In News & Announcements
Breast Cancer Awareness 2016
This October, hug your guitar with a pink Axe Hugger®! All velvet Axe Huggers® come in a variety of colors, including pink! Proudly wear your pink one for the month of October, and have other colors to suit your style and mood.
A percentage of Axe Hugger® profits in the month of October will go to the National Breast Cancer Foundation.
In News & Announcements
What Christmas gift do you buy for the guitar player who has every guitar accessory on the market? What gift ideas have you come up with for the saxophone player in your life?
Shopping for the perfect Christmas gift for the discerning taste of the musician in your life can be challenging but this year, Axe Hugger® has the perfect gift for any musician who places his or her musical instrument on a stand. The Axe Hugger® was created from a desire for convenience and a need for safety in the everyday care of musical instruments.
Some guitar stands are made with rubber padding that may contain chlorine – this can oxidize the finish of your guitar. Our solution was to create a protective cover that also transforms the entire look and feel of the guitar stand. Axe Hugger® is the only registered product of its kind on the market. Made from the highest quality materials making it the finest guitar stand cover on the market.
We have many styles and fabrics to choose from (check them out here)!
The Axe Hugger® works with all types of guitars and all types of guitar stands. Whether you play bass guitar, acoustic guitar, or electric guitar; whether you have a Gibson® guitar, Fender® guitar, Taylor® guitar, Guild® guitar, Ibanez® guitar or Les Paul® guitar, Axe Hugger® is the right guitar stand accessory for you. Axe Hugger® fits all guitar stands including the Standard Stand, the Ultimate Stand, and the A Frame stand.
Are you a saxophone player? Axe Hugger® works with saxophone stands too!
Browse our Gallery to see Axe Hugger® in real-life, and then get your Christmas shopping done!
By Tyler Blue (@tylerblue)
80’s glam rock gets a bad rap and much of it deservedly so. If you look past all the superficial glitz, there was plenty of solid song writing to be appreciated. One of the best debut albums from that era was undoubtedly Poison’s Look What the Cat Dragged In. C’mon, how cool is that name? It was 1986 on the wings of the MTV video for “Talk Dirty to Me” when it seemed like glam rock became an overnight sensation. This song was the Trojan horse delivering this brazen, raunchy music into the collective consciousness. When it came on at the roller skating rink, euphoria would flood my entire being. Everything about it was catnip for my young, impressionable ears but nothing more so than C.C. DeVille’s signature guitar riff. This was the perfect example of the gravitational pull of rock when at its most simplistic.
The members of Poison were poster boys for carefree partying and how much fun it was to be a rock star. They all had cool names (could “Rocket” be the drummer’s real last name I wondered), but none more so than C.C. DeVille. In the 80’s, having initials as a first name was a recipe for success. He had spiked white hair, vaudevillian attire, was vertically challenged like me and played flashy BC Rich guitars. In the prehistoric time before the internet, we formulated our own opinions. Ignorance was bliss as it would later be said that, technically speaking, he was one of the worst guitarists out there. All I knew was that his riffs moved me and instigated rumblings in my pre-pubescent libido.
When the video for “I Won’t Forget You” came out, C.C. was elevated to mythical status in my mind. If the “Talk Dirty to Me” lick was meat and potatoes, the soulful, elegant intro to “I Won’t Forget You” was a strawberry soufflé. Soon I was asking my parents for guitar lessons. They rented me an Eddie Van Halen model Kramer – red with the white stripes – and the world was my oyster. Instead of being patient to learn the fundamentals, I immediately demanded that my teacher show me how to play the “Talk Dirty to Me” riff. Sixth fret, eighth fret, slide between the seventh and eighth fret. Other than learning the intro to “Beat It,” that was about as far as I got. I didn’t practice enough and my parents pulled the plug. This remains one of my biggest regrets until today.
My obsession with Poison and C.C. lingered through their amazing sophomore album, Open Up and Say Ahh. I even led a “band” through a lip-syncing performance of “Nothing but a Good Time” for my sixth grade talent show. However, their novelty was diluted by the popularity of Bon Jovi, Motley Crue, Guns ‘n Roses and many more. Before long I would get into Led Zeppelin and start to understand what “real” rock ‘n roll was all about. I have no idea what became of C.C. and it doesn’t even matter. For a couple years there, he was the crème de la crème of six-string gods.
By Tyler Blue (@tylerblue)
The best concerts are those that transcend the realm of music. They fill you with emotion. They trigger memories from the past and create new ones to hold onto long into the future. What Dead and Company is doing right now is unprecedented. They are embodying the role of a tribute band, yet anyone familiar with their source material would be remiss to assign them that title. After years of various incarnations since the passing of Jerry Garcia, a lineup has finally emerged to carry the coveted torch. In Wheatland, CA on the second-to-last stop on their summer tour, Dead & Co. revealed itself in a form akin to the Grateful Dead in its prime.
Any comprehensive conversation about Dead & Co. should include the entire band because this is a symbiotic unit which relies on collective contribution rather than one leader. However, we’re focusing on guitars here which whittles us down from six to three. Bob Weir’s complex, jazzy rhythm work has long been the stuff of lore. However, it’s appreciation used to be reserved for hardcore Deadheads straining their ears to hear him in the mix. In this band, Weir is turned up louder than ever before; every nuance of his intricate playing ringing out across the Toyota Amphitheatre. His ebony D’Angelico EX-DC hollow body was the most captivating of the few guitars he played in Wheatland. The warm, metallic twang carved out a cozy niche within the gritty blues of “Easy Wind” and the languid ooze of “Row Jimmy.”
Oteil Burbridge is the new guy who everyone can agree on. He has already taken a quantum leap from his more staid role in The Allman Brothers Band. This is an example of a musician evolving at a breathtaking clip; sculpting his style and stretching boundaries to achieve the full potential at hand. His Fodera Signature Monarch six string bass is the ideal vehicle for such innovation. His nimble runs up the instrument’s massive neck sent the groove simmering over the brim on numerous occasions. Burbridge is always dancing while he plays which comes through in his loose, whimsical sound. He saved his best for last, unleashing a rapid-fire sequence of bombs during the climax of the fan favorite, “Morning Dew.” It was a jaw-dropping bolt of lightning hurled like a mohawked Zeus into the center of a swirling cyclone.
John Mayer is the man filling the biggest shoes and doing so with grace and unassuming confidence. If you want to hit like Teddy Williams in the big leagues, you need a bat of almost mythical construction. Mayer has found it with his Paul Reed Smith Private Stock Super Eagle guitar. It appeared that he played three different versions of this axe in Wheatland, each with a different finish. Two of these were exotic in color, like creatures from “Avatar.” These are instruments of stunning beauty, world-class tonal clarity and limitless versatility. Very few artists are capable of executing the sort of masterful, improvisational performance Mayer authored over the course of three-plus hours. The evening reached its zenith as he blazed a trail through the ultra-classic pairing of “China Cat Sunflower” segued into “I Know You Rider;” Searing leads balanced with jagged rhythms. It’s one thing to be a technician on stage as he is, but far more significant to be a generator of energy transcending the physical plane.
Meet our new friend Gene, an awesome guy and a big guitar enthusiast and teacher. In his video about guitar maintenance, Gene talks about taking care of the finish of your guitar, especially from the damaging effects of your guitar stand.
Gene has some home-made remedies for this challenging problem. We personally recommend buying an Axe Hugger® to protect your guitar and feel it is the ultimate guitar stand accessory!
1973 D. Irwin, Custom “Wolf”
At the beginning of the Wake of the Flood sessions Jerry Garcia was presented with a custom guitar that would become his primary axe for some time to come. Known as the “Wolf”, this axe, made of purple-heart & curly maple, was handcrafted by luthier, Doug Irwin.
One day in 1972, Garcia was in Rick Turner’s Brady Street store when he spied the axe hanging in the corner and bought it on the spot for $850. The unique construction of the infamous Wolf would shape Jerry’s sound for the 1973 tour and play an important role on subsequent recordings.
Here is a link to the full episode of our sponsored series, Guitar Yarn, featuring Steel Pulse‘s David A. Elecciri Jr. David is an amazing artist with an amazing story. Thank you to All Access Backstage, Hungry for Music, and Crux Entertainment, Inc.
David Elecciri Jr., guitarist for legendary Steel Pulse, Yarns with Teddy Cannon about his gift of music, how he returns that gift and the lineage he continues to pass on. All Access Backstage Hungry for Music Crux Entertainment, Inc.
Axe Hugger® and Guitar Yarn are pleased to announce a special partnership with Hungry for Music. Future plans are a Hungry for Music benefit in partnership with All Access Music, and more episodes of Guitar Yarn. Stay tuned for more details!