George Cunningham has occupied the electric and acoustic chairs for critically-heralded Cincinnati bands the graveblankets, Warsaw falcons, pike 27 and gypsy jazz aficianados the faux frenchman. Now, like bill wyman, joe perry, ace frehley, wendy and lisa, and bill wyman again before him, cunningham steps shyly from the background to the glowing, blinding, unforgiving, glaringly uncomfortable spotlight with his first solo opus, the eclectic, nearly-all-instrumental STUMBLINGHAM. Produced, co-written, coddled and tolerated by longtime collaborator and colleague chris arduser (the bears, psychodots, graveblankets) STUMBLINGHAM is a collection of fourteen semi-contemporary instrumental pop songs that integrate surf, latin, celtic, indeterminate middle eastern music, solo acoustic fingerstyle guitar, and 30's jazz and cartoon music in a somehow-sinuous way. Go figure. Rather than subjecting listeners to endlessly spewed figures of guitar notage, STUMBLINGHAM focuses on the fourteen cunningham and/or arduser original compostions, some presented in hi-fi and some in lo-fi. ^#^cunningham: 'it's with 1950's, 60's and 70's instrumental pop records by people like booker t. and the mg's, duane eddy, dennis coffey, link wray and buck owens' buckaroos that we've STUMBLINGHAM,' adding, 'i decided that making this record would be a good idea when i realized, at a certain point, mariah carey had managed to ruin all vocal music for me.'