Central Florida Folkie
Member
Hello!
Long-time member but infrequent contributor, here. I need to retire so I can be here more often! Only 20 more years to go...
My love affair with Guild comes from John Denver (who passed 20 years ago today, in fact). I always wanted one, and for a time had a Corona F50R. I found that the jumbo geometry hurt my playing arm, so I reluctantly sold it and drifted with different guitars until about 7 years ago. Caruso's Music in CT had a 1995 DV62 that had some splits in the sound board that Ken Nash himself did the repair work on. I took that as a good sign, took a deep breath and bought it. It was the most I'd ever spent on a guitar (I wanna say $1,100?), so I was really hoping I liked it.
I remember when it arrived and I opened the case - I did an audible gasp. It was the most stunning instrument I'd ever seen. The silking on the Sitka, despite the splits, was extraordinary. The top had mellowed into a gorgeous honey brown which contrasted the ebony bridge and fingerboard beautifully. The rosewood was a sight to behold, the Herringbone trim around the sound hole and the body was so distinctive, the mahogany neck felt perfect in my hands the way no other guitar ever has in my 40 years of playing guitars, and that ebony headstock with the MOP Chesterfield logo just about brought tears to my eyes. I could tell that this was "my" Guild.
Then I picked it up and played it. The feeling I had that first time with it has remained to this very day - an almost organic connection with it. The comfort of the neck, the vibration of the instrument, the overtones, the dynamics it is capable of...it simply blew me away. It still does every time I look at it and every time I spend time with it. I've opened for Marshall Crenshaw with it, performed with Livingston Taylor with it, with Mary Fahl from "October Project," and my favorite memories are the John Denver shows I did with my dear friend Steve Weisberg who played lead guitar for John from 1973 - 1977 and is on 7 of JD's 9 platinum albums. It holds its own ground no matter who I play with or where, and people always ask about it.
Whenever I get the urge to get another dread, I look at the DV62 and just ask "why?" It's a rare model, impeccably made, wonderfully repaired, and sounds unlike any other guitar I've ever played. I always go into the high end rooms at the guitar stores and play the different models that are $2k and up by the various makers and always leave thinking "Man, nothing even comes close to my Guild."
I'm sure many of you are familiar with the Verlon Thompson video of "The Guitar" and the essence of that tune couldn't be more true for me and my Guild. I know that holds true for so many here with your models and the stories they carry for you, too.
On its way to me right now is what will be the companion to the DV62; a 1979 G212. I can't wait to spend some time with her and see what stories she has to tell....
Feel free to share your Guild love stories in response!
Peace, Shawn
Long-time member but infrequent contributor, here. I need to retire so I can be here more often! Only 20 more years to go...
My love affair with Guild comes from John Denver (who passed 20 years ago today, in fact). I always wanted one, and for a time had a Corona F50R. I found that the jumbo geometry hurt my playing arm, so I reluctantly sold it and drifted with different guitars until about 7 years ago. Caruso's Music in CT had a 1995 DV62 that had some splits in the sound board that Ken Nash himself did the repair work on. I took that as a good sign, took a deep breath and bought it. It was the most I'd ever spent on a guitar (I wanna say $1,100?), so I was really hoping I liked it.
I remember when it arrived and I opened the case - I did an audible gasp. It was the most stunning instrument I'd ever seen. The silking on the Sitka, despite the splits, was extraordinary. The top had mellowed into a gorgeous honey brown which contrasted the ebony bridge and fingerboard beautifully. The rosewood was a sight to behold, the Herringbone trim around the sound hole and the body was so distinctive, the mahogany neck felt perfect in my hands the way no other guitar ever has in my 40 years of playing guitars, and that ebony headstock with the MOP Chesterfield logo just about brought tears to my eyes. I could tell that this was "my" Guild.
Then I picked it up and played it. The feeling I had that first time with it has remained to this very day - an almost organic connection with it. The comfort of the neck, the vibration of the instrument, the overtones, the dynamics it is capable of...it simply blew me away. It still does every time I look at it and every time I spend time with it. I've opened for Marshall Crenshaw with it, performed with Livingston Taylor with it, with Mary Fahl from "October Project," and my favorite memories are the John Denver shows I did with my dear friend Steve Weisberg who played lead guitar for John from 1973 - 1977 and is on 7 of JD's 9 platinum albums. It holds its own ground no matter who I play with or where, and people always ask about it.
Whenever I get the urge to get another dread, I look at the DV62 and just ask "why?" It's a rare model, impeccably made, wonderfully repaired, and sounds unlike any other guitar I've ever played. I always go into the high end rooms at the guitar stores and play the different models that are $2k and up by the various makers and always leave thinking "Man, nothing even comes close to my Guild."
I'm sure many of you are familiar with the Verlon Thompson video of "The Guitar" and the essence of that tune couldn't be more true for me and my Guild. I know that holds true for so many here with your models and the stories they carry for you, too.
On its way to me right now is what will be the companion to the DV62; a 1979 G212. I can't wait to spend some time with her and see what stories she has to tell....
Feel free to share your Guild love stories in response!
Peace, Shawn
Last edited: