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How to Play Love In The Old Country by Preston Reed (Guitar Lesson)


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Preston Reed

Love In The Old Country

Taught by Preston Reed in Songs with Preston Reed seriesLength: 37:21Difficulty: 4.0 of 5


Video Subtitles / Captions


Member Comments about this Lesson

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anikleinaniklein replied on June 23rd, 2016

Thank you Preston for these great lessons. Your style is unique and so much fun to play.

alfrednoelalfrednoel replied on December 27th, 2015

Wow!! I love this song.....thxs Preston.

cjdonaldcjdonald replied on October 29th, 2015

This is such a beautiful piece!! Its gone to top place on my list to learn!

Songs with Preston Reed

Found in our Beginner Lesson Sets

Preston takes a slew of his original songs and teaches them step-by-step.



Lesson 1

Ladies Night

"Ladies Night" was originally released in 1997 as the title track for the album Ladies Night. Preston breaks the song into several different pieces and demonstrates how it can be played. This one...

Length: 58:26 Difficulty: 2.5 Members Only
Lesson 2

Love In The Old Country

Preston teaches how to play his hit song "Love In The Old Country". This song has a loose groove that is intertwined with a beautiful melody.

Length: 37:21 Difficulty: 4.0 Members Only
Lesson 3

Running

Preston demonstrates his song "Running" and demonstrates how it is played. Stretch your fingers! This one is a doozy!

Length: 27:14 Difficulty: 4.5 Members Only
Lesson 4

Tractor Pull

Preston Reed teaches his hit song "Tractor Pull".

Length: 39:58 Difficulty: 4.0 Members Only

About Preston Reed View Full Biography

Preston Reed has virtually reinvented how the acoustic guitar is played. Reed practices a flamboyant self-invented style, characterized by percussive techniques and simultaneous rhythm and melody lines that dance and ricochet around each other, giving his music a level of excitement that is unparalleled among today's guitarists.



Playing an array of guitars from acoustic to electric to classical Reed's vast range of explosively original music will forever change your expectation of a guitarist.

First-time listeners find it impossible to believe that they're hearing just the one musician, in real time. Reed attacks the entire instrument in a never-ending search for the orchestra he knows is lurking inside. At full tilt, his fingers, thumbs, fists and hands at once suggest a drummer, keyboardist, bassist and several guitarists at work.

The most impressive thing about Reed's technique, though, is that it doesn't draw attention to itself. His compositions are far from abstract virtuosic displays; even without lyrics he creates vivid, engrossing scenes. Sometimes the effect is almost onomatopoetic. Reed generates visual stimuli with every tweak of his instrument, thus augmenting his wordless compositions with an aura of the poetic. Each tune is a story in itself with a potent, cinematic atmosphere and an almost tangible thread of communication between Preston Reed and the listener.

Reed's entry into this guitar odyssey was inauspicious enough, his path thereafter largely self-discovered. A few chords learned from his guitar playing father, a brief, very brief, flirtation with the ukulele, clandestine practice sessions of his favourite Beatles and Stones songs on dad's guitar .... and then a too-strict classical guitar teacher led to premature retirement.

At 16, however, Reed heard Jefferson Airplane's rootsy blues offshoot, Hot Tuna. His interest was rekindled big time. Acoustic guitar heroes John Fahey and Leo Kottke were studied, their styles absorbed but not imitated, and at this point things really begin to get interesting because, at 17, Reed, by now precociously proficient, played his first live gig, supporting beat poet Allen Ginsberg at the Smithsonian Institute.

Just getting on a train from his native Armonk in New York State to Washington was a cool adventure. And it was just the first of many, not least of which was the one which resulted from his signing his first deal with a major record company, MCA, through the auspices of his friend, country singer-songwriter Lyle Lovett.

Determined to make the most of this opportunity, Reed pushed himself to go beyond the standard fingerpicking styles he'd perfected. The result was the beginnings of Reeds startlingly innovative style, with its percussive, two-handed fretboard attack, that you hear today and which has caused guitar luminaries such as Al DiMeola and the late Michael Hedges to describe Reed as "phenomenal" and "inspiring". His playing has spawned a generation of imitators, yet Reed remains one of a kind.

Reed's compositional talents extend to film soundtracks and prestigious commissions for the Minneapolis Guitar Quartet, and as well as appearances alongside Bonnie Raitt and Linda Ronstadt his major performances include an historic live satellite broadcast on Turkish National Television in 1997 with renowned saz player and composer Arif Sag which reached an audience of 120 million in 17 countries, prompting a flood of international telephone calls to the station from stunned viewers.

Since 1979, he has recorded thirteen albums and three videos and charmed audiences on three continents. He continues to tour with the same hunger and relish that informs his guitar playing. The secret, he says, is to relax and let the guitar patterns run by themselves. Which explains how, at full tilt, he may sound like a full-on heavy metal band but he still won't have broken sweat.

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