Prelude
HAPPY & HEALTHY FEBRUARY 2024 GUITAR MUSIC AFICIONADOS. Despite the world collapsing into increasingly dire crises at the behest of inept megalomaniac despots, I will endeavour to deliver some (hopefully) light entertainment as a non‑addictive antidote to the agonising anguish of day‑to‑day survival. As woeful soothsayers may predict, ‘the end of the world is nigh’. For once, they might just be right, at least for human civilisation. Time to repent and plead for redemption at the end of days? I think not. At least not yet. In the meantime… rock till you drop, I say. I digress, as usual. Apologies to one and all.
“Better than a thousand hollow words, is one word that brings peace” Buddha (Siddhārtha Gautama – c.480-400BCE)
Back to the business at hand. Pretentious pedantic prose. OK. Up front, forgive me, for there is an underlying understanding in, and a focus on, the simplicity of the here and now that runs through this article, hence the title. It is a contemplative and reflective narrative that draws on the creative essence of CRAVE Guitars over time.
A little while ago, I was doing some file management on my laptop and I came across a number of old documents that caught my attention. They were basically some very crude design ideas created in a transitional period of CRAVE Guitars’ history between 2007 and 2014.
‘Aha’. Lightbulb moment. The discovery might make a different and, perhaps (?), interesting basis for a matter‑of‑factual monthly musing, I thought. So, without further ado, let’s fire up the metaphorical DeLorean and drift back to 2007 to track the evolution of design elements that developed over a period of seven years and which have been a mainstay of CRAVE Guitars for the last nine years or so. A much shorter missive for you this month, you will probably be pleased to know. Some images too, to brighten up the virtual page.
The dawn of CRAVE Guitars: a reminder – 2007
A quick recap may be in order to provide context. I covered the birth and early years progression of CRAVE Guitars back on its 10th anniversary article in July 2017. There is some inevitable overlap with this article. For those that wish to go into a bit more background detail (opens in a new tab)…
July 2017 – Happy Birthday: 10 Years of CRAVE Guitars
There is, though, a bit more to the design components than I covered at the time. The catalyst for establishing CRAVE Guitars as ‘a thing’ goes back to 2007 and the acquisition of a gorgeous 1989 Gibson Les Paul Custom. While this wasn’t actually a vintage guitar at the time, it had many of the beguiling characteristics that are present on many vintage guitars, including minor bumps, nicks, play wear yellowed binding, and a fading lustre resulting in a fine satin patina. The point of mentioning this here is that this event was the germination of an idea and a facilitator for what would become the CRAVE (Cool & Rare American Vintage Electric) Guitars ‘project’.
“An idea that is developed and put into action is more important than an idea that exists only as an idea.” Buddha (Siddhārtha Gautama – c.480-400BCE)
Once the project’s name was conceived, an initial task was to undertake some due diligence. I checked that no‑one else was using the titles, CRAVE Guitars, CRAVE Vintage Guitars, CRAVE (Cool & Rare American Vintage Electric) Guitars or C.R.A.V.E. Guitars. There was no trace of such a use anywhere in the world that I could readily identify, so I adopted it and everything from 2007 to today, relating to CRAVE Guitars, has carried the CRAVE Guitars © ‘copyright’ (including this article). Things rapidly coalesced from there, at least in my mind. Ping!
The original concept is stated on the home page of the web site, “The name ‘CRAVE’ is a play on words; as an acronym, it stands for ‘Cool & Rare American Vintage Electric’ guitars, while its literal meaning is ‘to yearn for’ or ‘to want greatly’. It may also be taken as a ‘call to action’.”
In addition, the six individual constituent words – cool, rare, American, vintage, electric and guitars – became the core criteria for identifying and acquiring instruments (and associated equipment) for the CRAVE Guitars ‘collection’.
Thus… CRAVE Guitars became more than just a vague notion. Sort of. It was shaping up into being ‘a thing’, although I’m still not quite sure what ‘thing’ it has become. However, it exists, whatever ‘it’ is. It struck me as notable how some things come from nowhere and then somehow develop a life of their own, becoming well‑established over time with no or little subsequent change. While the name stuck, the graphic design to support it did not appear fully formed at the time; the current brand image came along much later.
After the summer of 2007, the odd assortment of random guitar gear acquired over many years came under scrutiny and I quickly realised it needed radical rationalisation if it was to comply with the six core criteria of the project. Firstly my non‑American guitars were sold off, then my acoustic guitars and, finally, guitars newer than 1989 were also sold (bar two). What remained formed the basis of CRAVE Guitars as it is now. What was left were about 6‑8 guitars and 2 basses. Since 2007‑ish, all essential acquisitions have complied with the principle mission and entry criteria to create a rationally thought‑through, clearly defined ‘collection’. I don’t like the word ‘collection’ for all its negative connotations but for this exercise, I can’t think of a better one.
From 2007 to about 2010, the focus was on buying familiar classic guitars solely from Gibson and Fender. This reinforced the baseline from which to proceed. It turned out not to be a good time for buying, as it was just before the global financial meltdown of 2008, so vintage guitar prices were sky high. By 2010, the proverbial bubble had well and truly burst. Sigh. It is a good job that CRAVE Guitars is not financially motivated.
2010 to 2014 was a catastrophic period during which I lost almost everything, including my home, so we’ll bypass that quickly without further reference. What’s gone has gone. The subsequent recovery was painful, slow and laborious.
“Do not pray for an easy life, pray for the strength to endure a difficult one” Bruce Lee (1940-1973)
Since 2014, CRAVE Guitars has focussed more and more on quirky, unusual and interesting ‘affordable’ vintage guitars from other American manufacturers as well as the Big ‘G’ and ‘F’. It wasn’t until early 2019 that a significant proportion of the pre‑loss ‘collection’ was reunited with newer acquisitions after a friend had kept them safe for several years. Since 2019, CRAVE Guitars has been ‘a thing’ again.
The initial CRAVE Guitars designs – 2008‑2014
At this point, I must state that I am not a graphic designer and have no professional training in the craft, although my family does have artistic roots. I do, however, think I have a reasonably good eye for aesthetics. I might have liked to pursue an education and career in art, photography and design (as well as music) but, like most good citizens, I realised that I had to make a living, so my cultural aspirations were sacrificed at the altar of responsibility and any artistic credentials remain entirely amateur.
As the project grew, I proceeded to develop a Microsoft Access database to record each instrument in some detail. The database has been updated a number of times over the years (see below) and is still in use today.
Photographs of each instrument were taken to add to the database and were used in the early activities. Admittedly, the original photos were limited and not high definition by today’s standard so, from 2014, the guitars were re‑photographed in greater detail and quality.
Using the information from the database, a ‘brochure’ of the ‘collection’ was concocted, such as it was, using the early photographs and a basic narrative. The original Arabic‑style ‘logo’ text was a font used by the CorelDRAW graphics package at the time; unfortunately, I can’t recall the font’s name. The marron and yellow colour scheme was intended (arguably) to convey a sense of classy opulence (!?). I know, I know, the approach was very basic and hardly anything to be proud of now but at least it was a start.
“There are only two mistakes one can make along the road to truth; not going all the way, and not starting” Buddha (Siddhārtha Gautama – c.480-400BCE)
However, that is all it was back then; a start. A primitive and very limited run printed pamphlet of some vintage Gibson and Fender guitars from the 1960s to the 1980s inclusive. It was not widely ‘visible/available’ to anyone else who might share my interest, so it was essentially a creative dead end and only of interest in hindsight. It was also a learning exercise. CRAVE Guitars had come a long way, although the evidence may not seem like it.
I suspect that regular readers (if there are any!) will know that I have a principled anathema towards the heinous capitalist practice of accumulating vintage guitars for profit and hoarding them away. This benefits no‑one except the owner’s bank account. I didn’t want to fall foul of that accusation, so I had to find a way of sharing the results of the project with others who have similar interests. It is the sharing element that I feel is important and beneficial.
One way of sharing might have been to become a vintage guitar dealer, like many existing established retail outlets. However, I simply don’t have the ‘killer instinct’ (or the funds) to become a successful hard‑nosed commercial trader, so that option was quickly ruled out. I guess I’m just too nice. Besides, I didn’t have any desire to be like any other businesses. It would be rewarding if I could, in some way, monetize CRAVE Guitars, so that any proceeds could be invested back into the enterprise. However I can’t envisage how that end could be achieved without compromising the principal mission and my own values.
CRAVE Guitars doesn’t have any business premises, so creating some sort of physical curated heritage ‘museum’ (for want of a better word) with only a few average guitars was also out of the question. While I quite like the idea of some sort of unique exhibition, it wasn’t, and still isn’t, feasible. Preliminary research indicated that a gallery or heritage centre wouldn’t attract sufficient visitors to make it worthwhile, so it didn’t even make it to a draft business plan stage.
So, I decided to take the plunge and venture into online sharing. As far as I can tell, there doesn’t seem to be anything quite like CRAVE Guitars out there anywhere. Perhaps it is unique, although I wouldn’t be so arrogant as to assert that particular proposition. It might be exciting to develop some sort of virtual online ‘gallery museum’. However, the technology, for instance pro‑level design software, studio photography, photogrammetry, 3D animation, augmented reality and studio recording, to make it genuinely innovative, immersive and impressive are currently beyond CRAVE Guitars’ modest means. More thought required.
“Design is thinking made visual.” Saul Bass (1920‑1996)
CRAVE Guitars online presence – 2014‑date
In 2014, I had no experience of web site development or running any social media accounts. The emergence of what is recognisably CRAVE Guitars today started in late 2014 culminating with the advent of the CRAVE Guitars web site and social media channels. I was basically starting from scratch but, for me, that was quite ambitious, exciting and frustrating in equal measure.
I had the basic structure of, and a design concept for, a WordPress web site planned out. I went about acquiring the relevant URLs and identifying an ISP (Internet Service Provider) to host the results. A web site without any cohesive design theme would be pretty rubbish, so I had to think of a way of conveying what the entity was and turning that into coherent graphic designs that would become familiar to online visitors.
In addition to the web site, I felt that there would have to be a parallel social media presence, consistent with the aesthetics of the web site where possible. The two leading platforms at the time, Twitter (now Elon Musk’s diabolical ‘X’) and Facebook were priorities. In addition, I had a LinkedIn account, so that also seemed a logical extension. YouTube and Instagram were also popular, so they were other channels to consider. There were/are other social media platforms including Flickr, Pinterest and Tumblr, so I set about making sure that CRAVE Guitars had a presence on all of these (and thereby preventing others from appropriating the name!).
There are some gaps, however. Does anyone remember the social media platform called Google+? I actually liked it but due to inherent security weaknesses, Google shut it down in 2019 and it has become all but forgotten nowadays. I evaluated Snapchat and felt it was irrelevant for CRAVE Guitars. I refuse to use TikTok due to its Chinese ownership, so CRAVE Guitars is not present for ethical geopolitical, environmental, technological and human rights reasons.
Accordingly, the work began in earnest to cultivate the broader CRAVE Guitars ‘brand’ image. Activity on this front was quite significant up until the tempestuous 3‑year hiatus, which took place from November 2020 to September 2023.
“Know well what leads you forward and what holds you back, and choose the path that leads to wisdom” Buddha (Siddhārtha Gautama – c.480-400BCE)
The CRAVE Guitars signature image
Determining a signature image for CRAVE Guitars was kinda easy. The sunburst 1975 Gibson Les Paul Standard was one of my original guitars that I bought second hand in c.1978 and have had ever since. It was already a bit battered when I got it, with buckle rash and some parts removed (pickup covers and scratchplate) but it was all I could afford at the time. People pay good money for fake wear and tear like that nowadays and the Les Paul’s attrition was genuine! NB. Relic is not a verb! Ggrr!
Not thinking anything of it at the time, I had the Les Paul refinished from its original tobacco sunburst, which I didn’t really like back then, to a shiny natural finish, which was very popular during the late 1970s. By the 1990s, I was tired of the somewhat bland natural finish, so it was refinished again in a lovely deep cherry sunburst and the missing parts were restored. That is the condition of the Les Paul at the time of writing. Below is the original CRAVE Guitars photograph.
Although the Les Paul’s finish isn’t original, it has been a long‑time favourite axe, so it became CRAVE Guitars’ signature instrument, despite rather than because of its chequered history. I don’t give a hoot that self‑opinionated critics pour scorn on Gibson’s 1970s Norlin‑era guitars.
That Les Paul is the only instrument in the ‘collection’ that has been refinished. I don’t do regrets but, if I did, I would feel guilty for messing with that Les Paul like I did. In my defence, I was young and it was only a couple of years old at the time. It was intended to be a working guitar rather than a collectable. Who would have thought that I’d still have it 46 years later and it would be a figurehead for a vintage guitar enterprise! The Les Paul has, though, endured over the years through the few ups and many downs, so it has become appropriately symbolic for both me and for CRAVE Guitars.
The CRAVE Guitars logo and avatar
I couldn’t afford to appoint a professional designer to come up with a ‘corporate’ logo, so I had to attempt something myself. It was these work‑in‑progress attempts that I came across recently and which prompted this article.
The very early efforts comprised a brainstorming‑type design process with some never‑before‑seen aborted concepts. Some of these early rough draft ideas are shown here.
I had an epiphany to combine the signature Gibson Les Paul outline and the word CRAVE into a unified logo. Genius, I thought. The very first attempt at the integrated logo was a rough hand‑drawn scrawl made with a marker pen on a small scrap of (white) paper!
I tested out some of these early ‘sketch’ ideas and the CRAVE acronym with a professional graphic designer friend who I respect. He didn’t like it at all, which was a bit disappointing. However, I persevered, as I thought I was onto something that I could live with.
Once the overall Les Paul shape of the logo was firmed up, I had to choose a colour scheme. It was important to me not to try and be too clever, so it was imperative to Keep It Simple Stupid (KISS). For clarity at different resolutions and sizes, I selected a bright/deep blue for high contrast over a pristine white background. A graphics package was used to scan in and then refine the originally hand‑drawn initial outline.
The ‘bobbly’ lines are intended to give the impression of kinetic resonant vibrations of the instrument. Clever tie‑in huh? OK. Maybe not but that’s what I thought and it seemed eminently logical, so I stuck with it.
Most importantly, the graphic design, narrative and photographic imagery must complement, enhance and not distract from the core subject matter – the vintage guitars, basses, amps and effects – which should be able to shine in their own right. The intention was/is that the various components should all work together in an integrated way, creating a whole that is more than the sum of its parts.
“Simplicity is not the goal. It is the by-product of a good idea and modest expectations.” Paul Rand (1914‑1996)
The admittedly very crude, irregular first attempts were then finessed through about 8‑10 incremental, increasingly subtle, iterations. Eventually, it became what you see on the website, social media, business cards, merchandise, etc. today.
The guitar‑shaped CRAVE logo image was embellished with the word ‘Guitars’ in a clean, modern and minimalist sans serif Segoe UI Light font, which appealed to my eye. With the recent brand update, the logo’s text was selectively extended to read ‘Vintage Guitars’. This approach could also apply to CRAVE Basses, CRAVE Amps and CRAVE Effects. With or without ‘Vintage’ depending on the circumstance.
The full logo, however, wasn’t suitable for social media and Internet browsers, which generally uses round or square‑ish ‘icons’ or ‘avatars’ to represent the image of a relevant account so, once the main logo was firmed up, I set about addressing that particular task. The very first draft avatar was a basic black/red silhouette based on a Gibson ES‑335 body outline but it bore very little resemblance to the rest of the brand, so it didn’t last long.
The logical answer was to reduce the full logo to fit the avatar’s specification. The result of that exercise was to use only the ‘CR’ from the full logo, intended to represent the shape of the Les Paul body (minus neck/headstock).
Recently someone not into guitars asked me what the ‘squiggle’ on Facebook was meant to be and I had to explain it. Never a good sign. I had become so used to it that I thought it was obvious. Obviously not! Once again, there was some disappointment but I can live with it. The ‘CR’ Les Paul body shaped avatar for social media has been retained unchanged.
“Design is not just what it looks like and feels like. Design is how it works.” Steve Jobs (1955‑2011)
CRAVE Guitars merchandise
The aim behind the CRAVE Guitars graphic design is that it can be used beyond the online presence for instance, printed materials and merchandise. CRAVE merch is there for fun, not money. Routine merch items include T‑shirts, mugs, guitar picks, etc. As CRAVE Guitars is not a business or even a physical entity, there is no pre‑prepared merch stock. It’s all made to order as and when needed. Here are a few examples.
CRAVE Guitars future design
Continuity of image is as important as coherence. There are no immediate intentions to change or improve the logo and graphic design. I still believe it to be effective, even though my designer friend still doesn’t like it. The overall aesthetic has been around for ten years now and I think it still looks fresh, clean and modern.
I do review the visuals regularly and think of different ways in which it could be embellished or enhanced but I keep coming back to the basic, simple brand image. Less is more and all that. If it ain’t broke…
At some point, I might want to redesign the brand but not yet. I still like it as it is and it remains visually coherent to my inexpert eye. To change the style radically would, I believe, be counter‑productive and disrupt continuity. Evolution, rather than revolution is likely to be the order of the day, if and when it comes around.
I don’t envisage separate designs for the sub‑brands, CRAVE Basses, CRAVE Amps and CRAVE Effects. They are essentially all under the umbrella of the main brand identity, rather than discrete entities in their own right. They would not exist were it not for CRAVE Guitars. Nor do I envisage any more vintage sub‑brands joining the family any time soon (e.g. drums, keyboards, studio gear, etc.). To diversify further would be to dilute too much.
In the unlikely event that both mankind and I survive until 2027, it will be time to celebrate two decades of CRAVE Guitars. I believe that the design will still be familiar for visitors. Could the CRAVE Vintage Guitars brand design be better? Of course it could.
“Have no fear of perfection. You’ll never reach it.” Salvador Dali (1904‑1989)
I am reluctant to pose the question, ‘what do you think?’, as that would open up a whole can of worms. I see so many logos that are unclear, ambiguous, unrelated to the core business, indistinct, outdated, too detailed, irrelevant, conflicting, poor choice of colours/contrast, overblown, illegible, generic, confusing, ugly, or just plain dull. Simple doesn’t have to be boring. I didn’t set out to create the world’s best logo but, in hindsight, I don’t think it’s too bad. For a rank amateur.
Tantalising snippet… I will return to the subject of the CRAVE Guitars logo in a planned future article. Why? Wait and see!
Final thoughts
One fundamental question for CRAVE Guitars is, ‘Is it worth it?’ I have been doing all of this to share my passion with others but does anyone else actually care or give a damn? It’s also nearly met its demise more than once along the way, so it isn’t a ‘sure thing’. The truth is, I really don’t know what the future holds. I like to think it is a worthwhile adventure but, then again, I am not the one to judge. It is worth it to me.
The website currently gets over 4,000 visitors a month and CRAVE Guitars has over 6,750 followers on X (about 1,000 down from its pre‑hiatus peak) but is that good or not? Again, I have absolutely no idea; they are just numbers. I would hate to think that the last 17 years have been in vain.
A further question is, ‘Why do I do it?’ I have been fascinated by guitars since I got my first nylon‑strung acoustic as a teenager. That fascination prevails to this day. Therefore, I feel quite strongly that CRAVE Vintage Guitars is my ikigai; my purpose in life (from an ancient Japanese philosophy, with ‘iki’ meaning ‘to live’ and ‘gai’ meaning ‘reason’, in rough translation). I have poured my soul into guitars, music and CRAVE Guitars over quite a prolonged period (overall, longer than my entire professional working career, so the effort has been considerable, even though it feels like there is much more to be done before I’m finished (if I live that long!). Is CRAVE Guitars my fate, my destiny? Nah. I wouldn’t go that far; I feel that some decisions are still under my control.
Another profound question is, ‘Where to go from here?’ What is the end game? Well, for that, we’ll just have to wait and see. A great deal depends on currently non‑existent funds. I do not want or intend to give up any time soon; I have become too invested in the project to ‘throw the towel into the ring’ now. I have some thoughts about adding content to the website and some narrative has already been drafted but it is hardly Earth‑shattering. Perhaps a degree of reinvention may be needed after all. I look forward to future developments.
“I never see what has been done; I only see what remains to be done” Buddha (Siddhārtha Gautama – c.480-400BCE)
CRAVE Guitars’ ‘Album of the Month’
This month, I tried to think of something relevant to the article’s theme. If I had to come up with an album that hints at what CRAVE Vintage Guitars stands for, what on Earth could it possibly be? HHhhmm. Tricky one. Sadly, I no longer have any recordings of my own music, lost in the mists of time, so it has to be an established artist. It has to be predominantly guitar music and it should (?) be a recognisable classic (and from the time of many vintage guitars). HHhhmm. Still tricky. So, so many and yet so few! More HHhhmm. This is hard. Gotta pick something. OK, then, here goes; I wouldn’t call it CRAVE Guitars’ theme tune but I like it anyway…
The Doors – L.A. Woman (1971) No ten‑minute self‑indulgent virtuoso guitar wizard solos here, just solid song writing and shed loads of charisma with guitar playing that serves the songs, rather than vice versa. Guitarist Robby Krieger and his trusty Gibson SG Standard along with Ray Manzarek on keyboards, John Densmore on drums and the tragically mercurial Jim Morrison on vocal chords. The Doors didn’t have a resident bass player but that didn’t hold them back – Jerry Scheff played bass on this album. ‘L.A. Woman’ was the band’s last studio album before Morrison’s untimely death in Paris, France in July 1971, at the age of 27. The recording won’t appear in any ‘top 100 guitar albums’ lists but that’s not really the point. I am personally not a huge fan of The Doors but this record stands out for me. Neither is it universally admired. However, it survived my honing down process until it remained on the shortlist of one at the end.
“Where’s your will to be weird?” Jim Morrison (1943-1971)
HHhhmm. Other worthy (in my view) contenders included, Deep Purple – Made In Japan (1972), Genesis – Selling England By The Pound (1973), Black Sabbath – Black Sabbath (1970), Lynyrd Skynyrd – Second Helping (1974), Pink Floyd – Meddle (1971), Led Zeppelin – Physical Graffiti (1975), T.Rex – Electric Warrior (1971), The Cure – Disintegration (1989), Bob Marley & The Wailers – Live! (1975), Steve Hillage – L (1976), Rory Gallagher – Against The Grain (1975), and David Bowie – Let’s Dance (1983).
One interesting observation; all of the above albums emanated from the 1970s and 1980s. Nothing older and nothing newer. Was it really some sort of ‘golden age’ for guitar music or just the music that impacted an impressionable post‑hippie youth?
Tailpiece
So, there you have it; a much shorter discursive diversion (I had to get at least one alliteration in!) this month and a bit different from most other recent articles. I like to mix things up a bit, so a diversity of subject matter keeps things lively and unpredictable. I’m conjuring up something even more offbeat for next month, if it works! There is, though, a lot to do before we get to that point. Watch this space, folks…
In the meantime, if you get any opportunity at all to help bring common sense to the fore and pre‑empt the impending global apocalypse, just do it!
Truth, peace, love, and guitar music be with you always. Until next time…
CRAVE Guitars’ ‘Quote of the Month’: “Since when did the truth become a conspiracy theory?”
© 2024 CRAVE Guitars – Love Vintage Guitars.