Sunday Column: The Red Guitar

Posted on April 12, 2016 by Meanwhile, back at the ranch...

A couple weeks ago at a show, I met a man who suggested that I write a few columns about my guitars. He is in a band himself and had seen me play a few times, and had taken notice of my different guitars, and being a musician he knew there was likely a story behind them.

So this week I took him up on that suggestion (it was a good suggestion) and wrote about one of the most important guitars in my life.

Coming Home: From first memory to now, guitars hold an elusive sway
by Jessie Veeder
4-10-16
Forum Communications

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I love guitars. I love the way they look sitting in the corner of a house. I love how they feel in my hands; the new ones shiny with promise of the music that is to come, the old ones worn from years of picking.

I love how they transport me to a place so full of heart or loneliness, home or heartache. Places we all have in us.

Because you know how everyone has a first memory? That moment you look back on where you were the youngest version of yourself you knew. Maybe it’s only a few moments in time, but it was so powerful that you hang onto it hard and forever, whether you want to or not.

That memory is a guitar to me, dancing in the basement of our old house while my dad played his red Guild and sang a song I don’t remember. But I do remember the brown shag carpet and how he wore his hair a little too long and how his wide, leathery fingers eclipsed the strings at the neck as he swayed back and forth and tapped his foot, just a little bit off of the rhythm of the song he was singing and picking — the same way he does today. And I remember wanting him to let me pluck the strings on my own, so I could make the music come from that mysterious instrument.

That red guitar.

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The guitar still remains a mystery to me, how six strings touched the right way can produce sounds that make you laugh and cry and tap your toes or sing words you didn’t even know you had in you.

It’s amazing that the sounds coming out of a body made of wood can be so different depending on who’s touching it. I’m in awe that a guitar can transform a campfire, a living room or a makeshift stage into a world where love is lost and found, real cowboys still exist, summer always stays.

Yes, the guitar remains elusive to me even though every person in my family, as a sort of right of passage, owns their own version of the instrument, tucked away in basements or propped up next to the piano or the living room couch. It’s a necessity. Whether or not you ever learn to play it, you need it there next to you in case you or a guest are ever so inclined.

I’ve had in my possession a number of guitars in my life, all given to me by my dad based on his judgment on what would be the best fit for me. From the old Taylor I play today to the green Takamine I got when I convinced my parents that the guitar was more my instrument than the saxophone I played in band class, so we traded it in, as my dad does with guitars and horses.

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I found out later that’s what happened with the red Guild. I showed interest in taking up an instrument for band class in fourth grade and so dad traded it for a saxophone.

Oh, if guitars could talk! I suppose I could say that for instruments of all kind, but I’m partial to the guitar. I think they’d have the best stories.

That red Guild found its way back to the ranch eventually, another of dad’s trades of an amp or a banjo, so that he could pass that guitar along to my little sister when she went to college. I liked to imagine her sitting behind it, so far away from the buttes of the ranch, closing her eyes, plucking the strings and hearing the sounds of home.

That Guild sits in its case propped up in the corner of the house she now shares with her husband, holding in it stories about her dad playing in bar bands and coffeehouses before she was born and memories of three little girls twirling, laughing and singing along in the basement of a little old house.

Yes, all of the guitars I’ve possessed have given me something — confidence, my first song, a stronger voice. But it’s the one I never owned, the one that gave me my first chord and let loose the music inside of me, that has been my greatest gift.

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Words and music and getting it down

Posted on May 1, 2012 by Meanwhile, back at the ranch...

When I was ten years old Pops gave me a hard covered journal that he pulled out of the basement of his parent’s house. He retrieved it from a bookshelf and handed it to his middle daughter, the one who would scribble poems about dogs and horses and big prairie skies on notebook paper. He flipped through the blank pages of the journal, inspecting it for forgotten words, and then handed it to me. And told me to write.

I imagine the book was something my Pops picked up at a gift shop or got for Christmas from a family member, an object that could have been tossed or used for grocery lists, but instead sat stored away in that basement for years waiting for me.

I have a memory of when he handed that book over to me, one I’m not certain I didn’t make up in a dream or something. It’s a memory that is full of inspiration and imagination and possibilities. It was as if my father had handed me potential–blank pages that smelled of must and mothballs waiting for someone to write something brilliant and touching and moving.

Waiting for me to be brilliant.

I had those pages filled before my twelfth birthday with poems about the creek behind my house, rodeos, horses, wildflowers and not wanting to grow up. My handwriting was neat and loopy, slanting diagonally across the unlined pages, sentences about the colors in rainbows and wishes trailing right out of my adolescent head and down the center of the pages.

I didn’t know it at the time but that book is where my music career started. Those words I wrote turned to melodies when I picked up a guitar for the first time, practicing other people’s music, but spending most of my time creating my own. I would play with my words, ramble with the lines and phrasing for nobody’s ears but my own. And because I was the only one listening, I could say what I meant or make no sense at all.

It didn’t matter.

It was for me.

As I got older my dad convinced me to perform that music in public. And so I strummed my green guitar alongside him, a dorky, gangly girl in a Garth Brooks inspired western shirt baring her soul.

Besides my little sister who was sleeping with her door half-open across the hallway from my bedroom, my dad’s ears were always the first to hear my music.

I’m thinking about this today because I am in the middle of recording a new album. It’s an album of music I’ve been writing since I moved back to the place I grew up…back to the place where that ten-year-old tomboy scraped her knees and caught frogs and wrote it all down. I’ve done this studio thing before and I’ll tell you, it isn’t easy to introduce music that you’ve written on lazy Sundays, in the middle of the night or pulled over sitting in your car on the side of the road to a room full of musicians you respect and admire. Performing songs for the first time that only the walls and dogs have heard have been some of the most intimidating and emotional experiences in my life.

Because I believe in it. I know what I’m trying to say.

Or at least I think I do.

And when I make the decision to share it, to record it, to perform it, to get in the studio at long last, I second guess that decision about seventy to eighty times before I make the trip down the interstate with my Pops and our guitars.

See in a project like this you could work through logistics all day long. You could share ideas and swap stories and talk about music you like, your vision and who’s on board until the sun goes down.

But it comes down to one thing in the end.

The songs.

And the songs are mine. Soul-baringly mine. So eventually I’ve got to play them. It’s kinda the whole point.

So I start by plucking my guitar, closing my eyes tight and leaning in against the microphone, wondering if it’s possible to hold my breath and sing at the same time. The first note rings out and then the first verse and it’s just me exposed waiting for my father to pick up his guitar and add a rhythm, my dear and talented friend to lean over his dobro and fill in with a haunting lick, the bass to kick in a long lonesome note…the drums to find the heart beat.

And soon my song becomes their song and the room is filled with it. The guys I’ve trusted with the notes have given it a pulse and the music I wrote on my living room floor lends itself to a harmonica part, a guitar breath…a long pause.

And sometimes it happens that I’m in that studio, two days into laying down tracks about the landscape, my home, my love and maybe even a quirky song about a dog, and things are going well. I think I’ve almost made it through the hard part, if only I could skip through the song that scares me the most.

Because it’s the one that is so personal I am certain no one is going to understand. It’s the one that makes me cry big sobs before I reach the end.

The one that they are telling me to try. Just try it out.

It’s ok.

And so I take a deep breath and work to come down off a bouncy song I wrote about being happy and living in the moment.

I suppose living in the moment counts for hard stuff too, so I take my own advice…

play the notes on my guitar…and sing…

“I dreamed you on the prairie,
on mountain tops and oceans wide…”

I hear my voice waiver through my headphones but I’m ok. I decide I might get through it…until I hit the second breath and the sweet sound of my friend’s guitar part fills in the quiet spaces the exact way I have heard it in my head…if only I could play that way…

“I loved you before I met you…”

My voice cracks and it’s over before it started…but my band keeps playing, coming in with a low bass part and a quiet whisper of a drum.

So I keep singing and sniffling because the music’s just too beautiful to give in to an emotion I’ve pushed down so long that it became fed up.

I decide that if it’s time for this I might as well capture it. Isn’t this what music is about?

So the guitar lead pulls me into the chorus and I whimper the words behind the glass of my isolation booth. I wonder if the guys can see the tears streaming down my face behind the shield of the microphone…

The sound coming out of their instruments makes me feel less alone though, which touches me so deeply that more tears roll and no words come out.

But the guys keep playing, taking me through the bridge of my song as I sing it like I’m collapsing in on myself.

I close my eyes and breathe in the rhythm they have found for me as I gather myself for the ending note, the note that I squeak out but they let hang subtly and quietly in the air of the studio.

I wipe my eyes and apologize as I put down my guitar to step out of the room only to find the two men who have been the background to my music my entire life: my father and the sweet talented dobro man, with eyes red and teary too.

Supporting me.

Feeling for me.

Playing my music like it is their own.

So I’ll tell you this today as I sit in the middle of this music project and reflect on the weekend I spent lost in the music. When I moved back to the ranch as a grown woman with plans to make plans I wasn’t prepared to run into my ten-year-old self again. I wasn’t prepared to fall in love like her, to get the same flush in my cheeks, to embrace loneliness, celebrate life and morn losses the way I used to when I was so young and vulnerable and completely honest.

I didn’t expect that she would grab my hand, take me on walks, sit with me on hilltops and quietly push me to fill up some blank pages again…and then sing those songs out loud to the prairie sky.

But she did. And I open her book today and find poetry and stories that are innocent and awful and embarrassing. But I’ll tell you if I had to save something in a fire it would be that book. It has sat on my nightstand next to my lamp for nearly twenty years, a reminder of the girl who chose to fill it up with the stories about her world and everything that was inside of her.

And the only way I can think to thank her is to keep doing what she has done…

Curious about the new music coming from the red dirt roads?
Listen to me talk about life in oil country as I play my new song “Boomtown” live from my momma’s kitchen

Jessie Veeder’s Boomtown

Follow the progress of my new album at www.jessieveedermusic.com

Recording at Makoche Recording Company in downtown, Bismarck, ND

The Red Guitar

Posted on March 2, 2011 by Meanwhile, back at the ranch...

I love guitars. I love the way they look sitting in the corner of a house, laid out on the bed, placed carefully in their cases or on display in a music store.

I love how they feel in my hands. The new ones shiny with promise of the music that is to come, the stories it might help you tell, and the places it could take you. The old guitars worn from years of picking, dinged up from bar bands and campfires and teaching a child to play.

And I love how they sound, each one a little unique, a little brighter, a little lower, a little cheaper, a little more rich and full. I love how they transport me, no matter if I am behind the sound or sitting in front of it swaying to the rhythm it creates, to a place so full of heart and passion and loneliness and fulfillment and family and home and leaving and heartache. A place I’ve always had in me.

That memory is a guitar to me…

…dancing in the basement of our old house while my dad played his red Guild and sang. I don’t remember the song, or maybe I do, it doesn’t matter. But I remember the brown shag carpet. I remember how he wore his hair a little long. I remember how his wide, leathery fingers eclipsed the strings at the neck of that guitar. I remember how he swayed back and forth and tapped his foot, just a little bit off of the rhythm of the song he was singing and picking—the same way he does to this day. And I remember wanting to play. Wanting him to let me pluck the strings on my own, wanting my hands to grow a little bigger so I could make the music come from that mysterious instrument. That beautiful, red guitar.

And the instrument, the guitar, still remains a mystery to me. Even though I have been playing in one form or another since I was twelve years old, it still perplexes me that six strings touched the right way can produce sounds that make you laugh and cry and tap your toes or sing words you didn’t even know you had in you out to the world. It’s amazing to me that the sounds that come out of the body made of wood and metal and shine can be so different depending on who is touching it, who is sitting behind the instrument. I am in awe that a guitar can transform a campfire or a living room or a makeshift stage into a world where where love is lost and found, real cowboys still exist, babies fall asleep peacefully, summer always stays….

Yes, the guitar remains elusive to me even though every person in my family, as a sort of right of passage, owns their own version of the instrument and tucks it away in their basement or in their bedroom closet or props it up next to the piano or next to the living room couch. It is a necessity, whether or not you ever learn to play it, you need it there next to you in case you are ever so inclined—because the music is so unpredictable.

I have had in my possession a number of guitars in my short 27 years. All given to me by my dad based on his judgment on what would be the best fit for me. My first was a small guitar made for beginners that came in a box and wound up in my little sister’s room after I graduated to the next level: a cheap guitar with soft strings upon which I practiced strumming and singing “Amarillo by Morning” until my little fingers and voice were raw.

When I proved that I had an interest in the instrument that wasn’t going to waver anytime soon, I consulted with my dad and we agreed to trade my saxophone, the one I would pretend to play in band class, for a real guitar (because it was quite apparent that I lacked any Kenny G style skills and probably never would). And so I acquired the green Takamine and started writing songs, thinking maybe I could be a real musician behind this guitar. Maybe.

And I kept playing that Takamine in my bedroom. And then that guitar and I had our first real gig playing songs that I wrote and songs that I loved. Then we did it again and again until it was time to record them and time for a new guitar. Because I had outgrown the instrument in sound and purpose.

So another Takamine with a sunburst on its body took me on through high school and into my first year of university where I played in coffeehouses and bars around the small college town. And when the call came about traveling and working on another album I was set to go. I had my big girl guitar, it would work just fine.

I was excited and nervous and anxious about the whole thing….

Then one day after a few of my first on-the-road gigs, I came back home and my dad placed into my hands his Taylor, the guitar I had coveted and loved and snuck to the back room to play by the moonlight whenever I had a chance. He loved that guitar, and he placed it in my hands.

I took it with me.

And if there is ever anything I go back into a burning building for, it will be that guitar.

But if there is anything I love more than that Taylor it is that red Guild. And for a while I thought I would never see it again, you know, because a musician like my dad is known to trade guitars for amps and other guitars. And that red Guild was out of our lives for a while, during the time I was falling for the Taylor.

But damned if dad didn’t get it back in the last few years and pass it along through his hands again to my little sister when she went off to college.

And that red guitar is irreplaceable to her, allowing her to play and sing out loud the words to songs that mean something to her. And when she’s sitting behind that guitar so far away from the buttes of the ranch, maybe a little lost and frustrated some days with life and the pursuit of finding herself, she can close her eyes and strum and take a deep breath and hear the sounds of home.

And so l’ll tell you, all of the guitars I have ever possessed have given me something–confidence, my first song, a stronger voice. But I watch my little sister behind that red Guild, the very same guitar that took my dad on the road in bar bands and coffeehouses, that let loose the music inside my heart when he played it for me so long ago, that brings two sisters together in song, voices blending, toes tapping, and I am overwhelmed with the spirt of that instrument.

And I realize that red guitar, the one that played the first chord I have ever heard, the one that found us again strumming the music of home, the one that I never even called mine, has been my greatest gift.