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    Instrument
    Instrument
    Instrument
    Ebook300 pages37 minutes

    Instrument

    By Pat Graham and Johnny Marr

    ()

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    About this ebook

    Instruments tell stories through their appearance as much as through their sound.

    Pat Graham's photographs capture the intimate relationship between musician and instrument told by the signs of wear of fingers on frets or keys, chips, scratches, and modifications by the artists who have played, beaten on, bled over, and made them their own.

    For more than ten years, Graham has been documenting these amazing instruments and collecting stories about them from musicians on the road, in clubs, and at home, including members of The Smiths, Sonic Youth, The Flaming Lips, R.E.M., New Order, Wire, Fugazi, Built to Spill, Band of Horses, Modest Mouse, Yeah Yeah Yeahs, and many more. His gritty and beautiful images reveal the physical nature of music.
    LanguageEnglish
    PublisherChronicle Books Digital
    Release dateDec 16, 2011
    ISBN9781452108957
    Instrument
    Author

    Pat Graham

    Pat Graham's photographs have appeared in numerous publications, including Rolling Stone, Spin, Artforum, The Village Voice, Washington Post, and VICE, among others. He lives in London.

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      Book preview

      Instrument - Pat Graham

      INTRODUCTION

      The instruments are things most people don’t think about much while at a concert or listening to their favorite records. I spend so much time with musicians that people invariably ask me if I play an instrument. My answer is always the same: I love music, but I leave the music to the experts. What inspired me to start taking photos of bands were the people playing the music and the instruments they were playing.

      I have always thought the best music photos are ones of someone doing something to a guitar, a bass, or a set of drums. I love shots of an artist enraptured with his or her instrument, completely lost in the moment.

      Some of my favorite music photos—Jim Marshall’s shot of Jimmy Hendrix setting his guitar on fire at the Monterey Pop Festival; Charles Peterson’s photo of Kurt Cobain upside down on stage playing his guitar circa 1992—are interesting to me not only because of the musicians and the events, but also because of the instruments that are central to the scene. These photos inevitably leave me wondering how the instruments survived and what they look like now.

      Musicians form an incredible bond with their instruments. It’s a relationship that often has plenty of ups and downs. The instruments and musicians travel the same miles and play the same shows. The instruments, of course, are also gear, and as such they are abused as they travel, slammed around in the underbellies of planes and buses. And to make matters worse (or better) the instruments are also battered, drenched with sweat, stood upon, punched, screamed into, and frequently abused (or caressed) as they are being played until they make just the right sound. Sometimes musicians take a beating, too.

      I love to watch and photograph Isaac Brock. Over the years, I have seen him elicit the craziest sounds from his guitars through movement and bending, twisting and screeching. His is a very physical relationship in which the instrument and artist test each other’s limits.

      It’s not only guitarists who behave this way. While on tour with The Cribs, I watched Ross Jarman, their tall and lanky drummer, rain abuse on his drum kit night after night. At one point, he stood on one kick drum while beating the other with a drumstick, all the while keeping his balance. It added to the visual aspect of The Cribs live experience, and to the music.

      Johnny Marr is another of my favorite guitarists to shoot, and he has shown me how close the relationship between guitar and musician really can be. I have always appreciated that Johnny has his guitar in hand or nearby before every gig. He and his guitar leave the dressing room as a unit before every performance. I have even caught him brushing his teeth before a show with the guitar hanging in its rightful place, firmly in his grasp.

      To me, this relationship between musician and instrument creates not only the basis for great music, but eventually a beautiful, tangible landscape. I was amazed to see the way a small cut on Modest Mouse drummer Joe Plummer’s hand created a wonderful abstract image on a drumhead by the end of a gig.

      It’s also fascinating to see the way the repetitive motion of playing a guitar erodes the wood of the instrument. The sounds drawn from worn musical instruments can be inspired and emotive, and the visual images of these instruments can also provoke intense visceral responses.

      In 2001, I was asked to photograph Ian MacKaye for Guitar World magazine. The brief instructed me to shoot Ian and his white Gibson SG. I didn’t want to make a corny portrait of Ian standing there holding his instrument. Instead, I set out to shoot Ian and his guitar in the style of a landscape, featuring the surface of the instrument. Ian described his SG as a piece of art. With the cracks, abrasion, and varied color fading created by Ian playing it relentlessly over the years, the guitar had become sculptural. The resulting photographs were, to my eye, as intense and abstract as Fugazi’s music. I was immediately hooked on the idea of the instrument as a musical landscape, and I wanted to see and photograph the surface of as many of the instruments that were used to produce my favorite music as possible.

      Creating music is a very personal experience, yet musicians love to share their music with other people. Most of the instruments pictured in this book carry personal stories about their owners, and I’m very lucky to have been given the opportunity to both photograph the instruments and document their hidden narratives.

      JAMES MERCER

      The Shins, Broken Bells

      Harmony Silvertone Jupiter guitar

      Gibson J-50 guitar

      The Jupiter is my guitar. It’s the one that I got signed with. It has beer stains and sweat stains and is corroded and abused. It was designed and manufactured by Harmony in the .50s for students and kids, then labeled Silvertone and sold by Sears in the mid-.60s. Thirty years later I traded a stolen guitar for this one and added the fancy bridge. It has Dearmond pickups that sound amazing, and its short scale gives it a wobbly sound that keeps you guessing.

      The Gibson was given to me by my

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