And I also like playing with strings that are heavier than what a rock guitarist would normally play, which makes me sound inept, in a way, but it also makes me sound more like Sister Rosetta Tharpe and other guitarists I love, who were playing before Super Slinky strings were on the market.” Get news and entertainment delivered to your inbox: Sign up for our daily newsletterįor more than four decades, Ribot has embraced this musical struggle, carving out a remarkable solo career that includes more than 25 albums and ranges from Hope, the fiery July release from his avant-garde power trio Ceramic Dog, to more haunting efforts such as Silent Movies, from 2010, on which the guitarist composed scores for films both real and imagined.
“And I’m not saying I have ridiculously high action or extremely heavy strings, but I tend to ask my guitar tech, who sets up my guitars for me, to have the action at a certain point where it’s not too easy. “A lot of guitarists use thin strings that are very easy to bend, and have the guitar set up with the action as easy as possible, as low as possible, so that it’s easier to play the notes and bend them,” Ribot said by phone in early November. Ribot said this struggle begins “in a very literal sense” with his physical approach to the instrument. In Unstrung: Rants and Stories of a Noise Guitarist, a collection of essays by Marc Ribot, released in August, the musician describes his relationship with the guitar as one of continuous struggle, writing, “I’m constantly forcing it to be something else: a saxophone, a scream, a cart rolling down a hill….”
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