The Texas Troubadour Remembered: Martin D-35 Ernest Tubb Commemorative Edition (2003)
An extraordinary tribute to one of country music’s defining pioneers, combining distinctive Texas-inspired ornamentation, an unusual blend of premium tonewoods and the enduring craftsmanship of C. F. Martin & Co.
A Guitar Worthy of a Country Music Legend
The word legendary hardly seems sufficient to describe Ernest Tubb. Across a career spanning more than five decades, Tubb helped shape the sound and identity of modern country music. His unmistakable voice, straightforward musical approach and commitment to the honky-tonk tradition made him one of the genre’s most influential performers. His success extended beyond the recording studio to the concert stage, radio and the promotion of generations of country artists who followed in his footsteps.
Known affectionately as the Texas Troubadour, Tubb embodied a particular strand of country music: direct, heartfelt and rooted in the working lives, disappointments and aspirations of ordinary people. His influence was not confined to the songs he recorded. Through his band, his celebrated record shop and his Midnight Jamboree radio programme, he became an important figure in the wider country music community.
In recognition of this remarkable legacy, C. F. Martin & Co. created the D-35 Ernest Tubb Commemorative Edition, a limited-production instrument that brings together Martin’s established acoustic design, a distinctive selection of tonewoods and decorative details drawn from Tubb’s Texas identity.
Produced in a numbered edition of just 90 instruments, the model is much more than a standard D-35 carrying a famous name. Its unusual three-piece back, Italian Alpine spruce top, pre-CITES Brazilian rosewood centre wedge, elaborate pearl inlays and longhorn cattle-skull headstock decoration give it a personality entirely its own. It is both a serious acoustic guitar and a carefully conceived piece of country music history.
Ernest Tubb: The Making of the Texas Troubadour
The influence of Jimmie Rodgers
Ernest Dale Tubb was born in Texas on 9 February 1914. His musical ambitions took shape during the 1920s, when he became fascinated by the recordings of Jimmie Rodgers, the singer and guitarist whose blues-inflected country style helped establish the foundations of what would become modern country music.
Tubb hoped to emulate Rodgers, studying his singing and learning guitar as a teenager. He began working in radio in San Antonio, gaining valuable experience as a performer while developing a musical identity of his own.
Rodgers died in 1933, but his influence on Tubb remained profound. Tubb eventually contacted Rodgers’ widow, Carrie, who recognised his talent and helped him secure a recording opportunity. His first recording session followed in 1936. She also lent him Rodgers’ custom Martin 000-45, an instrument Tubb reportedly used for nearly four decades.
That connection between performer, mentor and instrument is particularly fitting when considering the commemorative Martin that would bear Tubb’s name many years later. Martin guitars were not simply objects associated with his career; they formed part of the story of his musical development.
“Walking the Floor Over You” changes everything
Tubb spent much of the late 1930s refining his approach, gradually moving away from the more polished singing styles of the period towards a direct, emotionally immediate sound. His breakthrough came in 1941 with “Walking the Floor Over You.”
The song became his signature recording and a landmark in the development of honky-tonk country. Its insistent rhythm, uncluttered arrangement and portrayal of romantic distress helped establish a template that countless country performers would later adopt. It was also a major commercial success, commonly credited with selling more than a million copies.
The record’s importance went beyond its sales. Tubb demonstrated that country music could embrace a more modern, amplified and rhythmically forceful sound without abandoning its emotional honesty. The result was a style that suited dance halls, roadside venues and increasingly sophisticated touring shows.
For Martin, whose instruments had long been associated with influential singers and songwriters, Tubb’s success made him an especially appropriate figure to honour with a dedicated commemorative model.
The Texas Troubadours and the Grand Ole Opry
Tubb moved to Nashville and became a member of the Grand Ole Opry, one of country music’s most important institutions. In 1944, “Soldier’s Last Letter” became his first No. 1 country hit, further establishing his place among the genre’s leading performers.
He also began fronting his own band, the Texas Troubadours. The name would become inseparable from his public identity, reflecting both his Texas roots and his growing national reputation. His performances brought a distinctive combination of honky-tonk rhythm, clear vocal delivery and accessible storytelling to audiences across the United States.
Tubb’s success continued through the 1940s. Songs including “It’s Been So Long Darling,” “Rainbow at Midnight” and “Slippin’ Around” became important recordings in his catalogue. “Blue Christmas” also belongs to this period of his career, predating its later association with Elvis Presley.
His commercial success was matched by an expanding influence on the country music business. In 1947, Tubb opened the Ernest Tubb Record Shop in Nashville, creating a specialist destination for country records and musicians. That same year, he launched the Midnight Jamboree, a radio programme broadcast after the Grand Ole Opry. It became a showcase for established performers and emerging talent alike.
Tubb also helped bring country music to prestigious venues beyond its traditional southern strongholds, including a landmark country music show at Carnegie Hall in New York. These achievements illustrate why his contribution is best understood not simply through a list of hit records, but through the institutions and opportunities he helped create.
A career sustained by dedication
Tubb continued recording and touring through the 1950s, despite persistent health problems. His commitment to live performance was extraordinary, extending to a tour of Korea during the Korean War to entertain American service personnel.
Although his chart success became less dominant during the 1960s and 1970s, he remained a familiar and respected presence in country music. His recordings continued to reach new listeners, while the Midnight Jamboree maintained its role in the culture of Nashville.
In 1965, Tubb was inducted into the Country Music Hall of Fame as its sixth member, an honour recognising his significance to the genre. He retired in 1982 and died on 6 September 1984, aged 70.
His legacy, however, never depended solely on nostalgia. Tubb helped define the sound of honky-tonk, demonstrated the commercial power of country music and supported the wider community that sustained it. His influence can be heard in the directness of countless country performances that followed.
Among his best-known recordings, “Walking the Floor Over You” remains the essential starting point. “Soldier’s Last Letter,” “It’s Been So Long Darling,” “Rainbow at Midnight,” “Drivin’ Nails in My Coffin,” “Thanks a Lot” and “Waltz Across Texas” further illustrate the range and longevity of his catalogue. Together, these songs tell the story of an artist whose career bridged country music’s early recording era and its emergence as a major American popular genre.
The Martin D-35 Ernest Tubb Commemorative Edition
The D-35 as a starting point
Introduced by Martin in 1965, the D-35 became known for its distinctive three-piece back, originally associated with the practical use of narrower rosewood stock. The design also acquired a tonal reputation of its own, combining the familiar power and projection of a dreadnought with a construction that was visually different from the conventional two-piece back.
The Ernest Tubb Commemorative Edition takes that defining feature and makes it central to the instrument’s identity. Its back comprises a rare, pre-CITES-certified Brazilian rosewood centre wedge, flanked by Indian rosewood wings, with bookmatched Indian rosewood sides completing the body.
The result is a particularly unusual interpretation of the D-35. Brazilian rosewood occupies the visual centre of the back, while Indian rosewood provides the surrounding framework. The contrasting woods make the three-piece arrangement a prominent part of the guitar’s appearance rather than a detail that is noticed only on closer inspection.
The model combines this distinctive back with a rare Italian Alpine spruce soundboard and an elaborate suite of Texas-inspired appointments. The overall effect is unmistakably commemorative, yet the familiar dreadnought outline keeps the instrument grounded in Martin’s established acoustic tradition.
Italian Alpine spruce: clarity and dynamic expression
The soundboard is crafted from Italian Alpine spruce, a tonewood prized for its combination of visual refinement, responsiveness and dynamic range. Carefully selected Alpine spruce can offer an attractive balance of clarity, sensitivity and harmonic complexity, making it well suited to an instrument intended to deliver both strong projection and nuanced musical expression.
In a dreadnought, the top must respond to a wide range of playing demands. It needs to accommodate a firm strumming attack while retaining definition when the player moves to lighter accompaniment or more delicate passages. The choice of Alpine spruce gives this model a distinctive element within the Martin dreadnought family.
The top is supported by unscalloped Sitka spruce braces measuring 1/4 inch. This bracing specification is an important part of the guitar’s construction, complementing the selected soundboard and contributing to the way the top is supported and responds under string tension.
The precise voice of any individual instrument depends on more than its listed materials. The stiffness and density of the particular top, the final brace shaping, construction tolerances, setup and subsequent ageing all influence the result. Nevertheless, the combination of Italian Alpine spruce and the specified bracing makes this a particularly interesting model for players and collectors who appreciate the relationship between material selection and acoustic design.
Brazilian and Indian rosewood: an unusual three-piece back
The back is arguably the defining feature of the instrument’s wood selection.
At its centre sits a wedge of pre-CITES-certified Brazilian rosewood, bordered by Indian rosewood wings. The sides are also made from bookmatched Indian rosewood, creating a coordinated body while reserving the Brazilian material for the most visually prominent part of the back.
Brazilian rosewood has long held a special position in the history of fine acoustic guitars. Its complex visual figure, often with contrasting dark lines and warm brown or reddish tones, has made it particularly desirable. Instrument makers also value its acoustic characteristics, although the sound of a finished guitar cannot be predicted from species alone.
The pre-CITES status of the Brazilian rosewood is relevant to the instrument’s provenance. CITES—the Convention on International Trade in Endangered Species of Wild Fauna and Flora—regulates international trade in listed species and their products. Documentation, the date and circumstances of acquisition, and the applicable regulations can all matter when a guitar containing Brazilian rosewood changes hands internationally.
For collectors, the presence of documented pre-CITES material is therefore more than a descriptive detail. It is part of the instrument’s historical and legal context. Any present-day transaction or export should still be assessed against current requirements rather than assuming that the phrase “pre-CITES” automatically removes all restrictions.
The combination of Brazilian rosewood at the centre and Indian rosewood around it also makes the construction visually distinctive. It gives the D-35’s signature three-piece back a more elaborate and commemorative character while preserving the recognisable design that has defined the model for decades.
Neck, fingerboard and playing dimensions
The neck is constructed from solid mahogany and shaped to Martin’s low-profile specification. A diamond volute is incorporated at the rear of the headstock transition, while the headplate is made from Brazilian rosewood.
The fingerboard is black African ebony, specified at 1 11/16 inches wide at the nut. Ebony provides a dense, hard-wearing playing surface and a strong visual contrast with the lighter pearl ornamentation.
The low-profile neck offers a more contemporary-feeling alternative to some of the fuller neck shapes found on older instruments. As with all neck profiles, comfort is subjective, but this specification gives the guitar a familiar Martin playing feel rather than making it solely a display piece.
The model’s decoration is integrated into the fingerboard itself, with green pearl Style 42-inspired inlays modified to include unmistakably Texan imagery. The Texas silhouette at the fifth fret and Lone Star at the ninth fret are particularly effective: recognisable without overwhelming the playing surface.
Between the eighteenth and twentieth frets, Ernest Tubb’s signature is inlaid in mother of pearl. This personal detail establishes the commemorative identity of the instrument while maintaining the elegance of Martin’s traditional fingerboard ornamentation.
Texas character in every detail
The most immediately striking feature of the D-35 Ernest Tubb Commemorative Edition is its extensive decoration. Rather than relying on a simple signature or discreet plaque, Martin developed a coherent visual language that draws on the imagery of Texas and the stage heritage of its honouree.
The longhorn headstock inlay
The headstock carries the familiar “C. F. Martin” decal above a distinctive longhorn cattle-skull inlay executed in bone and mother of pearl. It is an unusually characterful detail for a Martin dreadnought and one of the model’s defining visual signatures.
The longhorn motif is an instantly recognisable reference to Texas. Its placement on the headstock gives the guitar a strong identity at the very point where the player and audience first encounter the instrument. The use of contrasting natural materials allows the image to stand out without relying on bright colour or oversized decoration.
The headstock also carries gold Waverly tuners fitted with butterbean knobs. Their traditional styling complements the instrument’s vintage-inspired character, while the Martin stamp on the back of the headstock provides an additional maker’s detail.
Green pearl and the Lone Star State
The black ebony fingerboard is decorated with select green pearl Style 42 inlays, modified specifically for the commemorative model. At the fifth fret, the outline of Texas replaces a conventional ornamental motif; at the ninth fret, a Texas Lone Star reinforces the theme.
The green pearl is echoed by green mosaic back strips, connecting the fingerboard decoration with the rear of the instrument. This continuity is a thoughtful design decision: the Texas identity is not limited to a single conspicuous image but is carried through several parts of the guitar.
Tortoise-coloured binding and carefully mitered white-and-black inlay accent the headstock, neck and back. Similar detailing appears at the endpiece and heelcap, bringing consistency to the ornamentation.
The white bridge pins are topped with tortoise-coloured inlays, another small detail that contributes to the model’s carefully coordinated appearance.
Rope purfling, Paua shell and vintage finish
The top is bordered by distinctive brown-and-white wood half-herringbone purfling, described as a rope-like motif, together with tortoise-coloured binding. On the back, white-and-black purfling is paired with matching tortoise-coloured binding.
A Style 45 rosette with blue Paua shell inlay surrounds the soundhole, introducing a subtle flash of iridescence that contrasts with the warmer colours of the spruce and rosewood. The rosette is one of the most refined elements of the specification, bringing a level of ornament traditionally associated with Martin’s more elaborately appointed instruments.
A polished, bevelled tortoise-coloured pickguard reinforces the vintage aesthetic. The top is finished with vintage toner, lending the spruce a warmer appearance, and the entire instrument receives a polished gloss lacquer finish.
Taken together, these details produce a guitar that is undeniably ornate but not arbitrary in its decoration. The longhorn, Texas outline, Lone Star, green pearl and rope-like purfling all contribute to a single design concept: a Martin dreadnought that celebrates a performer whose identity was inseparable from Texas.
Built for the stage
Although the guitar’s ornamentation makes it an appealing collector’s instrument, the commemorative model was also designed with performance in mind.
It was supplied with factory-installed Gold+Natural II electronics, allowing the acoustic guitar to be connected to amplification for live performance. This is a fitting inclusion for a tribute to an artist whose career was built on touring, radio broadcasts and appearances before large audiences.
The specification also included a special leatherette-covered Geib-style hardshell case. A 1935-style sunburst top could be ordered as an additional-cost option, offering buyers a further vintage-inspired appearance.
The inclusion of electronics is significant because it distinguishes the instrument from a purely historical replica. Martin took the familiar dreadnought format and equipped it for contemporary stage use, while using materials and decoration to recall Tubb’s era and legacy.
A strictly limited edition of 90 instruments
The D-35 Ernest Tubb Commemorative Edition was limited to 90 guitars, a number associated with the ninetieth anniversary of Tubb’s birth. Each instrument was to be numbered sequentially within the edition.
Every guitar was also specified to carry a special interior label signed by Ernest Tubb’s nephew and songwriting collaborator, Talmadge Tubb, together with Martin chairman C. F. Martin IV. These signatures provide a further link between the instrument, the Tubb family and the company responsible for its manufacture.
The small edition size, unusual wood combination and extensive custom ornamentation distinguish this model from a standard production D-35. Its interest for collectors rests on several intersecting qualities: the rarity of the edition, the connection to an influential country performer, the use of Brazilian rosewood and the extent to which the design was tailored to its subject.
As with any limited-edition instrument, a particular guitar’s individual number, originality, condition, documentation, case and provenance remain important when assessing its place in the market. The edition limit establishes scarcity, but it does not by itself determine value.
The importance of the D-35 Ernest Tubb today
The Ernest Tubb Commemorative Edition occupies an appealing position between musical instrument and historical tribute. It retains the practical identity of a Martin dreadnought while departing considerably from the understated appointments of a conventional D-35.
Its Italian Alpine spruce top and rosewood body make it interesting from a construction standpoint. Its Brazilian rosewood centre wedge gives the three-piece back unusual visual emphasis. Its green pearl fretboard, Texas and Lone Star inlays, longhorn headstock motif and coordinated tortoise-coloured appointments make the guitar immediately identifiable as a special model.
Yet the most meaningful aspect of the instrument is the story behind those details. Tubb was not simply a country singer whose name could be attached to a limited edition. He was a performer who helped define honky-tonk, a recording artist whose breakthrough changed the direction of his career, and a broadcaster and entrepreneur who helped sustain the country music community.
His relationship with Martin guitars also lends the commemorative model a particular resonance. The instrument he borrowed from Carrie Rodgers connected him to Jimmie Rodgers, one of his earliest inspirations. Decades later, Martin’s own tribute connected the company’s craftsmanship to Tubb’s enduring place in country music history.
For collectors, the D-35 Ernest Tubb Commemorative Edition offers a combination of limited production, distinctive materials, elaborate workmanship and a clear cultural association. For players, it represents a performance-oriented dreadnought with a specification that is far removed from the ordinary. For admirers of Ernest Tubb, it is a tangible expression of the Texas Troubadour’s identity.
The Texas Troubadour remembered
Ernest Tubb’s legacy is best understood through the music itself. “Walking the Floor Over You” remains the defining recording, while “Soldier’s Last Letter,” “It’s Been So Long Darling,” “Rainbow at Midnight” and the many songs that followed reveal the breadth of his influence. His contribution also lives on through the Texas Troubadours, the Ernest Tubb Record Shop and the Midnight Jamboree, which helped connect generations of country musicians.
The Martin D-35 Ernest Tubb Commemorative Edition brings those strands together in a single instrument. Its three-piece rosewood back recalls the D-35 tradition; its Italian Alpine spruce top and performance electronics give it practical musical credentials; and its Texas-inspired ornamentation makes its dedication unmistakable.
With only 90 examples designated for production, it is a distinctive chapter in Martin’s commemorative history. More importantly, it honours an artist whose influence reached well beyond his own recordings.
The Texas Troubadour may be gone, but his music—and the spirit of the honky-tonk tradition he helped establish—continues to resonate. In this carefully appointed Martin dreadnought, his name is preserved not merely as an inscription, but as the inspiration for an instrument with its own unmistakable character.
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