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THE OFFICIAL NEWSLETTER OF THE MARTIN GUITAR COMPANY • VOLUME 19 • JULY 2005

On Stage, In The Studio, On The Road...Great New Martin® Guitars Keep Coming

The Sounding BoardPh

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DCTrey

AnastasioFull Story OnPages 14-15

Sting:Mini

Full StoryOn Pages

16-17

M3MGeorge Martin

Studio Edition

Full Story On Pages 12-13

Plus New

Custom Editions

With Cathy Fink,

Marcy Marxerand

David Gray

Lisa Watw

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Dear Sounding Board Readers,As you can see from the photo above, we’ve been very busy

around here. It has been my dream for many years to expand ourlittle museum into something very special that can do justice inpresenting our incredible story to the many thousands of peoplewho visit the factory every year to take the tour. Finally that dreamis about to reach fruition. The new C. F. Martin Museum andVisitors Center will be set to open in the fall. Check the Martinwebsite at www.martinguitar.com to stay up to date with ourGrand Opening announcements.

Museum Design Associates (MDA) of Cambridge,Massachusetts, have been working closely with us on the museumitself, and it will be very informative. Our collection of Martinguitars has really grown, and we will finally have an appropriatespace to show them. In addition, there will be a new andexpanded 1833 Shop including an area to view and try many ofour models, plus a very impressive new entrance and lobby.

The building itself is unique and unusual. Our architect, MicCurd, fulfilled our desire to replicate the facade of the originalNorth Street factory for the Visitors Center, and it looks prettystunning. Needless to say, I’m very excited!

On a more personal note, I’ve been spending quite a bit oftime with my little daughter Claire. She’ll be a year old prettysoon, and we have already given several tours together. Naturally,she seems to like little guitars, and I’ve worked with her and agroup of my coworkers to produce a very special Brazilianrosewood Limited Edition model simply called “Claire’s Guitar.”You can read all about it on page 11.

Hoping to see you at the Grand Opening!Sincerely,

C. F. Martin IV

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The Sounding Board™

VOLUME 19 • JULY 2005P U B L I S H E D B Y

The Martin Guitar CompanyP. O. Box 329, Nazareth, PA 18064

Phone: (610) 759-2837 Fax: (610) 759-5757

www.martinguitar.comE D I T O R

Dick Boakeditor@martinguitar.com

C O N T R I B U T O R S

C. F. Martin IV & Claire !Marshall Newman

Ronnie LippinDennis TengesChris Thomas

S P E C I A L T H A N K S T O

Sherry Rayn BarnettLen Jaffe

Sir George MartinTrey Anastasio

Sting & John Kurgan

© 2005 C. F. Martin & Co., Inc.Nazareth, PA 18064 USA.

17MM03 All rights reserved.

The Sounding Board™ is availablefor free from your local authorizedMartin dealership. You will also findrecent Sounding Board issues on ourwebsite in downloadable PDF format.Typically, issues are published in Januaryand July of each year.

If you wish to be assured of receivingfuture issues of The Sounding Board, werecommend that you consider maintainingan active membership in The MartinOwners Club. If you wish to be includedon our temporary recipient list, pleasemail your request with complete nameand address to:

The Sounding BoardThe Martin Guitar Company

P. O. Box 329Nazareth, PA 18064

You may request a complimentary copyof our Martin catalog by writing to theabove address or by calling the Martinswitchboard at (610) 759-2837.

Printed On Recycled Paperin the USA

CHRIS’S CORNERCHRIS’S CORNER

Dear Mr. Martin,A couple of weeks ago it got nice

and warm here in Scotland so I decidedto take one or two of my guitars out forsome exercise. There is no better feelingin the world than to be outside playing aguitar. It was fun to see a couple of ourneighbors' grandchildren peeping overthe fence shyly as I played – theyseemed to enjoy it too. My wife satoutside with me and eventuallyremarked: “This is exactly why I don'tmind you buying guitars.” – it is nice tohave such support from her. I thoughtyou and The Sounding Board readersmight like to see where the guitars canend up after they leave Nazareth.

Oh yes – by the following weekendit was cold and damp again - we stayedinside. All the best!

David BairdScotland

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LETTERS

Dear Mr. Martin,I ’m proud to send you this

photograph of my new personalizedlicense plate that now graces mywelding truck. Obviously, I just love mynew J-40 Jumbo. Cheers!

Barrie M. BlakeMaple Ridge, B.C., Canada

Dear Mr. Martin,I am including a picture of the

painting that my wife Christine paintedusing my Eric Clapton 000-28EC Martinas the model. We used this for ourChristmas cards this past year. I hopeyou like it as much as I love that guitar.

I’ve just completed an acousticblues CD, and you can be sure the 000-28EC will be all over it! Best Regards,

Craig ThatcherBethlehem, PA

Guitar Acquisition SyndromeDear Mr. Martin,

My youngest daughter Kelly hasrecently informed me that she wasconsidering guitar lessons instead ofcheerleading this spring. While I wasvery pleased, I questioned her choice ofmy personal HD-28, which she hasoften heard me refer to as “the bestguitar ever made,” as her studentinstrument. Not that I mind sharing, buteven with the low-profile neck width atthe nut, the Dreadnought seemed alittle much for a petite nine-year-old. Mycurrent plan is to add a Little Martin tothe stable come her 10th birthday inAugust. Thanks!

Matt (and Kelly) BergerWake Forest, NC

Dear Mr. Martin,I thought you’d enjoy this photo of

some cool bridge pins that I got for myMerle Haggard Signature EditionMartin. The pins were made by BobColosi at www.guitarsaddles.com. Heis a regular on many of the guitarforums and got into making specializedbone and fossilized walrus saddles andbridge pins. Everyone that sees themloves them, and a number of peoplehave offered to buy them from me rightoff my guitar. Sorry guys; you'll have toget your own!

Rick SkeensCyberspace !

We’re interested in yourletters, stories and photos.

Mail them in or email your digital files to:editor@martinguitar.com

4

MARTIN STORIESWe’d love to hear your Martin stories!

Send your photos and stories to: The Sounding Board, P. O. Box 329, Nazareth PA 18064

or info@martinguitar.com

An unfortunate and dramatic sidebar to the 2004Southeastern Folk Alliance Conference in San Diego was afire that started in Kari Estrin's Client Showcase room, whereDavid Llewellyn and Ralston Bowles (pictured above withhis D-28) were staying. Everyone was out doing othershowcases, and upon their return to the room, Davidopened the door and was hit in the face with a wall ofsmoke. Though the room was completely in flames, the firedepartment was able to extinguish the blaze, and fortunatelyno one was hurt.

After the smoke settled, Ralston realized that his MartinD-28 guitar was missing in action. When the charred casewas brought out, Ralston opened it up and smoke puffed outof the soundhole. As all of the bystanders watched, Ralstonstrummed a chord and exclaimed, “It's in tune.” And thecrowd cheered!

Ralston’s Mark Leaf case was completely destroyed,however, though it certainly saved his guitar. He has decidedto give the D-28 a rest from the road for awhile, but he didsend this in to let us know how glad he is that it survived.

As a performer, Ralston continues to garner much praisefrom his contemporaries. He has shared concert bills withthe likes of Shawn Colvin, Hothouse Flowers, and RichardBuckner. Recently he gained the attention of a wideraudience, playing at the prestigious Kerrville Folk Festival inTexas and opening for luminaries like T-Bone Burnett andArlo Guthrie. After 30 years of performing, Ralston has finallyreleased his first CD, Carwreck Conversations, on Soft ButterRecords. If you ask him why it took so long, Ralston willsimply say: “It was all about the live music!” From the soundof the CD reviews, it was worth the wait. �

Portions paraphrased from www.puremusic.com

Ralston Bowles

U. S. Army Major Cynthia Stein is the daughter-in-law ofDebbie Knecht, one of our coworkers that crafts Martinguitars here in Nazareth. Debbie arranged for two “specialgifts” to be sent to Cynthia and her husband, who are bothstationed in Iraq. Cynthia writes:

“I was so excited to receive my Martin guitar whilestationed here in Iraq. My husband received his as well. Weare stationed far apart but were able to share our excitementover the phone. A week later, I heard that country superstarToby Keith was coming to my area. I knew then and therethat I wanted to have my picture taken with him, but beforethe performance it was announced with regret that he wouldnot be signing autographs or taking individual pictures. Myheart sank, but I am a prett y determined gal. I wentbackstage as Toby was singing his hit “American Soldier” andexplained that my Martin was sent all the way from the statesjust so that he could sign it! I had my Sharpie and my cameraready. In a blinding minute I found myself pushed into a tent.Right behind me came Toby Keith! He was smiling andexcited from all the energy of the soldiers. ‘Can you pleasesign my guitar?’ I asked. He took it and signed it, and Ithought, ‘Who is ever going to believe this!’ So in a splitsecond I took out my camera and asked one of his crew totake my picture. The rest is history. I have included thephotos to show how happy I was. I just thank everyone atMartin for a day that I will never forget.” �

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Sue SteadmanAfter 69 years in the music business, performing

with bands of her own in New York, Pennsylvania andIowa, Sue Steadman (“Sunny Sue”) still sings, yodels,and plays her 1939 Martin D-18 (Serial # 73814). Shecan be heard Thursday nights at her local CommunityCenter jam session in Tucson, Arizona.

Sue had the opportunity to fulfill her longstandingwish to come and visit the Martin factory and take thetour. It was in fact September 13th, 2004, and on thatparticular day, C. F. “Chris” Martin IV decided to givethe tour, so Sunny Sue was treated to a specialexperience.

That day also turned out to be the same day thatChris’s daughter Claire Frances Martin was born, andSue followed up with this special letter to Claire:

Sue Steadman’s band worked under the name “Sunny Sue and theSunset Ranch Boys.” There are two lovely Martins in the foreground:a 000-18 and Sue’s 1939 D-18. The great promotional photo ofSunny Sue below was taken in 1941 at WMT Radio Station in CedarRapids, Michigan. �

“Sunny Sue” Steadman

April 13, 2005

Dear Claire,I know you will not be able to read this

letter, but it's OK if your Dad reads it to you. Iread your letter in the January 2005 SoundingBoard. After waiting 50 years, I had the privilegeof touring the Martin Guitar Co. in Nazareth,PA. Our tour guide that day was your Dad, C.F.Martin IV. I was very impressed both by theCompany and by your Dad. That day happenedto be your birthday, September 13, 2004.

I'm 80 years old and still playing my 1939D-18 Martin, given to me by my Dad. I wishyou and your Mom and Dad good health andmuch happiness, and I look forward to meetingyou in person one day.

Sincerely,

Sue SteadmanTucson , Arizona

Steve Carlson has loved guitarssince he was 8 years old. His first guitarwas a plastic Elvis Presley model.Through the years there have been afew more, with a period in his teenyears playing in a rock band. His firstencounter with his future wife's parentswas during this time; and with a quickglance, the feeling was “and this tooshall pass.” It didn’t!

Through the next 30 years,pharmacy school, masters programs,being a hospital executive and fourchildren later, Steve has continued hislove of guitars. He now has fourMartins, an HD-28, an HD-35, a D-42K,and a Tom Petty Signature Edition. He isso proud of his collection, he asked fora picture to be taken with Chris Martin.Steve says: “Why have other guitarsmade by other manufacturers; only aMartin sounds like a Martin.” �

Eric Griffiths, an original member of theschoolboy band The Quarrymen, thatevolved into The Beatles, passed awayrecently at the age of 64. He is picturedon the left playing his Martin, most likelya D-18 Dreadnought. �

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w.m

acca-central.com

Joel Baker works for the Mid-Continent Public Library inIndependence, Missouri. He’s an ardentMartin lover and owns a D-28 and aD-41. For the last three years he’s beentouring the l ibrary branches as a“Singing Santa,” where he singsChristmas songs and the children canhave their pictures taken with Santa.

When the Felix The Cat modelcame out, Joel bought one and wassurprised at how good it was. As hewould enter the area where familieswere waiting, all eyes went to the guitar.He would tell the kids that they couldplay the guitar when they came up tosee him, and play it they did! Quite afew kids asked Santa for a guitar thisyear! Finally, the local newspapers havebegun to show an interest in writingarticles about Singing Santa. Joelconcludes – “it must be the guitar!” �

Nazareth resident Viola Nichols isshown above and at left (circa 1935)with a beautiful 000-28 sunburstemployee model guitar. Her fatherworked at Martin’s old North Streetplant for many years in the pearlingdepartment. He personally crafted thisBrazilian rosewood instrument that Violaused to learn on. The guitar was veryspecial to her. It had some unusualfeatures that included a boundheadstock and fingerboard inlaid withthe rare F-7 hexagon inlay pattern. Violacherished it throughout her adult years;but as she entered her later years, shebrought it in to Martin for advice,eventually selling it to an appreciativevintage guitar aficionado. �

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7

Red SmileyBuddy Hogan of Roanoke, Virginia, sent us this great photograph

of Red Smiley taken at WDBJ-TV “Top of the Morning Show” in1968. Red and his longtime recording and performing partner DonReno have been heralded as two of the finest music duos everrecorded. Inset is the newly released CD Red Smiley Sings Country, asolo album which was recorded in 1968 after Red had retired fromtouring. If you’re looking for a bluegrass CD, you won’t find it here.This one is strictly Country with backing from some of Nashville’s topsession players of the era including Jeff Newman on pedal steel, D. J.Fontana (Elvis Presley’s drummer) on percussion, and Wade Phillipson electric guitar. Of course, Red is playing his famous and rare D-45from 1936. This is one of only 91 made in the pre-war period. �

Jimmy Martin 1928-2005Jimmy Martin passed away in May of 2005 at

the age of 77. He lived a long and colorful life andhad a tremendous effect upon bluegrass andcountry music. As a member of Bill Monroe’sBluegrass Boys, he changed the flavor of the bandwith his now legendary “high lonesome sound.”Jimmy’s collaboration with The Nitty Gritty DirtBand on the album Will The Circle Be Unbrokenbrought his unique vocal st yle and energeticrhythm guitar to a wide audience unfamiliar withtraditional bluegrass music.

He was a radio star on the Louisiana Hayrideand the WWVA Jamboree but always aspired to bea member of the Grand Ole Opry. Although thatnever came to be, he was deservedly inducted intothe International Bluegrass Music Association's Hallof Honor, borrowing the text from that plaque foruse on his own gravestone. In his final days, he tookdelight in knowing that he would be buried next tothe '”King of Country” Roy Acuff and that he wouldbe right ful ly remembered as the “King ofBluegrass.”

Jimmy had much contact with Martin over theyears. He typically performed with two Martinguitars: a 1943 D-28 herringbone and his favorite, a1945 D-28 herringbone with a D-45 headplate andhis name proudly inlaid in the fingerboard. Jimmywas a real character, and he’ll be missed. �

Photo

Co

urtesy of Larry B

arnwell

Jimmy MartinKing Of Bluegrass

8

Beyond The

Golden Era

D-18 Authentic 1937The new D-18 Authentic 1937 goes well beyond the

already highly acclaimed Golden Era D-18 in faithfullyreplicating the specifications, materials and processes used inthe construction of the original pre-war D-18s. This handconstructed model draws its inspiration from a stellar 1937example and employs the use of hide glue as well as aT-shaped neck reinforcement bar. Other significant featuresinclude an Adirondack red spruce top with circa 1937contoured Adirondack bracing, a specially shaped tortoisecolored pickguard, a narrow tortoise colored end piece, oldStyle 18 abalone position markers, grained ivoroid sideposition dots, black ebony fingerboard and bridge, fossil ivorynut and saddle, black ebony pins, and a vintage case. �

OM-45 Tasmanian BlackwoodThe OM-45 Tasmanian Blackwood NAMM Show

Special is tonally enhanced with an extremely rare flamedEngelmann spruce soundboard, and bookmatched back,sides and headplate of highly f lamed Tasmanianblackwood. Special appointments include fossilized ivorybridge pins and endpin, Style 45 abalone trim with a boxedendpiece, Style 45 snowflake fingerboard inlays, goldplated Waverly hand-engraved tuning machines, a modifiedtorch headstock inlay nested beneath the C. F. Martin & Co.logo inlaid in abalone, and a premium Accord case. ThisNAMM Show Special will be limited to no more than thirtyinstruments. Dealers may only place orders in personduring the 2005 Indianapolis NAMM Show. �

OM-45TasmanianBlackwood

D-18 Authentic

1937

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Great New Cutaways With Ellipse™ Blend Systems

00C-16DBREDeep-Bodied

CutawayWith

FishmanEllipse™ Blend

Electronics

DC-16E KoaDreadnought

CutawayWith

FishmanEllipse™ Blend

Electronics

Martin is pleased to announce three new acoustic electricVenetian cutaway stock models. All three instrumentsincorporate Fishman’s popular Ellipse™ Blend soundreinforcement system that blends an under-the-saddle pickupwith an internal microphone through non-invasive controlslocated inside the lip of the soundhole. The resulting system iseasy to use and offers the player diverse tonal capability.

The new 00C-16DBRE combines the tonal warmth of EastIndian rosewood back and sides with a significantly deeperbody depth in the format of a 00 14-fret cutaway. The result isa comfortable small-bodied instrument with a deeply resonantand projective sound.

The OMC Fingersyle 1 is an Orchestra Model cutawaydesigned specifically for fingerstyle play. Crafted with solidSpanish cedar for the neck, sides and back, this guitar is light

as a feather and possesses tremendous clarity and tonalresponsiveness. The soundboard is bookmatched fromAdirondack red spruce and trimmed with fine herringboneand a single ring pearl inlaid rosette. The low oval neck is1-3/4” width at the nut and features Martin’s new two-wayadjustable rod. Ebony is selected for the f ingerboard,headplate and bridge. The body is lacquered to a polishedgloss and offered without a pickguard.

Following on the success of the OMC-16E Koa modelintroduced in January of 2005, the new DC-16E Koa providesan affordably priced Dreadnought cutaway with Hawaiianflamed koa back and sides and a solid spruce soundboard.Hawaiian koa is prized not only for its beautiful honey colorand rippled grain, but also for its tone, which seems to possessthe warmth of rosewood and the brilliance of mahogany. �

OMCFingerstyle I

Cutaway With

FishmanEllipse™ Blend

Electronics

This Special Edition LX Realtreemodel is sporting the extremelypopular Realtree Hardwoods® HD™camouflage pattern incorporated intoa custom high-pressure laminate that isused to construct the body andheadplate of this Little Martin guitar. Asthe name suggests, the pattern(developed by Bill Jordan) is designed tomimic the look of the real outdoors. Billspent many hours developing and perfectingthe surprisingly realistic camouflage pattern.Realtree's proprietary High Def inition®

printing process brings this pattern to life. The camouflage pattern appears on the

headplate, top, back and sides. Using customhigh-pressure laminate for all of these parts isa first for Martin. The Gotoh tuning gears andstrap button are finished in Cosmo Black,which complements the Realtree Hardwoodstheme. A natural colored Stratabond neckadds strength to the design.

This guitar wil l appeal to anyoneinterested in the outdoors and sport hunting.What a fun piece of gear to own as a longday of trekking in the woods draws to anend and you relax by the campfire playingthis guitar. High-pressure laminate makesthe guitar very durable andscratch resistant, and thesmaller size makes it ideal foryoung guitarists or fortravel.

Each instrument isfurnished with a custommade Realtree patternedbackpack-st yle gig bag,complete with an embroidered“hunter‘s orange” C. F. Martin& Co. logo, that will helpyou blend into the naturalenvironment whiletraveling from home tothe woods or backagain! �

For more info onRealtree, go towww.realtree.com.

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LXRealtree

“Little Martin”

The Martin LX Realtree®

Perfect For the Great Outdoors

Realtree® and Realtree Hardwoods® HD™ aretrademarks of Jordan Outdoor Enterprises, LTD.

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Claire Frances Martin may be the seventh generation ina guitar building dynasty, but as a cute-as-a-button baby, sheisn’t thinking about the future yet. Still, birthright is birthright,and C.F. Martin & Co. has decided to get its prospectiveleader off to a good start by building her a first guitar. Littleand exquisite like its inspiration, Claire’s Guitar celebratesher arrival in spectacular style.

Like the Mini Martin the Company currently offers,Claire’s Guitar is a diminutive Size 5 guitar, with gracefullyrounded upper bouts, 12 frets to the body and a 21.4”scale ideal for its traditional tuning: a minor 3rd (threesteps) above standard. However, Claire’s Guitar isthe fanciest Size 5 C.F. Martin has produced inmore than 80 years, one destined to capture ayoung girl’s – or a guitar connoisseur’s – heart.

Choice solid tonewoods give Claire’s Guitarimpressive tone and volume for a smallinstrument. Back and sides of rare CITES-certified Brazilian rosewood are paired with a topof premium Sitka spruce for warm, full resonance,while unscalloped 1/4” top braces contribute clarityand focus. The low oval neck with diamond volute iscarved from genuine mahogany, while bothfingerboard and bridge are crafted from black ebony.

These choice tonewoods are matched by equallychoice appointments. Both the Style 45 rosette and Style 41top purfling feature beautiful inlays of Korean Awabi, a fine-textured abalone with shimmering turquoise, pink and silverhighlights, flanked by mitered black/white/black line accents.Both the top and back are bound in grained ivoroid, while acolorful Style 45 backstrip bisects the bookmatched back.

The traditional C.F. Martin & Co. logo is inlaid in KoreanAwabi pearl on the Brazilian rosewood headplate, butunderneath, the “Est. 1833” has been replaced by Claire’s9/13/04 birth date inlaid in matching pearl. Adding to itsbeauty, the solid headstock is fitted with gold Waverly tunerswith ivoroid butterbean knobs.

Created especially for this guitar, the fingerboard inlay ofdiamonds, squares and snowflakes culminates in a tiny

footprint (think birth certificate) between the 17th and18th frets. In keeping with the guitar’s pearlaccents, its genuine bone bridge pins and endpinare topped with Korean Awabi pearl dots. Boththe nut and long saddle are crafted from genuinebone.

Aging toner on the top adds to Claire’sGuitar’s timeless beauty, while polished glossfinish on the body accentuates the beautiful

tonewoods and pearl inlays. The neck, featuringMartin’s new two-way adjustable rod, receives a

satin finish for playing comfort. In another bow totradition, this special guitar is available only as a pureacoustic (without a factory-installed pickup system).

Only 100 of Claire’s Guitar will be produced.Delivered in a fitted Geib style case, each will bear

an interior label personally signed by Claire’s dad (andMartin Chairman) C.F. Martin IV and Claire’s mom Diane S.Repyneck, and numbered in sequence. Beginningimmediately, authorized C.F. Martin dealers will take ordersfor Claire’s Guitar. Af ter the edition has been ful lycommitted, the names of participating dealers will beavailable on the Martin website, www.martinguitar.com. �

Claire’s Guitar Photo

by dick b

oak

Sir George Martin’s Martin Designed For The StudioLegendary Beatles Producer Collaborates On Sensational Recording Model

acts like Beyond the Fringe (featuring Peter Cook andDudley Moore) and Peter Sellers. In 1962 he metwith Brian Epstein regarding a young Liverpool bandEpstein managed. Although all other labels hadpassed on the Beatles, he brought them in for anaudition and was impressed by the group’s musicand personalit y. He signed the Beatles in thesummer of 1962.

Unusual for the era, Martin worked closely withthe Beatles in the studio, encouraging theirsongwriting, polishing their sound and helping themevolve in their musical thinking without changing theirenergy. His role grew as the Beatles’ music becameever more sophisticated; he began scoring passagesfor orchestration and used studio edits to blendvarious takes into a completed song.

He also expanded the envelope of studiocapabilities by f irst linking two four-track tapemachines to achieve eight-track recording for thelandmark Sgt. Peppers Lonely Hearts Club Bandalbum and reversing tape to achieve sounds thegroup wanted for certain songs. For the importantrole he played in their music, he frequently wasacknowledged to be the fifth Beatle.

While producing all of the Beatles studio albums,Martin left Parlophone Records in 1965 to foundAssociated Independent Recording (AIR) and went

on to work with a range of artists, fromAmerica to Jeff Beck. After the Beatles

broke up in 1970, both PaulMcCartney and Ringo Starr broughthim in to produce solo projects. Healso played an integral role inmastering Beatles material tocompact disc in the late 1980s andearly 1990s and later in preparing the

Beatles Live at the BBC and Anthologyreleases.

He designed the original AIRStudios in London in 1969, Air

Montserrat in 1979, and finallythe current Air Studios in North

London, converting an oldchurch into a state-of-the-artrecording facilit y that hasbecome one of the busiestin the world. QueenElizabeth II appointed him aCommander of the BritishEmpire in 1988 and knightedhim for service to his country

in 1996. The following year heproduced Candle in the Wind

97, Elton John’s tribute to PrincessDiana, a song that sold more than

33 million copies and became the best-

As the most important producer in music history,Sir George Martin knows how to achieve excellencein the recording studio. In an illustrious career that hasspanned five decades, he is probably best known asthe man who signed the Beatles and produced most oftheir recordings, but his work has ranged from thecomedy records of Peter Sellers to the power vocals ofCeline Dion. Moreover, his recording innovations havetransformed how records are made. So when GeorgeMartin detailed his preferences for a namesake MartinSignature Edition guitar to fellow musician and recordproducer John Kurgan, his specific goal was to create aninstrument uniquely suited to the studio. The M3M GeorgeMartin Studio Edition is that guitar: an acoustic withsensational recorded sound.

The tailoring of this guitar for the studio shows in itsdistinctive body style and unique combination of premiumsolid tonewoods. The M body, with 0000 shape (16” at thelower bout) and 000 depth (4-1/16” at the end pin)produces full, balanced and unusually pure tone. The top iscrafted from rare Italian alpine spruce, revered for its quickresponse and full resonance: forward-shifted scalloped topbraces broaden the tonal palette.

The sides and back of genuine mahogany, preferred bymany recording engineers for its clear bright trebles, showGeorge Martin’s inimitable creativity. The four-piece backfeatures a center wedge of rare quilted mahogany,separated from the wings by St yle 35white/black/white back strips. Twoadditional Style 35 back strips highlighta small wedge of unfigured mahoganybelow the neck heel. Together, thefour back strips form a graceful M (forMartin) emblem.

During his entire career, GeorgeMartin has made his mark in uniqueand unexpected ways. A native ofLondon, he began playing piano whilestill a child and formed his own bandat age 15. After serving in the FleetAir Arm – the flying division of theRoyal Navy – during and afterWorld War II , he studiedcomposition, conducting,orchestration and musictheory at Guildhall School ofMusic. In 1950, following abrief stint cataloging musicfor the BBC, he went to workat Parlophone Records, aminor label owned by EMI.He became head of the label in1955.

With Parlophone’s limitedbudget, Martin focused on jazzperformers like Cleo Laine and comedy

12

13

selling single in history. He capped his producingcareer in 1998 with In My Life, an all-star album ofsongs he selected. In 2001, EMI released Producedby George Martin, a six CD package spanning hisentire studio output. He has received five Grammyawards for his work over the years and is a non-performing member of the Rock & Roll Hall of Fame.

The M3M George Martin Studio Edition sports agenerous 1-3/4” (at the nut) low profile neck ofgenuine mahogany. The headplate uses quilted andunfigured mahogany and fine line inlays to createthe same “M” emblem as on the guitar’s back. Theheadstock comes equipped with gold Waverlytuners with butterbean knobs and bears the C.F.Martin & Co. pressure stamp on the back.

The black ebony fingerboard features a small“5” inlay at the fifth fret to commemorate GeorgeMartin’s role as the fifth Beatle, with Style 42snowflake inlays marking the other positions. GeorgeMartin’s signature is inlaid between the 19th and20th frets. Both the headstock and fingerboard arebound in grained ivoroid, with black/white inlay onthe headstock and mitered black/white inlay on thefingerboard.

The body is bound in grained ivoroid, with fineherringbone purfling encircling the top and fineblack/white/black lines bordering the sides, backand grained ivoroid endpiece. The Style 45 rosettehighlights select abalone pearl, matched by theabalone pearl dots atop the ebony bridge pins andendpin. The nut and saddle are crafted from genuinebone. A polished and beveled tortoise-colorpickguard adds to the vintage vibe of the aging-toned top. Polished gloss f inish on body andheadplate allows the beautiful natural color of themahogany to shine, while a satin f inish neckcontributes to player comfort.

At Sir George’s request, the M3M GeorgeMartin Studio Edition comes with Martin SP+ coatedlight-gauge strings to, as he put it , reduce“collywobbles” (his word for string squeak), the baneof recording engineers everywhere. A portion of theproceeds from the sale of each M3M guitar with bedonated in support of the Sir George Martin MusicFoundation, which George Martin established to aidthe island of Montserrat that was badly devastatedby the Soufriere Hills Volcano eruption in 1997.

The M3M George Martin Studio Edition isdelivered in a distinctive molded hardshell case withblack hardware. Each guitar bears an interior labelpersonally signed by George Martin and MartinChairman C.F. Martin IV, and is numbered insequence with the edition total. Lef t -handinstruments are available at no additional charge:Martin sound reinforcement electronics are an extracost option. Orders for the M3M George MartinStudio Edition will be accepted until September 23,2005, after which the total number of guitars andthe names of participating Martin dealers will appearon the Martin website: www.martinguitar.com. �

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same year Anastasio f inished college and begandevoting himself to music full time. By 1991, Phish hadgone national, playing 150 shows a year, establishing aninternet presence (when the web was something of anovelty) and inking a major label recording contract.

Fueled by Anastasio’s ever-evolving creativity andguitar alchemy, Phish recorded nearly a dozen albums,played innumerable shows and became the mostpopular jam band on the planet. In 2004, after therelease of “Undermind,” an album considered by manyto be a classic, the group brought down the curtain, butnot before playing two farewell shows in Vermont for itsfans.

Independent of Phish, Anastasio has been makingmusic since 1996 when his first solo project, the freejazz “Surrender to the Air” was released. Oysterhead, aside project with Primus bassist Les Claypool andformer Police drummer Stewart Copeland, showed hisexperimental side. A self-titled solo album in 2002,followed by “Plasma” in 2003 and “Seis de Mayo” in2004, allowed him to create more structured, layeredmusic and develop his acoustic voice. He alsocollaborated with a range of other top musicians, fromHerbie Hancock and Alison Krauss to Neil Young andCarlos Santana. He introduced his new quintet in Aprilof 2005 and is playing concerts across the UnitedStates this summer as part of the Zooma Tour.

Martin’s mortise and tenon construction and 5/16”“Hybrid” scalloped bracing give the DC Trey AnastasioSignature Edition solid feel and tone. Fine herringbone

encircles the top, an understatedcomplement to the Style 45 rosettewith its center ring of colorful pauashell. Multicolored Style 45 mosaicback strips add to the drama of theback tonewoods, while the grainedivoroid binding, end piece and heelcap are accented with black/white lineinlays.

Both the headstock and thefingerboard are similarly bound ingrained ivoroid and accented withback/white inlays. The koaheadplate provides the backdropfor a unique Style 45 C.F. Martinblock letter inlay in blackmicarta. The black ebonyf ingerboard features thedistinctive diamonds andsquares abalone pearl inlayfirst seen on a 1922 00-42Martin made for the Wurlitzer

Company: a Maltese cross atthe 3rd fret, two diamonds at

the 5th fret, a square at the 7thfret, two diamonds at the 9th fret, a

square with cat’s eyes at the 12th fret

Most people know Trey Anastasio as theelectric guitar wizard of Phish, the jam band thatgarnered a huge and devoted audience during 20years of music making. But those who havefollowed his solo career know him as an equallyadept acoustic guitarist. Both in concert and onrecord, Anastasio has used an acoustic to createrich musical landscapes. Now he has joined forceswith C.F. Martin to create an acoustic guitar worthyof his name: the Martin DC Trey Anastasio SignatureEdition.

The DC Trey Anastasio Signature Edition blends formand function in a style as original as the man himself. ADreadnought body with a smoothly curved Venetiancutaway allows for easy access to the upper frets. Solidtonewoods yield an exceptionally clear, full tone,enhanced with a top of rare Italian alpine spruce, EastIndian rosewood sides and a three-piece back with“wings” of East Indian rosewood and a center wedge ofbeautifully flamed Hawaiian koa. A 1-11/16” (at the nut)low profile genuine mahogany neck provides playingcomfort. Distinctive appointments include a flamedHawaiian koa headplate with eye-catching headstock andfingerboard inlays. It’s a practical guitar that looks andplays as good as it sounds, and it is offered in twoconfigurations: either with Fishman’s acclaimed onboardEllipse™ Blend System that delivers superb live andrecorded sound, or for the more traditional player,without the onboard electronics package.

Trey Anastasio’s musical odysseyshows a similar integrity. He playeddrums as a child growing up inNew Jersey and wrote music whilesti l l in junior high school. Hestarted playing guitar in high schooland soon founded his first band.

He headed of f to theUniversit y of Vermont in 1983,where he joined forces with bassistMike Gordon, drummer JonFishman and fellow guitarist JeffHoldsworth (later replaced byPage McConnell) to formPhish, which got its startplaying campus parties. In1986 he transferred tonearby Goddard College,where he studied withcomposer Ernie Stires.Meanwhile Phish con-tinued to play l ive andbuild a following for itsimprovisational music, firstin Vermont and laterthroughout New England.

Phish recorded its first album,“Junta,” in 1988 to sell at shows, the

Trey Anastasio Unplugs With Cutaway Signature Edition

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and a cat’s eye at the 15th fret. Trey Anastasio’ssignature is inlaid in mother of pearl between the18th and 20th frets. The belly bridge is also craftedfrom black ebony, as are the buttons on the Schallergold mini tuners.

Martin’s traditional attention to detail shows inthe bone nut, compensated Tusq drop-in saddle,vintage hue top, polished gloss body and headplatef inish, polished and beveled tortoise colorpickguard, and white bridge and end pins withabalone dots (gold end pin jack on Ellipse model).

Packed in a vintage-inspired Geib style hardshellcase, each DC Trey Anastasio Signature Editionguitar bears an interior label personally signed byTrey Anastasio and Martin Chairman C. F. Martin IV,and numbered in sequence with the edition total.Authorized C. F. Martin dealers will take orders forthe DC Trey Anastasio Signature Edition untilSeptember 23, 2005. The edition total and thenames of participating dealers then will be postedon the Martin website, www.martinguitar.com. �

The DC and DCE Trey Anastasio Signature Editionmodels are 14-fret Dreadnought cutaways craftedwith East Indian rosewood sides and three-piecebacks with flamed Hawaiian koa center wedges. Themodel is offered in two configurations: the DCEwith Fishman’s onboard Ellipse™ Blend system andthe DC model without electronics. �

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Sting has stayed very busy in the six yearssince C.F. Martin introduced the Sting SWCSignature Edition classical guitar and SWBSignature Edition acoustic bass. Since 1999 he’sreleased three albums, three DVDs, earned hisseventh solo Grammy Award and published hismemoir, “Broken Music,” which reached #6 on theNew York Times Best Sellers List. He’s also touredextensively during this time and recently completedthe Broken Music Tour, a stripped down and raw rockshow.

He also discovered a small acoustic treasure: theMini Martin Size 5 “terz” guitar. Just when he firstencountered one of these little wonders is unknown, buthe was among the first to order a Mini-Martin, similar toa 5-28, when it was introduced as a Special Edition in1999. He clearly loves the instrument’s 12-fret (to thebody) design and bright, chime-like “terz” tuning andtone, which is a minor third above standard pitch. In2003 he purchased a second Size 5 that he used torecord the beautiful song “Dead Man’s Rope” on“Sacred Love.” He also acquired a rare Baby Ditson builtby Martin in 1916 and played it on stage and ontelevision appearances during the “Sacred Love” tour.He enthusiastical ly suggested a Size 5 whenapproached regarding a new namesake Martinand played an integral role in creating theSize 5 that now bears his name: theSting: Mini Signature Edition.

An ardent conservationist and co-founder of The Rainforest Foundation,which works to preserve the world’sthreatened rainforests and to protectthe rights of the indigenous peoples,Sting asked that the guitar be built withtonewoods managed and harvestedwith forest preservation in mind. Inkeeping with Sting’s commitment toecology and rainforest protection,77% of the wood utilized in theconstruction of the Sting: MiniSignature Edition guitaroriginated in forests managedin a sustainable andecologically responsiblemanner. In addition, the guitarutilizes spruce braces fromreclaimed sources constituting8.4% of the utilized wood.While some of the tonewoodsare non-traditional, they blendtogether to form a beautifullooking and sounding instrument

with tremendous professional integrity.The Sting: Mini features a top of western red

cedar, highly regarded among guitar builders forwarm tone and superb responsiveness. Scalloped1/4” top bracing assures impressive volume. Theback and sides are Soloman padauk, a beautifulred-orange tonewood similar in sound tomahogany. The neck of genuine mahogany is

harvested from sustainable sources, and thefingerboard and straight line (non-belly) bridge arecrafted from katalox, a beautiful wood with a densityand color similar to rosewood.

A generous 1-3/4” at the nut, the neck features avery comfortable semi-V profile, diamond volute andsolid squared, tapered headstock. The headplate,also of Soloman padauk, provides a handsomebackdrop to the old style C. F. Martin & Co. goldlogo and Gotoh nickel vintage-style tuners. Long-pattern abalone pearl diamonds and squaresposition markers on the fingerboard lead to Sting’ssignature in pearl between the 17th and 18th frets.

The body of the guitar features a distinctive mixof appointments that show off the tonewoods toadvantage. Fine herringbone purfling around thetop and a Style 45 rosette with a center ring of

“Ablam” abalone pearl accentuate the handsomecolor of the red cedar. A Style HD zig-zag

back strip divides the Soloman padaukback. Tortoise-colored binding on thetop and back are matched by atortoise-colored end piece and tortoise-colored dot inlays on the white bridgepins and end pin. In the tradition ofparlor guitars, the Sting: Mini does

not come with a pickguard. Finishingtouches include a lustrous polishedgloss finish on the guitar body andheadplate, satin finish on the neck, andbone nut and compensated bone

saddle. Per Sting’s request, eachinstrument is set up with ultra-lowaction and equipped with customgauge “terz” strings with high-octave basses to facil i tate“Nashville-style” tuning that isof ten used in recordingstudios to add high treblebrilliance to the mix.

Only 100 of the MartinSting: Mini Signature Edition

guitars will be produced. Eachbears two interior labels: a

Signature Edition label personally

Sting Inspires A Forest Friendly Size 5 Mini Terz

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signed by Sting and Martin Chairman C. F. Martin IVand is numbered in sequence with the editiontotal, plus a Sustainable Wood Series label thatexplains the wood content percentage.

A fitted vintage Geib-style hardshell caseprotects each guitar: factory-installed electronicsmay be specified when ordering at an additionalcost. Martin will accept orders for the Sting: MiniSignature Edition until it is fully subscribed, withthe names of participating dealers to be postedon the Martin website at www.martinguitar.com.

For further information on Sting, visit hiswebsite at www.Sting.com. �

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Above: The Sustainable Wood Series label fromthe Sting: Mini Limited Edition reaffirms Sting’stremendous commitment and leadership role inenvironmental issues and rainforest preservation.Sustainable Wood Series models are intended toeducate the consumer about the viability ofresponsibly harvested alternative wood species.

SustainableWood Series

In keeping with Sting’s commitment to ecology and rainforest protection,

77% of the wood utilizedin the construction of this guitar

originated in forests managed in asustainable and ecologically responsiblemanner. In addition, this guitar utilizesspruce braces from reclaimed sources

constituting 8.4% of the utilized wood.

Printed on Recycled Stock

The Many Faces Of StingAbove: During the BrokenMusic Tour, Sting sampleshis “Sting: Mini” prototypeon stage at the Civic Centeron Portland, Maine, in Mayof 2005. Left: A promo shotused with the 1999 MartinSWC and SWB SustainableWood Limited Editions.Below: Sting’s “SacredLove,” released in 2003,featured songs like “DeadMan’s Rope” recorded withthe Size 5 Mini Martin.

Graham Nash and David Crosby arecaptured here on tour to promote their2004 CD collaboration simply tit ledCrosby•Nash . Graham is playing his000-40Q2GN Signature Edition, and Davidis sporting one of his favorite D-45s. �

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Allan Taylor with Tom Paxton at The RegalCentre Workshop in the UK on February 25,2005, showing off their Martin Guitars. AllanTaylor is a longstanding and popular Englishfolk artist. He’s been performing with hisnew DC-16RGTE Premium as well as hisCEO-4R. Tom is playing his HD-40LSH TomPaxton Signature Edition. �

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Howlin’ Howie Haber and one of hisbandmates made it to the finals in the DuoCategory of the International BluesChallenge in Memphis this year. Howie ispictured above with his black X Seriescutaway Martin. The full band specializes inoriginal blues, rock and boogie and is calledBreakaway, with Lou Carrollo on guitar andvocals, Evan Davis on harmonica and vocals,Dustin Hickey on bass, and A. M. Canon ondrums and vocals. There’s more at:www.breakawaygroup.com. �

Joan Baez with Bob Dylan performed together in 1982 at Survival Sunday atthe Hollywood Bowl. This and four of the five photos at right were captured byCalifornia photographer Sherry Rayn Barnett. She’s been covering the musicscene for years. There’s more at: www.sherrybarnettphotography.com �

Michael Naworthy of Athol, Massachusetts, read our story about the MikeLongworth Commemorative D-45 Edition in Volume 18, and one of thepictures touched off his curiosity. In his music files, he found this old photo(circa 1961) of Mike playing banjo with The Country Folk. The photo wastaken at the studios of WMUR-TV in Manchester, New Hampshire. The othermembers of the band included Clyde Joy on guitar, Willie-Mae Joy on stringbass, and Curly King on fiddle. Mike came to work at Martin in 1968 but neverlost his passion for country and bluegrass music. �

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Clockwise from above: Paul Simon (1973) withhis D-35S at the Santa Monica Civic Auditorium;Bob Dylan (1971) performing at the Concert ForBangladesh with a D-28, backed on bass by LeonRussell; Ricky Skaggs (circa 1994) with a VintageD-45 at McCabe’s in Santa Monica; ElvisCostello playing his sunburst MC-28 with T-BoneBurnett with his D-28 at McCabe's Guitar Shop’s1984 Anniversary concert in Santa Monica; andPhoebe Snow (1976) with her 000-18 at theSanta Monica Civic Auditorium. �

Music HistoryMartin History

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Al Stewart enjoying a Martin D-100 owned by his friend David Liskin.Al has also been a long-time friend of Laurence Juber, who produced his twomost recent CDs, “Down In The Cellar” and “A Beach Full Of Shells.” �

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Michael Brewer of Brewer and Shipley is an adeptguitar player and purveyor of Hawaiian shirts!Here he is with his Martin J-40 Jumbo. �

Jacob Dylan of The Wallflowers performed for the 2005“TODAY Show” Weekend Concert Series at Rockefeller Centerin New York City with his Martin D-42. �

Jon Anderson of YES, an ardent nylon string player, is shownwith his Martin 000C-16SGTNE and his customized ClassicBackpacker with violin headstock and lute rosette! �

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Rufus Wainwright grooves with his HD-28V at an in-storeperformance and album signing at the Virgin Megastore inLondon, March 7, 2005. His new album is “Want Two.” �

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Norman and Nancy Blake spar with two of Norman’s 12-fret 000-28 Signature Edition models in Colorado Springs. This photowill no doubt grace the cover of Norman and Nancy’s next CD jacket with The Morning Glory Ramblers. The album will betitled “Back Home In Sulphur Springs” and will be issued on Norman’s Plectrafone label, distributed by Dualtone Records. �

John Mayer, shown playing an OM-45 Marquis, took timefrom his busy schedule to visit Martin and brainstormpossibilities for a future stock model collaboration. �

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Cathy Fink & Marcy Marxer Custom EditionsCelebrate An Enduring Partnership

won a Grammy nomination in 2003 for “BestTraditional Folk Album.” After several Grammynominations, they captured their first Grammy Awardin 2004 for their children's album “Bon Appetit” andnabbed their second in 2005 as producers and artistsfor “cELLAbration: A Tribute to El la Jenkins.”Individually and together, they've produced more thana dozen albums for other artists, served as studio

musicians, and created a series of instructionalmaterials and videos ranging from guitar and ukulelefor kids to how to sing harmony. They've performed atthe White House Easter Egg Roll, appeared on NationalPublic Radio, won several songwriting awards and havebeen acknowledged for their work with children in theCongressional Record. Cathy Fink and Marcy Marxerclearly love what they do and show no signs of slowingdown.

Befitting musicians so closely connected, the M3HCathy Fink Custom Edition and MC3H Marcy MarxerCustom Edition sport identical specifications with onemajor exception: Cathy's guitar is a non-cutaway, whileMarcy's has a rounded cutaway. The M size, mortiseand tenon construction and “Hybrid” scallopedbracing give these guitars impressive volume,outstanding string-to-string balance and - importantfor musicians like Cathy and Marcy who play in avariety of styles - uncommon versatility.

Premium solid tonewoods add to theinstruments' outstanding performance.

The tops are Adirondack red spruce(highly coveted and particularly rarein this size); the sides East Indianrosewood; the three-piece backsEast Indian Rosewood on the wingsand a center wedge of f lamedHawaiian koa. The combinationoffers the best of all worlds: tightbass, crisp trebles and full midrange.

Body appointments on both guitarsinclude fine pattern herringbone

around the top, Style 45 rosettewith a center ring of select green

abalone pearl and St yle 45multicolored mosaic back stripsbordered with black f iber.Grained ivoroid binding isaccented on the sides andback with fine black/whiteline inlays, and the matchinggrained ivoroid end piece is

framed by the same elegantfine black/white line inlays.

The low prof i le neck, acomfortable 1-11/16-inch at the

nut, is carved from genuine mahogany.

Cathy Fink and Marcy Marxer have beenmusical partners for more than 20 years. Overthose years, they released a slew of albums for bothchildren and their parents, won two GrammyAwards, produced records for artists ranging fromTom Paxton to Patsy Montana, penned more than200 songs and played thousands of concerts. In short,Cathy and Marcy have done it al l and done itextraordinarily well.

To celebrate this remarkable partnership, C. F. Martin has created a pair of equally remarkableguitars: the M3H Cathy Fink Custom Edition and MC3HMarcy Marxer Custom Edition. These impressiveinstruments showcase Martin's highly regarded M bodysize (jumbo width and 000 depth) together with aunique mix of tonewoods and appointments.

From the beginning, Cathy Fink and Marcy Marxerseemed destined to work together. Cathy hails fromMaryland, but began her musical career in Canada in theearly 1970s, playing folk music in coffeehouses and thesubway. A fine singer, guitarist, banjo player and yodeler,she made her recording debut in 1975 with fellowmusician Duck Donald, with whom she toured for fiveyears and recorded three albums.

Marcy grew up in Michigan. Her gift for bluegrass andold time music was obvious early, and she learned to playguitar, mandolin, hammered dulcimer and buttonaccordion while still in high school. Shewent to work for General Motors butcontinued to play at every opportunity.In 1978, af ter receiving theatretraining at the American Academy ofDramatic Arts and the RinglingBrothers Clown School, she devotedherself to music full time.

The two met in 1980 at theToronto Folk Festival and theconnection was instantaneous. By1983 they had begun writing songstogether and appearing on eachother's albums. Soon after, theybegan performing together, oftenin children's concerts thatenabled their instrumentalchops, wonderful harmoniesand sense of fun to shine. In1989, they released a self-t it led album, and thepartnership became complete.

In the years since, the duohas released a number ofnotable albums, including“Nobody Else Like Me,” “A Voicein the Wind” and “ChangingChannels.” Their CD “Postcards”

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The polished African black ebony headplate provides anideal “canvas” for Martin's abalone “Torch” inlay, adesign that originated with the classic Style 45 Martinsof the 1920s and 1930s. The headstock also is equippedwith gold Schaller tuners with ebony buttons. Thematching African black ebony fingerboard features aunique “two hands” inlay at the 12th fret to celebrateCathy Fink and Marcy Marxer's partnership, along withStyle 42 snowflake inlays on the 3rd, 5th, 7th, 15th and17th frets. Both the headplate and fingerboard arebound in grained ivoroid and trimmed with miteredblack/white fine line inlays. The nut and compensatedsaddle are genuine bone.

Polished gloss lacquer body finish, vintage toner onthe top, a polished and beveled tortoise color pickguard,and white bridge pins and endpin with abalone pearldots give these guitars timeless style. The neck is satinfinished for player comfort. To match Cathy and Marcy'scasual, comfortable fashion sense, these guitars aredelivered in black denim-covered Geib style hardshellcases.

Both the M3H Cathy Fink Custom Edition andMC3H Marcy Marxer Custom Edition bear interiorlabels personally signed by Cathy Fink, Marcy Marxerand Martin Chairman C.F. Martin IV, and are numberedin sequence for that specific Custom Edition. AuthorizedC.F. Martin dealers are now accepting orders for theM3H Cathy Fink and MC3H Marcy Marxer CustomEditions. Customers may specify left-hand instruments atno additional cost or factory-installed electronics as anextra-cost option. The names of participating Martindealers wil l be posted on the Martin website,www.martinguitar.com. �

Marcy Marxer (below left) with her cutaway MC3H and CathyFink with her non-cutaway M3H. Aside from the cutaway, thesespectacular performance guitars share high-end features such asAdirondack red spruce tops and three piece backs in East Indianrosewood with flamed koa center wedges. The neck features anabalone torch headplate with a pair of pearl hands at the 12th fret.

MC3HMarcyMarxerCustomEdition

M3HCathyFink

CustomEdition

David Gray showed grit as well as talent on hisway to the top. Nearly a decade of hard work andhard knocks preceded his breakthrough album“White Ladder,” which has sold more than sevenmillion copies since its release in 1999 and produced“Babylon,” one of the most popular singles of the lastdecade. Gray’s melodic, acoustic-based songs mayhave taken awhile to get noticed, but they clearlyresonate with listeners of every generation.

In recent years, Martin has been David Gray’s guitarof choice for live performances. So, when C.F. Martinapproached him regarding the possibility of a namesakeguitar, Gray embraced the opportunity. The 000C DavidGray Custom Edition is much like the man’s music:understated, sophisticated and impressively realized.

The Martin 000C David Gray Custom Edition guitar isa true 14-fret 000, with the traditional 15 3/16-inch wide,4-1/16” deep body and short 24.9” scale that make thissize both comfortable to hold and easy to play. Alsoconceived with comfort in mind is the rounded Venetiancutaway, which simplifies “up the neck” chords andnotes.

A unique combination of superb tonewoods givesthe 000C David Gray a truly signature sound. The top ofselect Italian alpine spruce, paired with 5/16” Hybridscalloped bracing, produces full, complex tone. Back andsides of genuine mahogany contribute note-to-note clarit y across the strings. Themodified V-shape neck, a generous1-3/4” at the nut, is carved fromgenuine mahogany.

Black, white and silver accentsabound. The polished gloss blackebony headplate features the familiarC. F. Martin & Co. logo in distinctivesilver foil as well as nickel Gotoh tunerswith ivoroid butterbean knobs. The blackebony fingerboard is adorned withtasteful vintage 4mm abalone dotsand matched with a black ebonybridge. The black bridge pins aretopped with abalone pearl dots.A black polished and beveledpickguard protects the top, anda chrome strap button on theneck heel shows this guitar isready for the stage. In keepingwith David’s sense of humilityand purity, his personalizedsignature is confined to theinterior label.

In keeping with this guitar’sblack appointments, the 000C isbound in black Boltaron. Fine patternherringbone adorns the perimeter of the top

with fine black/white purfling lines for the side andback inlays. Martin’s vintage zig-zag back stripembellishes the back. The rosette is unique: Old Style18 black single inner and outer rings flanking twoblack/white/black fine line inlays on either side of anarrow inlay of vibrant blue paua shell. This rosette isespecially intense against the vintage-toned goldenhue of the top.

Like his guitar, David Gray embodies both thetraditional and the cutting edge. Born in Manchester,England, and raised in Wales, Gray started his musicalcareer as a member of a series of punk bands whilestill in his teens. As an art student at the University ofLiverpool, he explored other styles of music andeventually found his own voice and songwriting style,one of passion, anger, love and loneliness.

He signed his first recording contract in the early1990s and released his debut album, “A CenturyEnds,” in 1993, followed by “Flesh,” his second albumin 1994. He also took his act on the road, touring asthe opening act for Shawn Colvin, Maria McKee andDave Matthews.

While remaining mostly undiscovered, David Graybegan generating a quiet buzz in Ireland and withfellow musicians by the mid-1990s, though notenough to keep him in contract. His third album, thelimited release “Sell, Sell, Sell” came out in 1996 onhis new label EMI America. Gray continued to tour,

opening for Radiohead and the DaveMatthews Band.

When dropped by his secondrecord company, Gray decided to takehis future into his own hands andfounded his own label, IHT Records, in

1998. He recorded his fourth album inthe bedroom of his London apartment.Released in 1999, “White Ladder” andits irresistible single, “Babylon,” took

Great Britain and then the rest of theworld by storm.

In 2001 he contributed musicfor the movie “Serendipity” andreleased “Lost Songs 95-98,” analbum of music recorded whenhis career prospects lookedbleakest. In 2002 he recordedand released “New Day atMidnight,” an album thatquickly went gold in the US andmulti platinum in the UK. He

also toured steadily as a headlinerin both Europe and the United States

through 2003. Expectations for newmusic from David Gray are running high in

2005 with a new album due for release in the fall.

Custom 000C Cutaway Edition A Tribute To David Gray’s Talent And Success

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The 000C David Gray Custom Artist Edition comes factoryequipped with Martin’s Gold+Plus Natural I active pickup. Delivered in aGeib style hardshell case, each guitar bears an interior label personallysigned by David Gray and Martin Chairman C.F. Martin IV and isnumbered in sequence. Martin dealers will accept orders for the 000CDavid Gray Custom Edition for a limited time. After the order periodcloses, the size of the edition and the names of participating dealers willbe posted on the Martin website, www.martinguitar.com. �

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David Gray, hard at work on new projects,samples the 000C Prototype inside his studio inan old renovated church. Below, David touredand recorded with his Martin D-42 in support ofhis multi-platinum album, “White Ladder. ” �

The 000C David Gray Custom Artist Edition is a straight forwardperformance and recording guitar. Appointments are stark yet elegantwith herringbone top trim, an abalone pearl rosette, traditional blackpickguard and small vintage style abalone dot fingerboard inlays. Theshort 24.9” scale length allows for expressive note-bending playing stylesand a graceful Venetian cutaway enables full access to the upperregisters of the neck. Genuine mahogany, prized for its tonalresponsiveness in the studio, is combined with the 000 body size foroptimum recording tonality. The 000C David Gray model is factoryequipped with a non-invasive Martin Gold+Plus Natural I active under-the-saddle pickup system, yielding a stage-ready guitar of the highestcalibre. �

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Denmark’s Lars Lilholt, shown in jest here with hisD-42JC Johnny Cash Signature Edition, which he loves!The Lars Lilholt Band is without exception one of themost popular bands in Denmark. Since 1982 the bandhas played more than one thousand concerts. Theyhave sold almost 1.5 mill ion albums, and theirpopularity is still on the rise.

Lars is the front figure and leader of the band. Heis the lead vocal, and he writes, together with hisbrother Kristian, all the material that the band uses fortheir albums and concerts. Lars performs on violin andguitar. He has written a huge number of hits and hasreceived several awards for his contributions to theDanish music culture. His songs are original, oftenwith lyrics relating to historical subjects or inspiringfables and fairytales. Most importantly, his songs arecatchy and fresh.

Throughout his career, Lars has shown a rareability to evolve and realize his musical ideas and toprove his longevity in different styles and fashions. Thereason for his success is an incredible work effort, anoriginal musical gift, and a both humble and confidentattitude to the music and the part he plays as amusician. The Lars Lilholt Band plays a minimum of 50concerts each year. These typically attract largeaudiences, with often more than 10,000 people. �

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To christen C. F. Martin’s brand new trade show booth at theMusikMesse in Frankfurt, Germany, Diane Ponzio (above) andLaurence Juber (below) offered daily acoustic guitar performancesto crowds of Martin afficionados and fans. The show is heldannually, typically in the late winter or early spring, drawing hoardesof international music manufacturers, distributors, music storeowners, professional musicians, and for one of the four show days,the enthusiastic public. �

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Around The World

Germany’s Peter Bursch performed with his Martin HD-16R CustomSignature Edition in a series of concerts with his All Star Band at thefamous Pulp-Schloss Castle in Duisburg along the river Rhein fromDecember 10th through the 19th of 2004. �

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Makoto Saito, one of Japan’s foremost folk musicians and a frequentperformer on the Martin Club of Japan’s Rebirth Tour, visited Martinin the fall of 2004 to finalize the specifications for a special CustomShop guitar. Here he is sampling the unique and powerful HD-7Roger McGuinn Signature Edition seven string model with a doubledhigh octave G-string. �

The Martin Club of Japan produced and hosted aseries of acoustic concerts called “The Rebirth Tour2005.” The photo above was taken at the TokyoShibuya-AX on March 21, 2005 and features TheMartin Club Band: Makoto Saito, Hiroshi Takano,Masayoshi Furukawa, Mataro Misawa, Yoshihiro Aritaand Hitoshi Watanabe. �

Above: The Martin Club Band during one of theirmany rehearsals for the Rebirth Tour. Below: TheMartin Club Band with their Martin guitars: (from left)Hirokazu Ogura with Custom Shop 12-fret sunburst,Mataro Misawa with D-45SS Stephen Stills SignatureEdition, Yoshihiro Arita with D-28, and MasayoshiFurukawa with deep body 00-16DBR. �

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Willie MatthewsWidely acknowledged to be one of the

most talented and prolific western artistsalive, Willie Matthews holds a particularpassion for cowboy music and Martinguitars. He has maintained a longstandingfriendship with the Company. In 2003 Willieprovided the design for the longhornheadplate (shown below) for the D-35Ernest Tubb Commemorative Edition.

In 2004 Willie completed the paintingyou see to the left. The cowboy in the printis Gary Macmahon, a Colorado performerand Willie’s great pal. The guitar in thepainting is quite famous. It ’s the 192812-fret 000-28 that belonged to the lateCharles Sawtelle, who is shown below witha similarly sized 000-42 12-fret Martin.Apparently Norman Blake once playedCharles’s 000-28 and described it on thespot as the best Martin he had ever played!

Charles thought it was his sweetest aswell, and after his passing, it came intoWillie’s rightful hands where it is obviouslyreceiving its deserved attention. A signededition of the painting will soon hangproudly in the new Martin Museum andVisitors Center. If you’re ever in Denver,make sure to visit the William MatthewsGallery at 1617 Wazee Street, or check outthe gallery’s web site at: www.williammatthewsgallery.com �

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Without compromising his editorial integrity, AcousticGuitar Magazine’s gear guru Teja Gerkin sought hisoptimum guitar through Martin’s Custom Shop. Anadept player, Teja maintains an active performance andrecording schedule and used his new OM-18V Customon the last three tunes for his forthcoming CD. If we’relucky, we’ll see it on the cover soon. �

The Real Deal Cowboy Singer !New Mexico recording artist R.W. Hampton stopped in to

Martin for a special tour during a trip to the East Coast to do aspecial radio show at WDVR and to perform at the station’sHickory Grove Opry in Califon, New Jersey. The trip was also anopportunity to surprise R.W.’s good friend and ardent supporterGordon Ruoff who has been promoting R.W. with a fervor. In fact,Gordon presented R.W. with the beautiful Martin D-42 that ispictured above. Friends like that are hard to find!

R.W. was recently named 2004 Male Performer of the Year bythe Western Music Association. The award was presented at the16th Annual International Western Music Association AwardsBanquet held in Albuquerque in November of 2004.

A Western music industry leader for over a decade, R.W. haseight albums and numerous industry awards to his credit includinghonors from the Academy of Western Artists as the Male Vocalistof the Year, (1996, 1999 & 2002), Entertainer of the Year (1996),and for Album of the Year – Ridin’ the Dreamland Range (1997).In 2001 he was awarded the National Cowboy Hall of Fame’sWrangler Award for his album The Last Cowboy – His Journey.

R.W. Hampton is considered by many to be one of America’sfew remaining authentic “singing cowboys.” He spent years living

in remote line camps or out withthe wagon, and many of his mostpopular songs have originatedfrom those days cowboying for aliving on ranches across theWest. R.W. now lives with hiswife Lisa and their family at theirClearview Ranch at the foot ofthe Sangre de Cristo Mountainsnear Cimarron, New Mexico. Formore about R.W., visit his websiteat: www.rwhampton.com. �

Martin’s Artist Relations Director Dick Boak (left) caughtup with Don McLean while on a vacation swing tocoastal Maine. Legend that he is, Don is really down toearth, and his wife Patricia served a healthy portion ofAmerican Pie. Don has a great (and almost exclusive)collection of Martin guitars and is as passionate abouthis instruments as anyone on the planet. �

R. W. Hampton

Teja Gerkin

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This Old Guitar And Meby Vince Gill • From The Album Next Big Thing

This old guitar and meAnd the things that we've been throughC.F. Martin built himBack in nineteen forty-twoI remember when we metI was only seventeenI spent all my college moneyOn a half a dozen stringsI thought my folks would kill meI found out I was wrongThey said your future's written on your faceWhen you sing those travelin' songsSo we headed for KentuckyWith a suitcase full of dreamsMy rough-out books, a few t-shirtsA wornout pair of jeans

Ooh...

This old guitar and meWe spent a lot of nights aloneWell, sometimes we'd get luckyAnd take a bar maid homeOne night stands for breakfastTwo strangers with the bluesWe'd wake up in the morningAnd both feel a little used

Well, home was just a highwayWe'd roam from town to townJust me and that old flattopNot caring where we're boundFrom Maine to CaliforniaWith a five piece travelin' bandSingin' songs about the hard timesThat face the common man

Ooh...

This old guitar and meLord, we did the best we couldOne was born a sinnerAnd one a piece of woodGod sent a wooden angelTo guide me on my wayWe were meant to be togetherUntil my dyin' day

Well, now my dearest old companionLies underneath my bedWell, our travelin' days are overMan, but the memories fill my headWell, I've settled with my familyHere in the hills of TennesseeTo teach my children's children'Bout this old guitar and me

Ooh...

Jon Scholle • Out Of The Frying Pan !I was on the road with the David Grisman Quintet in the mid-

80s. We were somewhere in Texas doing what we usually did whenwe had a few hours to spare: checking out the used bookstores andpawnshops. The whole group walked into one pawnshop. We werelooking around and didn't see much of interest, so we inquired ifthey had any other instruments around.

The owner said he had an old Martin from the ‘30s and asked hisassistant to take it down so we could take a look. It had a batteredbrown case that was barely hanging together. When we took out theguitar, it too had seen some miles. It was dark-topped and showedmany a battle scar. Clearly, it was a D-18. David has a sharp eye (andear) for instruments and saw right away that it was not from the ‘30s,but the ‘50s. He mentioned this to the pawnbroker while I played theguitar a bit and checked for major problems. Meanwhile David andthe pawnbroker got into a rather animated discussion. Before I knewit, the pawnbroker shot David a deadly look and told his assistant toput the guitar back up on the shelf, insisting it was definitely from the‘30s and that he “didn't want to sell it to us anyway!”

We left to play our gig that night. Afterwards, I couldn't get thatD-18 out of my mind but wasn't sure if he would sell it to us after theincident that afternoon. Nevertheless, I decided to try to buy it thenext morning. Luckily pawnshops are open Sunday mornings inTexas! I got an advance from David's manager, stuck it in my wallet,and went to sleep, leaving an early wakeup call so I could go downto the pawnshop with Rob Wasserman, our bass player. Rob hadbeen standing in the back of the group when the discussion aboutthe guitar's age had taken place, and I planned to send him in to tryto buy the D-18 in hopes the pawnbroker wouldn't recognize him.We got to the pawnshop pretty early, I gave Rob the money, and hewent in. It was awhile before he came out with the guitar. He saidsomeone else had been trying it out when he walked in.

I jury-rigged the case just enough to get it home. The only thingthe guitar needed was a few bridge pins and new saddle. I ended upusing it on my second Rounder album, Out of the Frying Pan (whichDavid played on), and it's now my favorite Dreadnought! �

www.jonsholle.com

Hailing from the mountains of Colorado, singer, songwriter, guitarist JimSalestrom shares an incredible musical history that includes recording with JohnDenver and touring for eleven years with Dolly Parton. Jim was on CBS EpicRecords with the band Timberline and on MCA Nashville with the Wild Jimbos.Over the past thirty years, he has recorded on nearly twenty solo albums. Wecan’t cover it all here, but his website does at: www.jimsalestrom.com.

Jim has been honored with two Emmy Awards and one Grammy nomination,not to mention a Cleo and a Silver Cindy! He has quite a love for Martin guitars.His collection includes a D-42, a J-15, an OM-21, plus Jim’s pride and joy – the D-45 that you see above. The song below is a work in progress. He wrote it at 6:00AM on December 16, 2004 after packing his D-45 up for its first trip out of town.As Steve Miller says: “OK… go out and scratch it up!” �

Jim Salestrom

Aside from his long and prolific life,Johnny Cash’s insightful autobiographywritten in tandem with Patrick Carroffers some interesting stories about hislove for Martin guitars. We’ll share a fewof them here.

Page 62: “My guitar survived until1957, by the way, when my brotherTommy and one of my nephews, horsingaround at my house in Memphis,smashed it to pieces by accident andneglected to mention the event until oneday when I happened to notice it wasmissing. I didn't care; by then I had aMartin!”

Page 73: (Talking about Elvis) “Thatnight at the Eagle's Nest, I remember, hewas playing a Martin, and he wasdressed in the latest teen fashion.”

Page 278: “I usually have at leasttwo guitars on stage, a D-76 MartinBicentennial Model, of which only 1976were made, and the black custom modelthat Martin made for me in 1968. If oneof those two develops a problem, I'vegot a D18 always in reserve. Martin, bythe way, just came out with a run of twohundred special Johnny Cash modelsthat I helped design. They're black andbeautiful, with mother-of-pearl inlay worksimilar to that on the D45 Martin - andyes (again), that's a commercial. Theprofits will go to help support the CarterFamily Fold in Virginia, which in turn willhelp keep mountain music thriving.” �

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When I was just a youngster playing guitar singing songs forAnyone who'd give a listen….. how did thirty years fly by?My dreams were singing with John DenverFinding Pam my children's motherAnd to own a Martin Dreadnought-45

With the pearl along the binding when the light is right it's blindingAnd the finest woods and workmanship you'll ever ever findOn those Crosby Stills and Nash songsLike the Beatles they each have oneArlo Guthrie Johnny Cash & Steve Millers' shine

Well the years have passed so quickly …. I'm closing in on fiftyI've played on stages round the world ….and here tonightAnd always with a Martin now a whole new chapters' startingCause I finally got my own D-45

The Coin Co Company from St Louis, thought they'd surprise me and just do itThey found out about my dream and so one nightI finished singing for their evening, Jack Thomas was revealingHey Jim you're gonna get your own D-45

You would have seen a big reaction… you woulda seen a great big smileYou would've see some great big tears in my eyesThey had a feelin' I was special…. to help me reach for my potentialIf I die and go to heaven, I'm not ready yet…. no kidding…. But I hope He lets me take my new D -45

It's part what you perceive but so much more that you believeThat keeps you reaching for your dreams (so thank-you Jack) and D-45's

© Jim Salestrom 2004 �

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Sports Time® marketed an assortment ofcollectable officially licensed Beatlescards. The one above is from the Sgt.Pepper/Magical Mystery Tour era,specifically the video footage from thesong Hello Goodbye. Notice that John’splaying a D-28 – the same one that wassubsequently used to write and recordmany of the acoustic cuts on thelegendary White Album! �

Hunt Sidway completed his new acousticpop-rock CD “Balance” recorded withseveral Martins including a DC-16RGTEand a D-28, but most impressive was theshimmering tonality of Hunt’s pride andjoy D-41DF Dan Fogelberg SignatureEdition. What better tribute to DanFogelberg than to make great music withhis namesake guitar. �

Bobby EdwardsRachel Moore sent us some great information and photographs of her father

Robert Moncrief, widely known as Bobby Edwards. Throughout his long career,Bobby toured with just about everyone in Country Music, including the CowboyCopas, Patsy Cline, Loretta Lynn, Conway Twitty, Jimmy Dean, Little JimmyDickens, Lefty Frizell, Sonny James, and the Everly Brothers. (The list goes on!)He was a major songwriting talent as well, having penned the hit ”You’re TheReason” which sold 2 1/2 million records going platinum. He performed at theLouisiana Hayride, on The Dick Clark Show, and he toured and appeared onstage with many members of the Grand Ole Opry. In 1961 he was voted BMI’sArtist of the Year. He loved (and still loves) his Martin guitars; in fact he wrote asong about his D-28 called “This Old Guitar.” (See sidebar.) In his own hand,Bobby relates this true personal story:

“In the year 1958 me and my band were working the club circuit in NewOrleans. We had a car wreck, and it destroyed everything I had pertaining tomusic including my 1955 D-18 Martin guitar. I went to Werleins Music Strore inNew Orleans and asked for a new D-28 Martin. The man in the store told me Iwould have to wait at least two months to get it. I said, “No thanks, I’m leaving forCalifornia shortly, which is too bad; this would be a cash sale.” He said, “Wait aminute, I have two in the back that were ordered but haven’t been paid for.” Theybelonged to Rusty and Doug Kershaw, who were on tour. The man said, “Whenthey get back from their tour, I’ll tell them that I only got one in and will have toorder another one and hope for the best.” So I paid him $450.00 cash for RustyKershaw’s guitar with the case! Whatever happened after that I don’t know. But Ido know I’ve played Rusty’s guitar for 40 years, and I doubt that he ever knew it.

This guitar had to have been the toughest guitar in the world to stand upunder the treatment I gave it. It flew off the top of my car when I was crossingthe desert at 80 miles an hour and didn’t even get a scratch on it. The airlineslost it twice while I was traveling. I lost it one time between Montana andAlabama. Someone found it and mailed it back to me at the Grand Ole Opry (Ihad my name on the strap.) Today it sits on a stand in my den. After 40 years –1958 to 1998 – I ran the strings down on it. I still do a few concerts for charity,but not much. Some day it may be placed in the Country Music Hall of Fame.Who knows? But for now, it belongs to my baby daughter, Rachel Moore. �

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Ray KaminskyCarrying on the tradition of Piedmont and Delta Blues

guitar players, northern Virginia performer Ray Kaminskyrelies on the full, rich sound of his Martin D-45 in liveperformances as well as in the recording studio. Check outhis most recent recording, “Roadhouse Blues,” and checkout that Martin! (Len Jaffe) �

Shane BrownHailing from Dublin, Texas, (home town of golf great Ben

Hogan and country music star Johnny Duncan), Shane Brownmakes his living these days as “The Happy Hippie,” selling aline of denim clothing and performing in the northern Virginiaarea as a singer/songwriter. Shane recently purchased a brandnew D-28 to replace the one stolen from his motel room on areturn trip back home. Even with other guitars at his disposal,he couldn't stand to be without his Martin! (Len Jaffe) �

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Dan SmithThe owner of a D-28 since the late 1960s, Dan Smith has

spent most of the last thirty years as an art director for theNational Geographic Society and the National WildlifeFederation, both based in the Washington, D.C. area. More ofan interpreter of material than a writer, Dan chooses songsalways well suited to his rich baritone. He’s making plans toget out and perform a little bit more, and that old D-28 stillsounds great. (Len Jaffe) �

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Megon McDonoughSinger, songwriter and actress all describe Chicago-

based Megon McDonough’s place in performing. Whethersinging in a nightclub, composing a new song, or portrayingthe late Patsy Cline, Megon has depended on Martin guitarsfor the best in getting her music out. She loves her J-40 bestof all. Don’t miss her if she’s playing anywhere near you!(Len Jaffe) �

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Andy Griffith Bound For the Promise LandAll of the soothing hymns that Andyhas recorded over the decades cometo life on this new collection of greatesthits. Andy's vocals are embellished withangelic harmonies and piano melodieslayered upon Andy’s highly acclaimedD-18AG Signature Edition that gracesthe CD cover. These peaceful gospeltunes are reminiscent of the songs ofpraise that Andy loved as a child. �

Citizen CopeThe Clarence Greenwood RecordingsWith his Martin OM-28V and notebooksof powerful and inspired lyrics, ClarenceGreenwood rises up with his debutrelease on RCA. Backed by groove/rockrhythms with dreamy organaccompaniment, these brilliant acoustic-based songs cover new territory. Justask Carlos Santana, who proudlyappears as a guest musician on this soonto be classic CD. �

Neil Young - Greatest HitsConsidering the title, one might think,“There’s not a CD big enough!” This2004 remastered collection of essentialNeil Young songs covers all theimportant bases – from the tenderacoustic touch of “Helpless” to theraunch guitar of “Hey Hey, My My.” Onthe CD cover, Neil is seated with hisfamed Martin D-45, a tireless sidekick.Available on CD, DVD, or double VinylLP, it’s a must for your collection. �

Sue Foley – ChangeSue Foley’s most recent CD “Change”was recorded live at Hugh’s Room inToronto. The bulk of the songs featureSue’s trademark solo acoustic blues onher Martin D-35, though there areseveral more electric cuts that includethe whole band. People say thatchange is the only thing that stays thesame, but this Texan from Canada hasit all: great looks, great voice, and agreat mastery of the guitar. �

Andy Griffith (with a pickguarded D-18) jams withthe Country Boys on the Andy Griffith Show,1961: with notable musicians (left to right) RolandWhite, Eric White, Clarence White (also with D-18), Billy Ray Latham and Leroy Mack. �

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An accomplished guitarist, songwriter and vocalistwith seven albums to her credit, Sue Foley ownsand plays a lovely Martin D-35. Her next release,tentatively entitled “Absolution,” will reveal herdedication to the roots/blues style of music forwhich she is internationally known. For moreinformation, go to: www.suefoley.com. �

Clarence Greenwood appears on the insert of theCitizen Cope CD at right, with his Martin VintageSeries OM-28V. �

George Wesley When I’m Next To You, I Feel Lucky This newly released disc is filled withenergetic island rhythms, rock andblues riffs, jazz improvs and deeplymeaningful messages. George haspacked this album with soundsgenerated on his Martin AlternativeXMidi and JC-16RGTE. Join George onhis quest for peace by popping it inand letting the good vibes flow! Seemore at www.georgewesley.com. �

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Loudon Wainwright IIISo Damn HappyFor four decades, Loudon has treatedus to his hilarious, clever and profoundreflections of humanity. Recorded withhis trusty D-21 (his favorite Martin forrecording) So Damn Happy covers afull range of topics from aging toimmortalit y. Not uncommon forLoudon, this live CD features guestappearances by daughter Martha andfriend Richard Thompson. �

Peter Finger – Dream DancerThis captivating collection of guitarballads is a clear demonstration ofPeter Finger’s instrumental mastery. Helives up to his legendary status as oneof the world's f inest f ingerst yleguitarists. Recorded primarily on tworare vintage Martins – a 1949 000-28and a 1930 OM-28 – the CD's coverand jacket art depict these well wornand precious instruments Check out:www.peter-finger.com. �

Fruit – BurnThe Australian all-female trio offers thispremier collection of pop hitsguaranteed to convert the uninitiated.Vocal harmonies float sweetly oversuperbly written musical arrangements.Their Martin DC-16RGTE owned bySam (center) certainly penetrates themix. A great deal of hard work andpassion have brought this masterpieceto “fruition,” and there’s much more toexplore at www.fruitmusic.com.au. �

Jimmy Page/Robert Plant • No QuarterWhen you remove John Bonham'sdriving rhythm and cymbal smashingfrom the typically decibel heavy LedZeppelin, you are left with a close andintimate experience that draws you inand keeps you there. Slower acousticversions of t imeless classics aresparingly but effectively revived withPage’s Martin D-28 and an occasionalharmonica. Where others have failed,this one succeeds. �

Jimmy Buffett - License to ChillJimmy Buffett has reason to smile ashis albums continue to delight bothold and newly converted Parrotheads.Joined by Country Music’s biggeststars, Jimmy has loaded this CD withgreat tunes. From Honky Tonkanthems to bar room ballads, hisMartin guitars ring loud and true. Onthe back cover, he gazes out acrossthe water with his HDO Grand OleOpry model over his shoulder. �

Rory Block Teaches The Guitar of Robert Johnson Two Hours $29.95 (Includes Music and Tab)

If you have any aspirations of learning theguitar styles of Robert Johnson, this DVD is for you.Robert Johnson's unearthly singing and intricateMississippi Delta style slide guitar have inspiredinnumerable players in the decades since hisuntimely death in 1938. On this exciting DVDlesson, award-winning contemporary bluesguitarist/singer and Martin signature artist RoryBlock completely demystifies the licks, runs, strums,bass lines, turnarounds and other important guitarelements that combine to make up the uniqueRobert Johnson sound.

Working in open G and D tunings on her“OM” Orchestra Model Martin guitars, Roryprovides a series of informational keys – specificguitar techniques that open doors and unlockinformation to allow you to play any song in RobertJohnson's repertoire.

Rory Block has been involved in the music ofRobert Johnson for most of her life. At a young age,she apprenticed directly with Son House, ReverendGary Davis, Mississippi John Hurt, Skip James andother seminal blues greats, which instilled in Roryan authenticity that few contemporary artists canachieve. Heralded as “a living landmark” and “oneof the greatest living acoustic blues artists,” she hascommitted her career to preserving the Delta bluestradition and bringing it to life for 21st centuryaudiences around the world. �

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Martin guitars and their associated Signature Edition artists areeverywhere on Homespun instructional tapes. If you have aninkling to learn how to play like the very best, here are four in-depth instructional tapes that will get you started on the rightfoot (or hand!) featuring Norman Blake, Roger McGuinn, RoryBlock and the Kingston Trio. �

Mike Longworth’s good friend Don Fisher (left) joinedMartin’s Dick Boak to celebrate the first Mike LongworthD-45 Commemorative Edition guitar to be completed. �

Eric Clapton’s expert guitar technician, Lee Dickson, sampledone of the 000-42ECB Signature Edition prototypes at the2004 Crossroads Festival in Dallas. �

The ever prolific Laurence Juber,armed with his OMC-28BSignature Edition, is set torelease his new CD entit led“One Wing” on Solid AirRecords. It is a collection ofLaurence’s arrangements andinterpretations of selected songsfrom Paul McCartney andWings. Who better to play themthan LJ who was part of the Wings band – in fact, he won aGrammy for the instrumental “Rockestra” on the album BackTo The Egg. Speaking of Grammys, Laurence also broughtone home for his part in “Henry Mancini Pink Guitar.” Hisacoustic version of “Pink Panther” opens the album. �

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Washington, DC, January 28, 2005 - C. F. Martinemployees paid tribute to the members of the armedservices who selflessly defend our country, presentinga Special Edition Veterans’ Guitar to “The President'sOwn” United States Marine Band. U.S. Marine BandDirector Lieutenant Colonel Michael J. Colburnaccepted the guitar on behalf of the bandaccompanied by Captain John Barclay and bandguitarist Gunnery Sergeant Alan Prather. Thepresentation was made by Cindy McAllister (Director,Information Systems and Veterans Guitar TeamChairperson), along with Debra Karlowitch (VicePresident, Human Resources), Gregory Paul (VicePresident, Corporate Operations), and Veterans GuitarTeam members Dick Boak (Director, Artist Relationsand Publicit y), Ed Golden (Custom ShopAdministrator), and Jim Miller (Utility Person), as wellas Tom Dougherty (President, TKL Cases).

A group of Martin employees set out on a missionfive years ago to design an instrument that wouldcelebrate all American veterans. Working withCongressman Patrick Toomey from Pennsylvania’s15th District, who helped secure use of the military'sof f icial emblems, the group created the DVMDreadnought Veterans Special Edition Model.

Distinguishing characteristics of the VeteransMartin guitar include the emblems of the Departmentof the Army, Marine Corps, Navy, Air Force, andCoast Guard that are gracefully displayed below thegold foil C. F. Martin & Co. logo on the black ebonyheadplate.

The Veterans theme is further expanded withmother of pearl inlays of an eagle at the 3rd fret, theword “V E T E R A N S” inscribed from the 5th to 12thfrets, small five-pointed stars at the 15th and 17thfrets, and the National Defense Service ribbon in dyedwoods between the 19th and 20th frets.

This Veterans guitar was delivered in a speciallydesigned United States flag-themed case, created byTKL Products Corporation. The Martin DVM Veterans’Special Edition bears an interior label signed by MartinChairman and CEO C. F. Martin, IV. In addition, a setof two genuine steel dog tags, similar to those issuedto armed forces personnel, accompanies this guitar.The dog tags were individually engraved to read:

A portion of the proceeds from the sale of eachDVM Special Edition guitar has been donated to adisabled veterans’ organization that has asked toremain anonymous. �

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C. F. MARTIN SALUTES AMERICA'S MILITARY WITHVETERANS GUITAR PRESENTATION IN WASHINGTON, DC

Above left to right: U.S. Marine Band Director Lieutenant ColonelMichael J. Colburn, Guitarist/Gunnery Sergeant Alan Prather andCindy McAllister, Director of C. F. Martin Information Systems andVeterans Guitar Team Chairperson.

C. F. MARTIN & CO.AMERICAN VETERAN

DVMSPECIAL EDITIONSERIAL #1021260

Left to right: Captain John Barclay, Ed Golden, Jim Miller, DebraKarlowitch, Cindy McAllister, Gunnery Sergeant Alan Prather, DickBoak, Greg Paul, Tom Dougherty (TKL Cases) and LieutenantColonel Michael J. Colburn.

This exquisite Custom Shop Martin Style 45 OrchestraModel guitar is the second Martin instrument to bearthis intricate inlay pattern executed by David Nichols ofCustom Pearl Inlay Company in Malone, New York.The first guitar was a Style 45 Dreadnought, and like thisOM, it was crafted with Brazilian rosewood, Adirondackspruce and pearl inlaid on every possible border. �

Custom ShopStyle 45

Orchestra ModelSerial #1002965Custom Inlay byDavid Nichols

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Onomichi-City is a quiet city in Hiroshimawhere a string of tiny islands dot their way alongthe Setouchi Ocean. This emotional and beautifulcity is well known for its rich literature. These twogirls travel daily across the ocean by ferry boat totheir high school. While much of Japan commuteson lightning fast bullet trains, it is refreshing toknow that there is still a place where time movesmore gracefully. While awaiting the ferry, the girlswere eating ice cream, watching the boats in theharbor, and having a lot of fun playing music withtheir Backpacker! �

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Backpackers In Japan

Jon Anderson of the legendary band YES hadhis Nylon String Backpacker customized forperformances with a midi pickup system, a violinscroll headstock, and matching scrolls at thebottom of the body and along the bass side of theneck. �

00Pink MuseDeep Body

MartinCustom

Exploring non-traditional lacquer colors, tonewoods, body sizesand depths, this Martin Custom Shop Pink Muse blends mild pinktones over European flamed maple in the format of a deep bodied14-fret 00 Grand Concert acoustic. �

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Celebrating Its First YearIt has been an exciting first year for the Martin

Owners Club. Charter members have received agreat welcome kit as well as mailings to keep them upto date on new products and Company activities.Added mailings included samples of new stringproducts, the Company calendar, and other brandedmaterials. For those renewing or joining in our secondclub year, benefits include an expanded welcome kit,access to the exclusive club website, up-date mailingsand other club exclusive activities. We thank the3,500 charter members and are excited about futureevents and opportunities to meet you! Log on towww.martinguitar.com and follow the the OwnersClub link to renew or join up today! �

2004 2005

Harvey Leach“Melissa Vine”

MartinCustom

Master Inlay Artist Harvey Leach collaborated with Martinon the creation of this intricate and exquisite Custom “MelissaVine” Brazilian rosewood Dreadnought. The fingerboarddesign was originally commissioned by Bob Kochis for his wifeMelissa and has been expanded to include severalcomplementary headplate and body details. �

®