Ramblin'
An Ethnodetritomusicologists Journey to Analyse the Repertoire, Cultural, and Social Aspects of the Cigar Box Guitar Revolution
by. Charlie (Silverspoon) Philp
Introduction.
So I thought the best way to start my first entry would be to introduce myself; hi my name is Charlie Philp, I live in the UK. I grew up in Whitton, Twickenham, of which is in London, but have since moved to the North of England to live in Newcastle Upon Tyne. I study part time at Newcastle University, and work full time as a professional musician. I make my money teaching classical, jazz, electric and acoustic guitar, as well as music theory. I also perform and make music in a range of ensambles, ranging from conducting the Newcastle University Jazz Orchestra, to playing in Wedding Bands and with a Reggae Band, Tex & the Dukes. The usual joke on this page goes something like: 'Hi my name is Charlie, and I am addicted to Cigar Box Guitars'. I have only recently caught the Cigar Box Guitar bug, and having been swept up in Shane's Cigar Box Guitar Revolution. I am proceeding to write my dissertation, to complete my hons degree in Music at Newcastle University, on the Cigar Box Guitar. But I'll discuss this more later my my blog.
The Source of my Addiction: The Summertyne Americana Festival.
I first discovered, and heard, the Cigar Box Guitar at the Summertyne Americana Festival. A 'three day jamboree, that celebrates American roots music and brings together some of the finest and most exciting performers from both sides of the Atlantic.' This Festival and musical experience has since become a pivotal moment in my musical journey. At this festival were two Cigar Box Guitar builders sharing one stall, Scott's Cigarbox Sounds and Michael's Avalon Cigar Box Guitars. I had never seen, or knowingly, heard the roar and glide of Cigar Box Guitar before the first day of this festival. I was captivated by the aesthetics of the instrument. They were rugged, aged, vintage and primitive chordophones, barely holding in tune. Yet, they produced this hauntingly beautiful sound and tone. Both Scott and Michael had no problem with my sitting
down and attempting to play these quirky Guitars for an hour, as I quote "You bring the customers in". Of which I thought was rather funny, as I had never used, or attempted, to use a slide before. I returned each day of the music festival to their stall, a Willy Wonka's factory of quirky homemade underground instruments, and sat down and proceeded to be captivated while playing Scott and Michaels creations. Surprisingly they didn't seem to mind, and my girlfriend wasn't getting annoyed with me leaving her to play yet more music. As we were lucky enough to both have great weather, a rarity in the North of England, and enough Cider and Snacks to keep a small island both fed and drunk, my girlfriend was perfectly happy sitting on a hill onlooking the main stage while I twiddled away inside. Each day I promised to purchase one of Scott or Michaels builds, as I was waiting on a cheque for a gig I had played the previous weekend. As the third day was nearing, I was getting more and more nervous. I thought that by the end of the festival all the "good" ones would have been sold, because nearly every other person at the festival had a fretless 3 string Cigar Box Guitar strapped to their on there backs. On the last day of the festival, Hymn for Her began to play on the Jumpin' Jack Stage. I must have spent their whole set staring at Lucy's Lowebow, built by Johnny Lowe, and after I saw they were opening up for Reverend Payton's Big Damn Band, I rushed into buy myself, and my girlfriend, a ticket to see the Reverend, Lucy and Wayne again. I then frantically proceeded back to the Cigar Box Guitar Stall. Unsurprisingly, the number of Cigar Box Guitars and supplies left were running thin. The first nine instruments I tried, while being great guitars, didn't have the same Mojo as some of the box's I had tried on previous days. I was slowly giving up hope on finding the perfect Cigar Box Guitar for me, and both Scott and Michael saw that. Until finally I played one Michael's creations, a 3 stringed fretted Cigar Box Guitar, of which he almost didn't bring to the festival as it was both his baby, and his practice instrument. After strumming the first open G5 chord, and then proceeding to slide up to the Major 3rd on the highest G String, she was the instrument for me and remain's my number one.
My Dissertation...
Well, for my dissertation, I have to pursue extended research on a topic of my own choice. Presenting my results in the form of a dissertation consisting of 10,000 - 12,000 words. Sounds a little scary doesn't it? To achieve a body of work I would be happiest with, I knew that I needed to first accumulate, and then study, a variety of materials related to the field, and subject. My first road block was that I could not, and can not, find any pier reviewed academia either mentioning, or related, to Cigar Box Guitars... (crap!) My next problem was that I hadn't the foggiest idea of wether I was going to be an Historian and write a piece studying the History of the Cigar Box Guitar, a musicologist and analyse the repertoire of the Cigar Box Guitar, or an ethnomusicologist and research the cultural and social aspects of this instrument, the luthiers that build them, and the communities, like this one, who both welcome new builders and disseminate information to help everyone. I began to, with stress induced urgency and excitement, source all the materials of which I could afford to learn everything I could about the Cigar Box Guitar. I found two DVD's: Songs Inside the Box and Strung Together. Both excellent DVD's, of which, I would recommend to any Cigar Box Guitar nut. Although they both include a lot of talented, and some unfortunately not, musician's and builders, both DVD's feature amazing interviews, and an insider insight, essential for my research. Featured on Songs Inside the Box, is the author of One Mans Trash: A History of the Cigar Box Guitar, William J Jehle, who's book has become a pivotal necessity to complete my research. I wont talk too much at length now about Detritomusicologist, and Historian, William J Jehle now, as I will be making a separate blog post commending Jehle's work, but I will say; it's a concise brilliant read, and a necessity for any cigar box guitar builder! I have also sourced a number of books on building and playing Cigar Box Guitars:
- Cigar Box Guitars: The Ultimate DIY Guide for the Makers and Players of the Handmade Music Revolution,
- Obsession with Cigar Box Guitars, An: 100 Top Handmade Examples,
- Cigar Box Guitar - The Ultimate Collection: How to Play Cigar Box Guitar: Volume 1,
- Cigar Box Guitar - The Ultimate Collection - 4 String, and
- Cigar Box Guitar - Technique Book: Cigar Box Guitar Encyclopedia.
Why I am doing this blog?
Well, I have started this blog for two reasons. The first being to give out any bit of information I have learnt, or accumulated, relating to building Cigar Box Guitars or the history/culture of these amazing instruments. I do so, with the idea that the more we all share and know, the better we will all become. The second reason I have started this blog is to ask graciously for help, and to be pointed in the right direction. Especially when I haven't realised I am in fact going the wrong way and will eventually end up lost. I'm not expecting many people read this blog, but will (and do) really appreciate anyone for making it this far through my first entry. I promise my next entries wont be as long! I would also really appreciate anyone who commented anything from: advice, criticism, or just a simple hello.
Thank you for reading, I'll be back in touch soon!
All the best,
Charlie Silverspoon Philp
(here's a photo of me playing the mandolin to a herd of captivated cattle)
