Chords for Froggy Bottom Model K Demo by Scott Ainslie and Peghead Nation

_ _ [G] _ _ _ [C] _ _ [Am] _
_ _ [Cm] _ _ [C] _ _ _ [Ab] _
_ [C] _ _ _ _ [Gm] _ _ [C] _
_ _ _ _ _ _ _ [B]
I'm Scott Ainsley.
I'm here with the Froggy Bottom Guitar, and I'm in Open C tuning.
This is a tuning I learned from a man named Emmett Murray, who was recorded by the State
Folklorist for Florida, a man named Dwight Devane, in 1980 on the shores of Lake Okeechobee.
He played a lot of blues in this tuning.
[C] It's a C, G, C, G, C, with an E on the top.
_ And it's lent itself to a lot of interesting songs and instrumental pieces.
Mostly I'm a singer. _ _
_ This guitar, this particular guitar, is a Froggy Bottom Model K.
It's a red Adirondack spruce top, and recovered [E] _
Brazilian rosewood.
This is stump-cut Brazilian from trees that we think were harvested in the _ 1970s, and
the stump dug up in the 90s and rendered into guitar sets.
So _ this is part of the Froggy Bottom stash.
It's a lovely guitar.
I had the great pleasure of watching Michael put three or four hundred guitars together
over the last 15 years as we've become the best of friends.
He kept looking up from the wood shavings and saying, you know, there's going to be a test.
And I said, Michael, what?
He said, we should build a guitar together someday.
And I said, Michael, I'm a bad house carpenter.
You don't want me anywhere near these things.
And he said, no, we could do it.
And so about a year and a half ago, we set aside some time and endeavored to make this
guitar in Michael's new shop in Vermont.
And he had a guitar going for a friend, and I was building next to him.
So we had two benches going.
And he'd glue a piece of wood on his guitar, and _ they'd take him 15 minutes.
And two hours later, I would say, I think I've got this.
And we would move on.
It was a, I'm sure for him, it was a painful process to watch.
But I learned a tremendous amount, not so much about building guitars, because I was
literally just following him step by step _ and why guitars are built the way they are.
But I learned about the precision and the sort of emotional cost of putting an instrument
together that you care about with wood that's irreplaceable.
It was a remarkable journey.
And I've had the best time opening this guitar up and playing [C] it. _ _ _ _
It's a 25-inch scale.
I'm not a real numbers guy, but it's a very, very effective guitar for me.
It does what I hoped the guitar would do.
And like most of Michael's guitars, it has tremendous balance across the strings.
So the notes tend to decay altogether when you strum a chord. _ _ _ _ _ _ _
_ _ _ Instead of one string just roaring through, you've [Eb] got a lot of balance
across the strings.
And that's something that I've always really loved about [C] Michael's instruments. _
_ _ _ [Gb] I have a Model G, a froggy bottom jumbo guitar, which is 17 inches across here,
a tight waist, and a fairly shallow guitar, not as deep as a dreadnought at all.
And it's a [Eb] wonderfully powerful guitar.
And it has 150-year-old German spruce on the top.
So it's a very stiff and [Gb] dependable guitar.
[Db] _ But the back and sides are koa, which lends a certain color to it.
And I wanted a little smaller guitar than that one.
And I played one of Michael's Model Ks with this fancy Brazilian rosewood on it.
I love the beauty of the wood.
Don't get me wrong.
But I'm not married to the cosmetic aspect of the guitar.
It's a tool for me, and it needs to work.
And the sound that came out of these was sort of glassy on the top.
It's got a lovely high end.
And a warmth in the bottom that the Brazilian, I am told,
tends to lend to guitars.
So it's got a really nice mix of stuff.
So this guitar is too new to have made it onto a recording yet,
although there's some YouTube videos of it out there.
But it will be all over the next record.
I'm having a ball waking [Eb] this thing up.
You know, the trees are dead when they're cut down.
That's the end of them.
But the wood is not.
And it responds to being played.
It responds to changes [C] in humidity. _ _
And it responds to what we ask it to do. _ _
_ So this is a version of In the Bleak Midwinter.
_ _ _ _ _ [G] _ _ [C] _
_ _ [D] _ _ _ _ [G] _ _
_ _ _ _ _ [C] _ _ _
_ _ [G] _ _ _ [C] _ _ [D] _
_ _ [G] _ _ [C] _ _ _ _
_ _ _ _ _ _ _ [G] _
_ _ [C] _ _ _ [D] _ _ _
[D] _ _ _ _ _ [G] _ _ [C] _
_ _ _ _ _ [G] _ _ [C] _
_ _ [D] _ _ [G] _ _ [C] _ _
_ _ _ _ _ _ _ _
_ _ [G] _ _ _ _ _ [C] _
_ _ _ _ _ _ [G] _ _
_ _ [C] _ _ _ _ _ [G] _
_ _ [C] _ _ _ _ _ _
_ _ [Eb] _ _ _ _ _ [D] _
_ _ [G] _ _ _ [C] _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ [G] _ _ _
_ [C] _ _ _ [Ab] _ _ [Cm] _ _
[C] _ _ [Am] _ [Ab] _ _ [C] _ _ _
[Eb] _ _ [C] _ _ _ _ _ _