery is all about?

If we accept that “Music is the universal language of mankind” Henry Wadsworth Longfellow (1807-1882), one can only trust that exploration is the means by which we enhance and articulate our own individual musical linguistic skills.

Musicology may not be quite the right word for my approach towards modern music but I sure can’t think of a better one. Musicology Lite perhaps? Deluded dilettante? Possibly. Biased? Definitely. We all have our own opinions, right? And, thus, the search goes on.

“Music is the strongest form of magic.” Marilyn Manson (1969‑)

Sex, Drugs & Rock ‘n’ Roll

Musicology suggests an interest in music psychology, which is how music affects the cognitive functions of the human system. Building on some of my opinionated comments last month, here’s a thought for the day. Let us remember that music carries with it enormous power to improve our mental health and wellbeing. Music can boost serotonin, dopamine, endorphin and oxytocin levels that work on the pleasure receptors of the brain. Put simply, these magic substances can act as effective natural anti‑depressants and can help to improve both mood and behaviour. All in all, mostly good stuff then. As we all know, music, can also irritate the heck out of us sometimes, so remember to love what you love.

Now here’s an interesting diversion into music cultural history. All three human activities, sex, drugs and music directly affect the pleasure centres of the brain, so there is something scientific behind the old rockers’ adage, ‘Sex, Drugs and Rock ‘n’ Roll’ after all. While some suggest the phrase came from Ian Dury’s 1977 single, its roots derive from a much earlier hendiatris, ‘wine, women and song’, emanating from Germany in the 1770s, although there is some debate as to who actually coined it. Many scholars attribute its origins date back even further to theologian, Martin Luther.

“Wer nicht liebt Wein, Weib und Gesang, der bleibt ein Narr sein Leben lang. (Who not loves not wine, women and song, remains a fool his whole life long).” Martin Luther (1483‑1546)

The first modern use of the phrase was printed in a LIFE magazine article that dates from 1969, “The counter culture has its sacraments in sex, drugs and rock.” In 1971, The Spectator magazine printed, “Not for nothing is the youth culture characterised by sex, drugs and rock ‘n’ roll.” Ian Dury certainly made the most of it.

CRAVE Guitars ‘Record of the Month’

Once again, as this is a bit of an outlier in the overall scheme of CRAVE Guitars’ articles, I cannot leave without at least mentioning one of those albums that warrants repeat listening (for me). While last month, I was clinging onto sultry summer with dub reggae, this month, with the rapid decline into grim winter, I’m going for something a little more contentedly contemplative.

Biosphere – Microgravity (2015 reissue of the 1991 studio album with additional tracks). Biosphere is electronica artist, Geir Jenssen (1962‑) from Tromsø, Troms, Norway. The 16 tracks fall broadly into the ambient, ambient techno, ambient house, field recording and progressive electronica genres. Microgravity was Biosphere’s debut studio album. Laidback ambient grooves are a wonderful way to escape and transport one’s consciousness into an otherworldly, serene dimension, great for relaxation, stress relief and focus. It is also great for testing the hi‑fi.

“If music be the food of love, play on, give me excess of it; that surfeiting, the appetite may sicken, and so die” from the play, ‘Twelfth Night’ (c.1601/1602) by William Shakespeare (1564-1616)

Tailpiece

Well that’s another monthly article done and dusted. Number 75 to be precise since I started writing CRAVE Guitars’ articles way back in November 2014. It’s come a long way.

I am genuinely grateful to be in the position whereby I am able freely to undertake such projects as this one. The author is acutely aware of the extreme difficulties faced by innocents around the globe.

The pursuit of new stuff is unlikely to abate now that it has begun in earnest. Is there anything I regret uncovering? Nope. I try hard not to regret anything; I would rather use any missteps along the way as a learning experience. Are there any guilty pleasures that have been adopted? Probably, but now isn’t the time or place for shaming my deviant musical proclivities! Surprises? Plenty. Pleasure? A mixed bag. Top tips? A few. Anticipation? Always.

What is most encouraging is that there is an almost unlimited wealth of awesome, incredible music out there waiting to be discovered if you want to look hard enough. Enjoy!

The plan is to get back to more CRAVE Guitars core raison d’être for the next article. However, we all know what happens to “the best laid schemes o’ mice an’ men” from the poem, ‘To a Mouse’ (1785) by Scottish poet Robert Burns (1759‑1796), so no promises. OK? Thanks for reading.

Peace, love, truth and guitar music be with you always. Until next time…

CRAVE Guitars’ ‘Quote of the Month’: “Material possessions feed the vanity of the ego, while music nourishes the spirit and sustains the soul”

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28 Feb 2020

February 2020 – The Story of Modern Music in 1,500+ Facts – Part XI

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

Introduction

Welcome back once again dear musical masochists. Well… here we are – finally – almost at the end of the very long linear tunnel. The ordeal is nearly over! Along the way, I hope our factual passage through time has been an enlightening and entertaining experience. Chronologically (bar the first 2 months of 2020), the long ‘Story of Modern Music’ has caught up‑to‑date. By the end of this article the facts and events covering more than three‑and‑a‑half centuries will have been laid bar for all to see. It isn’t, however, the culmination of this series of articles, as there will be a fair bit of dilly‑dallying to do to give justice to the material and to complete a coherent narrative.

If you would like to (re)visit the first 10 parts (and over 350 years) of the story to‑date, you can do so here (each link opens a new browser tab):

The Story of Modern Music Part XI 2010-2019

As the ‘teenies’ are fresh in our collective memories, one has to think hard about what might be regarded as standout ‘classic albums’ that will stand the test of time. Simply the act of interrogating recent history and coming up with nada is a concern. Yes there were some big selling albums from popular commercial artists but they don’t really stand up to scrutiny when compared with watershed releases of the past. Perhaps we haven’t yet had sufficient time to reflect but one would have thought that something important would stick out from the random melange.

It is hard to believe that it was the early 1990s when game changing albums like Nirvana’s ‘Never Mind’ and Pearl Jam’s ‘Ten’, both landed in 1991 and Rage Against The Machine’s eponymous debut struck home in 1992. Since that time? With hindsight, perhaps controversially, not a great deal. Readers will no doubt have their favourite albums from the noughties and teenies but there were no multi‑platinum multi‑million sellers outside the pop mainstream that came out of the blue. and certainly no ground‑breaking important epics such as ‘Tubular Bells’, ‘Dark Side Of The Moon’, ‘Rumours’ or ‘Thriller’, to mention just four more classic albums that went on to sell in colossal quantities and helped to define the zeitgeist. It isn’t just about numbers and money, it’s about the value of artistic creativity. Where were the musical milestones to have significant global social and cultural impact? To-date, this levelling (lowering?) of the playing field seems to have resulted from benign prosperity and social disengagement. It seems as though, whereas the youthful tortured angst of previous decades has been quelled, to be replaced with pseudo entitled vacuous celebrity‑induced cupidity and malaise. Discuss…

One sad observation of the 2010s is the number of legendary musical artists who passed on during the decade. Many had featured in previous articles for other reasons and had their last entries in this one. Their valuable legacy has helped to shape the musical landscape that we enjoy and their influential music will endure well into the future, even though they are no longer with us. At the time of writing, we can only speculate about who might have been born in the teenies that will become future legends. Watch this space.

Historical Context 2010-2019

After the economic meltdown that started in the latter part of the 2000s, the ‘teenies’ were characterised by enduring global economic recession, which adversely affected most countries. Depression exposed the ugly and inhumane economic inequality that was exacerbated by extreme avarice, arrogance and hubris further polarising the wealth gap between richest and poorest. A resurgence of east/west Cold War political tensions was intensified by the errant behaviour of maverick states such as communist North Korea and Islamic Iran, as well as a bitter trade war between America and China. Misplaced ideological posturing drove extremist terrorism, which disregarded national borders and reached unprecedented levels through devastating atrocities in many countries. Escalating regional conflict in the Middle East continued to affect international relations, trade and mobility. Unparalleled economic and humanitarian migration reached new levels and became a major refugee problem for developed‑world countries. Technologically, an insatiable appetite for Internet use led to an equally huge increase in the uptake of social media and online commerce. Driverless and electric vehicles became the focus of major tech corporations. Global concerns increased over action required to reduce CO₂ emissions and extreme weather events. The equalities of LGBTQ+ communities gained widespread international recognition and forced irreversible social and cultural change in many societies.

Year	Global Events
2010	Many anti‑government protests rose up across the Middle East, widely known as the Arab Spring. A massive magnitude 7.0 earthquake hit Haiti in the Caribbean Sea, killing somewhere between 100,000 and 316,000 people. The Deepwater Horizon oil drilling rig run by BP exploded, causing an environmental catastrophe in the Gulf of Mexico. It is, to date, the largest marine oil spill in the history of the oil industry with over 210 million gallons discharged into the Gulf. The world’s tallest building to‑date, the Burj Khalifa opened in Dubai, standing at 829.8m (2,722ft). Controversial non-profit political organisation Wikileaks, under the control of editor‑in‑chief Julian Assange, began releasing substantial amounts of American classified information from whistle‑blowers into the public domain, thereby compromising national and international security. The culturally popular American post-apocalyptic AMC television series, ‘The Walking Dead’, based on the zombie comic book series by Robert Kirkman, Tony Moore, and Charlie Adlard was first broadcast.
2011	The leader of the Islamic terrorist group al‑Qaeda, Osama Bin Laden was shot and killed by American Special Forces in Abbottabad, Pakistan. The Syrian Civil War started following Arab Spring protests against the Syrian government. Conflict escalated after protests calling for President Bashar al-Assad’s removal were brutally suppressed. The ensuing political and military vacuum led to territorial gains by the so‑called Islamic State in the Middle East and particularly in Syria. Japan was devastated by a massive 9.0 magnitude earthquake and tsunami that killed over 15,000 people. The Great East Japan Earthquake was the 4^th strongest on historical record. The tsunami caused a major nuclear accident at the Fukushima Daiichi Nuclear Power Plant. The estimated economic cost was in the region of $235bn USD. NASA’s aging Space Shuttle fleet was retired from service after 30 years, 5 operational vehicles, 135 missions and 2 fatal accidents costing 14 lives. The world’s human population exceeded 7 billion for the first time, highlighting serious concerns about the sustainability of uncontrolled population growth.
2012	The largest ever Atlantic storm, Category 3 Hurricane Sandy, devastated the north eastern United States, killing over 230 people and causing nearly $70bn of damage. The existence of the elusive so‑called ‘god particle’, the Higgs Boson sub‑atomic unit was finally confirmed by experiments conducted at the CERN Large Hadron Collider in Switzerland. Queen Elizabeth II celebrated the 60^th Anniversary of her accession to the British throne.
2013	Two Islamic terrorists from Chechnya detonated 2 bombs during the Boston Marathon in Massachusetts, USA, killing 3 and injuring 264. The largest outbreak of the Ebola virus in history reached epidemic proportions in Western Africa and lasted until 2016, resulting in a conservative estimate of more than 11,000 deaths.
2014	The so‑called Islamic State (ISIS) took military control of the city of Mosul in northern Iraq. The new World Trade Center, the Freedom Tower, was completed in New York, becoming the tallest building in the U.S. at 1,776 feet (541m), 13 years after the original World Trade Center twin towers were destroyed in the 9/11 terrorist attacks.
2016	The United Kingdom held a one‑off national referendum to determine whether to remain part of or to leave the European Union (EU). The UK had become a member of the European Economic Community (EEC) in 1973. The referendum result was a majority desire to leave the EU. The UK was the first country to leave the union since the EEC was formed in 1957. The process of leaving, often referred to as ‘Brexit’, was completed in 2020. HM Queen Elizabeth II became the longest reigning monarch in British history, surpassing Queen Victoria (1819‑1901), who had reigned for 63 years and 7 months.
2017	Businessman and Republican politician Donald Trump became the 45^th president of the U.S.A. The UK triggered Article 50 of the Lisbon Treaty, initiating the Brexit process that led to the UK leaving the EU after 47 years of membership. American president Donald Trump announced the U.S. government’s intention to withdraw unilaterally from the Paris Climate Agreement.
2018	The longest total lunar eclipse of the 21^st Century took place, lasting approximately 1 hour and 43 minutes. Canada legalised the sale and use of cannabis, only the 2^nd country to do so, Uruguay being the first.
2019	A catastrophic fire broke out in the roof of medieval Roman Catholic Notre Dame de Paris cathedral in France, destroying much of the building’s roof, spire and upper walls. The final stronghold of the so‑called Islamic State in Al-Baghuz Fawqani, Syria, was liberated. Violent protests and civil unrest occurred in Hong Kong, ignited by controversial Chinese legislation that allegedly undermined the region’s autonomy and civil liberties. Activists belonging to Extinction Rebellion, a global movement created to use direct non‑violent civil disobedience to force governments to react positively towards the threat of climate change, biodiversity loss and ecological collapse, caused widespread disruption in major cities worldwide.

Musical Genre Development 2010-2019

Sadly, during the 2010s there were no recent new genres or emergent significant sub‑genres, and little sign of any on the horizon. It is a struggle to identify any hugely influential genre developments during the ‘teenies’. Yes, there were ventures, projects, collaborations, experiments and side lines including, for instance dubstep and grime but, let’s be honest, these aren’t really new; they are simply variations on past themes that were re‑established for wider audiences. However, modern music has shown an incredible tenacity to rejuvenate and reinvent itself, especially when it appears to be entering the doldrums. One can only watch and wait to see what happens from here on in. Let’s start with some of the nuances during the 2010s.

Female pop mega‑artists such as Adele, Taylor Swift, Miley Cyrus, Lady Gaga and even Lana Del Rey have become very powerful, successful multi‑millionaires predominantly focusing their considerable resources on commercially lucrative target audiences. These industry pillars have become renowned as much for their business acumen as their musical prowess. New artist, Billie Eilish looks set to continue this trend into the 2020s. The token male artist in this bracket is probably Ed Sheeran.

The indie movement continued to grow from strength to strength into the 2010s broadening the diversity of indie and keeping it fresh by fusing with other styles such as folk, blues, rock, punk, roots, garage and Americana. Notable indie artists of the teenies include (in no particular order); Courtney Barnett, Arcade Fire, Vampire Weekend, The War On Drugs, Band Of Skulls, The National, Sharon Van Etten, St. Vincent, Fleet Foxes, Real Estate, Feist, Tame Impala, Parquet Courts, Kurt Vile, Girls, Courteeners, Daughter, Angel Olsen, Fleet Foxes, Haim, Father John Misty, Ariel Pink, Sheerwater, Foals, Two Door Cinema Club, Villagers, EMA, The Horrors, The Kills, The Low Anthem, Royal Blood, Rival Sons, The Vaccines, Alt‑J, The XX, Wolf Alice, The Dead Weather, The Twilight Sad, Cage The Elephant, London Grammar, Savages, Band Of Skulls, Warpaint, Slaves, Wolf Alice, Bat For Lashes, K.T. Tunstall, Cigarettes After Sex, Blood Red Shoes, Real Estate and Dry the River among a multitude of others.

While clearly a niche subgenre of the fading mainstream Electronic Dance Music (EDM) and related genres and closely related to ambient, downtempo, progressive electronic, darkwave, glitch and chillwave, Intelligent Dance Music (IDM) flourished, building on the shoulders of pioneers such as The Orb, Future Sound of London, Orbital and Aphex Twin. IDM and related artists pushed the boundaries of esoteric syncopated, and stripped down electronica to new, often indulgent extremes. Under the broadest definition, some IDM artists include; Four Tet, Boards of Canada, Caribou, Crystal Castles, Neon Indian, Jon Hopkins, Bonobo, Burial, Flying Lotus, Memory Tapes, Apparat, Toro y Moi, James Blake, Oneohtrix Point Never, Com Truise, Autechre, Mouse On Mars and Squarepusher.

In the late 20^th Century, modern jazz had newfound credibility in the fusion years of the 1970s, with artists like John McLaughlin, Stanley Clarke, Herbie Hancock, Al Di Meola, Utopia and Weather Report, followed by other virtuoso instrumentalists like Larry Coryell, Larry Carlton and Lee Ritenour during the 1980s. Move forward in time to the 21^st Century and jazz experienced a stunning rejuvenation, often referred to as nu‑jazz or jazztronica, eschewing old-style constraints and fusing jazz elements with electronic music ranging from the traditional to the experimental. While growing on the popularity in the 2000s of artists like St. Germain, Mr. Scruff, Joss Stone and Jamie Cullum, nu‑jazz really came into its own in the 2010s. Nu‑jazz artists embraced hip‑hop, electronica, dance, reggae, electro‑swing and many other forms to create something vital and engaging, including artists such as Snarky Puppy, The Cinematic Orchestra, Floating Points, GoGo Penguin, Thundercat, Unknown Mortal Orchestra, The Comet Is Coming, The Correspondents and Mammal Hands.

Musical Facts 2010-2019

Day	Month	Year	Music Fact
11	January	2010	American indie rock band Vampire Weekend released their 2^nd studio album, ‘Contra’.
8	February	2010	English trip-hop group, Massive Attack released their 5^th studio album, ‘Heligoland’ in the UK.
17	February	2010	Northern Irish indie rock band Two Door Cinema Club released their debut studio album, ‘Tourist History’.
10	March	2010	Welsh guitarist and member of progressive rock band Man, Micky Jones died of cancer in Swansea at the age of 63.
15	March	2010	The American Rock & Roll Hall Of Fame inducted its ‘Class of 2010’, including ABBA, Genesis, The Hollies, Jimmy Cliff, The Stooges and David Geffen.
28	March	2010	Highly influential American jazz guitarist Herb Ellis died of Alzheimer’s disease in Los Angeles, California at the age of 88.
13	April	2010	Experimental virtuoso English rock guitarist, Jeff Beck released his 10^th solo album, ‘Emotion And Commotion’ in the UK.
18	May	2010	American blues/rock duo The Black Keys released their classic 5^th studio album, ‘Brothers’.
25	June	2010	Canadian rock band, Rush, received a star on the Hollywood Walk Of Fame at 6752 Hollywood Boulevard.
9	July	2010	English indie rock group Bombay Bicycle Club released their understated acoustic 2^nd studio album, ‘Flaws’.
25	October	2010	American singer and songwriter Taylor Swift released her commercially successful 3^rd studio album, ‘Speak Now’.
16	November	2010	After many years of negotiation, The Beatles’ back catalogue was finally made available on Apple’s iTunes music platform.
17	December	2010	American rock singer, songwriter and musician, Captain Beefheart (real name Don Van Vliet) died from complications resulting from multiple sclerosis in a hospital in Arcata, California at the age of 69.
22	December	2010	The famous zebra crossing at Abbey Road, London, just outside Abbey Road Studios and featured on The Beatles’ classic titular 1969 album cover, was Grade II Listed by English Heritage.
24	January	2011	English pop singer, Adele released her massive commercial 2^nd studio album, ‘21’.
30	January	2011	Legendary English composer of classic film and television scores, John Barry died of a heart attack in New York at the age of 77.
6	February	2011	Irish blues/rock guitarist and singer, Gary Moore died from a heart attack in Malaga, Spain at the age of 58.
14	February	2011	English alternative/indie rock singer, songwriter and multi-instrumentalist, P.J. Harvey released her award‑winning 8^th studio album, ‘Let England Shake’.
14	March	2011	The American Rock & Roll Hall Of Fame inducted its ‘Class of 2011’, including Alice Cooper, Neil Diamond, Dr. John, Tom Waits and Leon Russell.
2	June	2011	Canadian country singer Shania Twain received a star on the Hollywood Walk of Fame at 6270 Hollywood Boulevard.
6	June	2011	English indie rock band, Arctic Monkeys released their 4^th studio album, ‘Suck It and See’.
23	July	2011	English singer and songwriter, Amy Winehouse died from an alcohol overdose in Camden, London at the age of 27.
7	August	2011	American bass player and key member of Johnny Cash’s backing band, the Tennessee Two, Marshall Grant died in Jonesboro, Arkansas at the age of 83.
16	August	2011	American indie rock band The War On Drugs released their breakout 2^nd studio album, ‘Slave Ambient’.
7	September	2011	On what would have been his 75^th birthday, American rock ‘n’ roll singer Buddy Holly received a posthumous star on the Hollywood Walk of Fame at 1750 North Vine Street.
5	October	2011	Accomplished Scottish acoustic folk guitarist Bert Jansch died after a long battle with lung cancer in London at the age of 67.
4	December	2011	American blues guitarist, singer and member of Howlin’ Wolf’s band, Hubert Sumlin died from heart failure in Wayne, New Jersey at the age of 80.
16	December	2011	American blues/rock duo The Black Keys released their classic 7^th studio album, ‘El Camino’.
20	January	2012	Legendary American multi-genre singer, Etta James died of leukaemia in hospital in Riverside, California at the age of 73.
31	January	2012	American singer and songwriter, Lana Del Rey released her breakout 2^nd studio album, ‘Born To Die’.
9	February	2012	English bass guitarist and former member of The Beatles, Paul McCartney received a solo star on the Hollywood Walk of Fame at 1750 North Vine Street.
6	February	2012	Scottish indie rock band The Twilight Sad released their underrated 3^rd studio album, ‘No One Can Ever Know’.
11	February	2012	American soul/pop singer, producer and actress, Whitney Houston died from drug misuse and accidental drowning at the Hilton hotel in Beverley Hills, California at the age of 48.
29	February	2012	English singer and member of media pop band The Monkees, Davy Jones died from a heart attack in Florida at the age of 66.
5	April	2012	English innovator, entrepreneur, businessman and founder of iconic Marshall amplifiers, ‘The Father of Loud’, Jim Marshall OBE, died from cancer in Milton Keynes, Buckinghamshire at the age of 88.
14	April	2012	The American Rock & Roll Hall Of Fame inducted its ‘Class of 2012’, including The Beastie Boys, Donovan, Guns N’ Roses, The Red Hot Chili Peppers, The Small Faces/The Faces, Freddie King and Tom Dowd.
16	April	2012	English indie rock band Spiritualized released their 7^th studio album, ‘Sweet Heart Sweet Light’.
10	July	2012	English-American guitarist Slash (a.k.a. Saul Hudson) received a solo star on the Hollywood Walk of Fame at 6901 Hollywood Boulevard.
31	August	2012	Northern Irish indie rock band Two Door Cinema Club released their 2^nd studio album, ‘Beacon’.
2	October	2012	Highly acclaimed English session guitarist ‘Big Jim’ Sullivan died of complications from heart disease and diabetes in Billingshurst, West Sussex at the age of 71.
10	January	2013	Swiss founder and manager of the famous Montreux Jazz Festival since 1967, Claude Nobs, died in Lausanne at the age of 76.
18	February	2013	Alternative rock band, Nick Cave & The Bad Seeds released their outstanding reflective 15^th studio album, ‘Push the Sky Away’.
6	March	2013	English blues/rock guitarist and singer, Alvin Lee died of complications following surgery in Estepona, Spain at the age of 68.
18	April	2013	The American Rock & Roll Hall Of Fame inducted its ‘Class of 2013’, including Heart, Albert King, Randy Newman, Public Enemy, Rush and Donna Summer.
20	May	2013	American keyboard player with, and co-founder of, The Doors, Ray Manzarek died from bile duct cancer in Rosenheim, Germany at the age of 74.
3	June	2013	American rock band Queens Of The Stone Age released their 6^th studio album ‘…Like Clockwork’.
26	July	2013	Reclusive and influential American blues/rock guitarist, singer and songwriter, J.J. Cale died from a heart attack in La Jolla, California at the age of 74.
9	September	2013	English indie rock band, Arctic Monkeys released their 5^th studio album, ‘AM’.
27	October	2013	Legendary American singer, songwriter, guitarist, member of the Velvet Underground and successful solo artist, Lou Reed died of liver disease at his home in New York at the age of 71.
4	November	2013	American singer and cultural icon, Janis Joplin received a posthumous star on the Hollywood Walk of Fame at 6752 Hollywood Boulevard.
3	January	2014	American singer and guitarist, Phil Everly, half of the vocal harmony duo The Everly Brothers, died of lung disease in Burbank, California at the age of 74.
25	February	2014	Spanish virtuoso flamenco guitarist and composer, Paco de Lucía died from a heart attack while on holiday in Playa del Carmen, Mexico at the age of 66.
18	March	2014	American indie rock band The War On Drugs released their 3^rd studio album, ‘Lost In The Dream’.
10	April	2014	The American Rock & Roll Hall Of Fame inducted its ‘Class of 2014’, including KISS, Nirvana, Cat Stevens, Peter Gabriel, Linda Rondstadt and Hall & Oates.
17	June	2014	American singer and songwriter, Lana Del Rey released her 3^rd studio album, ‘Ultraviolence’.
16	July	2014	Renowned American blues/rock guitarist, Johnny Winter died from emphysema and pneumonia near Zurich, Switzerland, at the age of 70.
25	October	2014	Scottish bass guitarist with blues/rock super group Cream, Jack Bruce died of liver disease in Suffolk, England at the age of 71.
27	October	2014	American singer and songwriter Taylor Swift released her commercially successful 5^th studio album, ‘1989’.
13	March	2015	Australian guitarist, singer, songwriter, poet and co‑founder of psychedelic rock bands Soft Machine and Gong, Daevid Allen died from cancer in Australia at the age of 77.
30	March	2015	English dance/rock band The Prodigy released their 6^th studio album, ‘The Day Is My Enemy’.
14	May	2015	Legendary blues guitarist, singer, songwriter and producer, B.B. King died from a stroke caused by type 2 diabetes in Las Vegas, Nevada at the age of 89.
21	May	2015	American bass guitarist Louis Johnson of funk band Brothers Johnson died from internal bleeding in Las Vegas, Nevada at the age of 60.
30	May	2015	The American Rock & Roll Hall Of Fame inducted its ‘Class of 2015’, including Green Day, Joan Jett & The Blackhearts, Lou Reed, Ringo Starr, Stevie Ray Vaughan & Double Trouble and Bill Withers.
27	June	2015	English bass guitarist with progressive band Yes, Chris Squire died from leukaemia in Phoenix, Arizona at the age of 67.
11	September	2015	English indie rock band The Libertines released their highly anticipated 3^rd studio album, ‘Anthems for Doomed Youth’.
10	November	2015	American musician, songwriter, arranger and record producer Allen Toussaint died of a heart attack while on tour in Madrid, Spain at the age of 77.
13	November	2015	Islamic terrorists attacked a concert where American rock band Eagles of Death Metal were performing at the Bataclan Theatre in Paris, France. A total of 89 innocent people lost their lives.
4	December	2015	A commemorative statue of The Beatles was unveiled in their home city of Liverpool, 50 years after their last gig there.
28	December	2015	English singer, songwriter, bass guitarist, founder and front man of rock band Motörhead, Ian ‘Lemmy’ Kilmister, died of cancer in Los Angeles, California at the age of 70.
8	January	2016	Iconic English singer, David Bowie released his final studio album, ‘Blackstar’, on his 69^th birthday, just 2 days before his untimely death.
10	January	2016	Chameleonic English singer, rock legend, actor and cultural icon, David Bowie died from liver cancer at his apartment in New York City at the age of 69.
18	January	2016	Highly regarded American singer, songwriter and guitarist with country rock band Eagles, Glenn Frey died from complications of rheumatoid arthritis in New York City at age of 67.
4	February	2016	Northern Irish singer Sir Van Morrison OBE was knighted by Prince Charles at Buckingham Palace, London, UK for services to the music industry and tourism.
13	February	2016	Four members of English indie band Viola Beach and their manager were tragically killed in a car accident in Södertälje, Sweden.
8	March	2016	Legendary English record producer, Sir George Martin CBE, known by many as the ‘Fifth Beatle’, died at his home in Wiltshire at the age of 90.
11	March	2016	English keyboard player with progressive rock group Nice and a founding member of super group Emerson, Lake & Palmer (ELP), Keith Emerson died from a self-inflicted gunshot wound in Santa Monica California at the age of 71.
6	April	2016	American country singer and guitarist Merle Haggard died on his birthday as a result of complications from pneumonia at his home in Palo Cedro, California at the age of 79.
8	April	2016	The American Rock & Roll Hall Of Fame inducted its ‘Class of 2016’, including Cheap Trick, Chicago, Deep Purple, Steve Miller and NWA.
21	April	2016	American singer, guitarist, producer and actor, Prince died from an accidental drug overdose of the pain killer fentanyl at his home in Chanhassen, Minnesota at the age of 57.
21	April	2016	Influential American blues/rock guitarist Lonnie Mack died of natural causes in hospital near his home in Smithville Tennessee at the age of 74.
10	June	2016	British pop/rock singer and songwriter Sir Rod Stewart CBE was knighted in the Queen’s Birthday Honours list for services to music and charity.
28	June	2016	American singer Elvis Presley’s main guitarist in the early rock ‘n’ roll years, Scotty Moore died in Nashville, Tennessee at the age of 84.
15	July	2016	English virtuoso rock guitarist Jeff Beck released his fascinating change-of-direction 11^th studio album, ‘Loud Hailer’.
9	September	2016	Alternative rock band, Nick Cave & The Bad Seeds released their desperately melancholic 16^th studio album, ‘Skeleton Tree’.
13	October	2016	Legendary American singer, songwriter and guitarist Bob Dylan was awarded the prestigious Nobel Prize for Literature in Stockholm, Sweden. He skipped the official awards ceremony and delivered his acceptance lecture in April 2017.
21	October	2016	Canadian singer, songwriter and guitarist, Leonard Cohen released his elegiac final studio album, ‘You Want It Darker’.
7	November	2016	Canadian singer, songwriter, poet and guitarist, Leonard Cohen died after a fall at his home in Los Angeles, California at the age of 82.
13	November	2016	Legendary American musician and songwriter, Leon Russell died in his sleep at his home in Mount Juliet, Tennessee at the age of 74.
2	December	2016	English rock band Rolling Stones released their great back-to-basics blues/rock studio album, ‘Blue & Lonesome’ in the UK.
7	December	2016	English bass guitarist, singer, songwriter and founding member of progressive rock bands King Crimson and ELP, as well as a solo artist, Greg Lake died from cancer in London at the age of 69.
24	December	2016	English guitarist with pop/rock band Status Quo, Rick Parfitt died from sepsis caused by a shoulder infection in hospital in Marbella, Spain at the age of 68.
25	December	2016	English singer, songwriter and member of pop band Wham!, George Michael died of heart failure at his home in Goring-on-Thames, Oxfordshire at the age of 53.
31	January	2017	Welsh guitarist and regular on-off member of the progressive jam rock bands Man and Iceberg, as well as a solo artist, Deke Leonard died at the age of 72.
4	February	2017	English heavy metal pioneers, Black Sabbath performed their final live concert of their ‘The End’ tour at the NEC Arena in their home city of Birmingham, UK.
19	February	2017	Influential American virtuoso jazz fusion guitarist, Larry Coryell died of heart failure in New York City at the age of 73.
16	March	2017	English singer and member of pop/rock band The Kinks, Sir Ray Davies CBE received a knighthood from Prince Charles at Buckingham Palace, London, UK for his service to the arts.
18	March	2017	Legendary American rock ‘n’ roll singer, songwriter and guitarist Chuck Berry died of a reported cardiac arrest at his home in Wentzville, Missouri at the age of 90.
7	April	2017	The American Rock & Roll Hall Of Fame inducted its ‘Class of 2017’, including ELO, Joan Baez, Journey, Pearl Jam, Tupac Shakur and Yes.
15	April	2017	Influential virtuoso English jazz/rock fusion guitarist Allan Holdsworth died from heart disease at his home in Vista, California at the age of 70.
18	May	2017	American singer, songwriter and front man of hard rock bands Soundgarden and Audioslave, Chris Cornell committed suicide in his hotel room in Detroit, Michigan at the age of 52.
27	May	2017	American musician and co-founder of The Allman Brothers Band, Gregg Allman died from a heart attack in Richmond Hall, Georgia at the age of 69.
8	August	2017	American country singer and guitarist, Glen Campbell died of Alzheimer’s disease in Nashville, Tennessee at the age of 81.
25	August	2017	American indie rock band The War On Drugs released their 4^th studio album, ‘A Deeper Understanding’.
3	September	2017	American guitarist and bass guitarist, songwriter and co‑founder of rock band Steely Dan, Walter Becker died from oesophageal cancer at his home in Manhattan, New York at the age of 67.
2	October	2017	American singer, songwriter and guitarist Tom Petty died of an accidental overdose of prescription painkillers at his home in Santa Monica, California at the age of 66.
18	November	2017	Scottish-born guitarist and co-founder of Australian rock band AC/DC, Malcom Young died following a long battle with dementia in Elizabeth Bay, New South Wales at the age of 64.
10	January	2018	English guitarist and one-time member of the rock band Motörhead, ‘Fast’ Eddie Clarke died from pneumonia in hospital in London at the age of 67.
9	March	2018	After 66 years, the UK weekly music magazine The New Musical Express (a.k.a. NME) published its final printed copy, signalling the end of an era in British music press.
9	March	2018	British indie rock band Editors released their 6^th studio album, ‘Violence’.
20	March	2018	English drummer and former member of The Beatles, Sir Richard Starkey (a.k.a. Ringo Starr) MBE was knighted by HRH Prince William at Buckingham Palace, London, UK.
14	April	2018	The American Rock & Roll Hall Of Fame inducted its ‘Class of 2018’, including Bon Jovi, The Cars, Dire Straits, Moody Blues, Nina Simone and Sister Rosetta Tharpe.
8	June	2018	English guitarist, singer, songwriter and member of Anglo-American rock group Fleetwood Mac from 1968 to 1972, Danny Kirwan died from pneumonia in London at the age of 68.
2	July	2018	Scottish bass guitarist and founding member of 1970s pop group The Bay City Rollers, Alan Longmuir died in Larbert, Scotland, following an illness while on holiday in Mexico at the age of 70.
16	August	2018	Legendary American singer, songwriter and the ‘Queen of Soul’, Aretha Franklin died of pancreatic cancer at her home in Detroit, Michigan at the age of 76.
22	August	2018	American guitarist and bass guitarist with southern rock band Lynyrd Skynyrd, Ed King died following a battle with cancer at his home in Nashville, Tennessee at the age of 68.
22	September	2018	English guitarist and singer, best known as half of London duo Chas & Dave and as a session musician, Chas Hodges died from organ failure following treatment for cancer at the age of 74.
29	September	2018	Great American blues guitarist, singer and songwriter, Otis Rush died from complications resulting from a stroke in Chicago, Illinois at the age of 83.
16	March	2019	Influential American guitarist, ‘the king of surf guitar’, Dick Dale died of heart failure in hospital in Loma Linda, California at the age of 81.
17	March	2019	Irish guitarist and member of heavy rock bands Gillan and Ozzy Osbourne, Bernie Tormé died of pneumonia in London, England at the age of 66.
29	March	2019	The American Rock & Roll Hall Of Fame inducted its ‘Class of 2019’, including The Cure, Def Leppard, Janet Jackson, Stevie Nicks, Radiohead, Roxy Music and The Zombies.
29	March	2019	Emerging American indie/pop singer and songwriter Billie Eilish released her phenomenally successful debut album, ‘When We All Fall Asleep, Where Do We Go?’.
30	April	2019	English guitarist and co-founder of jazz/funk band Level 42, Boon Gould died at his home in Dorset at the age of 64.
13	May	2019	American singer and Hollywood actress Doris Day died of pneumonia in Carmel Valley Village, California at the age of 97.
30	May	2019	Cypriot/Canadian jazz/blues singer, songwriter, guitarist and actor Leon Redbone died following complications from dementia in hospice care in Bucks County, Pennsylvania, USA at the age of 69.
31	May	2019	Pioneering American guitarist, singer and songwriter with psychedelic rock band 13^th Floor Elevators Roky Erickson died in Austin Texas at the age of 71.
6	June	2019	Great American singer, songwriter, pianist and occasional guitarist Dr John died of a heart attack in New Orleans, Louisiana at the age of 77.
20	June	2019	English guitarist and former member of Pink Floyd, David Gilmour auctioned 120 of his guitars in New York, raising nearly £17m to help fight climate change. His famous Black Strat sold for £3.1m.
30	August	2019	American singer and songwriter, Lana Del Rey released her standout 6^th studio album, ‘Norman Fucking Rockwell!’ (a.k.a. ‘NFR!’).
6	October	2019	Legendary English drummer and co-founder of the rock bands Cream, Blind Faith and Baker Gurvitz Army, as well as solo artist, Ginger Baker died in hospital after a long illness in Canterbury, Kent at the age of 80.

Tailpiece

So, finally, that’s the major part of the extensive adventure now covered. Along the way, way more than 100 additional facts have been squeezed into the timeline, so somewhere around 1,700 music‑related facts. That doesn’t include the hundreds of ‘Historical Context’ facts that I think brought some of the more obscure musical events to life.

Undoubtedly, over time, more ideas and data will expand the long list of factoids further. Fortunately, these supplemental incidences won’t be lost, as they will appear on CRAVE Guitars’ quotidian ‘Musical Facts Of The Day’, which are posted daily on Twitter and Facebook.

The next article… or two… or three… will be wrapping up the voluminous subject matter in a way that I hope provides adequate closure to the lengthy journey. As there are no more decades to cover, the next episode will take a different look at what has already been covered. Intrigued by what the next slice of exposition might comprise? I hope so. Come back and find out.

In the meantime, I will be continuing my personal quest to bring you ‘Cool & Rare American Vintage Electric’ Guitar heritage for your entertainment (?!?!). This chore inevitably means the routine business of accumulating and appreciating some hopefully interesting old guitar gear. Hey, it’s a tough job but someone’s got to do it and, quite frankly, I ain’t complainin’. Much. Until next time…

CRAVE Guitars’ ‘Quote of the Month’: “The purpose of art is to stimulate an emotional reaction, regardless of what that reaction is.”

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