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The $100 Guitar Project
| Label | Bridge Records – 9381A/B |
| Format | 2 x CD, |
| Barcode | 0090404938122 |
| Country | US |
| Released | 2013 |
| Genre | Electronic, Jazz, Rock, Blues, Folk, World, & Country |
| Style | Acid Rock, Alternative Rock, Art Rock, Avant-garde Jazz, Avantgarde, Contemporary Jazz, Classic Rock, Electro, Experimental, Free Improvisation, Free Jazz, Industrial, Folk Rock, Indie Rock |
| 1-1 | – Chris Murphy | Blockhead | |
| 1-2 | – Amy Denio | Deni-Zen Koan | |
| 1-3 | – Greg Anderson | Bale Wagon | |
| 1-4 | – Alex Skolnick | $100 Guitar Blues | |
| 1-5 | – Josh Lopes | Hundo | |
| 1-6 | – Nick Didkovsky | A Fire In God's Path | |
| 1-7 | – Biota | Watch And Watch | |
| 1-8 | – Caroline Feldmeier | A Fond Lover | |
| 1-9 | – David Starobin | Berceuse Bas de Gamme (Cheap Lullaby) | |
| 1-10 | – Taylor Levine | Fish Eye | |
| 1-11 | – Nels Cline | Seared Beard | |
| 1-12 | – Andy Aledort | Hunnerdollas 'O' Lovin' | |
| 1-13 | – Ron Anderson | Chainring Compatibility | |
| 1-14 | – Mark HittWith BCTD | Boogieman | |
| 1-15 | – Rhys Chatham | The Out Of Tune Guitar ($100 Guitar Version) | |
| 1-16 | – Zwerm | 100$ Pedalfest | |
| 1-17 | – Nick Didkovsky | Son Of Lion | |
| 1-18 | – Joe Berger, BCTD | D & B Eurotunnel | |
| 1-19 | – Han-Earl Park | Apophenia: A Atomic Symphony In 10 Movements | |
| 1-20 | – Shawn PersingerIs Prester John | Medley: 100 One-Dollar Guitars / Siciliano From Violin Sonata No. 1 By J.S. Bach (Excerpt) | |
| 1-21 | – Del Rey | Leadbelly's Jalopy | |
| 1-22 | – Marty Carlson& Joe Bouchard | Adjustable Rod | |
| 1-23 | – Mike Lerner | Requiem | |
| 1-24 | – Marco Oppedisano | Red Cent | |
| 1-25 | – Jon Diaz | Harmonic Prayer | |
| 1-26 | – Mike Keneally | Hi Ma | |
| 1-27 | – Mark Solomon | Stethoscope | |
| 1-28 | – Larry Polansky | Duchess Bridge | |
| 1-29 | – Julia A. Miller | 5.2.Onnne | |
| 1-30 | – James Moore | Birds | |
| 1-31 | – Bruce Zeines | The Earth Still Turns While I Am Still On It | |
| 1-32 | – Chuck O'Meara | Until It All Went Terribly Awry | |
| 1-33 | – Karl Evangelista | Escroh | |
| 1-34 | – Bill Brovold | Little Fire | |
| 1-35 | – Teisco Del Rey& Bob Spalding | House Of The Rising Sun | |
| 2-1 | – Colin Marston | “________” | |
| 2-2 | – Fred Frith | Light Erases The Thought | |
| 2-3 | – Thomas Dimuzio | Fog Rolls | |
| 2-4 | – Janet Feder | The Wind That Brought The Fire | |
| 2-5 | – Marco Cappelli | Do Ut Des | |
| 2-6 | – Barry Cleveland | Arab Spring | |
| 2-7 | – Kai Niggemann | When $100 Was Precious | |
| 2-8 | – Roger C. Miller | The Hundred Buck Stopped Here | |
| 2-9 | – Nick Didkovsky | Monkey And Determination | |
| 2-10 | – Jesse Krakow | A Song Like This | |
| 2-11 | – Blancah | ReD | |
| 2-12 | – Nick Didkovsky | Could Have Been An Ankles Tableau | |
| 2-13 | – Steve MacLean | M-Theory | |
| 2-14 | – Jesse Kranzler | Music For The Modern Man Pt. 3 | |
| 2-15 | – Michael Bierylo | Koralate | |
| 2-16 | – Hans Tammen | I Hate Zero Crossings | |
| 2-17 | – David Linaburg | Distance, No Distance | |
| 2-18 | – Nick Didkovsky | I Can Imagine You Dancing To This | |
| 2-19 | – John Shiurba | Down The Drain | |
| 2-20 | – Bruce Eisenbeil | Red Winged Blackbird | |
| 2-21 | – Henry Kaiser | I Forget | |
| 2-22 | – Wiek Hijmans | Wieks | |
| 2-23 | – Ken Field | Sonic Wrubble | |
| 2-24 | – Juan Parra Cancino | Life Is Too Precious... | |
| 2-25 | – Ava Mendoza | Normal Nagual | |
| 2-26 | – Elliott Sharp | Ninety-Nine Ninety-Nine | |
| 2-27 | – Kobe Van Cauwenberghe | Himi | |
| 2-28 | – Keith Rowe | Table | |
| 2-29 | – Raymond T. Kallas | Malchiro (When Blossoms Fall They Look Like They're Dancing) | |
| 2-30 | – Phil Burk | Snow Falls On The Rising Tide | |
| 2-31 | – Nick Didkovsky | Feeble Little Weakling | |
| 2-32 | – Mark Stewart | Hum! Scratch!! Rub!!! | |
| 2-33 | – Tom Marsan | Stairwell Blues | |
| 2-34 | – Matt Wilson | White Byrd |
Engineer – Charlie Post (1-09)
Mixed By – Adam Abeshouse (1-09)
Mixed By – Adam Abeshouse (1-09)
In October of 2010, Nick Didkovsky and Chuck O'Omeara bought a used $100 electric guitar online. They didn't know what it sounded like or if it even worked, but were charmed by it's no-name vibe, as were 63 of their guitar-playing friends, each of whom wrote and recorded a piece on it, before passing it on to the next player.