Crystal Speaks
This Tak was a gift to me, from Melissa Etheridge [“Last Call: Someday You’ll Regret That Relic Job,”
November 2013]. I played it on television in front of 30 million people. Nothing fake about that.
It’s special to me, so I decided to put it on the cover of my second studio release,
which was produced by the badass Steve Berlin of Los Lobos. This Tak plays like a dream,
who gives a [expletive] what it looks like? People who write blogs should probably check the
facts before they go and say things that are rude and extremely hurtful. And by the way,
I’ve put holes in my Martin that I played for 8-12 hours a day in the subways of Chicago.
I know what a weathered guitar looks, plays, and feels like. Willie wouldn’t judge someone the way you have.
Willie warrants peace. Have a nice day!
—Crystal Bowersox, via premierguitar.com
I apologize to Crystal Bowersox or anyone offended by my comments about the relic job on her guitar.
Although I researched this Takamine, I could not find its origin. As it turns out,
this guitar was a very cool and generous gift from Melissa Etheridge.
However, this does not change the fact that this guitar remains an example of unbelievable
relic work that could not occur through 50 years of hard gigs.
Relic jobs, much like stickers, custom scratch pads, and knobs, are just embellishments that many of
us use to make our guitars unique. I’m not condemning anyone’s aesthetic decisions—to each their own.
That said, the process is supposed to make new guitars look (and perhaps feel) old, played,
and loved—not sanded and dragged around the kitchen.
Sincerely, John Bohlinger
