28 Jul 2019

July 2019 – The Story of Modern Music in 1,500+ Facts – Part V

by CRAVEGuitars | posted in: History, Introduction, Observations | 0

Introduction

Okeydokey guitar and music fans out there. If you are reading this 5^th part of the series of articles, I hope you know the routine by now, so I won’t bore you with any further preamble and we can get on with the latest episode.

If you would like to (re)visit the first four parts (covering 300 years) of the story to‑date, you can do so here (each link opens a new browser tab):

Before we delve in to the Fifties, I was asked a very good question following the last article, which was…

Question(s): “A young Elvis Presley sang ‘Old Shep’ in a talent contest… he came 2nd. I would dearly like to know who beat the future ‘King’ of rock and roll. Do you happen to know if it was a fellow pop star?”

Answer: Many reports say that the young Elvis came 2^nd. However, in a later interview, Presley said that he came 5^th. The photograph of the prize giving presentation suggests that Presley may be correct in his recollection as three others are holding prizes while the young Presley, standing on the far right of the photo below wearing glasses, is standing empty-handed. The winners, as far as anyone knows, did not go on to become famous.

This also raises the point of illustrating the facts. I actually have some interesting images for each and every fact listed in these articles. While a picture can convey many words, to add that many photos, each publication would become humongous to wade through. I know people like to see pictures, rather than read volumes of sometimes repetitive narrative. On this occasion, it is probably better not to illustrate each fact. Apologies to all the picture loving people out there.

Once again, so much happened in the course of the 1950s that the decade demands a discrete article to itself. Let’s go…

The Story of Modern Music Part V 1950-1959

For many people, the birth of rock ‘n’ roll heralded a whole new era of popular music. So, as we get to the 1950s, this article will cover what was going on in the world that enabled such a musical revolution to take place and the fundamental cultural changes that went along with it. The world would never be the same again. It is worth remembering that, at the time, not everyone was excited about change and many conservative traditionalists fiercely rejected and resisted such a rebellious and irreversible transformation.

Historical Context 1950-1959

For most developed economies, the 1950s was a period of slow recovery from the severe consequences of WWII. However, the world was not without conflict and warfare in many other regions including in Asia, Africa and South America. The Cold War continued to fester, fuelled by intense competition between the democratic United States and communism Soviet Russia. The bitter rivalry included reciprocal nuclear weapons testing, military escalation and the start of the ‘space race’. The McCarthy ‘witch hunts’ of communist subversive and treasonous American citizens fuelled bitter political conspiracy and widespread public paranoia. The threat of mutually assured destruction maintained a fragile stalemate between west and east. By the end of the decade, as employment and income levels began to improve, individual freedoms and opportunities would lead to a paradigm shift in civilised countries including radical social, political, technological and cultural change that would set the dynamic scene for following decades.

Year	Global Events
1950	The Korean War started between the communist North supported by Russia and China, and the capitalist South supported by America – the war lasted until 1953 when the Korean Demilitarized Zone was implemented to separate North and South.
1951	The precursor to the European Union, the European Coal and Steel Community (ECSC), was formed when six countries signed the Treaty of Paris.
1952	British monarch, King George VI died and Elizabeth II became Queen of the United Kingdom. Republican politician and army general Dwight D. Eisenhower was elected 34^th President of the U.S.A.
1953	New Zealand mountaineer Sir Edmund Hillary and Nepalese Sherpa Tenzing Norgay became the first people to reach the summit of the world’s highest mountain, Mount Everest. One of the first films to depict youthful rebellion and which would become a reflection on American social tensions, ‘The Wild One’ was released, directed by Laslo Benedek and starring Marlon Brando. The scientific paper describing the double-helix structure of DNA was authored by Britain Francis Crick and American James Watson.
1954	The term rock ‘n’ roll was coined by DJ Alan Freed and the associated teen culture became hugely popular, particularly in America and Britain. British athlete Roger Bannister becomes the first man to run the four minute mile.
1955	Renowned German physicist Albert Einstein died in Princeton, New Jersey, America in 1955 at the age of 76. The Warsaw Pact defence treaty between Russia and seven neighbouring Eastern Bloc states was signed during the ‘Cold War’ standoff. The classic film drama of teen alienation, ‘Rebel Without A Cause’ was released, directed by Nicholas Ray and starring James Dean. The phenomenally successful MacDonald’s fast food chain was established in America by Ray Kroc. The Vietnam War between the Communist North and the Capitalist South started, which lasted until 1975.
1956	The Suez Crisis erupted following Egyptian nationalisation of the Suez Canal, creating conflict in the Middle East.
1957	Russia launched the Sputnik 1, the first artificial Earth satellite into space, effectively triggering the space race. The European Economic Community (EEC) was established when six countries signed the Treaty of Rome.
1958	The American National Aeronautics and Space Administration (NASA) was set up in Washington D.C.
1959	Marxist leader Fidel Castro established the long‑standing communist dictatorship in Cuba after overthrowing the Batista regime. The British Motor Corporation launched the revolutionary and hugely successful small family car, the Mini, designed by Sir Alec Issigonis. The original model stayed in production until 2000. Alaska and Hawaii formally become an integral part of the United States of America.

Musical Genre Development 1950-1959

The 1950s was a decade of innovation that saw the massive explosion of musical creativity across many genres, fusing influences and generating many new musical styles. Arguably, it was during the 1950s that modern music ‘grew up’ and any suggestions that the popular music crazes of the time were ephemeral ‘fads’ were finally dispelled. Country music remained popular with artists such as Johnny Cash and Hank Williams at the forefront of a revival.

Possibly not a genre in itself but easy listening music became popular in the 1950s and lasted until the 1970s. A form of middle‑of‑the‑road (MOR) music, it found popularity on radio and then extended into various styles of background music, elevator music or ‘muzak’. Easy listening music was often instrumental or vocal interpretations of past popular music standards, rather than anything new in its own right. Some major artists tapped into the appeal, including Burt Bacharach, Henry Mancini, Herp Alpert, The Carpenters and Richard Clayderman.

In the post‑war years, modernistic music, broadly also encompassing experimental and avant‑garde music was being explored by many composers wishing to push boundaries either within existing traditions or by introducing original elements outside prevailing styles. The aim of many composers was to break rules, reject established conventions and challenge audiences in a creative, if frequently alienating, way. Practitioners included Arnold Schoenberg and John Cage.

During the 1950s rhythm and blues music, often shortened to R&B, became popular, being a more upbeat form of blues music. R&B emanated from mainly African‑American music that was widespread during the late 1940s. Record companies promoted R&B toward predominantly urban African American audiences. R&B’s popularity was based on a fusing many influences such as jazz, blues, country and gospel to create strongly rhythmic, beat‑based songs. R&B would, in turn, influence the emergence of rock ‘n’ roll and soul of the late 1950s and 1960s. In response to other influences, R&B changed to include other styles such as doo‑wop. Famous R&B artists of the time included Ray Charles, The Drifters, Sam Cooke, The Platters and the Coasters.

By the mid‑1950s, the cultural clash of blues, jazz and country combined to create a new phenomenon in the United States, rock ‘n’ roll, a phrase popularised by radio disc jockey Alan Freed in 1954. Bill Haley (And His Comets) is often credited as the catalyst although many other artists were instrumental in creating the new youth musical revolution, including Elvis Presley, Jerry Lee Lewis, Fats Domino, Carl Perkins, Chuck Berry and Little Richard. Rockabilly was a very close relation to rock ‘n’ roll at the time popularised by artists such as Buddy Holly and Gene Vincent. Classic rock ‘n’ roll is essentially based on a backbeat dance rhythm performed on electric guitar, bass, and drums, replacing the piano and saxophone as lead instruments. The cultural importance of rock ‘n’ roll cannot be underestimated and its impact went far beyond just a musical genre, influencing lifestyle, film & TV, art, fashion, attitudes, and language. Although its roots can be traced back to the 1930s, it was in the 1950s that rock ‘n’ roll began to pervade modern society, coming as it did at a time of immense post‑war technological, economic, social and political change. On the back of radio coverage, the 45rpm single record would provide a massive boost to sales of rock ‘n’ roll songs to America’s urban counterculture youth. Rock ‘n’ roll began to decline by the early 1960s as other forms of popular music began to dilute its impact.

Musical Facts 1950-1959

During the Fifties, many more household names that we take for granted today came into the world. Modern music began the transition from the traditional forms to more contemporary genres. As younger artists born in the 1930s and 1940s began to create the ‘new’ music, the shift in the balance of ‘facts’ from births, through achievements, to deaths are just beginning to become apparent.

Day	Month	Year	Music Fact
5	January	1950	American guitarist, producer, photographer and co‑founder of punk/new wave/pop band Blondie, Chris Stein was born in Brooklyn, New York.
12	February	1950	English guitarist, former member of progressive rock band Genesis and now a successful solo artist, Steve Hackett was born in London.
13	February	1950	English solo singer, songwriter and ex-member of progressive rock band Genesis, Peter Gabriel was born in Chobham, Surrey.
19	February	1950	English singer, songwriter, guitarist and founder of rock group Wishbone Ash, Andy Powell was born in London.
20	February	1950	American bassist, guitarist, songwriter and co‑founder of jazz rock band Steely Dan, Walter Becker (1950-2017, 67) was born in New York City.
24	February	1950	American singer, songwriter, guitarist and perennial rocker George Thorogood was born in Wilmington, Delaware.
22	April	1950	English born American singer, songwriter and guitarist, Peter Frampton was born 1950 in Bromley, Kent.
13	May	1950	Legendary American soul singer, songwriter, keyboard player and producer, Stevie Wonder was born in Saginaw, Michigan.
13	May	1950	English guitarist, singer, songwriter and member of Anglo‑American rock group Fleetwood Mac from 1968 to 1972, Danny Kirwan (1950-2018, 68) was born in London.
3	June	1950	Pioneering American singer, songwriter, bass guitarist and actor, Suzi Quatro was born in Detroit, Michigan.
18	July	1950	English business entrepreneur and founder of the Virgin empire including Virgin Records and Virgin record stores, Richard Branson was born in London
2	August	1950	English guitarist and singer, best known for his work with rock band Wishbone Ash, Ted Turner was born in Sheldon, Birmingham.
30	August	1950	English guitarist with, amongst others, Whitesnake and Snafu, Micky Moody was born in Middlesbrough, North Yorkshire.
10	September	1950	American guitarist, singer, songwriter and member of rock band Aerosmith, Joe Perry was born in Lawrence, Massachusetts.
14	September	1950	Great English guitarist and co-founder off blues/rock band Free, Paul Kossoff (1950-1976, 25) was born in London.
2	October	1950	English guitarist, bass guitarist and founding member of progressive rock bands Genesis and Mike + The Mechanics, Mike Rutherford was born in Portsmouth, Hampshire.
5	October	1950	Great English guitarist and one-time member of rock band Motörhead, ‘Fast’ Eddie Clarke (1950-2018, 67) was born in London.
20	October	1950	Legendary American singer, songwriter, guitarist, producer and bandleader of The Heartbreakers, Tom Petty (1950-2017, 66) was born in Gainesville, Florida.
22	November	1950	American guitarist, actor and member of Bruce Springsteen’s E. Street Band, Steven Van Zandt was born in Winthrop, Massachusetts.
22	November	1950	American bass guitarist and co-founder of post-punk alternative rock bands Talking Heads and Tom Tom Club, Tina Weymouth was born in Coronado, California.
9	December	1950	Award-winning British singer, songwriter and guitarist, Joan Armatrading was born in Basseterre, Saint Kitts in the Caribbean.
31	January	1951	English guitarist, producer and former member of art rock bands Roxy Music, 801 and Quiet Sun, Phil Manzanera was born in London.
1	February	1951	Great American blues guitarist and skilled slide guitarist, Sonny Landreth was born in Canton, Mississippi.
4	March	1951	Highly accomplished English pop, rock and blues guitarist, singer and songwriter, Chris Rea was born in Middlesbrough.
6	March	1951	Terrific American blues/rock guitarist, singer and songwriter, Walter Trout was born in Ocean City, New Jersey.
17	March	1951	American guitarist, best known as co-lead guitarist with rock bands Thin Lizzy and more recently, Black Star Riders, Scott Gorham was born in Glendale California.
20	March	1951	American blues/rock guitarist, singer, bandmate and older brother of the late Stevie Ray, Jimmie Vaughan was born in Dallas, Texas.
27	April	1951	American guitarist, songwriter, co-founder and former member of hard rock group, KISS, nicknamed ‘Spaceman’, Ace Frehley was born in The Bronx, New York City.
7	May	1951	Formidable Puerto Rican/American rock guitarist, who frequently played with David Bowie and James Brown, Carlos Alomar was born in Ponce.
7	May	1951	Prolific English guitarist and former member of heavy rock band Whitesnake, Bernie Marsden was born in Buckingham, Buckinghamshire.
21	June	1951	American rock guitarist, often seen as sideman to ‘The Boss’, as well as a solo artist, Nils Lofgren was born in Chicago, Illinois.
30	June	1951	Amazing American jazz fusion bass guitarist, composer and founding member of Return to Forever, Stanley Clarke was born in Philadelphia, Pennsylvania.
2	August	1951	English guitarist and member of psychedelic progressive rock band Gong and founder of electronic dance band System 7, Steve Hillage was born in London.
19	August	1951	Retired English bass guitarist for the rock/pop band Queen, John Deacon was born in Leicester.
21	August	1951	English bass guitarist, solo artist, one time member of hard rock band Deep Purple and currently with super group Black Country Communion, Glenn Hughes was born in Cannock, Staffordshire.
7	September	1951	American singer, songwriter, guitarist and founder of post‑punk rock/pop group The Pretenders, Chrissie Hynde was born in Akron, Ohio.
18	September	1951	American punk rock pioneer, bass guitarist and member of the Ramones, Dee Dee Ramone (1951-2002, 50) was born in Fort Lee, Virginia.
2	October	1951	English singer, songwriter, bass guitarist, actor, ex‑member of rock band The Police and successful solo artist, Gordon Sumner CBE, a.k.a. Sting, was born in Wallsend, Northumberland.
3	October	1951	Award-winning American blues guitarist, singer and songwriter Keb’ Mo’ was born in Los Angeles, California.
26	October	1951	Flamboyant American bass guitarist and singer with funk/soul artists James Brown and Funkadelic/Parliament, the illustrious Bootsy Collins was born in Cincinnati, Ohio.
1	December	1951	Influential virtuoso American jazz bass guitarist who worked with Weather Report, Pat Metheny and Joni Mitchell, as well as a solo artist, the incomparable Jaco Pastorius (1951-1987, 35) was born in Norristown, Pennsylvania.
4	December	1951	American guitarist and founding member of Southern rock band Lynyrd Skynyrd, Gary Rossington was born in Jacksonville, Florida.
16	December	1951	Influential American jazz, blues and rock guitarist Robben Ford was born in Woodlake, California.
26	December	1951	Talented American jazz/rock guitarist who has collaborated with many great musicians over the course of his career, John Scofield was born in Dayton, Ohio.
11	January	1952	American contemporary jazz session and solo guitarist, Lee Ritenour was born in Los Angeles, California.
20	January	1952	American guitarist, singer, songwriter, artist and long‑term member of iconic rock band KISS, nicknamed ‘The Starchild’, Paul Stanley was born in New York City.
7	March	1952	The influential and popular weekly music magazine, The New Musical Express (NME), was launched in the UK.
7	March	1952	American guitarist (as well as bassist and drummer), singer, songwriter and member of funk band The Isley Brothers, Ernie Isley was born in Cincinnati, Ohio.
17	March	1952	Irish guitarist and member of heavy rock bands Gillan and Ozzy Osbourne, Bernie Tormé (1952-2019, 66) was born in Dublin.
2	April	1952	American bass guitarist with southern rock band Lynyrd Skynyrd, Leon Wilkeson (1952-2001, 49) was born in Newport, Rhode Island.
4	April	1952	Legendary Northern Irish blues and rock guitarist extraordinaire, Gary Moore (1952-2011, 58) was born in Belfast.
14	May	1952	Scottish/American singer, songwriter, guitarist founder of alternative rock band Talking Heads and solo artist, David Byrne, was born in Dumbarton, Scotland.
15	July	1952	American guitarist, singer, songwriter and member of proto punk rock band New York Dolls, Johnny Thunders (John Genzale, 1952-1991, 38) was born in Queens, New York.
19	July	1952	American guitarist and member of southern rock band Lynyrd Skynyrd, Allen Collins (1952-1990, 37) was born in Jacksonville, Florida.
21	August	1952	Hugely influential English guitarist, singer, songwriter, actor and co-founder of punk rock bands The Clash and The Mescaleros, the great Joe Strummer (1952-2002, 50) was born in Ankara, Turkey.
19	September	1952	Legendary American guitarist, songwriter, producer and co‑founder of funk/disco/dance band Chic, Nile Rodgers was born in New York.
1	October	1952	Great American rock guitarist and sideman extraordinaire, Earl Slick was born in Brooklyn, New York.
8	November	1952	The UK’s first ever popular music singles chart was introduced by The New Musical Express (NME) magazine. At Number 1 was Al Martino with ‘Here In My Heart’.
14	November	1952	Versatile and prolific American guitarist and songwriter, Johnny A (a.k.a. John Antonopoulos) was born in Malden, Massachusetts.
1	January	1953	American country singer, songwriter and guitarist, Hank Williams died of drug and alcohol-related heart failure in Oak Hill, West Virginia at the age of 29.
6	January	1953	Scottish-born guitarist and co-founder of Australian rock band AC/DC, Malcolm Young (1953-2017, 64) was born in Glasgow.
10	January	1953	American jazz guitarist who has played with Blood, Sweat & Tears, Billy Cobham and Miles Davis, as well a successful solo artist, Mike Stern was born in Boston, Massachusetts.
20	February	1953	American guitarist and co-founder of psychobilly rock band, The Cramps, Poison Ivy (Kristy Wallace) was born in San Bernardino, California.
19	March	1953	American bass player who has played with many great musicians and has a successful solo career, Billy Sheehan was born in Buffalo, New York.
28	April	1953	American bassist, guitarist, and vocalist of alternative rock band Sonic Youth, Kim Gordon was born in Rochester, New York.
5	May	1953	Highly respected English folk singer, songwriter and guitarist, Martin Simpson was born in Scunthorpe, Lincolnshire.
15	May	1953	English multi-instrumentalist, composer and talented guitarist, the man behind ‘Tubular Bells’ in 1973, Mike Oldfield was born in Reading, Berkshire.
16	May	1953	Mercurial Belgian-born French gypsy jazz guitarist and composer, Django Reinhardt died from a brain haemorrhage in Fontainebleau, France at the age of 43.
29	July	1953	Influential Canadian singer, songwriter and bass guitarist with rock band Rush, Geddy Lee was born in North York, Ontario.
1	August	1953	Award-winning American blues guitarist, singer and band leader, Robert Cray was born in Columbus, Georgia.
27	August	1953	Hugely influential Canadian guitarist and co-founder of rock group Rush, Alex Lifeson was born in Toronto, Ontario.
27	September	1953	Great Jamaican reggae riddim ‘n’ dub bass guitarist and producer, Robbie Shakespeare, best known as half of Sly & Robbie was born in Kingston.
18	December	1953	American guitarist and singer, well known for his work with The Cars up to 1988, Elliott Easton was born in Brooklyn, New York.
27	February	1954	American guitarist and member of rock groups Santana, Journey and Bad English, Neal Schon was born in Tinker Air Force Base, Oklahoma.
16	March	1954	American singer, songwriter, guitarist and core member of the rock band Heart, Nancy Wilson was born in San Francisco, California.
12	April	1954	Canadian guitarist and singer who has collaborated with many artists over the years and is bandleader of the Pat Travers Band, Pat Travers was born in Toronto, Ontario.
10	May	1954	American rock ‘n’ roll pioneers, Bill Haley And His Comets originally released ‘(We’re Gonna) Rock Around The Clock’. The world wasn’t ready yet and it didn’t hit the charts until 1955.
12	July	1954	19‑year old American singer, Elvis Presley left his job and signed his first recording contract with producer Sam Phillips at Sun Records in Memphis, Tennessee.
19	July	1954	American record label, Sun Records released the debut single by aspiring American rock ‘n’ roll singer, Elvis Presley, ‘That’s All Right’.
22	July	1954	Virtuoso American jazz fusion/Latin rock guitarist Al Di Meola was born in Jersey City, New Jersey.
28	July	1954	Multi-talented American guitarist and member of hard rock band Deep Purple since 1994, Steve Morse was born in Hamilton, Ohio.
12	August	1954	Influential American virtuoso progressive jazz fusion guitarist, Pat Metheny was born in Lee’s Summit, Missouri.
17	August	1954	Award-winning American virtuoso instrumental rock guitarist Eric Johnson was born in Austin, Texas.
25	August	1954	English punk, pop and alternative rock singer, songwriter, guitarist and producer, Declan MacManus (a.k.a. Elvis Costello) was born in London.
3	October	1954	Legendary American blues/rock guitarist, singer, songwriter and producer, Stevie Ray Vaughan (1954‑1990, 35) was born in Dallas, Texas.
1	December	1954	Australian-born British guitarist, singer and songwriter with punk rock band The Slits, Viv Albertine was born in Sydney.
18	December	1954	German guitarist, known for his work with Scorpions and the innovator behind the Sky Guitar, Uli Jon Roth was born in Düsseldorf.
7	January	1955	The classic hit song, ‘Rock Around The Clock’ was re‑released by Bill Haley & His Comets, entering the UK singles chart. Rock ‘n’ roll had truly arrived.
10	January	1955	German guitarist, best known as a member of rock bands Scorpions and UFO, as well as a successful solo career with his own band, Michael Schenker was born in Sarstedt.
24	January	1955	English pianist, singer, songwriter, bandleader, TV presenter and former member of Squeeze, Jools Holland was born in London.
26	January	1955	Dutch/American guitarist, singer, songwriter and producer Eddie Van Halen was born in Amsterdam, Netherlands.
5	March	1955	American singer Elvis Presley made his American television debut on the KWKH TV show ‘Louisiana Hayride’ broadcast from Shreveport, Louisiana.
31	March	1955	Australian guitarist and co-founder of hard rock band AC/DC, Angus Young was born in Glasgow, Scotland, UK.
13	April	1955	American bass guitarist with funk masters Brothers Johnson, Louis Johnson (1955-2015, 60) was born in Los Angeles, California.
31	May	1955	Australian virtuoso session musician and solo guitarist, Tommy Emmanuel was born in Muswellbrook, New South Wales.
26	June	1955	English guitarist and co-founder of punk rock band The Clash and Big Audio Dynamite, Mick Jones was born in London.
1	September	1955	English bass guitarist, singer and songwriter, best known for his work with punk rock band, The Jam from 1972 to 1982, Bruce Foxton was born in Woking, Surrey.
3	September	1955	English guitarist and ex-member of punk rock band Sex Pistols, Steve Jones was born in London.
12	November	1955	Hugely influential Canadian singer, songwriter and guitarist, former member of Buffalo Springfield, CSN&Y, as well as a phenomenal solo artist, the incomparable Neil Young was born in Toronto, Ontario.
15	December	1955	English bass guitarist best known as a member of punk rock icons The Clash and more recently collaborating with Damon Albarn in The Good, The Bad & The Queen, Paul Simonon was born in Croydon.
4	January	1956	English singer, songwriter, guitarist, producer and founding member of post-punk rock bands Joy Division and New Order, Bernard Sumner was born in Salford.
10	January	1956	The ‘King of Rock ‘n’ Roll’, Elvis Presley made his first recordings for RCA/Victor, including the classic hit single, ‘Heartbreak Hotel’.
27	January	1956	Legendary American singer, Elvis Presley released his classic breakout single for RCA, ‘Heartbreak Hotel’.
28	January	1956	American rock ‘n’ roll singer Elvis Presley made his first national television appearance in America on the CBS TV programme, the ‘Dorsey Brothers Stage Show’.
31	January	1956	English singer and member of punk rock bands Sex Pistols and Public Image Ltd, John Lydon (a.k.a. Johnny Rotten), was born in London.
3	February	1956	American guitarist, singer, songwriter, producer, artist and co-founder of alternative rock band Sonic Youth, Lee Ranaldo was born in Long Island, New York.
12	February	1956	Scottish guitarist and one-time member of rock bands Thin Lizzy and Motörhead, Brian Robertson was born in Clarkston.
13	February	1956	English bass guitarist, best known as member of post‑punk rock bands Joy Division and New Order, Peter Hook was born in Salford.
18	February	1956	Renowned American master luthier, innovator, entrepreneur, guitar maker extraordinaire and founder of PRS Guitars since 1985, Paul Reed Smith was born in Stevensville, Maryland.
12	March	1956	English bass guitarist and founder of heavy metal band Iron Maiden, Steve Harris was born in Leytonstone, Essex.
23	March	1956	American singer Elvis Presley released his eponymous debut album, ‘Elvis Presley’, a milestone that heralded the unstoppable explosion of the rock ‘n’ roll era.
4	June	1956	American guitarist, songwriter and producer, known for playing with David Bowie, Tin Machine and indie rock band The Cure, Reeves Gabrels was born in New York City.
26	June	1956	American singer, songwriter, rock (‘n’ roll) guitarist and actor, Chris Isaak was born in Stockton, California.
15	July	1956	Influential American virtuoso instrumental rock guitarist, Joe ‘Satch’ Satriani was born in Westbury, New York.
27	August	1956	English bass guitarist, songwriter and original member of punk rock band Sex Pistols, Glen Matlock was born in London.
29	September	1956	The rock ‘n’ roll era had clearly arrived when Bill Haley & His Comets had 5 songs in the UK Singles Chart Top 30 including the all-time classic hit, ‘Rock Around The Clock’.
4	November	1956	English guitarist and co-founding member of rock band The Pretenders, James Honeyman-Scott (1956-1982, 25) was born in Hereford, Herefordshire.
6	December	1956	Hugely talented American heavy rock guitarist who played with Ozzy Osbourne and Quiet Riot, Randy Rhoads (1956-1982, 25) was born in Santa Monica, California.
6	December	1956	American guitarist, songwriter and co-founder of rock band R.E.M., Peter Buck was born in Berkeley, California.
23	December	1956	English guitarist, songwriter and long-term member of heavy metal rock band Iron Maiden, Dave Murray was born in London.
16	January	1957	The legendary Liverpool live music venue, The Cavern Club opened its doors for business. The Beatles appeared there an impressive total of 292 times.
27	January	1957	English guitarist with heavy rock bands Gillan and latterly Iron Maiden, Janick Gers was born in Hartlepool.
27	February	1957	English guitarist, songwriter and member of heavy metal band Iron Maiden, Adrian Smith was born in London.
17	March	1957	American singer, Elvis Presley bought the famous 23‑room Graceland mansion at 3764 Elvis Presley Boulevard in Memphis, Tennessee for $102,500.
28	April	1957	English guitarist, composer, producer and member of Bristol‑based trip‑hop group Portishead, Adrian Utley was born in Northampton.
10	May	1957	English bass guitarist with the Sex Pistols, John Simon Ritchie, a.k.a. Sid Vicious (1957-1979, 21) was born in London.
27	May	1957	American rock ‘n’ roll band The Crickets, featuring the late Buddy Holly, released their debut hit single, ‘That’ll Be The Day’ in the US.
2	August	1957	American record producer Butch Vig was born. Vig has worked with many famous rock bands including Nirvana, Sonic Youth and The Smashing Pumpkins.
12	September	1957	Acclaimed German film composer and producer, Hans Zimmer was born in Frankfurt.
22	September	1957	Australian alternative/indie rock singer, songwriter, multi-instrumentalist and band leader of The Bad Seeds, Nick Cave was born in Warracknabeal, Victoria.
24	September	1957	American rock ‘n’ roll legend Elvis Presley released his massively popular hit single ‘Jailhouse Rock’ in the U.S.
10	October	1957	American country music legend Johnny Cash released his debut studio album on Sun Records, ‘Johnny Cash With His Hot and Blue Guitar!’
21	October	1957	American guitarist, singer, songwriter, producer, session musician and a founding member of rock band Toto, Steve Lukather was born in San Fernando Valley, California.
1	November	1957	Award-winning American country singer, songwriter, guitarist and actor, Lyle Lovett was born in Klein, Texas.
8	November	1957	English guitarist and artist best known as a member of the original line up of indie/alternative rock band The Cure, Porl (now Pearl) Thompson was born in Surrey.
8	December	1957	English guitarist and long-time member of heavy rock band Def Leppard – one half of ‘The Terror Twins’ – Phil Collen was born in London.
20	December	1957	American rock ‘n’ roll singer Elvis Presley was served with his U.S. Army draft notice while at his home at Graceland in Memphis, Tennessee.
20	December	1957	English guitarist, protest singer, songwriter, charity founder and political activist, Billy Bragg was born in Barking, Essex.
21	February	1958	The very first ‘modernist’ Flying V guitar, designed by the legendary Ted McCarty, was shipped from the Gibson factory in Kalamazoo, Michigan.
24	March	1958	American rock ‘n’ roll singer Elvis Presley was inducted into the U.S. Army in Memphis, Tennessee.
27	March	1958	CBS Records announced the invention of the stereophonic record, ensuring that they were backwards compatible with the mono record players of the time.
31	March	1958	American rock ‘n’ roll legend, Chuck Berry released his all‑time classic hit single, ‘Johnny B. Goode’. 2 min. 30 sec. of pure magic.
19	April	1958	London’s (in)famous music venue, The Marquee Club first opened its doors at 165 Oxford Street, its original site before moving to 90 Wardour Street in 1964.
25	May	1958	The ‘modfather’ of post-punk rock, member of The Jam, The Style Council and solo artist, Paul Weller was born in Woking, Surrey.
7	June	1958	Legendary singer, songwriter and guitarist, Prince Rogers Nelson (1958-2016, 57) was born in Minneapolis, Minnesota.
8	July	1958	The Recording Industry Association of America awarded the first official ‘Gold’ album to the soundtrack of the hit film, ‘Oklahoma’.
9	July	1958	After leaving Sam Phillips at Sun Records, country music legend Johnny Cash signed a lucrative contract with Columbia Records, a successful association that lasted for three decades.
25	July	1958	American guitarist, singer and songwriter with alternative rock band Sonic Youth, Thurston Moore was born in Coral Gables, Florida.
7	August	1958	English singer and on-off-on member of heavy metal band Iron Maiden, Bruce Dickinson was born in Worksop, Nottinghamshire.
14	August	1958	American blues singer, songwriter and guitarist, Big Bill Broonzy died from cancer in Chicago, Illinois at the age of 55 or 65, depending on who you believe.
16	August	1958	American singer, songwriter, actress and entrepreneur, Madonna Louise Ciccone, or as we know her, Madonna, was born in Bay City, Michigan.
29	August	1958	American singer, songwriter and member of the Jackson Five, as well as successful solo artist, nicknamed the ‘King of Pop’, Michael Jackson was born in Gary, Indiana.
19	September	1958	English/American rock guitarist, ex-member of The Runaways and successful solo artist, Lita Ford was born in London.
22	September	1958	American singer and US Army conscript Private Elvis Presley sailed on the USS Randall to Friedberg, Germany to serve in the 1^st Battalion, 32^nd Armor Regiment, 3^rd Armored Division.
22	September	1958	American rock singer, songwriter, guitarist, founding member of the Runaways and Joan Jett & The Blackhearts, Joan Jett was born in Wynnewood, Pennsylvania.
20	October	1958	English bass guitarist, singer and co-founder of jazz/funk/pop band Level 42, Mark King was born in Cowes on the Isle of Wight.
28	October	1958	Scottish guitarist, composer and co-founder of indie/alternative rock band The Jesus And Mary Chain, William Reid was born in East Kilbride.
7	November	1958	American rockabilly/rock ‘n’ roll icon, Eddie Cochran had his first hit with the classic song, ‘Summertime Blues’. It reached number 18 in the UK singles chart.
11	December	1958	American bass guitarist, songwriter, producer and co‑founder of heavy rock band Mötley Crüe, Nikki Sixx (real name Frank Feranna, Jr.) was born in San Jose, California.
17	December	1958	American bass guitarist, singer, composer and founding member of alternative rock band R.E.M., Mike Mills was born in Orange County, California.
1	January	1959	American country music legend Johnny Cash performed his first live concert for inmates at the infamous San Quentin State Prison in California.
17	January	1959	American guitarist, singer, songwriter, actress and co‑founder of pop/rock band The Bangles, Susanna Hoffs was born in Los Angeles, California.
3	February	1959	American singer Buddy Holly and 3 others (including stars Ritchie Valens and The Big Bopper) died tragically in a plane crash in Iowa. Holly was just 22 years old. ‘The Day the Music Died’.
7	February	1959	American blues guitarist, Eddie ‘Guitar Slim’ Jones died of pneumonia in New York City at the age of 32.
7	February	1959	The funeral of American rock & roll singer, songwriter and guitarist Buddy Holly took place in Lubbock, Texas.
10	April	1959	American rockabilly/swing guitarist, songwriter and bandleader of Stray Cats and the Brian Setzer Orchestra, Brian Setzer was born in Massapequa, New York.
21	April	1959	English, guitarist, singer, songwriter, co-founder and main inspiration behind indie rock icons The Cure, Robert Smith was born in Blackpool, Lancashire.
4	May	1959	The first Annual Grammy Awards was held in two venues simultaneously, in Beverly Hills, California and in New York City. Winners included Ella Fitzgerald, Count Basie and Henry Mancini.
5	May	1959	American guitarist and songwriter, best known as guitarist for Billy Idol since the early 1980s, Steve Stevens was born in Brooklyn, New York.
22	May	1959	Controversial English singer, songwriter and former front man of indie rock band The Smiths, Steven Morrissey, was born in Davyhulme, Lancashire.
1	June	1959	The BBC broadcast the first celebrity music panel TV show ‘Juke Box Jury’ in the UK. Guests judged new record releases as a ‘hit’ or ‘miss’. It was hosted by presenter David Jacobs and ran until December 1967.
14	June	1959	American jazz fusion bass guitarist, famed for his work with Miles Davis and Herbie Hancock, Marcus Miller was born in Brooklyn, New York.
11	July	1959	American guitarist, singer, songwriter, producer and long‑term member of rock band Bon Jovi, Richie Sambora was born in Perth Amboy, New Jersey.
17	July	1959	Legendary American jazz singer Billie Holiday died of pulmonary oedema and heart failure caused by cirrhosis of the liver in New York at the age of 44.
29	July	1959	English guitarist, best known for playing with hard rock band Whitesnake, John Sykes was born in Reading, Berkshire.
19	August	1959	American country blues and ragtime guitarist and singer, Blind Willie McTell died from a stroke in Milledgeville, Georgia, at the age of 61.
16	October	1959	English guitarist and member of new wave/pop band Spandau Ballet, Gary Kemp was born in London.

Tailpiece

So… by the end of the 1950s, KABOOM! – Rock ‘n’ Roll had well and truly arrived and there was no going back. The significant influence of rock ‘n’ roll had set in motion further evolutionary strands that would continue to expand horizons in all sorts of different directions during a period of unprecedented creativity. New musical genres demanded technological developments in recording, distribution and consumption of music.

Things are only going to get even more interesting as we go forward. I hope you will return and see what happened in the 1960s and beyond. No cliff‑hanger required, just a touch of gentle encouragement to return here next month. In the meantime, I have plenty more vintage guitars that need some tender loving care, followed by some serious playing workouts. Until next time…

CRAVE Guitars’ ‘Quote of the Month’: “Exercise your right to be you or regret the denial of yourself.”

← Return to ‘Musings’ page

Like it? Why not share it?

31 Dec 2018

December 2018 – What A [Deleted] Year That Was

by CRAVEGuitars | posted in: Opinion | 0

Welcome to the 50^th monthly article and the inevitable end-of-year roundup and a look back at the last 12 months. As usual with retrospective roundups, it’s a time for lists and reflective hindsight. As one year ends, another is about to kick off, so it is also an opportunity for a tentative look forward. I hope all readers had a great 2018 and have the opportunity to look forward to a positive 2019.

Overall, 2018 was a very difficult and challenging year for CRAVE Guitars. I’m not about to go into personal circumstances; suffice to say that it was immensely testing and an experience I never want to repeat. That said and out of the way, let’s get onto the end‑of‑year summary.

2018 departures:

As is forlornly inevitable, all things come to pass and this year, like every other before it, has seen the demise of some truly inspirational musicians. At this time of year it is customary to take a few moments to contemplate those guitarists that we have lost in 2018 and recall what musical treasures they have left us. Their talents will be sorely missed and it is sad to think that there will be no more distinctive music from these guys (no gals this year). Rest in Peace and forever rock the big stage in the sky. Sad losses over the last 12 months include:

‘Fast’ Eddie Clarke (Motörhead), on 10^th January, aged 67
Danny Kirwan (Fleetwood Mac) on 8^th June, aged 68
Alan Longmuir (Bay City Rollers) on 2^nd July, aged 70
Ed King (Lynyrd Skynyrd) on 22^nd August, aged 68
Otis Rush on 29^thSeptember, aged 83
Pete Shelley (Buzzcocks) on 6 December, aged 63

Plus, there were many notable non-guitarists who are no longer with us, including:

Dolores O’Riordan (The Cranberries) on 15^th January, aged 46
Mark E. Smith (The Fall) 0n 24^th January, aged 60
Aretha Franklin on 16^th August, aged 76

While nothing to do with music, I also wanted to mention that the great granddaddy of comic books, Mr. Marvel himself, Stan Lee passed away on 12^th November at the age of 95. We also lost one of the world’s foremost scientists when Stephen Hawking died on 14^th March, aged 76.

2018 arrivals at CRAVE Guitars

This may come as a bit of a surprise but, in the background, there were actually a number of music gear purchases during 2018. Normally, I would have covered these under ‘New In at CRAVE Guitars’ articles during the year as they happened. However, with the ‘Potted History of the Guitar’ series dominating the output, coverage of their arrival got side‑lined. Depending on how things pan out in early 2019, I may give the new arrivals a bit more of a deserved coverage. In the meantime, here is a flavourless list of what came in over the last 12 months.

Gear purchases:

Guitars (4)…

1971 Fender Bronco
1978 Fender Musicmaster
1989 Gibson Les Paul Standard
1988 PRS Standard

Amps (1)…

1978 Fender Champ

Effects (12)…

1980 BOSS CE-2 Chorus
1986 BOSS PSM-5 Power Supply & Master Switch
1970s Colorsound Swell (volume pedal)
1998 Electro Harmonix Small Stone Phase Shifter (Russian)
1999 Electro-Harmonix Big Muff p (Russian)
1980 Electro-Harmonix Zipper Envelope Follower
1981 Ibanez AF-201 Auto Filter
1981 Ibanez GE-601 Graphic Equalizer
1983 Ibanez SD9 Sonic Distortion
1976 MXR Phase 45
1980 MXR Six Band Graphic Equalizer
1960s VOX Volume/Expression

Plus… 3 pedals were also replaced during the year:

1979 BOSS PH-1 Phaser
1982 Ibanez AD9 Analog Delay
1975 MXR Blue Box

The last two years of planned and unplanned purchases seems to indicate that CRAVE Guitars is increasingly specialising in 1960s to 1980s gear. The 1960s are getting increasingly expensive for me, hence the lack of recent purchases from that particular decade. The 1970s and 1980s are often seen as an unpopular period for vintage guitars, so… for me, that’s a very good reason to focus on this period and prove the naysayers wrong. There are plenty of VERY good guitars to be had from both the 1970s and 1980s. The spotlight still accords very closely with the principle of ‘Cool & Rare American Vintage Electric’ Guitars, so I’m happy with that as a modest ambition. I’m still not running it as a business, so it is still very much a not‑for‑profit enterprise about conserving the heritage for the future.

I haven’t sold any guitar equipment this year, as is perfectly normal with a deep‑seated guitar‑affliction. However, the plan is that if planned plans go to plan, I will be selling some equipment to reinvest in the heritage, either by trading up to older/better guitars/amps/effects or perhaps just getting something new and unanticipated. Watch this space…

2018 Live concerts (2):

2018 was a sparse year for live music, so the list is short…

BST Hyde Park (The Cure, Interpol, GoldFrapp, Editors, Slowdive, The Twilight Sad, Pale Waves)
Looe Saves The Day music festival (various)

That’s it. Still, better than nothing at all.

2018 Album releases purchased (20):

2018 has proved relatively moribund at times and searching out great new music seemed harder than it should have been. There was, though, a diverse range of music from all sorts of genres. I’m always looking for cool new music to sit alongside the greats (and not so greats). Quality is variable, which is to be expected in this day and age, but there is much fun to be had discovering music both old and new, good and bad – after all, how do we recognise the greats if we don’t have the rest to compare them to? Here are the new albums from the last 12 months gracing CRAVE Guitars’ iTunes:

Courtney Barnett – Tell Me How You Really Feel
Black Label Society – Grimmest Hits
Buddy Guy – The Blues Is Alive And Well
Confidence Man – Confident Music For Confident People
Gaz Coombes – The World’s Strongest Man
The Cure – Mixed Up (Deluxe Edition – original standard release in 1990)
Editors – Violence
Tommy Emmanuel – Accomplice One
Ghost – Prequelle
Goat Girl – Goat Girl
Jon Hopkins – Singularity
Lance Lopez – Tell The Truth
Low – Double Negative
Nightmares On Wax – Shape The Future
Dan Patlansky – Perfection Kills
The Prodigy – No Tourists
Ry Cooder – The Prodigal Son
Shame – Songs Of Praise
Various Artists – This Is Trojan Dub (reggae)
Wilko Johnson – Blow Your Mind

Plus… Black Stone Cherry – Black To Blues (E.P.)

These weren’t the only purchases. They are only the 2018 album releases – I also bought quite a few albums from previous years, not included above.

Social Media

Over the last 4 years, CRAVE Guitars has posted almost 29,000 posts on social media. On 12^th September 2018, CRAVE Guitars reached (and exceeded) 4,000 followers on Twitter (4,515 at the time of writing), which has taken an immense amount of hard work doing the research and building up reputation and credibility.

A big shout out to everyone who has shown an interest in the lighter entertainment side of CRAVE Guitars’ social media output. THANK YOU all! In addition to Twitter, CRAVE Guitars also has guitar‑related content on Google+, Facebook, LinkedIn, Instagram, YouTube, Pinterest, Flickr and Tumblr. Check it out.

Here are some genuine comments from Twitter followers that made me think that all the effort has been worthwhile…

“I love Crave Guitars !!!”

“… there are many who greatly appreciate your expertise and your encyclopaedic knowledge around your calling. Thank you for sharing your passion.”

“… thanks for the inspiration CRAVE Guitars.”

“Thank you for sharing your knowledge & all the beautiful guitars”

“… you post great stuff. Thanks, makes my day”

Plus… there are the usual dicks that populate the various platforms. They go with the territory I guess.

Over the year, CRAVE Guitars has showcased guitars by over 200 different guitar manufacturers working hard every day and from around the globe. The brands covered range from the famous global brands right down to individual luthiers who you may not have heard of because they make very small numbers of guitars in home workshops. I will continue to highlight the diverse range of craftsmen and women, all of whom deserve exposure in today’s highly competitive and challenging economic climate.

‘A Potted History of the Guitar’ Articles

The ‘Potted History’ series of articles took over the blog in 2018, using up 9 of the 12 months, leaving little room for other ramblings. Still, it was different from previous years and probably unlike future ones too. Variety is good.

During the year, I got some really nice unprompted testimonials on the series, so a big “Thank You” to everyone who read the blog articles and made all the research and writing meaningful. In addition, I learned a lot from doing it too. Here are some genuine comments received – thanks for your feedback…

“Thanks a million for the personal gift of your writing and pics of gorgeous guitars… You’re cool. Thanks!”

“Brilliant article, I have learnt so much.”

“Really epic article.”

“Finally read the whole series yesterday. You should turn this into a book… It was certainly worthwhile, one of those reads when you’re sorry when it ends. Hat off to you Sir for the effort.”

The ‘Potted History’ was originally intended as an entertainment piece for those that might have an interest in the general subject matter, while also having enough detail for the keen enthusiast but not so dry that it would only appeal to the clinical expert (whimsically described as ‘someone who knows more and more about less and less’). It wasn’t a forensic academic thesis, so it may not have had the requisite degree of nerd‑fodder for some. I didn’t allow comments on the articles, as I simply couldn’t cope with the interaction needed to respond to them properly.

In order to make the series more accessible and coherent, I may try to turn them into a feature on the web site. I don’t have the resources to publish them as a ‘book’, so that seems the best format, at least for the time being.

CRAVE Guitars Web Site

The CRAVE Guitars’ web site has, unfortunately been neglected this year and has hardly been updated at all, a failing that really needs to be rectified. About 15%-20% of the content needs something entirely new and about another 60% of it warrants considerably updated material. In most instances, most of the basic feature narrative has already been written and just requires finessing and the time to do it. New photos are needed for around 50% of the guitars but that requires them firstly to be relocated to ‘here’ and secondly, many of them will require essential refurbishment after a prolonged period of storage. That’s before I even begin to think about creating exciting new and creatively different ways of doing things. It’s all on the ‘to do’ list for 2019.

[Deleted] Whinge

Now that the web site is generating a lot more traffic and social media is picking up, I am getting overwhelmed by [deleted] idiots deluging my CRAVE Guitars’ e‑mail inbox with [deleted] spam and other [deleted] rubbish. I don’t [deleted] care who the [deleted] you are, if you are not interested in Cool and Rare American Vintage Electric Guitars and you are just trying to sell me your [deleted] rubbish, I will not even acknowledge your pathetic [deleted] existence so, if you [deleted] are stupid enough to read this, you know who you are, [deleted] stop wasting my life you [deleted] [deleted]. I have one very short message to you all, [deleted] off!

*Insert your profanities of choice to suit.

Home renovation

As 2018 was an extremely difficult year, no progress was made on converting the dark, damp and grotty cellar into a safe and secure home for CRAVE’s guitars. Most of the other serious structural work has, however, now been completed, so improving the cellar is the next major job on the priority list, funds permitting of course. Converting the cellar into a ‘guitar room’ is still an intention, so maybe in 2019 some headway can be made.

Looking forward to 2019

Overall prospects for 2019, sadly, look even bleaker than for 2018 with little in the way of ‘light at the end of the tunnel’. Quite what this means for CRAVE Guitars, I have no idea and, frankly, I do not wish to speculate. I will, however, endeavour to continue as long as possible and trust that things will one day turn around.

On a more positive note, what music gear tops CRAVE Guitars’ affordable vintage ‘most wanted’ list for 2019? This coming year, I will once again have to go for something modest and realistic on a tight budget. I don’t expect to get what’s on the list but, just for the sake of putting it out there, it includes…

Guitars:

1960s Danelectro (no specific model)
1970s Fender Stratocaster
1960s Gibson Melody Maker (type 3)

Effect Pedals:

1970s Electro-Harmonix Bad Stone
1980s Ibanez PT9 Phaser
1980s Ibanez TS-808 Tubescreamer Pro
1970s MXR Micro Chorus

Amps:

1970s ‘silverface’ Fender Princeton (with or without reverb)

I may have to sell one or more existing bits of gear in order to fund any purchases in 2019, which looks like it’s going to be another financially challenging 12 months.

Perhaps more importantly, many of the guitars in the ‘collection’ have been stored with a close friend for far too long while I got our act together. I am hoping that the ones that are not already here may get repatriated very soon. Even if the cellar may not be ready for them yet, the intention is to bring them home and reunite the ‘family’ again early in 2019.

Music

For 2019, I have managed to secure tickets to see Bob Dylan and Neil Young co‑headlining at Hyde Park in London for July 2019, assuming that it will be possible to go. I’ve seen Neil Young before, and very impressive he was too, but this will be my first time for Bob Dylan. The pair may be rock’s ‘old guard’ but it should still be a unique event worth witnessing.

There are no specific albums that are eagerly anticipated for 2019, so let’s just see what happens.

Musings

Much depends on capacity and resources but I am still contemplating an appropriate companion piece to the ‘Potted History’ series for 2019. All will, I hope, be revealed at some point in the New Year, ceteris paribus (but I’m not committing to exactly which New Year!). Such endeavours take up an incredible amount of time and effort. Is it really worth it? I really don’t know and it is probably not up to me to judge. The prospective audience is very limited, not only in total numbers who might read and get something from it but also whether it is pitched at the right level on the right medium to make it popular.

Conclusion

So, that just about wraps it up for another year of CRAVE Guitars’ enthusiastic and obsessive approach to conserving underdog vintage heritage guitars and generally promoting the world’s favourite instrument. It was, on the whole, a [deleted] year but one has to remain thankful for what one does have and make the most of it. Wishing you all a healthy and prosperous 2019.

If you and I are still around and still interested in 12 months’ time, why not pop back this time next year to find out if there’s been anything noteworthy to report.

I really ought to spend more time playing guitars, so perhaps it’s time to pick one up and make some noise. Until next time/next year…

CRAVE Guitars ‘Quote of the Month’: “What is so wrong about believing that peace, love and music are essential ingredients for ensuring humanity’s successful future?”

← Return to ‘Musings’ page

Like it? Why not share it?

29 May 2017

May 2017 – 50 Albums of the Last Half-Century(-ish)

by CRAVEGuitars | posted in: Observations, Opinion | 0

A little while ago, someone looked at the development of heavy metal from the 1970s to the 2000s and exemplified it by listing one album per year. Of course, this was just one perspective but, more generally, I thought it might be interesting to do something similar across all modern music genres.

This is only my catalogue of 50 years (actually 52 years but who’s counting?) of modern musical history. It is, of course, value-laden and massively subjective, with many great artists and albums excluded by the ruthless application of selection criteria, which included:

Must be an original album, not an EP or single
Only 1 album from each year (no reissues – original release date applies)
Only 1 album by any artist (band or solo)
The album must include some guitar work (i.e. no pure electronica)
Albums may come from any modern music genre
No compilations, ‘best of’ or various artist collections
They must be appreciated and owned by the author (i.e. not just made up or copied from elsewhere)

The resulting compendium is not representative of popularity, perceived wisdom, other people’s opinion or commercial success. It is simply my choices for a timeline covering over half a century of great music.

Why pick these 52 years? My age makes it difficult to go back further than the mid‑1960s for a start, so there aren’t any selections from the ‘birth’ of rock ‘n’ roll in about 1954 to the ‘dawn of rock’ in about 1965 – to be honest, I don’t own and am not particularly familiar with pre-’65 albums. I’ve brought it right up to date with 2016 being the last full year at the time of writing. However, anything beyond about 2010 is probably too recent to really place any kind of enduring significance to the entries – historical retrospective can be beneficial that respect. Arguably, the longer the intervening time period, the more consolidated, reliable and credible that hindsight becomes within context (discuss…).

Feel free to make up your own timeline over whatever period you like, using your own criteria. This is just my perspective; I can guarantee that anyone reading it will disagree with it and would produce a VERY different route through the roadmap of time. Actually, that’s both the point and the fun of it – if we all ended up with the same journey, we would live in a very dull world.

So… here we go, in chronological order…

The 1960s(-ish):

1965 Bob Dylan – Highway 61 Revisited

1966 John Mayall’s Blues Breakers – Blues Breakers With Eric Clapton

1967 Jimi Hendrix – Are You Experienced

1968 The Velvet Underground – White Light/White Heat

1969 King Crimson – In The Court Of The Crimson King

The 1970s:

1970 Black Sabbath – Black Sabbath

1971 The Doors – L.A. Woman

1972 David Bowie – The Rise And Fall Of Ziggy Stardust And The Spiders From Mars

1973 John Martyn – Solid Air

1974 Lynyrd Skynyrd – Second Helping

1975 Led Zeppelin – Physical Graffiti

1976 Thin Lizzy – Jailbreak

1977 Bob Marley & The Wailers – Exodus

1978 AC/DC – Powerage

1979 The Clash – London Calling

The 1980s:

1980 Talking Heads – Remain In Light

1981 The Cramps – Psychedelic Jungle

1982 Bruce Springsteen – Nebraska

1983 ZZ Top – Eliminator

1984 Iron Maiden – Powerslave

1985 Dire Straits – Brothers In Arms

1986 Metallica – Master Of Puppets

1987 Guns n’ Roses – Appetite For Destruction

1988 Cowboy Junkies – The Trinity Session

1989 The Cure – Disintegration

The 1990s:

1990 Megadeth – Rust In Peace

1991 Nirvana – Nevermind

1992 Rage Against The Machine – Rage Against The Machine

1993 Dinosaur Jr – Where you BEEN

1994 Portishead – Dummy

1995 Sonic Youth – Washing Machine

1996 Nick Cave And The Bad Seeds – Murder Ballads

1997 Rammstein – Sehnsucht

1998 Massive Attack – Mezzanine

1999 Suede – Head Music

The 2000s:

2000 The White Stripes – De Stijl

2001 The Strokes – Is This It

2002 Beck – Sea Change

2003 Placebo – Sleeping With Ghosts

2004 Kasabian – Kasabian

2005 Editors – The Back Room

2006 Johnny Cash – American V: A Hundred Highways

2007 Seasick Steve – Dog House Music

2008 The Black Keys – Attack & Release

2009 The Horrors – Primary Colours

The 2010s (so far):

2010 Warpaint – The Fool

2011 The Kills – Blood Pressures

2012 Richard Hawley – Standing At The Sky’s Edge

2013 Savages – Silence Yourself

2014 Band Of Skulls – Himalayan

2015 Wolf Alice – My Love Is Cool

2016 Leonard Cohen – You Want It Darker

So… how many of these do you own and/or like? What course would you take through the last 5 decades? I’m sure that readers will be up in arms about what’s missing.

As with other CRAVE Guitars’ challenges, this exercise wasn’t as easy as when it was first envisaged. Reflecting on the list and making a few observations…

The albums listed are not necessarily my favourites; just ones that carry some meaning within the context of the topic. See my rant of July 2016 for my suggested top 20 most influential albums, some of which also appear in this list. There were many beloved albums (and favourite guitarists – see CRAVE Guitars’ February 2017 article) that didn’t make the final list. There are some great albums by great artists that don’t appear. Some albums on the list may not be the pinnacle of achievement by the artist but they appear because of the way the selection criteria worked.

The widely-regarded, guitar-dependent and ‘important classics’ on the timeline tend to come from the 1960s and ‘70s. These albums have stood the test of time and still have relevance today. Some represent ground-breaking events and their appearance on the timeline will be of no great surprise. Why no Rolling Stones or The Beatles on this list? Well, I’m not a Beatles fan and the Stones came close for a number of years including 2016 but got pipped at the post elsewhere. No Pink Floyd? Surprisingly not. No watershed albums like, for instance, Fleetwood Mac’s ‘Rumours’, Mike Oldfield’s ‘Tubular Bells’ or Sex Pistols ‘Never Mind The Bollocks’? Not on this occasion. No manufactured boy/girl bands from the formulaic TV ‘talent’ production line (or their heinous celebrity-driven ilk)? Heck no! Real music only, please.

While the available choice of albums seemed to increase significantly from the mid‑1990s, the quality of output seemed to become more homogenous with the increase in quantity, meaning that it was harder to pick outstanding entries and, by the time the new millennium arrived, it becomes increasingly difficult to pick out the exemplary future classics from amongst the multiplicity of also-ran material. This doesn’t mean that quality deteriorated, simply that the market became increasingly saturated and tour de forces became more difficult to define. Time will tell as to which ones (if any) will have the longevity to stand out as true masterpieces.

Some years were spoilt for choice and it was a VERY hard task to select just one entry from a wealth of great albums, while other years were very sparse and it was a case of selecting from the ‘best of the rest’. For some years, there was an obvious shoo-in, while for others years it was actually quite difficult to pick a ‘winner’ from an amorphous morass of uninspiring averageness.

Within modern western popular music, it is probably not a surprise that the majority of artists in the timeline are British or American, with a smattering from elsewhere (Canada, Jamaica, Germany and Australia). Perhaps increased globalisation and geographical dispersion may introduce new influences, especially from those areas with different musical cultures, e.g. the middle east, far east, Africa and South America. Perhaps these influences, generally categorised as ‘world music’, will become more mainstream, especially as the Internet provides greater access to hitherto niche markets.

In terms of diversity, certainly the older music was male/white dominated. While a few more females populate the latter years, there is still a general shortage of female musicians in the industry. Ethnicity is predominantly white, which was a bit of a surprise and it certainly wasn’t a conscious choice. Music is one of those industries where artists from diverse backgrounds have been able to succeed and influence successive generations. As in other forms of 21^st century life, ensuring equality of opportunity for everyone and the music industry depends on the best talent, rather than to segregate on the basis of specific upbringings.

Many genres were evenly distributed. However, a number of genres were under‑represented including rap/hip-hop, reggae, dance/funk/disco, etc. Surprisingly, indie music seems to have taken more of a centre stage in the noughties and tweenies, at least in this exercise. How these albums age over time will be interesting. Bands tended to feature, rather than solo artists, which was notable.

There is some pretty impressive album artwork over the half-century. It is amazing how effective musical packaging design has been. We are, sadly, long past the heyday of album art integrated with popular cultural references. I can’t see that changing with current and future media delivery systems. Why should credible artists and designers stake their reputation on, say, the latest download fad?

The rigorous application of the selection criteria was particularly challenging and may well account for some of the more obvious anomalies. A different approach might have led to a more balanced (and perhaps more predictable) result.

A slight grammatical oddity; there are 3 albums on the list whose titles are clearly prima facie questions and none of them end in a ‘?’ (1967, 1993 and 2001). Weird or what?

A number of albums on the list were debut or sophomore albums, perhaps indicating that for many artists, the pool of inventive material is more furtive early on in the limelight and, for some, success actually seems to dilute the fire of creativity, resulting in shortened professional careers. There are relatively few who have the longevity of a lifelong career. Sadly, a large proportion of the artists are no longer with us and their potential is lost forever. We miss their imagination.

When thinking about future direction within the context of the past, the outlook appears healthy and increasingly disparate, despite the broadcast media’s obsession with exploitative ‘talent’ drivel. The days when a single type of music would dominate the ‘air waves’ (remember them?) looks increasingly unlikely, simply because of the volume of new music and the ways in which it is made available to the listening public.

What will be ‘the next big thing’ and will there be any (counter-)culturally significant new genre developments like metal, new wave, punk, rave, grunge, etc.? Major mainstream step changes are possibly unlikely; the musical landscape is now so varied that anything fundamentally new is likely to be genre-specific, for example dancehall and dubstep, rather than a mass‑market popular revolution.

The emergence of completely new trends becomes less likely over time, as it can also be argued that most original ideas have pretty much been used up by now. There can only be a finite number of combinations of existing musical patterns to fuel experimentation and ultimate acceptance. The number of plagiarism litigations suggests that the future will increasingly have to recycle and re-use existing ideas, rather than create new ones. Existing genre conventions, once they have become well‑established, also tend to constrain further creativity within that particular genre. Perhaps we will see more genre cross-overs in an attempt to find that spark of innovation and inspiration.

So there you have it. It has been another interesting little challenge that has also raised a few more peripheral questions. While it doesn’t really add anything to humanity’s collective knowledge, it passes time and the task makes one think (again).

Finally, seeing as CRAVE (Cool & Rare American Vintage Electric) Guitars is all about the venerable instrument, think of all the great guitars and the guitarists that wielded them that feature on not only all the albums listed above but also all the ones that have been missed out.

This is the final monthly article before the ‘big move’ and, hopefully, things beginning to get back on track. Proverbially, I’ll see you on the other side. Until next time…

CRAVE Guitars’ ‘Quote of the Month’: “If actions speak louder than words, why can’t people hear what I’m doing?”

← Return to ‘Musings’ page

Like it? Why not share it?

28 Jan 2017

January 2017 – Why music affects us in the way it does

by CRAVEGuitars | posted in: Observations, Opinion | 0

Welcome to a brand new(-sh) and shiny(-ish) 2017. One hopes that humanity comes to its senses and delivers progress towards a better, fairer, more peaceful world in the year to come. Given indications so far, I doubt it but we shall see. I hope that I’m wrong.

What will be different for CRAVE Guitars in 2017? Other than the complete change of lifestyle to a more modest form of living and the absence of any funds to take forward the vintage guitar business, it will be a year of contemplation and formation of thoughts about the future. I have to remain optimistic that CRAVE Guitars will metamorphose (again) and will flourish in some splendid new form.

Anyway… back to the present and this month’s topic, in the absence of new gear. One of the things that has fascinated me over many years is why people choose, like, and are affected by, the music they listen to. My iTunes library runs into several tens of thousands of songs, predominantly but not exclusively from the last 5 decades, so the topic is pertinent. This article tries to understand why you might like one song while I might hate it and vice versa, or why we both might like or dislike the same one. While reading, please bear in mind that my roots are completely in modern music, which comprises a massively diverse smorgasbord of contemporary music from the 1960s onwards, right up to the latest releases. While I can appreciate (some) classical or traditional music, it doesn’t impact my life in the way that ‘modern popular’ music does.

The cultural revolution (no, not the Chinese uprising of 1966-1976) that began in the early 20^th century led up to the seemingly sudden introduction of rock ‘n’ roll in the mid-1950s. However, ‘modern’ rock and pop music didn’t appear fully formed overnight and its roots in blues and jazz go much further back. What the explosion in supply and demand that has occurred over the last 6 decades has done is to open up range of musical types in such a way that defining current genres and sub-genres has become increasingly difficult. In addition, technology (for instance to facilitate composition, recording, production and distribution) provides us with convenient access to types of music that hitherto might have been difficult to reach, let alone appreciate.

When I was young, my parents listened predominantly to classical and traditional music. However, this background does not appear to have influenced my personal preferences. So what did shape my listening habits while growing up in a rapidly changing world? The ‘nature versus nurture’ dichotomy doesn’t appear to be a determinant of taste and passing years don’t appear to have modified my listening behaviour significantly. Certainly my musical choices have not been passed to the next generation either, which is more than capable of making up its own mind, helped no doubt by convenient availability of music like never before. Perhaps I am unusual, which may be why I posed the rhetorical question in the first place.

You may think that this may be a ‘heavy’ topic for the start of the year (no pics either for copyright reasons! Sorry). However, I am going to try and get inside your head a little bit, so bear with me. The focus is not only on the things we tend to like collectively but also why some of the differences in musical preference between individuals can be so profound. Exploring the foundations of musical preference a bit further provided few satisfying answers and a lot of frustrating dead ends along the way. Although he may have been biased, Beethoven said it more succinctly than I can, “Music is a higher revelation than all wisdom and philosophy”.

To try and get to the bottom of this particular theme and gain some greater insight, I decided to delve a bit deeper into the subject matter. There is an awful lot of pure science behind music, especially the physics and mathematics of music ‘law’. While the scientific aspects are interesting in their own right, it was the psychological impact of music that provoked my curiosity. Let’s begin by breaking it down a bit…

One arm of musical science is called musicology. The word stems from the Greek meaning the ‘study of music’, so this seemed like a sensible starting point. Musicology, as it turns out, is largely formed of three different areas of study:

Historical musicology – which is often referred to as music history (in a similar way to art history) and looks at the way that music has developed over a significant period of time. However, while this may explain the main epochs of music, it does little to explain how we ‘feel’ about the music we listen to in the current era. However, it does tend to outline what musical styles were popular through the ages and the access that ordinary people had (or didn’t have) to experience performance music
Ethnomusicology – this area of music study looks at music within a cultural and/or societal context. While this may explain a bit about musical expression described by the generally common behaviours of large groups, e.g. western or far eastern music, it is very broad and doesn’t really get to the basis of individual musical preference (except within the context of a large society)
Systematic musicology – is a term that covers many aspects of music including general questions about the importance of music right through to the specifics of music theory, varying in discipline, ranging from qualitative to quantitative studies

There is also a branch of musicology called cognitive musicology, although this looks more at mathematical modelling to explain how the brain processes and interprets music in a similar way to how it might process language, including learning, attention, planning and memory. Empirical studies have shown that there is a correlation between musical training and intellectual growth and a whole branch of neuropsychology has developed around this area. Functional MRI scans have shown that the brain actively responds to musical stimulus – no surprise there. Neuroscience, though, focuses primarily on biological processes, rather than emotional, responses.

Music, like language, is an integral part of our cognitive development, which might explain why musical expression is just as important as linguistic expression to nearly everyone on the planet, and has done for thousands of years. However, examining intellectual development does not explain how we, as individuals, respond to music in such a fundamental way. It also doesn’t explain the unifying force of fandom and mass hysteria, i.e. why we congregate in large groups then react disproportionately and often very rapidly to a particular movement in taste (fads?) – anyone remember Beatlemania?

Our brains generally respond to sound in a similar way. The auditory cortex works in association with the cerebellum and frontal cortex, and is responsible for processing ‘organised sound’, including music and language. While music also affects many other parts of our brains, scientists have pinpointed the areas deep in our brains that are activated by and cause emotional responses to music, primarily the amygdala and nucleus accumbens. The amygdala determines whether our bodies need to take some form of conscious action according to the sounds we hear, while the latter regulates the release of the hormone dopamine as part of the brain’s ‘reward system’ and plays a part in rhythmic timing. Dopamine is important as it makes us feel arousal and pleasure so, perhaps, music is a drug after all. Medically, our wellbeing can benefit from using music to reduce anxiety or stress, as used, for instance, in music therapy. Our reaction to music may be divided into emotions that are ‘perceived’ or ‘felt’, which might explain why, for instance, why some people enjoy listening to sad music.

Conversely, whether consciously or unconsciously, music can also be intrusive and distracting, for instance in public places or call centre queues (e.g. ‘Muzak’), when forced to listen to music we don’t like, or exposed to music inappropriately out of context, it can be linked to production of the stress hormone cortisol within the adrenal gland. One example of cortisol production as a result of an auditory stimulus may be the brain’s reaction to fingernails scraping a blackboard causing a significant antipathetic response.

Our clever brains are constantly trying to predict what comes next (technically, the anticipatory response). Many musicians have exploited this characteristic over centuries to tease us and then maximise the ‘crescendo’ effect. Auditory and visual acuity is strongly linked, which perhaps partly explains why we like to go out and watch live music or are drawn to music videos. Closing our eyes while listening to music can suppress the visual stimulus and concentrate the auditory stimulus.

So… does a better understanding of musicology or neurology help with this particular conundrum? Unfortunately, no it doesn’t. However, it does provide a broader framework within which further questions can be asked. There are clearly links between the physical mechanics and the psyche of music, so some further delving was required. Where to look next?

Music psychology was my next point of call. Music psychology is a different approach that attempts to explain musical behaviour and experience, including how we perceive music (e.g. pitch, rhythm, harmony and melody) and our ability to learn, play and perform music. Why is it, for instance, that some people are content to listen to music (i.e. be affected by it), while others are driven to acquire the skills of musical technique and perform in front of audiences (i.e. to affect others through it)?

While the answer to the question above is beyond the scope of this article, emotion is as vital for those making music as it is to the majority of us who listen to what they create. March Bolan once said, “Emotion has to be foremost. When I feel emotional I’m equipped to express myself”, and Debbie Harry also commented, “I do know the effect that music still has on me – I’m completely vulnerable to it. I’m seduced by it”. Jimi Hendrix went a bit further by saying that, “Music is my religion”. To many, musical appreciation is as strong as faith, if not synonymous with it. Suffice to say, music is a powerful medium. Keith Richards expressed music in more survivalist terms, “Music is a necessity. After food, air, water and warmth, music is the next necessity of life”. How strongly do you feel about music’s professed omnipotence?

Perhaps a more relevant approach is to look at what psychologists refer to as ‘affective responses to music’. An ‘affect’ in basic psychological terms is how an organism interacts with stimuli including, amongst other things, the experience of feeling or emotion. Music is one such stimulus that leads to patterns of behaviour and regulation of our emotions. When looking a bit more deeply, even this area tends to break down into a number of factors that academics have attempted to measure. For instance, in relation to emotional music, the following formula has been postulated:

Experienced emotion = structural features x performance features x listener features x contextual features

While expressing emotion as an equation cannot hope to capture the nuances, it does indicate that the way we feel about music is actually a complex interrelationship between a number of human actions and situations. Studies have, unsurprisingly, repeatedly shown that music consistently elicits emotional responses in its listeners (duh!), so what is actually going on?

Why does some music make the hair on the back of our necks stand up? Psychologists refer to the ‘chill’ effect as ‘arousal’, which is a non-conscious physiological response to an environmental stimulus, caused by the hormone dopamine (again). How strong this reaction is depends on, as you might have guessed by now, a number of variables.

The psychology of music and the way it helps shape our genre preferences, again, tease us with answers. However, all it does is to identify that there are notable differences between us but not how or why these differences occur in the first place or why the emotional responses can be so varied and profound.

Perhaps delving into the characteristics of personality and self‑expression may provide some insight that has so far eluded my investigations? Some psychologists point to the ‘Big Five Personality Traits’ to explain and measure our ‘personality’. The ‘Big Five’ categories that shape our personality are:

Openness to experience
Agreeableness
Extraversion
Neuroticism
Conscientiousness

The first two are called ‘plasticity’ traits (i.e. they tend to vary according to changes in context), while the latter three are called ‘stability’ traits (i.e. they tend to be relatively unchanging in adulthood). In relation to musical genre preferences, the plasticity traits are the ones that have greatest effect on our choice of musical gratification. In particular, researchers have found a link between openness, self‑assessed intelligence and preference for more complex music such as classical or jazz. I would argue, however, that this misrepresents the picture as there is a significant sociological and circumstantial connection going on here. Openness, however, does have an affinity for emotional response from music, as does agreeableness. Openness is also associated with ‘intense and rebellious’ music (including rock, rap, alternative and heavy metal). Extroverts also tend to prefer upbeat and energetic music (including dance, reggae and electronic music). Neuroticism is linked to the use of music for emotional regulation (including slow and sad or upbeat and happy ‘pop’ music, as well as indie music). Conscientiousness tends to be associated with an affinity for up-tempo, driving, powerful and defiant music.

Breaking things down into just five discrete factors has been criticised as simplistic, with other sub-traits tending to be incorporated within these five personality ‘dimensions’. There are also a number of other variables that co-exist interdependently of the ‘Big Five’. Psychologists have explored how individual musical preferences are affected by, for instance, age, gender, ethnicity, seasonality, familiarity, peer influence, and self‑perception. To me, location and mood are also key factors that motivate what music I listen to at any given time. What this area of study does is link personality, rather than emotions, to genre choices.

As with other studies mentioned above, investigations still focus on what the variances are but not how or why they drive our listening tastes. Clearly, all of these personality, demographic and contextual factors may help to influence genre preference but it is highly unlikely that any of them will ultimately determine it. In my opinion, the various hypotheses tend to generalise, rather than differentiate.

Personality studies get a bit closer to the core of the issue. However, it still doesn’t explain why two individuals with a similar personality and societal circumstances can still have completely opposing tastes or respond to the same piece of music in fundamentally diverse ways. Also, does our taste in music change as we age? When I was young, I assumed that I liked popular music because it was a given as part of the prevailing youth culture at the time. I also assumed that, as I got older, my musical tastes would mature into the ‘grown up’ genres such as classical or jazz. Nope. It didn’t happen and it probably won’t now. Neither do I listen predominantly to the soundtrack of my youth, although one cannot avoid the occasional reminiscence. I listen to a lot of new music as well and crave (sic!) emerging and fresh musical experiences. The same applies to guitar playing – perhaps there is a link there. As John Cage once pointed out, “I can’t understand why people are frightened of new ideas. I’m frightened of the old ones”.

In a previous article, I covered personal preference in relation to guitars. In that topic, I likened the emotional response to guitars as similar to the instinctive response that we have to attractiveness of the opposite sex. There is something about that unconscious, instantaneous and very strong, often compulsive, sensual appeal that exists but is very hard to define and articulate. To me, the same applies to music, as well as art, architecture and design. Some music has that ‘love at first sight’ written all over it and has a certain consistency of perceived aesthetic appeal, while others have a ‘grow to appreciate its deeper qualities that aren’t immediately apparent’ characteristic. Quite why some music requires multiple listens to in order to grow appreciation while other music immediately slaps you around the face is not clear. Both have their place; it isn’t a case of one is better than the other, it’s just different.

In addition, why does overfamiliarity sometimes reinforce affection in some situations while breeding contempt in others? Why do we sometimes just get bored by repeated exposure while there is some music we simply cannot tune into, no matter what? Why do we sometimes have extreme (positive and negative) reactions to what is, after all, just a piece of music? Why, also, do we adopt often very dogmatic defence of our personal preferences when challenged by others who feel equally strongly about theirs? I would also like to know why we have ‘guilty pleasures’, those potentially embarrassing tracks we really shouldn’t like but for some reason we do.

So… after all that, none of the above really gets to the root of why music evokes a strong empathetic sense of deep emotion or nostalgia (as opposed to simple familiarity). What does it say, for instance, about my personal preferences? Not a lot, actually – it’s interesting but in relation to the question in hand, it’s also a bit ‘so what?’ Where do we go from here and what more can we do to understand what makes our preferences very much our own? None of the academic disciplines or studies that I’ve looked at seem to get to the fundamentals of individual predilection.

As mentioned at the beginning, my amateur research provided few answers and raised a lot of frustrating questions. I would have expected some sense of surety (and reassurance) about my emotional state of mind. I also expected to discover that millennia of human learning would lead to a more satisfactory (or at least adequate) conclusion.

In summary, I have no easy answer in response to the title of this article. Darn it! Academia may provide a lot of informed opinion and (in my view, some refutable) evidence but it does little to satisfy my ardent curiosity. Perhaps a glib qualitative ‘because I like it’ is sufficient after all, despite its crude ambiguity and subjectivity. I therefore challenge the learned professions to come up with something better. I defy anyone to predict my preferences on the basis of the academic studies covered here. Conversely, however, it is probably relatively easy to predict my personality based on my extensive iTunes library. Perhaps we are looking through the wrong end of the proverbial telescope?

So, in the absence of incontrovertible proof, I tried to identify 20 tunes that constitute the playlist of my emotional existence. At the time of writing, the list comprises (in no particular order and excluding multiple songs from a single artist):

The song that makes me go all warm and fluffy inside: The Cure – ‘Love Song’ (1989)
The song that makes me sob uncontrollably like a girl: Death Cab For Cutie – ‘I Will Follow You Into The Dark’ (2005)
The song that makes me want to scream with hatred: Buggles – ‘Video Killed The Radio Star’ (1980)
The protest song that makes me feel like an angry young man (again): Rage Against The Machine – ‘Killing In The Name’ (1992)
The song that makes me grin like an idiot: Nick Cave & The Bad Seeds – ‘O’Malley’s Bar’ (1996)
The song that makes the hairs on the back of my neck stand on end: Ben E. King – ‘Stand By Me’ (1961)
The song that makes me think profoundly: The Clash – ‘London Calling’ (1979)
The song that makes me want to hope: Johnny Nash – ‘I Can See Clearly Now’ (1972)
The song that makes me head bang like in Wayne’s World: Blur – ‘Song 2’ (1997)
The track to play air lead guitar to: Led Zeppelin – ‘Kashmir’ (1975)
The groove that makes me want to get up and boogie: Chic – ‘Le Freak’ (1978)
The song that I wish I could have written: Louis Armstrong – ‘What A Wonderful World’ (1967)
The song that I’d like to cover live: Rolling Stones – ‘It’s Only Rock ‘n Roll (But I Like It)’ (1974)
The best song to get stoned to: Pavement – ‘Range Life’ (1994)
The song that I can chill out to: John Martyn – ‘Small Hours’ (1977)
The song that makes me depressed: Sex Pistols – ‘Pretty Vacant’ (1977)
The song that lifts me out of depression: The Beloved – ‘The Sun Rising’ (1990)
The song that makes me long for a balmy summer’s day: DJ Jazzy Jeff & The Fresh Prince – ‘Summertime’ (1991)
The chart single from my youth: T. Rex – ‘Metal Guru’ (1972)
The album track from my youth: Pink Floyd – ‘One Of These Days’ (1971)

Like many of CRAVE’s topics, it seemed an easy task on the face of it, however, as usual it turned into anything but. While contemplating the mix, I kept changing my mind depending on how I felt, which just proves how impulsive, volatile and value‑laden the subject matter is. I am not going to divulge why these particular tracks stir my sentiments, suffice to say that they do. I must stress that these aren’t necessarily favourite songs (especially no. 3!), just ones that evoke some sort of emotive response. What would be your 20 lifestyle tunes? What about all those millions of tracks that one hasn’t even discovered yet? I am not a betting person but I would propose quite confidently that it is highly unlikely that many people would share exactly the same list, and thank heaven for that… but why?

In conclusion, and as a final parting shot, I will say that extensive diversity and continual evolution in music are inherently good things. Only through variety and innovation can we closely match the way we feel with the music we listen to. Frank Zappa once stated that, “Music is always a commentary on society”. Indeed, when considered in those terms, culturally, it is problematic to separate the two. While some people are happy caught in that time warp of a certain period or are captivated by a specific genre, others like me are inquisitive and intrigued by what has been as well as what is yet to come. I look forward to ‘the next big thing’. My quest for new musical experiences is prominent and my personal choice is strongly shaped by disposition and attitude at any one point in time.

Existentially, I believe that music is essential for the healthy sustenance of the human condition, while the music you or I like is a very, very personal thing that contributes to our overall wellbeing. Leonard Cohen observed, “Music is the emotional life of most people”, while Robert Plant asserted similarly, “Music is for every single person that walks the planet”. The compromise between global and individual musical engagement is relevant or we wouldn’t have anything to talk (and argue) about. The similarities and, perhaps more importantly, the differences between us continually drive musical development and invention. After all, that is what motivates us guitarists to come together and create our own interpretation of music after all.

Anyhoo… I’m off to plink my planks (again) as a cathartic exercise while leaving my subconscious to attempt to unravel the mysteries of personal preference (again). Yay for the former, Sigh for the latter.

This month, I’ll finish with a quote by the late, great Ian ‘Lemmy’ Kilmister, who said, “If you think you’re too old to rock ‘n’ roll then you probably already are”. Until next time…

← Return to ‘Musings’ page

Like it? Why not share it?

18 Dec 2016

December 2016 – A Year of Gains, Change, Losses and Optimism

by CRAVEGuitars | posted in: Observations, Opinion | 0

It’s that time of year again when it seems to be the ‘in’ thing to reflect on the departing year and look ahead to the future whatever it may hold (along with a few obligatory lists along the way). So, in the spirit of seasonal laziness, here is my take on the year just about to leave platform 2016 and to wait for the 20:17 train to who knows where.

A Retrospective

In the music world, the grief that ended 2015 (e.g. Lemmy) continued into 2016. Let’s begin by remembering some of those great artists and guitarists who sadly departed and left us mere mortals behind during the year. I hope they play eternally at the ‘great gig in the sky’…

David Bowie on 10^th January, aged 69
Glenn Frey on 18^th January, aged 67
Merle Haggard on 6^th April, aged 79
Prince on 21^st April, aged 57
Lonnie Mack on 21^st April, aged 74
Scotty Moore on 28^th June, aged 84
Leonard Cohen on 7^th November, aged 82
Greg Lake on 7^th December, aged 69
Rick Parfitt on 24^th December, aged 68
George Michael on 25^th December, aged 53

Farewell and Rest In Peace cool dudes, you will be forever remembered for your tremendous legacy… and will be greatly missed for potential works not completed. Kudos. I am not looking forward to 2017 and the inevitable demise of more stalwarts of the music industry. Who will be next? We can only conjecture at this stage.

It has certainly been a year of change. I won’t delve into the controversial world of global politics, even though it affects our lives fundamentally every day. As English guitarist Eric Clapton said, “One of the most beneficial things I’ve ever learned is how to keep my mouth shut”. At a personal level, it has been a complete change of employment, if not lifestyle (yet). I am still working for ‘the man’ but in a different way. After 30 years as a paid employee, I was made redundant and am now self-employed. The massive drop in disposable income has affected CRAVE Guitars by forcing a, hopefully temporary, hiatus in its mission to accumulate more vintage guitars. In fact, only 3 guitars were purchased all year, but what terrific guitars they were in their different ways…

1962 Gretsch 6120 Double Cutaway Chet Atkins Hollowbody (March)
1964 Silvertone 1449 ‘Amp-in-Case’ (October)
1981 Gibson RD Artist (January)

Bizarrely, there was not a Fender amongst them. Note to self… must try harder!

Out of curiosity, I had a look back at my ‘most wanted list’ of guitars from this time last year and I’ve only been able to knock one off the ‘plan’ during the last 12 months (and probably not the one you’d think!). Oh well.

The change, however, was an opening to refocus a bit, without straying too far from the chosen path. Rather than just stop altogether, it enabled me to look at things in a fresh way. As it turned out, a more affordable and modest vintage guitar-related ‘hobby’ filled the sizeable gap. The result was that I was able to build up a modest collection of classic vintage guitar effect pedals, starting with a ‘small box’ Pro Co Rat and ending 5 months and 16 pedals later with a Made in Japan’ Boss PH-1 Phaser. I also resurrected a number of my classic owned-from-new pedals from the ‘70s. These classic pedals can still hold their own in terms of tone and, while not necessarily ergonomic, are well worth the effort.

This cool diversion had its pitfalls, including transit damage, missing bits and difficulty finding vintage parts to refurbish a couple of cool but ‘adapted’ player-grade effects. What I learned is that, while I’m OK at buying guitars, my knowledge of vintage stomp boxes just wasn’t as strong. At least my focus was on the lower end of the vintage market, rather than the overpriced collector end (original Ibanez TS-808s anyone? Gasp!). It will take a while to build up reliable experience and make better‑informed purchases. In total, there were 17 vintage effect pedals purchased during 2016, including (by brand)…

Boss (x5) – CS-1, DS-1, OC-2, OD-1, PH-1
Electro Harmonix (x2) – Little Big Muff pi, Doctor Q
Ibanez (x5) – AD9, CS9, FL301-DX, FL9, TS9
Jen (x1) – Cry Baby Super
MXR (x3) – Blue Box, Distortion +, Phase 90
Pro Co (x1) – RAT

While looking into effect pedals, I also started looking at vintage valve guitar amps again, although I only bought one very cool little loud box during 2016 (not including the Silvertone’s ’amp in case’ above)…

1978 Fender Vibro Champ

What has CRAVE sold during 2016? B*gger all of any significance! I just don’t have the ‘killer instinct to sell effectively, which is why I’m not a dealer. So, the ‘collection’ continues to grow, which isn’t good news, either financially or space-wise.

Turning to recorded music, picking something special out from the ubiquitous, formulaic dross was a bit of a challenge. Here are some of the varied albums (whatever happened to singles?!) released and added to CRAVE Guitars’ playlists in 2016:

Jeff Beck – Loud Hailer
Blossoms – Blossoms
David Bowie – Blackstar
The Coral – Distance Inbetween
Nick Cave And The Bad Seeds – Skeleton Tree
Leonard Cohen – You Want It Darker
Daughter – Not To Disappear
Dinosaur Jr – Give A Glimpse Of What Yer Not
Garbage – Strange Little Birds
The Heavy – Hurt & The Merciless
Iggy Pop – Post Pop Depression
The Kills – Ash & Ice
Megadeth – Dystopia
Metallica – Hardwired… To Self-Destruct
Radiohead – A Moon Shaped Pool
Rolling Stones – Blue & Lonesome
Savages – Adore Life
Seasick Steve – Keepin’ The Horse Between Me And The Ground
Warpaint – Heads Up

One good point towards the end of 2016 was that I was able to see one of my all-time favourite bands and one that has kept me just about sane over many years. I saw The Cure at Wembley Arena, London on 1^st December. It is 8 years since I last saw them live in London and New York. They were, as I’d hoped, awesome and still able to perform at the top of their game. They were supported by Scottish indie band, The Twilight Sad, who I’d also been looking forward to seeing for some time; impressive. As I was unable to make the pilgrimage to Glastonbury Festival this year, this one major gig made up for it. Long may Robert Smith and The Cure continue to inspire – thanks Bob. I can only hope that this tour may herald a new album in the near future (hint, hint!).

While on the topic of live bands, it occurred to me that it is a very ephemeral experience. On quiet reflection, if there is one band that I would have liked to have seen but didn’t and now it’s too late… The Clash. The one band that I haven’t seen yet that I would like to see before it’s too late… Rage Against the Machine. Of course there are many, many mainstream artists that could go on those particular lists. These were just ones that came to mind when I asked the rhetorical question.

A Prospective

Trivia fact: In English etymology, ‘prospective’ is a valid antonym for ‘retrospective’. So, I took the indulgence of looking forward through the looking glass and speculating a little on what may lie ahead.

Firstly, CRAVE Guitars will hopefully be relocating soon. I was hoping it was going to be before Christmas but it will now be in early 2017. Major problems and escalating costs with the new place, including somewhere to store the guitars dry, warm, safe and secure, means that even pedal purchasing has now been put on hold until further notice while some massively expensive but essential rebuilding takes place and (sadly) uses all my remaining (guitar) capital.

Furthermore, my self-employed work ends at Christmas, so unemployment (tactically, I prefer to call it early retirement) looms on the immediate horizon. Ironically, after years of having no time and a little cash has been turned around such that I may soon have a little time and no cash. Hey-ho, story of my life; one can’t have it all, eh?

If there is a way that CRAVE Guitars could be put on a different basis and become a full‑time occupation, I’d like to do it. I need to learn how to sell though (see above). It would be terrific if I could realise my long-held ambition and put all my hard work over the last few years to good use. Harsh life experiences over many years suggest that this won’t happen so, perhaps, it is about time for a meagre sprinkling of ‘good luck’ to come my way for once.

Unfortunately, the prevailing economic climate is not conducive to starting up a professional niche business with next to zero capital, no access to finance, sparse experience, and little reliable entrepreneurial advice, all within the context of political, economic and social turmoil. In the UK, we’ve had a General Election, political meltdown, crippling national debt and the insanity of ‘Brexit’ (what a stupid ‘word’ that is!). In the US we’ve had Clinton being well and truly Trumped (amid much conspiracy theory), which is a scary proposition for the whole world. Mad! Since the EU Referendum, the $USD to £GBP exchange rate has fallen through the floor, so one of CRAVE’s strengths – importing vintage guitars from homeland U.S.A. – is now next to impossible as the costs have simply become prohibitive (at least on the modest funds at my disposal). As 2017 looks to provide more surprises and yet more change, there is little point in further speculation about exactly what might transpire. I wonder what CRAVE’s December 2017 article will have to say (all other things being equal).

Ever the eternal optimist, or more probably just tragically deluded, 2017 HAS to be better than 2016. I suspect I may be bitterly disappointed… again. As you might imagine, I have no evidence to support this hypothesis, just a desperate but probably forlorn hope that things, both macro and micro, improve in the months to come. I also have to trust that the irrevocable life-changing events of 2016 lead to constructive and positive outcomes in 2017. Carl Gustav Jung (1875-1961), the Swiss psychiatrist and psychotherapist that founded analytical psychology summed it up, “Until you make the unconscious conscious, it will direct your life and you will call it fate.” Perhaps the old dude knew a thing or two about people’s ability to influence their own destiny.

I know that one shouldn’t gauge any sort of success by social media activity but CRAVE Guitars is gradually building a solid presence on the hinterweb. A huge “THANK YOU” to everyone who showed some interest in goings on at CRAVE Guitars over the last 12 months. At the time of writing, CRAVE’s Twitter followers (my favoured platform – @CRAVE_Guitars) were standing at over 1,330, which is amazing to me – a massive increase in a year. The majority of CRAVE’s Twitter followers are in the U.S.A., so much appreciation goes out to my transatlantic brethren. Equally, my gratitude extends to everyone inside and outside the UK, across the continents of our increasingly shrinking ‘global village’ for your time and consideration.

If CRAVE could buy any vintage guitar in 2017, what would it be? Actually, although unlikely to achieve either, I’m picking one from each of Fender and Gibson to keep things neutral. A 1970s Fender Starcaster has appealed for a long time but they are few and far between and prices are scarily high. As for the ‘big G’, a 1950s non‑cutaway Gibson ES‑150 has also been a longstanding aim, also rapidly increasing in price. So if Santa is listening, I have tried SO hard to be a good boy.

As frequently mentioned in my articles, guitars have only one purpose, as a tool to make music. Music can bring us together and help to heal the often seemingly irreconcilable schisms that inhibit mutual co‑operation and benefit. This brings me neatly onto…

A Hope

For what it is worth, a short Christmas message of redemption for 2017…

I feel that there are even greater seismic shifts ahead in every facet of our small planet. All I can hope is that for every backward step, there are many more steps in the right direction towards the panacea of world peace, ecological sustainability and, let’s face it, survival. We need to magnify the things that we all share and value, and we must strive to diminish the things that cause irreconcilable division and conflict. Ultimately, there is no choice but to work together for the sake of our enduring common humanity. We all have an obligation and a moral duty, individually and collectively, to build a better, fairer world for everyone now and for succeeding generations. As equal citizens, we must demand more from our governments if we are to achieve a viable future for life on Earth. We must respect our diversity, reject greed, protect our environment, have compassion for all living things, and rise above prejudice and hatred, if we are to stand any chance of achieving great things as a species. Strive for utopia and we may just get far enough down the road to justify the effort. It is just common sense after all and the struggle must prevail if it’s worth struggling for. We shall see. Buddha put it far more succinctly, “Better than a thousand hollow words, is one word that brings peace”. Quite right!

I fear that the rise of ignorant extremism under the guise of ‘populist anti‑institutionalism’ will trigger further anarchic, nihilistic and blindly destructive tendencies when, what the world really needs right now is more ‘peace and love’. Beneath the superficiality of the naïve desperation of the ‘60s hippy movement, the counter‑culture ‘uprising’ of the time had it right all along and we should seek to realise the latent potential of their philosophical idealism and belief for good and fairness. As John Lennon sang, “Imagine all the people living life in peace.” One can hope beyond hope, however unrealistic it may seem. Concerted action, though, is needed.

May you play guitars, or at least listen to the magical music that all guitarists – great and meek alike – create on our beloved instruments. People need the therapeutic qualities of music now, more than ever before. It is a cathartic way to deal with the harsh vagaries of our capricious, chaotic, dysfunctional world. As the German philosopher and scholar, Friedrich Nietzsche (1844-1900) wisely said, “And those who were seen dancing, were thought to be insane, by those who could not hear the music.” On that final contemplative note, it is goodbye to a weird 2016 and I hope to be back in 2017. In the meantime, I’m off to ‘plink my plank(s)’. Until next time…

CRAVE Guitars ‘Music Quote of the Month’: “If I had a pound for every perfect guitar solo I’ve ever played, I’d still be stone broke.”

← Return to ‘Musings’ page

Like it? Why not share it?

24 Jul 2016

July 2016 – Personal Top 20 Most Influential Guitar Albums

by CRAVEGuitars | posted in: Observations, Opinion | 0

In previous articles, I’ve touched on various personal aspects of guitars and guitar playing, including:

‘why’ – the reason I picked up and played guitar
‘how’ – the way that my relationship with the guitar developed from first contact to the current day
‘what’ – the actual bits of wood, metal and plastic that keep me enthralled and passionate about the electric guitar as a musical instrument

This month, it’s a bit about more about the ‘who’ – no, not the band but the artists that made albums which have in some way motivated me to keep playing guitar over the years and perhaps most influenced the type of music I still listen to regularly

Just think of the great guitars, many of them now vintage, that were used by talented musicians to create the music in the first place. It is worth saying that these recordings probably wouldn’t have perpetuated as well as they have without these artists also working incredibly hard to play live music in front of ticket-paying audiences. The point is that it is really important to keep music live.

So… here is CRAVE Guitars’ Top 20 Guitar Albums that have been most influential to me. They aren’t necessarily ones you might think of as great guitar albums and many don’t have guitars as the focal point, so the impact has been subtle but profound. Flashy, flamboyant fretwork may be impressive but it is not enough on its own to make the grade.I have never been artist obsessed; I just don’t have guitar idols or role models so there is no celebrity reverence involved in the choices. Unlike many people, my tastes are also not fixed to one particular period of time or genre of music.

It was very hard to compile the list, knowing that it would not be representative of the wealth of great guitar music over the last 60+ years. The eventual ones that made it haven’t been ranked, so are presented in date order – just too difficult. Does the list represent the pinnacle of guitar playing? No, it doesn’t and it isn’t intended to; it’s a very personal list. Is the whole album great? No, there are no ‘perfect’ albums but they are, in my opinion, particularly notable – that’s all. What about the ones missed out? Too many to mention, including many that are ‘better’ for so many reasons, just not to me as part of this exercise. In addition, there are many, many great albums that don’t feature guitars at all, which naturally excludes them from this list.

What is it about these albums that makes them stand out above the average and, perhaps more tellingly, why they usurped other, perhaps more traditionally fashionable ‘great guitar albums’. The criteria (the first is a killer!) included:

There could only be one album from any artist
They could come from any period of modern music
They must feature guitar playing, not necessarily front-and-centre but somewhere in the mix
Live albums are included, hoever ‘best of’ collections and compilations are not
They had to be ones I own and listen to, not just ones with a strong reputation
They had a major ‘wow’ factor on first listen and, importantly, they have stood the test of time
There is an emotional connection with the music, not just band credibility
They transcend mood and can actually change one’s attitude
Enrich one’s existence to some degree and make life worth experiencing

Here are the albums presented in chronological order, each with a short explanation as to why each is here:

Santana – Abraxas (1970) – amongst the many classic Latin-tinged songs is the sublime leisurely instrumental ‘Samba Pa Ti’, which stood out for Carlos’ exquisite and nuanced guitar phrasing and tone
Black Sabbath – Black Sabbath (1970) – nothing else like it before or, frankly, since; the album that started metal, especially with the archetypal doom-laden opening title track
The Doors – L.A. Woman (1971) – such great song writing including, amongst others, the insistently driving title track and the massively moody laid-back ‘Riders On The Storm’
T. Rex – Electric Warrior (1971) – Marc Bolan’s shift of style signalled the birth of glam rock. Who could have seen this coming or imagined the legacy it would leave. Familiar chart hits include ‘Jeepster’ and ‘Get It On’
Pink Floyd – Meddle (1971) – my very first album purchase after hearing it premiered on John Peel’s radio show. It transfixed from start to end. Just amazing at the time, especially ‘One Of These Days’ and the epic ‘Echoes’
David Bowie – Aladdin Sane (1972) – less pop-like than other obvious alternatives. Some striking musical innovation and some astounding avant garde moments. The chart hits included the title track and ‘The Jean Genie’
John Martyn – Solid Air (1973) – Martyn had been experimenting with processed guitar and was pushing the boundaries of what it could do, resulting in this very special landmark album including the achingly cool title track and the desperately melancholic ‘May You Never’
Lynyrd Skynyrd – Second Helping (1974) – no ‘Freebird’ here, but the album that brought the Florida wild boys to the UK’s attention. A really solid sophomore album that is so much more than the now clichéd ‘Sweet Home Alabama’, for instance the simple but effective riff on ‘Working For MCA’
Bob Marley & The Wailers – Live! At The Lyceum (1975) – sometimes, a live album captures the essence of an artist’s best work in a single time and place, this is one, topped by the passionate and evocative ‘No Woman No Cry’
Led Zeppelin – Physical Graffiti (1975) – not any of the first 5 iconic LPs but the double album that came out when I went to see them play live in London as a teenager. The colossal ‘Kashmir’ instantly blew me away, ‘nuff said
Rory Gallagher – Against The Grain (1975) – another artist who came across better live than in the studio. Rory released this around the time that I saw him play in Brighton, so it beat ‘Irish Tour ‘74’ to the list
Steve Hillage – L (1976) – a highly underrated guitarist and a post-Gong solo album that epitomised the alternative trippy-hippy, effect-laden space rock of the era. No chart material here but lovely guitar, clearly ‘in the zone’
The Clash – London Calling (1979) – the title track nails the social context of the immediate post-punk period, articulating deep social unrest, the country’s polarised economic divisions and a generation’s frustrations with pre‑Thatcherite politics. Both timeless and very much of its time
Talking Heads – Remain In Light (1980) – it starts with David Byrne’s complex, overlaid upbeat grooves and distinctive vocals, then descends into deep dark interwoven ambient territory. Go beyond the familiar hits and explore the brooding and intense ‘Listening Wind’ and ‘The Overload’. Scary
ZZ Top – Eliminator (1983) – Texas boogie-blues morphs into mega-pop extravaganza with the now overplayed massive chart hits and much more, like ‘TV Dinners’ and ‘Bad Girl’. Ignore the sexist whinging and just enjoy the hot‑rodded road trip
Stevie Ray Vaughan – Couldn’t Stand The Weather (1984) – kicks off with the frenzied instrumental ‘Scuttle Buttin’’, homages and almost upstages Hendrix’s ‘Voodoo Chile’ and then caps it with the knock-out slow blues of ‘Tin Pan Alley’. Pure blues genius
Dire Straits – Brothers In Arms (1985) – consistently great song writing with some natty guitar work too, including the classic riffing of ‘Money for Nothing’ and closing with the poignant title track. Personally significant as this was my very last vinyl purchase, so ushering in the digital age
The Cure – Disintegration (1989) – my all-time favourite album (so far) and as close as Robert Smith came to a coherently perfect recording. Contrast the heartfelt warmth of ‘Love Song’, with creepy ‘Lullaby’ and the deeply dark and sinister ‘Fascination Street’. Understated guitar work, compelling and hard to beat over a quarter of a century later
Metallica – Metallica (1991) – migrating from thrash genre roots to full-on heavy metal rock stardom, the shift of tone resulted in massive commercial success. Now regarded as an all-time classic, which belies its original achievement, including the ubiquitous guitar-shop riff, ‘Enter Sandman’. Go beyond and admire
Rage Against The Machine – Rage Against The Machine (1992) – the genre‑busting aural assault fused highly politicised rap lyrics and Tom Morello’s stunning guitar work to create something genuinely ground‑breaking. Never bettered, the eponymous debut album includes the storming ‘Killing In The Name’ and ‘Bullet In The Head’. Still edgy today

Nothing really from before 1970 you say? Well, only because it was a bit before my time and many of the gems from that era were discovered later, Hendrix, Cream, Velvet Underground, etc. Nothing newer than 1992 you ask? It is disappointing that the most recent album is now 24 years old, begging the question, “Where are the great guitar albums of the 21^st century?” This is lamentable, especially as there are so many excellent guitarists out there. Clearly, it is time to do something about it guys and gals.

If that list is too exclusive, here are some close runners up (also in date order):

Jimi Hendrix – Electric Ladyland (1968)
King Crimson – In The Court Of The Crimson King (1969)
Neil Young – After The Goldrush (1970)
The Rolling Stones – Sticky Fingers (1971)
Genesis – Nursery Cryme (1971)
Deep Purple – Made In Japan (1972)
Thin Lizzy – Jailbreak (1975)
801 – 801 Live (1976)
Burning Spear – Garvey’s Ghost (1976)
Fleetwood Mac – Rumours (1977)
Nirvana – Never Mind (1991)
Beck – Odelay (1996)
Kasabian – Kasabian (2004)
The Kills – Blood Pressures (2011)
Richard Hawley – Standing at the Sky’s Edge (2012)

So, there you have it – my personal top 20 guitar albums… so far. These are not recommendations and it doesn’t prescribe essential listening. It is just one individual’s biased choice. I Have to say that it was more difficult than I thought to justify my limited selection. What inspires you is, of course, for you to decide for yourself. I hope there’s something in my list that provides a refreshing change, while also acknowledging the recognised greats. Doing this has made me review my longer ‘Top 100’ list on the CRAVE Guitars web site, take a look (click here to see the long list…).

What next? I am always looking to the future and curious about what’s yet to come. I hope that future great guitar albums can match the excellence of the past. Here’s anticipating. Until next time…

CRAVE Guitars ‘Music Quote of the Month’: “Over think music and it becomes sterile. Under think music and you have probably been sterilised”

← Return to ‘Musings’ page

Like it? Why not share it?