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February 2003

AVOIDING "STAGNATION"

Well, hello all, and welcome to my second edition of the GuitarLife newsletter. First off, I'd like to thank those who submitted questions based on last month's newsletter. Questions are greatly appreciated, and it shows me that people are actually reading this stuff, and this is a good thing.

Based on that, we've set up an email alias so you can get your questions directly to me via StringLife™. The address is questions@StringLife.com. I check the mailbox pretty regularly, so I'll get back to you as quickly as I can. Last months questions pertained mostly to tuning and intonation problems and I can use the topics of the questions as possible subjects for future newsletters, so jump on in and ask away. If I don't know the answer, I'll find someone who does and pass it along. Thankfully, I've got some friends here on Long Island who just happen to be the best guitar and amp techs on the East Coast of the United States, so I can always go to them for help, and I have.

Well, ok now, on with the show. I thought I'd touch on a topic this month that I'm sure every player has run across at one time or another. Let's call it 'stagnation.' You know, when you reach the point that every time you sit down to play your favorite ax, you feel like you're playing the same thing over and over. Where to go and what to do to try and keep things 'fresh?' It happens to all of us, and maybe even more so to those who actually make their living playing guitar. You play the same scales, the same riffs, and you feel like you're in a box that you can't get out of.

When I reach that point, (and I reach it quite often), I find that if I change my listening habits, it can help change my point of view when I pick up a guitar to play. If I've been listening to progressive rock for awhile, I'll throw on some classical, or rockabilly, or some old blues, or roots music. Something completely different from what my current mindset is. Since as a player, I get most of my ideas from listening to what is going on out there, drastically changing what I'm listening to can open new doors and bring a fresh viewpoint to what I'm playing. Of course, I'll be playing along with whatever different type of music I decide to use.

I asked some friends of mine what they do to keep their music fresh, and I'd like to share a couple of answers with you folks. Brian Willoughby, guitarist for the Strawbs, (the British progressive outfit that's been playing together for some 30 years now), tries to take some time off and visit Nashville, where he can always be counted on to get a couple of Country sessions. Now, that's a switch, eh? But, according to him, it does exactly what it is expected to do, bring a fresh outlook to his playing. It forces adjustments and opens some new horizons.

This quote comes from Andy York, the guitarist with John Mellencamp's band. Andy is fresh off the Mellencamp tour, and he also toured the US and UK with Ian Hunter last year. I threw him the question about keeping his playing fresh, and here's what he said:

"Well, I generally force myself to play instruments that I can't normally play. For example, last summer I bought myself a National Style O and painstakingly taught myself to play it using fingerpicks and the Robert Johnson CD. While I am by no means an authentic blues player (white kid from the suburbs), it was a nice challenge and has enabled me to draw on the Delta influence in my approach to playing."

So, folks, there you have it. A couple of insights into what some pros do to keep things moving along. For those who may be interested, the Acoustic Strawbs will be touring the East Coast of the USA and Eastern Canada in May/June of 2003. You can catch Brian Willoughby's superb playing then. You can hear Andy York's fine playing on the last 5 John Mellencamp albums, the newest being "Cuttin' Heads" and also on Ian Hunter's fine album "Rant."

That's it until next month. Keep those questions coming, and of course, use StringLife™.

Play more!!!!
Mike Gebhardt




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