I’ve never shared this before, but I’ve always given names to my instruments. It all started out when my Dad gave me a ’79 Yamaha FG-335 dreadnought for my birthday. It had such a deep, rich tone, and I played the hell out of it. I still have it, in fact, but I need to take it to a luthier to have some repairs done (somehow the neck came off the body). That guitar I named “Betsy.”
Next up is my Ovation Elite acoustic/electric named “Sunset” for its sunburst finish that reminded me of a sunset.
“Rusty” is my beloved ’60 Dot Re-issue Gibson ES-335:
And last, but not least is “Pearl,” my sexy, sweet 60th Diamond Anniversary Strat:
I’d love to hear what you’ve named your guitars, or if you do at all.
Bonnie Raitt said it best when she was quoted as saying, “There was simply no one like him,” when speaking about Michael Hedges. That pretty much sums it up about the man who, back in the early 80’s completely revolutionized how the acoustic guitar can be played, and inspired thousands of guitarists the world over to rethink how they approached the acoustic guitar. Seeing Michael Hedges play, you couldn’t help but think, “I didn’t know you could do that with an acoustic guitar.” It was if a veil had been lifted from the collective minds of guitarists the world over. It was absolutely uncanny. The video below is of Michael playing “Rickover’s Dream.” This was the first song where he introduced using hammer-ons and pull-offs not just as a part of a phrase, but as a foundation for the entire song. Hammer-ons and pull-offs weren’t anything new, but this type of application of them had not been done like this by anyone up to that point.
The next video of Michael is a medley of three songs from his Taproot album. These show yet another side of his composition and style.
I’m writing this entry because now and then, I run across something that sparks my memory about Michael. You see, he died tragically in a car accident in 1997. Of all the people I’ve encountered in my life who’ve had a huge influence on me musically, Michael Hedges played a huge role; not from just a technical perspective, but also from the perspective of extension – moving past old paradigms and exploring new territory. He inspired me to look beyond my own perceived limitations as a musician to discover things I never thought possible. I’ve never stopped missing him.
Today, what sparked the memory was seeing Kaki King play on a YouTube video. Personally, I’m not really a fan of Kaki King – her music is just a bit too abstract for me. Compositionally, I just can’t “get” her music, because unlike Michael Hedges, there doesn’t seem to be message or thought to convey. To me (and remember, this is strictly an opinion), it’s as if she cobbles together a string of experiments – okay, I can do this, then add this, then add this, and return here. Good. That’s a song. Add to the fact that her technique is also only okay (again, IMO), and I just can’t get out my head that she pales in comparison to someone of Michaels technical and compositional genius.
If you’re interested finding more about this incredible musician, the best place to start in on the Wikipedia entry for him.
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