Guitars
Mar 25, 2012 Guitar tabs
Cigar Box Guitars Make Music Fun and Accessible
I’d been playing six string guitar for over thirty years before I first played a cigar box guitar. Like many guitarists I’d heard about guitars made from discarded cigar boxes but I never really took them seriously until I heard one being played by Keni Lee Burgess on Youtube and I was sold.
Making playable instruments out of cigar boxes is thought to have originated in the United States at the end of the nineteenth and beginning of the twentieth centuries. Times were hard and poor working folk couldn’t afford store bought musical instruments. Instead they would creatively fashion a variety of instruments out of whatever they could lay their hands on. The one string diddley bow is a great example.
People would fashion a diddley bow from a piece of wire often nailed to a porch support post or fence post. The wire was tensioned over a can or a bottle and then fretted with a piece of bone or glass. This simple instrument is very similar to instruments made and played in Ghana, west Africa and it is thought that slaves, transported to America to work in the Cotton fields, were the first to make this simple instrument.
The cigar box guitar is related to both the diddley bow and the traditional guitar. There are no rules in cigar box guitar building. They can have as few as one string (generally called a diddley bow) or a full complement of six strings. The neck can be any length from that of a full size guitar right down to something more closely resembles a Ukulele. The key thing is that cigar box guitars are home made from rubbish that may otherwise have simply been discarded or burned.
The key aspect of cigar box guitars that keeps me enthused is that they make music fun and accessible. It’s not necessary to have a top of the range guitar or the best equipment available from the local music store to make good music. A few strings, an empty cigar box and a plank of wood is basically all that is needed.
There are many well known guitarists who first started playing cigar box guitars. Jimi Hendrix, Lightning Hopkins and many other reputable guitar players were first inspired to play using cigar box guitars. But the modern day exponent who everybody has heard of is Seasick Steve. He has re-introduced primitive instruments into modern pop culture. But he’s not alone. Jack White of the White Stripes is a great fan and player of primitive instruments, including cigar box guitars. And Johnny Depp is also known to be a fan.
Making a cigar box guitar is really easy, even I can do it and I am hopeless with wood and tools. But the satisfaction that you get when you sit down and pick out a tune on an instrument that you made yourself is immeasurable.
Lexoremman is an SEO expert providing article marketing services to Tony Gee a
cigar box guitar[/url] enthusiast and musician. For more info about cigar box guitar go to http://www.brightoncigarboxguitars.com
Impossible guitar
|
|
Fred Cool Jazz Ice Cube Tray $4.66 Jazz up your favourite beverages with this fantastic Cool Jazz Ice Cube Tray. With guitar ice cubes your drinks will be served ‘on the rock and roll’ as opposed to just ‘on the rocks’! The Cool Jazz Ice Cube Tray comes complete with a guitar and music note shaped ice cube tray and guitar neck swizzle sticks that will run down the centre of your guitar ice cubes. Stylish and funky, our Cool Jazz Ic… |
|
|
R & M Musical 7 Piece Cookie Cutter Set $7.95 NOTE: This set no longer contains a French Horn!… |
|
|
MUSIC, MUSIC, MUSIC Jobs Candy Mold Chocolate $1.75 Made by one of the largest manufacturers of candy and soap molds, our chocolate and candy molds create fun shapes for parties, home cooking, or commercial candy shops. All chocolate candy molds are reusable and made of durable PETG plastic, and FDA approved…. |
|
|
El Camino $8.29 BLACK KEYS THE EL CAMINO… |
|
|
The Descendants $8.90 All products are BRAND NEW and factory sealed. Fast shipping and 100% Satisfaction Guaranteed…. |
|
|
Paramore $12.26 New – From preciously talented teenage upstarts to globe-trotting megastars, Paramore have established themselves as one of the foremost bands in mainstream rock music. Combining muscular guitars and driving rhythms with an irresistible pop sensibility, their blistering live show and endlessly dynamic front woman Hayley Williams has taken them from club shows in their hometown to sell-out arena dates across the world – and earned them a fiercely dedicated fan-base along the way. But with their s |
|
|
Paramore $5.77 Used – From preciously talented teenage upstarts to globe-trotting megastars, Paramore have established themselves as one of the foremost bands in mainstream rock music. Combining muscular guitars and driving rhythms with an irresistible pop sensibility, their blistering live show and endlessly dynamic front woman Hayley Williams has taken them from club shows in their hometown to sell-out arena dates across the world – and earned them a fiercely dedicated fan-base along the way. But with their |
|
|
# Untitled Second [Bomp!] $15.98 The Telescopes began as a run-of-the-mill British shoegazer band fully under the thrall of noise and My Bloody Valentine, perhaps a little angrier than most of that ilk but pretty unmemorable. At some point, however, they discovered subtlety and songcraft. They traded in most of their noise pedals for some that make the guitars go all spacy and phased-out. They also wrote a batch of songs with melodies and hooks reminiscent of Love or The Notorious Byrd Brothers-era Byrds. The songs on The Telescopes are built on acoustic guitars, then the aforementioned tricked-out electric guitars are laid on top and garnished with bongos, organs, pianos, and all sorts of classic instruments. Stephen Lawrie’s vocals are restrained and semi-emotional and female backing vocals add a touch of sweetness that might otherwise be missing from the record, as the overall atmosphere is very moody and introspective. A large chunk of the credit should be given to producer Guy Fixsen, who also helmed some great records with Moose and Rollerskate Skinny and was a member of Laika. Sadly, the Telescopes split soon after this album came out, but the classic sound they came up with here lives on in bands like Mojave 3 and the Verve. [In 2008 Bomp! reissued the album under the title # Untitled Second, something Rev-Ola had done in 2004. That previous edition included two bonus tracks ("Dnaanb" and "Tornado") and a new cover. The Bomp! version keeps the same cover but adds three different bonus tracks: the EP version of "High on Fire," a sitar-led version of "The Sleepwalk" and non-LP track "Sunspray". Hopefully the next time the record is reissued the label involved pulls together every stray track, re-mix and version, and comes up with something definitive.] ~ Tim Sendra, Rovi |
|
|
#3 [Bonus Tracks] $12.99 Like Beck in his ’90s prime, Suburban Kids with Biblical Names have no respect for musical boundaries. If they think a mixture of African-styled highlife-guitars, electronic beats, and ukuleles is a good idea for an indie pop song, they won’t hesitate to put it on record. The result? Wonderful. #3 includes former EP A-side “Funeral Face,” and just listen to the opening of “Peter’s Dream”: within mere seconds they combine Kraftwerk-styled percussion with a guitar that sounds exactly like Hank Marvin anno 1960, and it could hardly have sounded more right. On “Seems to Be on My Mind,” the distorted vocals and shuffly beat almost make them sound classic rock cool, before it breaks into a singalong chorus echoing the kind of pop like they used to make between the world wars. And so it goes on and on, genres and styles meet and ultimately converge through the unusually strong pop songwriting that always lies at the core of the album. No song gets boring, ever. Suburban Kids with Biblical Names sure do possess the geeky charm so beloved in indie and lo-fi circles. Classic one-liners like “there’s a Falcon Crest side to everything” and “I wanna turn all their dancefloors into a burning inferno of ba ba ba” are the stuff dreams are made of for any indie pop aficionado. But don’t let the spectacles and the wit fool you. There’s nothing amateurish about the kids’ performance at any point; in fact, the instrumental performances and the creative and crystal clear production are among the most impressive things about this album. Seldom do debut albums come as truly wonderful as this one. [The U.S. edition of the album adds two extra tracks: Love Will" and "Trumpets and Violins".] ~ Anders Kaasen, Rovi |
|
|
‘65 Mustang Reissue Electric Guitar (Assorted Colors) $939.99 Small and fast – like a sports car! Fender is proud to reissue the ‘65 Mustang, from the first full year of Mustang production. The Mustang was originally one of Fender’s “Student” models but was destined for the big time; seen slung over the shoulders of icons like David Byrne, John Fruiscante, Kurt Cobain, Todd Rundgren and Adrian Belew to name just a few! This reissue’s got great color and cosmetic options, as well as heightened level of period correct detailing (woods, logos, etc.) A real beauty! Limited lifetime warranty. Case not included. |
|
|
‘84 Baretta Electric Guitar $699.99 Styled in the image of the original Kramer Baretta of 1984 with its scaled down double-cutaway maple body, this guitar recaptures the metal craze of the 1980s in all its glory. A bolt-on 25.5"-scale maple neck has been carved into an ultra-fast thin taper profile and topped with 22 Jumbo frets for extremely fast playability and effortless string-bending.This Baretta keeps things simple with a single high-output Seymour Duncan JB humbucker pickup in the bridge position with push/pull series parallel coil tapping. The rockin' black-plated hardware includes a Floyd Rose "double-locking" vibrato unit, which will keep you in tune through even the most aggressive shredding. The 84 Baretta is finished in your choice of solid red, black with red bullseye, or white with black bullseye. Case not included.Order your Kramer '84 Baretta Electric Guitar from Sam Ash Direct today with the security of our 45/60 day return/price protection policy and fast, free shipping. |
|
|
‘Cause I Sez So $16.98 Five years into one of the most unlikely reunions in recent rock & roll history, the New York Dolls have begun to acknowledge the great paradox of the new edition of the band. If ever there was a band with a distinctive musical and emotional personality, it was the Dolls, but with only two members of the original lineup still alive and able to take the stage in 2009, David Johansen and Syl Sylvain have had a heavy burden to bear, trying to make music that feels and sounds like the New York Dolls without their iconic lead guitarist, their original rhythm section, and the sort of lifestyle that defined their world view when they were the edgiest band in America’s toughest city. The new Dolls created a reasonable approximation of what their old sound would have been like had they all survived into the new millennium on 2006’s One Day It Will Please Us to Remember Even This, but 2009’s ‘Cause I Sez So suggests this band has little interest in living in the past, including their own. Todd Rundgren, who produced the Dolls’ brilliant 1973 debut, was behind the controls for this set, and the first two songs, “‘Cause I Sez So” and “Muddy Bones,” conjure up the sloppy downtown energy of the Dolls Mk. 1 better than anything on One Day It Will Please Us, full of dirty guitars, crashing drums, and broadly strutting vocals from Johansen, complemented by Rundgren’s roomy, natural-sounding production. But after that one-two punch, the album shifts gears, easing into a groove that’s more easygoing and (gulp) mature than the classic Dolls assault, with a warmer and more subdued approach. “Lonely So Long” is a great pop tune with a faint resemblance to the Beatles, “Nobody Got No Bizness” is a high-spirited, hip-shaking R&B shuffle, “Temptation to Exist” is a melodramatic ballad that sounds like it could have fit onto one of Johansen’s Buster Poindexter albums, “This Is Ridiculous” is a blues-influenced number that gives the singer plenty of room to showboat, and “Maki… |
|
|
‘Cause I Sez So $16.98 Five years into one of the most unlikely reunions in recent rock & roll history, the New York Dolls have begun to acknowledge the great paradox of the new edition of the band. If ever there was a band with a distinctive musical and emotional personality, it was the Dolls, but with only two members of the original lineup still alive and able to take the stage in 2009, David Johansen and Syl Sylvain have had a heavy burden to bear, trying to make music that feels and sounds like the New York Dolls without their iconic lead guitarist, their original rhythm section, and the sort of lifestyle that defined their world view when they were the edgiest band in America’s toughest city. The new Dolls created a reasonable approximation of what their old sound would have been like had they all survived into the new millennium on 2006’s One Day It Will Please Us to Remember Even This, but 2009’s ‘Cause I Sez So suggests this band has little interest in living in the past, including their own. Todd Rundgren, who produced the Dolls’ brilliant 1973 debut, was behind the controls for this set, and the first two songs, “‘Cause I Sez So” and “Muddy Bones,” conjure up the sloppy downtown energy of the Dolls Mk. 1 better than anything on One Day It Will Please Us, full of dirty guitars, crashing drums, and broadly strutting vocals from Johansen, complemented by Rundgren’s roomy, natural-sounding production. But after that one-two punch, the album shifts gears, easing into a groove that’s more easygoing and (gulp) mature than the classic Dolls assault, with a warmer and more subdued approach. “Lonely So Long” is a great pop tune with a faint resemblance to the Beatles, “Nobody Got No Bizness” is a high-spirited, hip-shaking R&B shuffle, “Temptation to Exist” is a melodramatic ballad that sounds like it could have fit onto one of Johansen’s Buster Poindexter albums, “This Is Ridiculous” is a blues-influenced number that gives the singer plenty of room to showboat, and “Maki… |
|
|
…And Justice for All $40.99 The most immediately noticeable aspect of …And Justice for All isn’t Metallica’s still-growing compositional sophistication or the apocalyptic lyrical portrait of a society in decay. It’s the weird, bone-dry production. The guitars buzz thinly, the drums click more than pound, and Jason Newsted’s bass is nearly inaudible. It’s a shame that the cold, flat sound obscures some of the sonic details, because …And Justice for All is Metallica’s most complex, ambitious work; every song is an expanded suite, with only two of the nine tracks clocking in at under six minutes. It takes a while to sink in, but given time, …And Justice for All reveals some of Metallica’s best material. It also reveals the band’s determination to pull out all the compositional stops, throwing in extra sections, odd-numbered time signatures, and dense webs of guitar arpeggios and harmonized leads. At times, it seems like they’re doing it simply because they can; parts of the album lack direction and probably should have been trimmed for momentum’s sake. Pacing-wise, the album again loosely follows the blueprint of Ride the Lightning, though not as closely as Master of Puppets. This time around, the fourth song — once again a ballad with a thrashy chorus and outro — gave the band one of the unlikeliest Top 40 singles in history; “One” was an instant metal classic, based on Dalton Trumbo’s antiwar novel Johnny Got His Gun and climaxing with a pulverizing machine-gun imitation. As a whole, opinions on …And Justice for All remain somewhat divided: some think it’s a slightly flawed masterpiece and the pinnacle of Metallica’s progressive years; others see it as bloated and overambitious. Either interpretation can be readily supported, but the band had clearly taken this direction as far as it could. The difficulty of reproducing these songs in concert eventually convinced Metallica that it was time for an overhaul. ~ Steve Huey, Rovi |
|
|
…Tick…Tick…Tick $15.98 Songwriter Steve Wynn, the former Dream Syndicate frontman, has been on a tear since 1996 when he offered Melting in the Dark. Since then, his records have featured howling, wailing rock & roll and deep, dark acoustic reflections — all of them bearing his trademark noir-ish lyrics that offer the shadowy side of life, love, and violence. He’s employed a variety of musicians, and they’ve always sounded like hired guns. On …Tick…Tick…Tick he’s got himself a real band. They’re all younger than he is, and they have the hunger it takes to really execute Wynn’s unique songs. Start with drummer Linda Pitmon, who acts as co-producer (along with Wynn and Craig Schumacher) on these sides. Add to this the fact that the entire band (including Dave DeCastro on bass and guitarist Jason Victor) plots the arrangements. Wynn’s willful loss of total control has benefited him in spades. The set jumps out of the gate howling with “Wired,” where it sounds as if Wynn is singing through a megaphone. It’s followed by the creepy rocker “Cindy, It Was Always You,” co-written with ? ber hard-boiled crime fiction novelist George Pelecanos. On “Killing Me,” Wynn employs Bo Diddley’s “Who Do You Love?” guitar riff and mutates it into something utterly unhinged. The shuffle gets moved into overdrive as Victor makes his guitar scream, roar, and squeal while Wynn holds down the rhythm and overdubs a distorted slide. It’s followed by a seemingly simple ballad entitled “The Deep End,” which rises in drama to the breaking point about two thirds of the way through. It’s full of a kind of emptiness and questioning about the experience of loss; it expresses fear at the ensuing emptiness and the apprehension of being in this space. DeCastro’s bass enters about a minute in, and propels the guitars as Pitmon accents every line as if it were the gospel truth — and for the singer, it is. The swirling beauty that rises in the middle of the track transforms the protagonist’s voice, as if by … |
|
|
.38 Special – 20th Century Masters: Christmas Collection CD $11.65 .38 Special (Rock): Don Barnes (vocals, guitars, mandolin); Bobby Capps (vocals, keyboards); Donnie Van Zant (vocals); Danny Chauncey (guitars, keyboards); Larry Junstrom (bass guitar); Gary Moffet… |
|
|
00-15M – 15 Series Acoustic Guitar $1149 Because the body of the 00-15M is made of genuine Mahogany, its tone is both brilliant and responsive. A solid piece of East Indian Rosewood sits on a select Mahogany neck that comes in the famous Martin Modified Low Oval shape for total comfort and playability.The gold and black herringbone rosette and tortoise color pickguard are a nice compliment to the dark, satin finished Mahogany body. Additional features include chrome tuners, solid East Indian Rosewood bridge and a compensated white Tusq saddle. Comes with deluxe hard-shell case. |
|
|
00-DB Jeff Tweedy Signature Acoustic Guitar with Hardshell Case $2399 Designed in collaboration with Grammy Award winning Wilco front man, Jeff Tweedy. The 00-DB Jeff Tweedy is Martin’s first Custom Artist model that is FSC? Certified, an important distinction for both Tweedy and Martin. Hardshell case included. |
|
|
000-15M Acoustic Guitar $1149 The 000-15M offers a perfect blend of vintage features and modern technology to create an instrument of exceptional tone, playability andclassic Martin good looks. Back, sides and top are bookmatched from solid genuine mahogany, with A-frame Sitka Spruce X-bracing and a traditional maple bridge-plate. The 14-fret neck, also of genuine mahogany, is joined with an East Indian rosewood fingerboard and headplate. The traditional rosewood belly-bridge is fitted with a bone saddle, as is the nut. The 000-15M features a dark mahogany stain and satin lacquer finish. The end result is an instrument of beauty and simplicity with a warm, rich mahogany voice. Comes with hardshell case. |
|
|
000-15SM Acoustic Guitar with Hardshell Case $1449 The Martin 000-15SM Acoustic Guitar features Martins legendary 000 body style, which is smaller than a Grand Auditorium style and is extremely comfortable to play. The 000-15SM is distinguished by its all-mahogany construction. The mahogany top produces a unique, strong tone that is warmer than spruce and is versatile enough to take on different styles of playing. A natural choice for finger picking, flat picking, or playing bottle-neck country blues, the 000-15SM will deliver the tone you are looking for.The neck is constructed from mahogany and is outfitted with a set of Nickel open geared tuners. The 20 fret rosewood fingerboard joins the body at the 12th fret, and also features a classical style slotted headstock; giving the 000-15SM a unique appearance reminiscent of guitars from decades past. The satin finish on the neck and body gives the 000-15SM the feel of a well-worn instrument. Finally, a Martin Hardshell case is included.Order your Martin 000-15SM Acoustic Guitar from Sam Ash Direct today with the security of our 45/60 day return/price protection policy and be sure to take advantage of our fast, free shipping. |
|
|
00028 Auditorium Acoustic Guitar $2399 The 000-28 is the ideal for the player who wants the basics when it comes to playability, but without compromising quality or workmanship. This guitar is made from exquisite solid East Indian rosewood, along with a solid Sitka spruce top for unparalleled Martin tone and sustain. The neck is made from solid genuine mahogany, mated to a solid striped ebony fingerboard. Matching the fingerboard is a solid striped ebony bridge complete with bone saddle. Also features Schaller tuners, brilliant glossy finishing, bone nut, and White Boltaron trimmings and binding. Case included. |
|
|
00028EC Eric Clapton Model Acoustic Guitar $3299 Perhaps no other musician has so profoundly influenced rock and acoustic blues players than legendary British guitarist Eric Clapton. From his early work in the Yardbirds, Cream, Derek & the Dominos, through to his Grammy award-winning MTV Unplugged project, Eric has continually redefined the art of guitar. In recognition of this major talent, the Martin Guitar Company is proud to announce an exciting collaboration with Eric Clapton. As part of the company’s vintage inspired line of stock models, Martin will be handcrafting a numbered series of special 000-28EC Eric Clapton signature model acoustic guitars. The smaller “000″ body size with a short 24.9″ scale length is particularly popular among fingerstyle and blues guitarists who prefer a delicate and balanced tone. The 000-28EC model draws its inspiration from the extremely popular 1995 Limited Edition 000-42EC Eric Clapton signature model. 461 of those special 000-42ECs were offered and they sold out immediately. Guitarists that missed out on the 000-42EC due to limited numbers or budget considerations should love the 000-28EC. The 000-28EC is similar to the 000-42EC in body size, shape and choice of tonewoods, but the appointments are quite different. Crafted with solid woods throughout, the sides and back are constructed from premium grade solid East Indian rosewood and the top is bookmatched from select quartersawn Sitka spruce. The rosette as well as the perimeter of the soundboard are inlaid with finely patterned herringbone wood marquetry, and the body is bound with grained ivoroid. A genuine ebony fingerboard features the pre-war Style 28 snowflake pattern in abalone pearl. Eric Clapton’s signature is inlaid in mother of pearl between the 19th and 20th frets. Each 000-28EC will bear an interior label individually numbered. The 000-28EC is tastefully appointed with a hand beveled and polished tortoise colored pickguard. Vintage style nickel-plated open-geared tuning machines are equipped with unique vi |
|
|
000CXE Black Auditorium Acoustic Electric Guitar $699 With the 000CXE, Martin presents a striking statement of a guitar at a very affordable price. And with the onboard Fishman Prefix Pro electronics, it sounds just as good! Features include: small-knob chrome tuners, a natural Stratabond neck, an intricate gold and black herringbone rosette design, a Black Micarta fingerboard and bridge, and a Jett Black textured finish. Case not included. |
|
|
000X1AE Acoustic Electric Guitar $499 The Martin 000X1AE features a solid Sitka spruce top, mahogany pattern HPL back and sides and Martin's D1 style bracing for stability and resonance. The back and sides are constructed of patented high-pressure laminate (HPL) and then joined to a solid Sitka spruce top.. The Fishman Sonitone system features proven Sonicore under-saddle pickup technology combined with "easy access" volume and tone controls conveniently and strategically located just inside the sound hole. The Martin 000X1AE comes with a modified low oval neck made of Stratabond with a 20-fret black Richlite fingerboard. The hand rubbed finish adds a look of pure class – pure Martin! Additional highlights include sealed chrome tuners, compensated Tusq saddle, tortoise color pickguard and a custom rosette of inlaid Boltaron with red fiber and a multiple black/white/black pattern. Case not included.Solid Sitka spruce topMahogany Pattern HPL Textured Finish back and sidesFishman Sonitone electronicsA-Frame bracingRust Stratabond neckBlack Richlite fingerboard20 medium fretsWhite Corian nutChrome Enclosed Tuners with Small ButtonsBlack Richlite Bridge with Tusq saddleTortoise color pickguard25.4" scaleHand rubbed finishCase not included |
|
|
000X1AE Left Handed Acoustic Electric Guitar $499 The Martin 000X1AE features a solid Sitka spruce top, mahogany pattern HPL back and sides and Martin's D1 style bracing for stability and resonance. C.F. Martin & Co. has always made a prudent use of natural resources, especially rare or endangered tone woods. At the same time, Martin is committed to building guitars of superior tone and playability that are affordable to every guitarist. The 000X1AE more than meets both of these criteria. The back and sides are constructed of patented high-pressure laminate (HPL) and then joined to a solid Sitka spruce top. The Fishman Sonitone system features proven Sonicore under-saddle pickup technology combined with "easy access" volume and tone controls conveniently and strategically located just inside the sound hole. The Martin 000X1AE comes with a modified low oval neck made of Stratabond with a 20-fret black Richlite fingerboard. The hand rubbed finish adds a look of pure class – pure Martin! Additional highlights include sealed chrome tuners, compensated Tusq saddle, tortoise color pickguard and a custom rosette of inlaid Boltaron with red fiber and a multiple black/white/black pattern. Case not included.Solid Sitka spruce topMahogany Pattern HPL Textured Finish back and sidesFishman Sonitone electronicsA-Frame bracingRust Stratabond neckBlack Richlite fingerboard20 medium fretsWhite Corian nutChrome Enclosed Tuners with Small ButtonsBlack Richlite Bridge with Tusq saddleTortoise color pickguard25.4" scaleHand rubbed finishCase not included |
Tags: guitars, guitars for beginners, guitars for kids, guitars for sale, guitarsmith