The OAWF is now on a break. It will return in one month. Stay tuned. - KW
Lizards by Phish & Feels So Good by Chuck Mangione with a Bonus Track. Recorded at Lucky Joe’s in Ft. Collins, Colorado on 10/15/97 by my old buddy Court Sheffield on his marantz high-end cassette deck. I was able to retrieve this track by way of Scott Mckenzi. Scott surprised me with a hard drive containing a MASSIVE amount of my live shows dating back to ‘94. A lot of the stuff is audience, microphone recording, which is an interesting perspective. This recording is straight off of my powered mixer. I'm not positive, but there might be a slight bit of tape drag involved but...maybe not. Thanks to Court Sheffield for recording the show and to Scott Mckenzi for the MASSIVE amount of time he spent compiling this hard drive. Thanks to Phish and Chuck Mangione for writing songs that go great together.
FREE BONUS...weeeeeee. Red Rocks summer of ‘01. First time I played on stage with Bob Weir. Audience recording of Birdsong. I was freeking out...on the inside. Please enjoy.
Credits: Lizards, Phish. Written by: Ernest (Trey) Anastasio. © Who Is She Music, Inc (BMI)
Credits: Feels So Good, Chuck Mangione. Written by: Charles (Chuck) F Mangione. © Gates Music, Inc (BMI)
127 on the 808 was recorded at Maymont Park on May 13th, 2010. It is intended to be a dance song. One you dance to. Naked. On a golf course. In the middle of the night. Way back on the other side of the course away from the club house where no one can hear your subwoofers or see your gyrating flesh as you dance your improvised, interpretive dance that tells a story with different characters, plot lines, tragedies, and ultimately closes with a happy ending. Not the dirty kind of Nevada brothel/massage parlor happy ending, but the one where the good guy gets the girl and the bad guy goes to jail and the world is transformed into a bright beautiful dream with flowers, water falls, bubbles, and cloud beds. Please Enjoy
Dogs with a Bonus Free Track, Celebrate Your Youth Featuring The TRANSMITTERS.
Fredericksburg Virginia's premier reggae band. Mark D on drums, John Buck on bass, Larry Hinkle on guitar, Moe Marsh on percussion, and the Fredvegus music scene's M.V.P. Jay Starling on keyboards. A few years back, we got together for a set at The Fairgrounds to benefit the SPCA. Later that summer I brought them to Kansas for a set a Wakarusa. We were lucky to play 60 out of our 90 minute set due to an incredible storm that just about shut the place down.
This week's tunes were recorded at Maymount Park in Richmond, Virginia earlier this spring. Dogs was of course written for Earl and Sheeba, our trusty companions/security guards. They rode around with us in variety of motor homes, from gig to gig. Sheeba retired in 2002 and went to heaven in 2003. Earl carried on without her until late December of 2006. Like the song says, they are immortal so their memories will live on forever. Dogs appears on the "Home" record as well as the “Sight” DVD, which features video footage of the pair.
The bonus track, Celebrate Your Youth, is different from the other 30 times I've released this track. This has a bit of a ska feel to it. I wanted to utilize the punk influence of Mark D and Larry Hinkle with a one of a kind, bad brains closing riff. We practiced this riff for the Wakarusa set, but we got rained out before we got to play it. This was like bringing closure to all of that rehearsing we put in for that fest. Please enjoy
Free Free Free. K.lovedub and the Sunn. New New New. Brand Spankin New.
Recorded live in my basement June 8th, 2010. Scott Sunn on the computer and me on bass, mallet cat, synthe, as well as live sample flying. Samples of Bill Murray borrowed from the movie, Caddyshack. Chevy Chase barely makes an appearance. Just a brief sample of the late electronica experiment in its infantile stage. Please enjoy.
W.orD.S. Williams (Bass), Droll (Guitar), and Sipe (Drums). Newness.
This song appears on the LIVE record featuring Keith Moseley on bass. This version has me on bass and is the final installment of the W.orD.S. one time show that I will be releasing. This is an instrumental song that goes many places. Rock, soca, euphoria (which was interrupted by my thank yous and goodbyes... Damn me) and ends in a fit of rock madness. Hopefully we can do another show together and I will then hopefully obtain another batch of tunes to share with you. Please enjoy.
Continuing on with the W.orD.S. Williams (bass), Droll (guitar), and Sipe (drums). Recorded 3/5/10 at the Orange Peel in Asheville, NC. Birdsong is one of my favorite Dead songs to play and listen to. It appears on my stage record. It was also in the first 3 song set that I played with Bob Weir at Red Rocks in 2001. That tape is mixed in with a million other tapes in my music room. I'm hoping to one day unearth that recording and share that version with you as well. This version takes on an exploratory jazz feel. It contains a loose, but rockin’ version of the other one in the middle of it. The other one also appears on the DVD that accompanies the double LIVE record. There, it lives in the middle of the song Gallivanting. It’s a must see with Keith Moseley on bass. This version of the two songs has a bit of an open air about it. I like air. Hopefully you will too. Please enjoy.
W. or D.S. (Williams, bass. Droll, guitar. Sipe, drums). Recorded March 2010 at the Orange Peel in Asheville, North Carolina.
People Watching appears on the “dream” record as well as the “sight” dvd. It also appears on my YouTube channel with Keith Moseley on bass recorded in ‘07 at the Georgia Theater. Jeff Sipe plays on the studio version (dream) along with Bela Fleck on banjo and Victor Wooten on bass. This version has me on my hofner bass in a 3-piece setting. It contains build-ups and breakdowns all during the improvisational parts. Gibb and I play some unique, unrehearsed musical patterns that could not easily be repeated unless of course we wrote down the notes as we listened to this version. But that's no fun. We'd rather just make it up as go along.
I discovered the actual sport of people watching in my late teens at those good ole' Grateful Dead shows. There were always lots of people to watch. Later on, I began watching people from stage. That's where this song came from. Please enjoy.
W.or D.S., similar to the way C.H.iP.s stands for California Highway Patrol, stands for Williams, Droll, and Sipe. I haven’t checked to see if there is another band named W.or D.S, the way I didn't check to see if there was another band named The WMDs (Which stands for Williams, Moseley, Droll and Sipe. Yes Jeff got the little "s" which was only for the pronunciation). If there is another band named W.or D.S. I bet they don't spell it W.or D.S. At least Jeff gets a capitol "S". I'm speaking of course of Jeff Sipe on drums. The world’s premier drummer. He's the best in the world. Gibb Droll is on guitar. The world’s coolest guitar vessel. He levitates as he channels. And lil ole me on bass. A blatant Jaco Pastorious wanna be poser. The 3 of us did a second set together at the Orange Peel in Asheville, North Carolina on 3/5/10. We have done probably upwards of 80 shows together since the spring of '07, but with the amazing in the pocket bass playing of Keith Moseley. This is our first time playing as a 3 piece. It’s partly because of Keith that I play bass. About a decade ago Kristen, Keith's wife, was pregnant with their first daughter. The tour was routed to end a week or two before her due date. I was slated to open on that tour. Just in case Keith had to jet away to attend an early birth, I learned 20 String Cheese Incident songs on the bass so I could fill in if heaven forbid the situation called for it. Fortunately, Keith finished the tour and I started integrating the bass into my set. The past year, I've been slightly obsessed with the fretless bass. I've been waiting to try out this particular 3 piece since this obsession hit. We know the songs and arrangements from the touring we've done together, only they take on a different feel with me on bass. I hope we get to do this again but in case we don't, I'm proud to release 8 songs over the next 7 weeks from that special set. Starting with a twofer of Ultimate and Best Feeling. They both have a similar chord progression. I notice that when I play Ultimate, people seem to get excited at the opening hits, but then look confused when I go into the verse. I'm thinking (since they sound similar) people think it’s Best Feeling. So, I strung them together in the same track. Ultimate appears on the Odd record and Best Feeling appears on Buzz, Breathe, and Sight. These versions are different from those. Of course. Please enjoy.
Good old Grateful Dead done bluegrass. This picks up where we left of last time at The Birchmere with Jay Starling on dobro and Claude Arthur on bass and vocals. Lou Gosain mixed and sang harmonies. I would always love it when the Dead opened with this. Like almost all songs in general, this makes a great bluegrass song. At least to me.
Credits: Lyrics By: Robert Hunter - Music By: Jerry Garcia (c) Ice Nine Publishing Co Inc.
Elephorse is the product of the bluegrass science fiction writing assignment I gave myself. The original version appears on the Odd record. The song is the inspiration behind the Richard Biffle cover art for Odd. Which is of course me riding the multiheaded beast. Not to be confused with Elephorse which is a cross between an elephant and a horse. Of course. This version was recorded at the Birchmere in Alexandria, VA on 4/2/10 with Jay Starling on dobro, Claude Arthur on bass and me on baritone 12 string (which I use 9). Claude and I have played this live as a duo, but this version is the first time this tune has been played live in a bluegrass trio setting. Please enjoy.
The original version of my song called ART appears on the Home record. This version is way groovier with a real drummer, Toby Fairchild, Jay Starling on a beautiful grand piano, and solid upright acoustic bass player Claude Arthur. It was recorded on 4/2/10 at the Birchmere in Alexandria, VA by Louis Gosain, and mastered my Jeff Covert. I love the Birchmere. I have seen many a cool show at this venue as well as the older venue, which was even smaller and more intimate. It’s a sit-down, listening room, which is somewhat of a dying breed in this country- or at least at the places I tend to play. You are actually expected to sit, listen and be quiet while the performers are on stage, while a wait staff brings you food and drink. As a matter of fact, out of all the shows I've seen there, my shows seem to be the chattiest. Last year I even had to talk over people as I attempted to describe a tune before playing it, which I never do, but this is the type of place that lends itself to that type of folk music approach. I had to say, "listen listen listen listen listen” until they stopped talking. I usually blaze to the next tune simply to avoid awkward silences. But, at the Birchmere, it’s almost rude not to talk to the audience. That was last year. Folks were much more behaved this year: still relaxed and chatty like at a sit-down party, but without the drunken, flailing, wine bottle waving, ass-shaking conversationalists in the front row from last year. At a place like the Birchmere, something like that is surreal to say the least. I've had complaints from folks who don't like to sit at my shows. I can respect that. Hell, that's great. But the Birchmere is different, where 500 people are hanging on your every breath. It’s a different energy all together from what I'm used to. They have a big space for dancing, but it’s the sit-down vibe that I'm after in that place. It’s really the only place I play like that. There may be a few theaters with seats that I frequent, but nothing as cool as this. I'm so excited to fill the place that I never seem to care or worry about the chattiness. People buy the tickets and can do what they want. I like it when fun is being had.
The song ART was written on a nylon string guitar that once belonged to a guy of the same name. Art played this guitar at open mics and jam sessions around Fredericksburg. He must of used finger picks, as the divots are deep around the sound hole. When he passed away, his family put this guitar up for sale at Apple Music in Fredericksburg. I bought it and made up this song pretty quickly. The guitar and song are named after its original owner. This guitar never had a case. Back when we traveled around in a motor home, it would sit out and I would pick it up and play it and put it back down. We had a little TV in the upper corner of the RV. Well...We hit a bump and that TV fell on the guitar and put a nice size hole in the body. It looked like Willie Nelson’s guitar. It still plays beautifully and now goes by the name “Willie Art.” It appears on the original studio version. Please enjoy this funky jazz version as performed by "the Added Bonus."
This song is a bonafide hit. People sing along to this. Loudly. I wore out this cassette tape in the mid 90s. I have thought about doing this album in its entirety, bluegrass style. I'm not sure if that will ever happen but it’s a thought.
People ask me, "Why do you release so many covers on theonceaweekfreek?" I like releasing stuff that hasn't been released before. Sure there's tons of stuff I've released on this thing that appears on my records but I've always considered myself a music lover first, musician second and songwriter third. I love playing covers. They make me happy. End of story. Period. I've had an influx of new songs come to me over the past year. I've been playing them regularly at my shows. But I'm saving them to be released on my next studio record. I'm up to 10 new songs and still counting. That record will have to get in line behind the Keller and the Keels follow up to" Grass" called "Thief" due out in early summer, and the "Kids" record due out some time toward the end of the year (If I'm lucky). Until then, please enjoy this bitchin’ cover of Sublime's what I got from the Belly Up in Aspen.
Credits: Gaugh, Floyd (Songwriter); Nowell, Brad (Songwriter); Roberts, Lindon (Songwriter); Wilson, Eric (Songwriter); ERIC WILSON PUBLISHING (Publisher); FLOYD I GAUGH PUBLISHING (Publisher); GASOLINE ALLEY MUSIC (Publisher); HALFPINT MUSIC (Publisher); LOU DOG PUBLISHING (Publisher); MUSIC CORPORATION OF AMERICA (Publisher)
Scarlet Begonias/Fire On The Mountain (aka Scarlet Fire) featuring Jeff Austin and Keith Moseley) is fan favorite at my shows as well as Grateful Dead shows and or any show by any artist who plays it. Sublime, Jimmy Buffet, Dark Star, Furthur, Rat D Dog, Phil and Friends, you name it. Who ever plays it people like it. Myself included. This version was recorded at the Ogden Theater in Denver with Jeff Austin on mando and Keith Moseley on bass. A different but similar version was released on the "Grateful Grass" Rex Benefit download recorded at the Filmore in Denver (I believe in 2006). If you like blue-grass Grateful Dead music, you're going to love Grateful Grass. All proceeds from "Grateful Grass" go directly to the Rex Foundation which was started by the Grateful Dead as an organization that gives grants to non-profits. All proceeds from this particular release will go in my pocket (minus the industry standard royalty rate that will go to Ice Nine.) After all parties are paid (top spin, songwriters, Uncle Sam)I stand to make at least 17 bucks. That's only if this track sells well. If you buy it you will like it. WTF, It’s only a buck. I'm happy to say that even if you don't buy it, you will be able to see it live when Jeff, Keith and I play it at this years DEL FEST in Cumberland, Maryland. See you there.
Multisyllabic is a sing along. But no one sings along. Granted it’s not easy but it’s a sing along just the same. It was co-written by Cam Morin as a self-imposed writing assignment to use big words that don't ordinarily appear in my songs. It was recorded for the Dream record but did not make the cut. The studio version can be downloaded as an out-take from that record (or at least it used to be. I haven’t tried to find it recently but if you do, it’s a quite interesting listen). It was written on the acoustic bass guitar but I often perform it on the up-right bass. This version has me playing it on the electric fretless bass. It was recorded at the Belly Up in Aspen in the winter of 2010. The groove that you hear first is left over from the "India" post jam that I often sing “Staying Alive” over top of. I did an interview for the Japanese version of Guitar Magazine. With their interview, they also transpose a song to written notes. Well...they chose this one. An outtake. I doubt Japanese guitarists are playing this song from that magazine but they could if the so desired. Maybe if I played it in Japan, they would sing along. I'm willing to try. I'm not afraid.
Dragon Attack by Queen.
This song rocks and is one of my favorite Queen songs. I'm told it does not appear on any of the greatest hits records from Queen. Why? I dunno. Maybe it wasn't a hit, which makes it even cooler in my book. This picks up where last week left off. I recorded right after Rush Limbaugh at the Pageant in St. Louis. I don't get the words exactly right as the focus is on the rock. So......crank it.
Credits: Dragon Attack, Queen (c) 1980 Hollywood Records, Inc.
Rush Limbaugh. This song is not a rebel song. This song is not a political song. This song is not “Sunday Bloody Sunday”. It is however about free speech and speaking your mind all of the time. It’s all about opinions. Well......this song is mine. I released this song a little while back and got a few letters from Rush lovers that didn't like this song very much. I can understand not liking the lyrics but the groove is down right sexy if I do say so myself. Sexy like the thought of Rush Limbaugh backin’ that ass up. Ohhhh…..that's sexy. Damn. You can just tune out the words and focus on that tasty, panty droppin’ groove. This was recorded at the totally awesome Pageant in St. Louis. It features harmony vocals from sound engineer, Louis Gosain. Please know that this song comes from me being a fan of the asshole/douche bag character that Rush Limbaugh portrays and not from any hatred of the Republican Party. I love republicans. They are funny. Glenn Beck is hilarious. The facial expressions that Sean Hannity gets are priceless. Bill O’Reilly and Giuliani? Both very funny men. Especially Giuliani. I'd bet he’d be fun to party with. They all have a role to play. They should all be in a movie together. Some non-political action packed thriller with special effects and nudity. I'd see it in the theater. Anyway, this one is about Rush Limbaugh whom I'd like to thank for giving me the inspiration to write 9 minutes of lyrics.
All Blues is a standard jazz song by Miles Davis. Oh to make up a song that would one day be considered a standard or a classic is something I strive for. It’s the perfect song to manipulate and play with and walk the fine line of offending jazz snobs. The fact that you even play a song like All Blues will offend jazz snobs. This version explores my variation and attempt of Soca music. It’s one that everyone in the band knew and was very simple to orchestrate. Speaking of the band… Toby Fairchild plays the drums, Jay Starling is on the keys and Claude Arthur is on the bass. Please enjoy.
Credits: All Blues, M. Davis © 1958 Columbia/Legacy
"Celebrate Your Youth" (©Basil Leaf Music). This is one of my favorite songs to play live. It can and has been done many ways. The message is clear. Celebrate your youth. Even if you’re 70, celebrate the fact that you're not 95. As cheesy as it sounds I'm proud to say that I celebrate my youth daily. The concept began when I was 19 on Dead tour, realizing that it soon won't be ok to quit work and school and go to consecutive Dead shows. But at that time it was exactly what I was supposed to do. I celebrated that big time. As I got and get older I'm constantly reminding myself to practice what I preach. Pet the sweaty things and not sweat the petty things. Please celebrate.
Buena and AfterGood. Another TWOFER!!! Have I gone crazy? What am I thinking? Are you going to take advantage of my craziness? You'd be crazy not to.
This week takes us to a special place. That place is my favorite venue in Norfolk, Virginia, and is quite possibly the finest in all the land: the Norva Theater. It should be called the “Norfa” for how fucking awesome it is. It has an incredible sound system with video flat screens scattered about, friendly staff, and is very accommodating to patrons and general ticket buying. The back stage is absolutely ridiculous in the cool department. It has a catering area, game room with ping-pong & pool tables, old classic video games, comfy couches and a flat screen… And that's just the game room! The main dressing room has 2 bathrooms. TWO. 1 of those bathrooms has 3 toilets in them. THREE. The place also comes equipped with a hot tub, multiple saunas and showers. Journey through the halls and you will also find a racquetball court. Ain’t that some shit? A racquetball court, complete with a basketball goal lowered to 8 feet which makes small white men feel empowered by the ability to dunk. Who would of thought, something as simple as an 8-foot dunk goal can do so much for a man's ego? Needless to say the Norva rules. The National Theater in Richmond, Virginia is owned by the same folks and they have done an amazing job with that place making it almost as sweet as the Norva. Almost.
The first song for you is by Morphine called “Buena.” The beauty of Morphine (the band) is the instrumentation, which includes the bari sax, drums and two string bass. The tragedy of Morphine is that the lead dude died during the performance of a song on stage. What a way to go. The band had a spooky, cool sound that has not since been replicated. This version of “Buena” has Toby Fairchild on drums, Jay Starling on keys, and me on bass. It slightly strays away from the original version in the jazz/funk department, but I tried to retain the spookiness. This was from the “Added Bonus” holiday run. What? Added BONUS? Why yes. The 2nd song you get this week is the post-buena jam, which I'm lovingly calling "Aftergood". It’s in a different key on a different bass. So, it’s... different. It was recorded towards the end of the Guitar Store Tour at Humboldt Brews in Arcata, California. I love California. Humboldt County is a very special place to me. I always feel special there. The people there are special. They can do special things… with their minds. Please enjoy.
Speaking of added bonuses, the 2nd song you get this week (FREE! Yes! Two songs for the price of one!) is my song, "You Are What You Eat." It appears on the "Home" record, the "Sight" DVD as well as the "Live" record that I recorded with Moseley, Droll and Sipe. So why release it again? Well... this version has an even more interesting super extended loopy dance section than the other 3 versions. The jam is so groovy, that it is perfectly ok to fast-forward over the first two minutes or so. I did. Plus, it's free so it's justifiable and recommended. Even with the fast-forwarding you get 11 minutes of music. Please enjoy.
“Song Number Two" by Blur is one of those crazy radio sing-along songs that comes and goes so quickly you won't even know what hit you. This version was recorded at the National Theater in Richmond on 12/30/09 with Jay Starling on dobro, Claude Arthur on bass and me on my little mini 12 string (with only 8 strings). Like most songs, it makes a great bluegrass song (at least to me). This was during the "Added Bonus" holiday run.
Speaking of added bonuses, the 2nd song you get this week (FREE! Yes! Two songs for the price of one!) is my song, "You Are What You Eat." It appears on the "Home" record, the "Sight" DVD as well as the "Live" record that I recorded with Moseley, Droll and Sipe. So why release it again? Well... this version has an even more interesting super extended loopy dance section than the other 3 versions. The jam is so groovy, that it is perfectly ok to fast-forward over the first two minutes or so. I did. Plus, it's free so it's justifiable and recommended. Even with the fast-forwarding you get 11 minutes of music. Please enjoy.
Midnight Moonlight...there's something about these archive recordings. Whether it’s the fact that I've come a long way or the sadness of knowing my voice will never sound like that again…so clear and pure. Either way it’s intriguing to me. I'm not sure where or when this was recorded but I do know it was around the mid 90's. Midnight Moonlight appears on the "old and in the way" record (Peter Rowan, Vassar Clements, David Grisman, John Kahn and Jerry on banjo) and was also done by the Jerry Garcia band as was the middle section "lonesome and a long way from home".
Don’t Cuss the Fiddle. Here's another one from Delfest ’07. Larry Keel was on guitar and Jenny Keel on bass. I learned this one from the Waylon and Willie record that my dad had on 8-track (I think it was written by Kris Kristofferson). We'd listen to it in his pearl white two-door caddy. Don't let the two-door thing fool you. This car was a boat. Kush seats, giant back seat, and big ass trunk. The stereo was sweet, complete with the state of the art 8-track player. We would get up at 5 am and drive 2.5 hours to the mountains to be on the first chair up at Wintergreen Ski Resort. Ahhh memories. This song was just recently recorded at the "thief" sessions. Two days of pickin’ and grinnin’ with the Keels as we recorded the follow up to the "Grass" record. The sessions went swimmingly and I'm excited to get to the mixing so I can put an ear to the bluegrass magic that went down at Wally Cleavers Studio. It won't be out for a while, as it has to wait in line behind the kids record. This is just a little taste. Please enjoy.
Here we go back to Finns on Atlantic Blvd in Virginia Beach way back to September of 1994. I might have said I was done releasing songs from this show... I lied. "Travels The Fastest" was arranged by Bob Weir. I think the words were written by Rudyard Kipling and Bobby made up the music. I would see he and Rob Wasserman play this song. I learned it off of a bootleg cassette tape that I had of Bob and Rob when they opened for the Jerry Band at Merry Weather Post in Maryland. Now at the time I wasn't hip to Rudyard Kipling and like I said, I learned this off of an audience recorded bootleg cassette. So I just wrote down what I thought he said which is surely not what appears in the original poem. It’s my interpretation so it’s not really wrong. Oh, who am I kidding? It’s wrong. As long as you don't compare it’s ok.
Viola Lee Blues. I learned this song in or around 1987 from my buddy Matt Szechenyi. He and I did a plethora of acoustic duo gigs for fraternities and little bars. We were doing 15 minute versions of this song before I ever heard the Dead's version. They actually borrowed it from the jug band era of the 1920s. Of course they came up with their own arrangement, which made it their own. They were good like that. This version attempts to follow the Dead's arrangement but slightly faster and less free form. It was recorded at the super cool indoor/outdoor beach town rock club in Dewey Beach, Delaware called the Bottle and Cork. Enjoy.
There are a few arrangements of this tune. There's the funky and the slow blues and then there's the Sam Bush version. My favorite. Sam Bush has been royalty to me. I attended the Telluride bluegrass (as a “festavarian”) from 1995 to 2002. I got in free in ‘02 for playing tweeners and was actually on the bill in ‘03. Sam Bush is the king of Telluride. Duh. Everybody knows that. If you don’t...well, now you do. He's played with just about everybody in the country/bluegrass world and has probably been on a thousand records. Some of my favorites are from his work with Strength In Numbers. His Saturday night sets in Telluride were always a good time. Sam and I had met and played together at the Warren Haynes Christmas Jam a few years back and I was excited to be on the same bill with him once again. We had never practiced this and I think he was going on trust when he came out to blindly play this tune with me. The festival was around Boone, North Carolina and called Music On The Mountain Top. One thing is for surely a given when you are in the Western North Carolina mountains and that is...there will be moonshine. And there was. This version is slightly looser than the epic duo of Sam and Jerry Douglas, but it’s cool nonetheless. About 52 degrees cool. We could see our breath. Moonshine breath. Maybe we can call our duo that. Have a big jug on stage at every show. "Unfortunately", Sam said with a laugh, "You can't afford me". Of course I can't. He's the king. Duh.
Credits: Little Feat, Warner 1061 ©1972
The words Frank Zappa and blue grass don't often appear in the same sentence. That's what makes this track interesting. This features the rock solid bass and high harmonies from Jenny Keel and the ripping crazy guitar solos and vocals of Larry Keel. I'm proud to say that as you read this the follow up to Keller and the Keels "Grass" is being recorded. It will be a record of covers called "Thief" and it will come out late next year. This track was recorded at the first Delfest in Cumberland, MD. It’s always an honor to be on the same stage as Del McCoury but to be a part of his festival was super cool.
Credits: Dancing Fool, F. Zappa ©1995 Zappa Records/ ©2009 Starworld LLC
A few years ago I was approached by the Jam On channel on Sirius Radio to do a Christmas song on the same day I was trying to quit the cigarettes. The possibility exists that I was chemically imbalanced when I came up with this one. It’s a parody of "We Wish You A Merry Christmas", and it has received some air play on that wonderful channel. It may be perfect medicine for folks who get stressed out around the holidays. Please enjoy and.... happy December.
Freeker By The Speaker. Recorded 7/31/09 at Celebrate Virginia Live in Fredericksburg, Va. Featuring Jay Starling on lap steal guitar, Brian Piper on drums and myself on fretless bass. I think the original version of this song (which is on the Laugh record) receives the most downloads of any other song I've recorded. We actually pushed it to radio and it had some minor success on some college and Triple A stations. If there was a song that I would play at every show, this would be it. Not because I like it or enjoy playing it, but because it is sung back to me with most gusto from the audience. It is for that reason that I play it every other show or every 3rd. I have on a few occasions, played two nights in a row only because the shouted requests for it start to come more frequently and slightly more violent. Almost like if I didn't play it, I'd get my ass kicked. Like this was the missing piece to their buzz and they weren't going home without either hearing it or punching me in the face. Like it was one or the other. That's just what I got out of the anger I detected in these peoples voices as they screamed for this song. I feel incredibly lucky to have made up any song that people want hear, much less sing/yell along to. I know for a fact that there are a lot of people that don't like it and have heard it way too much at my shows, but they get stamped out by the people who do like it. It’s just impossible to please everyone. Why can't I get that through my head? I just over analyze instead. This version is seriously different from the original studio version as it takes on a new life with a jazz swing/ funk vibe. The band was temporarily called "The Slides", and no frets were touched during the recording of this track as I am playing fretless and Jay played the electric guitar. Please enjoy.
"Shapes of Change” recorded on 9/6/94 at Finns in Virginia, Beach. This track originally appeared on the "Freek" record which was to be available a week after this version was recorded. I eventually dropped the lyrics, and continued to play the music under the name "Molly Malloy", which I eventually changed to “Shapes of M&M's”. This is one of those forgotten songs from this era. I think the words are about a dream or a hallucination that I had. Or maybe it was real. I don't remember. It was 15 years ago. Enjoy.
"Have A Good Time" by Paul Simon. Back we go to September 6th, 1994 at Finns in Virginia Beach. The Tuesday night series that will live forever (at least to me and about a dozen of my friends). Notice in this track how high and pure my untainted voice was. When I first heard it, I thought the cassette it was recorded on was sped up making it higher pitched. Nope. We checked it. That's how my voice actually sounded. I couldn't believe the high notes I hit that I would never be able to hit now. Slightly sad? Nah. I'm just happy it was documented. Checkerout.
"More Than A Little" recorded 10/24/09 at the Egyptian Room at the Murat Center in Indianapolis, Indiana. The super tripped out/uninhibited jungle/housed up extended/drum and bass dance/Saturday night/end of set/DJ Kdub/live remix. Bitch. This week is intended to be the complete polar opposite of last week (check it out. I'll still be here when you get back). This is a hot off the press display of my current looping ability at its most recent peak. Feel free to compare it to the first version, which came out on the "Loop" record, which was showcasing the looping concept in its beginning stage. I'm far behind the potential of what I can make electronics do. I just need to get more stuff. It’s out there for the taking (buying, that is…and this shit ain’t cheap). I'm just enjoying the thought of coming close to mastering the stuff I have that I've been using for years. Please enjoy this very loud while being naked.
Note: More Than A Little mixed live by Louis Gosain, which makes it another YouGoCrazy Production.
This week's release was recorded 15 years ago on 9/6/94 at Finns on Atlantic Blvd. in Virginia Beach, VA. The song is called "Get On Up/Sanford and Son". It still appears in my live show today but with lots of loop jams throughout. This version was before all the looping crept its way into my show. It is also the first song on my first record "Freek". This version was recorded on cassette off of a powered mixer that I hauled around in a Mazda pick up with my trusty husky Sheeba. The guitar was an amazing Takamini 12 string with actually 12 strings on it. And tuned to pitch. Today my 12 strings have 9 strings and tuned 1 to 5 steps below pitch so this is different from how my guitars sound today. This guitar was either left on the street or stolen out the back of my truck right around the time of this show. I was young and dumb and worry free and quite forgetful. I was also doing like 6 shows a week (2 of those being in Virginia Beach). Finn’s on Tuesday and Kiefer’s on Wednesday. Man I miss that guitar. I didn't notice it missing until I loaded in the next night. The replacement guitars never quite sounded as good to me so a lot of the old recordings from this time frame don't pass my rigid inspection for release. But this does. In fact, I have plucked several songs off of this recording to share. Finn’s was owned by a college buddy of mine for about 8 months. A circle of friends would bartend and free drinks and shots would flow freely. Maybe that's why it closed 8 months after it opened. The song was made up a couple of years earlier and it’s about a weekly gig I had in Fredericksburg. The Windsor Tea Room (which is now J.Brians) would move the tables aside on Wednesday nights and let me play from 8-10pm to a bunch of underage hippy kids. Ahhh…good times. I was recently given a hard drive containing something like 800 shows of mine dating back almost 20 years. All I need is a computer…and some kind of plug to go between the two…and some software to decompress the files…and someone who knows how make both work…and about 150 hours to listen to the stuff. And then of course babysitters. So it might be a while before I dive into this hard drive. I wish I could plug some headphones into it and press play. Someday, I will discover what lies beneath the mysterious plastic shell of this hard drive. And when I do, I will share some with you. Until then, please enjoy "Get On Up/Sanford and Son" recorded 9/6/94 at Finn’s in Virginia Beach, VA.
The first release of the song "Mullet Cut" was recorded with my friends from String Cheese Incident. It came out on my "Dream" record as a bonus track. It was then released on the "Live" record with Moseley, Droll, and Sipe. So why on earth would I release it again? I guess it’s simply for feedback. I was thinking about trying to pursue releasing this whole set. There were multi camera angles including one on a big giant swinging boom arm thing that would cruise over the crowd. I asked a while ago what the chances were of being able to release this set in its entirety. The jury is still out on that one and I'm hoping this release could light some sparks on the subject. It’s a 90-minute set, and yes it does contain some of the same material as what is on the "Live" record. Mullet is on the DVD version of “Live”, but something about this set was special. The band played Jam Cruise in January of ‘09 and not again until this set. I flew with a little mixer and computer speakers so we could jam before the set. Our backstage tent was directly behind the stage so it was loud, making it difficult to hear each other for the rehearsal. But we were able to play through an abbreviated set before our time slot. The set is far from perfect as far as mistakes go but closer to perfect than any festival set I can recall ever playing with this band. What do you think? Does it sound good enough to you to be released in its entirety? And if so, should I try and release the whole video? Feed me your feedback. Gathering Of The Vibes is a super cool festival now held in Connecticut on the Long Island Sound. Please enjoy. Thank you. Keller
Radioactive is a walking poetic, hip hop, rhythm machine. By himself, he lays down vocal beats with a looper, then raps over the top. We met on the Summer Sessions tour (1999) which was String Cheese, moe. , Galactic and Gov't Mule. Each band brought a solo act with them to play 15 min in between sets. moe. brought Gibb Droll, Gov't Mule brought Kevn Kinney, Galactic brought Radioactive and The Cheese brought me. Out of the 20 something shows, Phil and Friends did 8 shows in the middle of that tour. Radioactive went on to travel the world for a year or two with Spearhead. Last week, I was lucky to be invited to play the 9th annual Harvest Celebration which is about an hour North of Syracuse. I was happy to hear Radioactive doing his thing on the stage as I ate my dinner from the festi vendors. Later that night, in the middle of the two verses of “Freshies”, I saw Radio in the front row, over on the side, groovin' with the hippies, with a big ole' smile on his face. Needless to say I handed him a mic and said, “go”. And he went.........off.
Hobo Jungle. Lyrics by Robert Hunter. Music and arrangement by Keller Williams. This is a special edition of the OAWF. Robert Hunter worked very closely with Jerry Garcia. Together, they wrote songs that will live forever. I have covered dozens of these gems co-written by Robert Hunter. To be able to put music under his lyrics is truly an honor. This tune was recorded on a Sunday at the Fillmore in San Francisco in November of 2008. It features Gibb Droll on guitar and voice. Keith Moseley on bass and voice. Jeff Sipe on drums and smiles and me on acoustic and voice. Please enjoy.
Lyrics: Robert Hunter (Ice Nine Publishing)
Music: Keller Williams (Basil Leaf Music)
For 72 years, the soap opera Guiding Light has brought joy to many people. It has recently been cancelled. This made me remember that I recorded a song about the show, using the characters and the story line of the time as the focus of the tune. It pretty much wrote itself. My wife Emily, grew up watching that show. From 97 to 2000, she and I and our 2 dogs, circled the country in a variety of motor homes playing upwards of 200 hundred shows a year. Each day, we would stop somewhere where we could get TV reception on our Radio Shack 8 inch 12 volt TV to watch this show. I of course didn't always watch but I did enough to know the characters and their personalities and their back stories and who they were sleeping with and who their wives and husbands were sleeping with and who killed who and who and so on. Once we settled back into Fredericksburg, we were introduced TiVo. It was then I got really caught up in the characters and this song was created as a joke. Each year, the real life actors would go to Kings Dominion (amusement park) for a series of autograph signings and interactive seminars where they take questions from fans. Emily wanted to go and like a good husband I accompanied her. (Along with Cam Morin my business manager who was also a semi-fan of the show). Just for fun I recorded this song to put on disc to give the characters in person. Needless to say, there were thousands of house wives and pissed off husbands there to see them and the line for autographs was ridiculous. We waited in it for a long time and by the time we got close, they switched out the actors at the signing as it takes hours to accommodate a crowd like that. 5 would sign and 5 would do the seminar. You had to be super hard core and wait a l o n g time to meet the actors. There were way too many roller coasters to ride for me to do this. So, I walked to the front of the line and handed the discs to the publicist and kindly asked her to give these to the actors. Each disc was labeled with the character's name. She took them and looked at me like I was crazy and said "yeah....ok......sure......thanks." The discs probably went quickly in the trash. I may have played this song a handful of times a long time ago but more than likely it will be new to you. Guiding Light. May you rest in peace. Enjoy.
This week is yet another blast from the past. Thin mint>Unbroken>Thin mint was recorded during a radio interview with David Gans at the KPFA studio in Berkeley, California during David's weekly radio show. That explains why the sound quality is exceptional. David Gans knows what he's doing when it comes to the radio. I'm one of many many who listen to David on the Grateful Dead channel as well as his "Grateful Dead Hour" syndicated radio show that has been running since 1984. David Gans is one of the inspirations behind my radio show called Keller's Cellar Somewhat Ruleless Radio. I wrote Thin Mint and Unbroken Chain was written by Phil Lesh and Robert Peterson. Please enjoy.
Unbroken Chain: Peterson, Rober M, Lesh, Phillip
This week has us listening to a little more Danny Barnes. From the same show that you heard "Birds of a Feather", as well as "Loser Cornpone Sally" comes my old standard "Porta Potty". This version is featuring Danny Barnes on banjo, Gibb Droll on guitar, Keith Moseley on bass, Jeff Sipe on drums and myself on acoustic guitar. The lyrics came from waiting in long lines for porta potties at Grateful Dead shows. Enjoy.
One Way Johnny was originally an outtake from my "Home" record. It eventually made it onto the live one called "Stage," but as a solo bass and vocal thing which is how it was written. I played and sang all the parts while Jeff Covert recorded and mixed it, only he mixed it many years after we recorded it. Jeff has definitely upgraded his studio gear since the "Home" sessions, and this track pops like nothing from that release. Shitiswackyo. The lyrics came during my heavy driving days when we booked gigs no more than 300 miles apart, eventually getting dropped back to 250 miles apart, maximum. Doing upwards of 200 shows a year, approximately 250 miles apart, as slowass molasses, in a beat up motor home, right lane, blue hair, piss you off kind of 53 miles per hour pace, with a broken gas gauge and having to chart mileage and REALLY pay attention to it so we didn't run out of fuel, all while not having working windshield wipers, one could get a little infected by road rage. Enjoy.
Danny Barnes is cool. Singer/song-writer, banjo- picker, guitar player, all around cool brother man of an hombre. These two songs are featuring him on banjo and some of the vocals. The first one is a cover of Beck's "Loser" (publishing info below) the second is the Danny Barnes song, "Cornpone Sally and Her Hay Bailing Wagon Wheelsl" (publishing info below) the songs were recorded at the Showbox in Seattle, Washington on 11/15/08 featuring Jeff Sipe on drums, Keith Moseley on bass, Gibb Droll on guitar and me on acoustic.
I met Danny through Yonder Mountain String Band at the Northwest String Summit in Oregon. I saw him do a very inspirational set with Bill Frisell. Just the two of them on stage (guitar and banjo) complete with backwards music and the banjo through an octave pedal to make it sound like a bass. I can't say I've ever seen that done before. It was cool. Be sure to check out the studio version of Danny’s cover of "Loser" on his record "Dirt On The Angel" it’s the last track and there are some really amazing songs on the way there. He recently sent me a copy of his new (unreleased) record called "Pizza Box" I listened to it two times in a row. The band and I had been doing "Cornpone Sally" a lot on that tour. As matter of fact, they wanted to do it every night. Obviously jam band laws don't allow that kind of thing, but we sure love playing it. There is a definite "Sugarfoot Rag" lick that I learned from Casey Driesen that runs rampant through our version. Before we get to the “Cornpone Sally and Her Hay Bailing Wagon Wheels" though, notice how Danny's Texas drawl and slight change of vocal phrasing really makes the Beck song way cooler than the original. His scat singing over banjo licks is pretty unique as well. Viva la Danny Barnes.
Cornpone Sally and Her Hay Bailing Wagon Wheels: Edward D. Barnes, Minner Bucket Publishing, BMI Administered by Bug Music
Loser: Stephenson, Karl; Hansen, Beck, Funky Toe Publishing, Cyanide Breathmint Music
Hello again and thank you for participating in or at least reading The Once A Week Freek. Now that I've released my new record, ODD, one song at a time, it's time to dive into some of my favorite songs I've recorded both on and off the stage.
The next two weeks you will see 4 songs from the same show. The venue was the Showbox. The city was Seattle and the date was November 15, 2009. This was the final show of the last tour that I did with the band featuring Keith Moseley on bass, Jeff Sipe on drums and Gibb Droll on guitar. We were all a little bummed that the tour was over because we were by far at the peak of our existence together as a band. Even more so then when the Live record was recorded.
The first track is a slightly different arrangement of the Phish song, "Birds Of A Feather" (Phish, Marshall- Elektra / Wea). As a fan of Phish as well as just live music in general, I feel the lyrics to this song really strike a chord with people who have seen multiple Dead and or Phish shows. To me, it some how sums up the concert experience both mentally and physically. From the perspective of both the fan and the band. Whoa. People seem to respond in a positive manner when they hear the first words to our version of this song.
The bonus track is the Gibb Droll song "Lost Lonesome Angel" which also appears on the "live" record. This version however is different with an extended arrangement fully equipped with an organ part (compliments of my guitar synthesizer as well as a third harmony part provided by Louis Gosain). Speaking of Louis Gosain, these songs as well as next week's songs, were recorded and mixed live by Louis Gosain which makes it "yet another you gocrazy production."
Please enjoy. KW
Announcing the full album release of ODD.
The final track on the ODD record is called Song For Fela. Fela Kuti is the God Father of afrobeat. When my management was handling the U.S. dealings of Fela's son Femi, I was given a whole box of reissued cds of Fela Kuti. Thanks to Jesse Aratow, my musical horizon was made wider. I dove into those recordings head first and my love for Fela Kuti's music is still growing. Although this song doesn't come anywhere near the vibe that fela created, the influence I obtained through listening to his records runs deep through this track. If you are a fan of Fela Kuti, be sure to check out Afromotive as well as Antibalas. These are two bands that are following in the direct footsteps of the God Father of afrobeat.
The free track for "Song For Fela" is Blazeabago/ Turn Indifference. It was recorded on 7/5/98 at Sweetwaters in Mill Valley, California. There is a definite nod to the Grateful Dead's "Dark Star" during the transition of these two songs. The show was on a tuesday and I was still slightly buzzin' from the High Sierra Music Festival. The blazeabago was a '74 Chevy Blazer with a slide-in pop-up camper top that me and the wife and two dogs and all my stage gear lived in for almost a year.
Have you ever had a raging, mind blowing, and life changing ear infection? I have. This song is dripping with the physical pain that was pounding on my world between that 3rd and 4th hour of my pain killer instructions which were to take one every 4 hours. Writing this tune was an attempt to distract my mind from the insanity I was going through, caused by this throbbing inner and outer ear infection. Granted I'm a whiney little girl when it comes to pain. The "harry carry" I'm referring to in this one is not the baseball announcer, but the square like maneuver a noble samurai does while stabbing himself in the stomach to ensure he cuts through his vital organs. Thus making sure his self-inflicted wounds are indeed fatal for sure. Dude. The Sunday I'm referring to was the only show for that week and I feared I would have to cancel it. It was outside at the Stone Pony in Asbury Park, New Jersey and it happened as planned thanks to painkillers. I really went for a groovy yet angry 7 time signature into a rocking 4 into the fast action bluegrass with the faithful reggae one drop bridge. This song is by far THE most different direction I've ever taken both lyrically and musically. Because it is so different and so strong, it does not come with a free track. That hurts a little bit. Doesn't it? That's the theme of this one. You got to have the bad things to make the good things good. Feel my pain. Feel it.
This was one of those songs that just wrote itself. It appears to be a favorite of folks that come to see me play. It was literally made up before any of it was actually written down. It was around the time that I just started doing festivals with Keith Moseley, Gibb Droll and Jeff Sipe. I believe I was going from summer camp which is near Peoria Illinois to smile fest which is near Asheville N.C. Its a listener or what I like to call "a think piece". If you mentally drift off during some of the many stream of consciousness type of lyrics, you might miss the impact of the punchline at the end. So try and stay with me, ok?
This week I've included a "point of view" video from the perspective of my guitar. I taped a video camera on my guitar (aiming up) and pressed record. I proceeded to play and sing while walking around my basement. This was recorded on Monday, July 27th, 2009. The song is recently written and unreleased. It is simply called, "High".
This song is about my month long phase with my local ultimate Frisbee community. The Fredericksburg Mothers is the name of the group of folks that would meet once or twice a week for a game. Long ago, I played once with the Mothers at Old Mill Park. Back then it was mostly barefoot hippie types running around, drinking and smoking on the sidelines…my kind of competition. They were very laid back and seemed happy to have a new face to do their sly little Frisbee tricks on or over or around. I remember freestyle moves in the middle of a game and people laughing and singing along to a car stereo that was playing from the parking lot next to the field. I bought a car from one of those dudes. It was a Mazda station wagon with a bunch of dead stickers on it. It ran great. Only you had to put a gallon of water in the radiator every time you drove it. I called it "puff the tragic wagon", and it lasted me about 3 months. For the price, it worked out to be about 50 dollars a week, plus water of course. Ah the good ole days. Times have changed. The Fredericksburg Mothers changed right along with the times. As I grow older and fatter, I am always looking for new and fun ways to get in shape (I'm still searching). I had been invited to come and play with the Mothers now meeting on Wednesday and Sunday nights in the summer at the Old Walker Grant Field. I had remembered my good times with the hippies in the past and had heard of some raging parties with kegs and bands of the "new" breed of Mothers. So I went to play. Almost everyone was super nice and friendly. The vibe was extremely competitive and most of the players were serious athletes. They were wearing soccer cleats and I detected uniforms as if some had just come from track or soccer practice at the college. Each time I went, I got worked. Sprinting and sweating my ass off, exactly what I wanted to do, and possibly make some new friends in the process. The first time I went, I didn't get passed to that much. They kept yelling things like "home team" which I assumed meant do not pass to me. When I was the only option, I got the Frisbee only to drop it or throw it out of my teammates reach. No one seemed to really mind that I was floundering…at least that day. The next two times I went I had a little more confidence, as I had been practicing throwing disk. I realized that they had their thing going and I only played for 20 minuets or so as to not get to in the way of what was turning into very physical games. The fourth time I went, I was confronted abruptly that there are actually rules to this game. I figured it was just a stoner hybrid of soccer with Frisbee. I was wrong. The only rule I knew was that you couldn't run with the disk like football. You could take like two steps or maybe 3 if you had that serious forward momentum. I was running around like crazy, trying to get open when someone yelled, "STOP". "PICK". I didn't know what was happening but I was happy to stop running and rest for whatever reason. All attention was on me, which was a surprise being that I didn't have the disk. A very frustrated dude with soccer cleats and bike tights under his shorts looked and pointed at me and said "PICK!" which apparently is like calling a foul in basketball. I was confused and panting and wondering what I was supposed to do. I figured he was "picking" me to get the Frisbee. I was wrong. I was accused of setting up a pick, which is illegal. I didn't know but I damn sure do now. I still don't really know what a pick is but apparently, I did it. Dude was even more frustrated when I didn't know what I did wrong. I was like "what kind of (pant pant pant) dumb ass rule (pant pant pant) is that?" and he said something to the effect of" the kind of rule you can learn at ultimate.com" (or whatever website I should go to learn the rules). Again, this was my fourth time playing with a lot of the same hard cores every week. I didn't do anything different which means the other 3 times I played, I was probably setting up picks and breaking all kinds of ultimate Frisbee rules that I had no idea existed. Finally after a month, dude had had it with me unknowingly disrespecting his game and called me on it. I understood his frustration and opted to take a sub off the sideline and sit out for a while." NO!!!!" they all said almost in unison, as if everyone was frustrated at my lack of knowledge of the rules, "NO SUBBING UNTIL YOUR TEAM SCORES!!! TUFF IT OUT MAN". Well. It started to not be fun anymore. The whole "rules" aspect kind of changed my attitude toward the whole sport. That and the pulled hamstring I got later on in the game. Oh yeah, you're supposed to stretch too. I didn't lose any weight that month but I did make some cool new friends and was equipped with enough inspiration for a song.
The free track is a tongue in cheek, Vegas style, piano version video of my song "play this" shot by me, with my Flip at my house. Please enjoy.
This is a Virginia song. If you can take the summer heat and more importantly the humidity of Virginia, you can take it anywhere. I've been doing this song off and on for years now. A different version of this song was originally recorded for the "home" record. It didn't make the final compilation of songs and now we can't seem to locate it on any of the hard drives at the studio. It lives on a reel of 2 inch tape that we can't listen to because the ancient analog machine we used to record "home", is broken. It sure would be nice to have that beautiful, warm sounding old clunker of a 1978 state of the art recording device up and running again (hint hint…Jeff Covert). My mother claims she has a copy on disc but I have yet to see it. Maybe someday, if I behave, she will let me hear it. I played upright bass, guitar and the gryphon (a small neck 12 string made by Joe Veillette) that I attempt to make sound like a mandolin. It's the same instrument I used on the "grass " record as well as on the free track here, which features Larry Keel on guitar and Jenny Keel on bass. We had fun with these songs (we usually have fun with every song).
The free track is a bluegrass version of the President's Of The United States Of America song "Good Evening" into a fast grass version of Zeppelin’s “Houses Of The Holy”. Thanks yall.
A few of you may recognize the lyrics of this one from a blog I posted. Contrary to popular belief, this song has nothing to do with Dr. Doolittle. It’s simply a song about wanting to warn animals about ways to avoid meeting their death around my house. This song was a candidate but did not make the cut for my "kids" record, which by the way, is almost finished and a lot of fun to listen to. Speaking of warning, the kids record will have a warning attached to it. "May not be suitable for uptight parents over 18". Look for a 2010 release for that one. This particular " warning" that you will hopefully be listening to, is my attempt at cool swing jazz with vocal stylings similar to the likes of Frank Sinatra or more recently, Richard Cheese (of whom I'm a huge fan). Although it may fall short of those geniuses and slide toward Bill Murray singing the Star Wars theme on Saturday Night Live, my intentions were purely tongue-in-cheek. The piano, bass and drums were all recorded at the same time in the same room as to attempt to achieve the sonic goodness of the thousands of jazz recordings that inspired the music of this song. The bass was played by Claude Arthur, the drums by Jay Starling and the piano by Doug Henderson. Doug is the organist for the church I attended regularly as a kid. He was also the choir director for the first choir I was ever in during my innocent untainted youth. I was excited to have Doug on a record. He's cool. Speaking of cool…Claude Arthur and Jay Starling are about 67 degrees.
The free track is slightly more of the same- with Claude on bass and Jay playing keyboard. Please enjoy while I take liberties with The Beatles song "Drive My Car", recorded after Midnight on New Years Eve. Warning: we were partying.
I'm pretty sure I stole the first line of this song which is "they say that mind is the second thing to go and I cannot remember the first," from my sound engineer and harmony vocalist, Louis Gosain. Come to think of it, I might have stolen the first line of Celebrate Your Youth from Lou as well. That line is "some say, youth is wasted on the young". This would make sense because he is old. Well.... not old exactly, just slightly older than me. Lost is a song that, I would imagine, most parents can relate to. I wrote it after my first kid was born but recorded it after the second came around. So that might explain the craziness in my voice on the last refrain. The free track is a live vocal loop of the Garcia/Hunter song, China Cat Sunflower. The lyrics are truly some of the most bizarre in the Grateful Dead catalog, which excites me. Why don't we all enjoy them right now. Yes. Lets.
China Cat Sunflower
Words by Robert Hunter; music by Jerry Garcia
Copyright Ice Nine Publishing
With the impossible idea of making up a song that doesn't sound like any other, I came up with a simple writing assignment. Write a bluegrass science fiction song. I'm sure it exists somewhere, but I personally have never heard one. Elephorse is the song that inspired the cover art that was so incredibly executed by Richard Biffle. The free track to accompany Elephorse is called "On The Slide". It was the transition jam that immediately followed "Groove Of The Storm" (the free track last week) at the State Theater in Ithaca, NY. Recorded in the winter of 2009. So this is the continuation of that show. Please enjoy.
The free track that is attached to this week's download is a live version of the same song, Groove of the Storm. It was recorded in Ithaca, NY in early 2009 on a different guitar in a different key with the slide. It was captured and mixed live, as well as harmonized by Louis Gosain. The thunder effects were provided by Andrew Queen. I feel this version smokes the studio version. But you should be the judge.
Spartan Darn It. Is a 100 percent true story. Everything was cool until "the check" was returned due to insufficient funds. This was the second time I had been stiffed on a gig. The first was for 250 dollars from a fraternity. This was in the early to mid nineties and well....I just laughed it off to a silly drunken frat party. The “stiffing” this song is about was for significantly more. How much? Well let's just say you could've bought an 89 convertible Saab with 90k miles on it. There have been “stiffings” since this song has been written but one can only write so many "bad check songs". This tune has been played many times solo-acoustic. This version is drastically different than you might have heard before. Not arrangement wise, but sonically. Brace yourself and let yourself go at the same time. Try it.
Also! Check out a free bonus workout video taken from the Sight DVD as part of this week's Once A Week Freek. No leotards or headbands, but worth a free download if you have not seen it! This will automatically download along with the track.
"Day At The Office" is the only song I've ever composed that I did not write anything down on paper. It was created at the piano, and I just sat down and started singing it. I never wrote it down. I still haven't. I thumbed it out on my phone for you to read now that the track is released, but I never wrote it out. I have many notebooks of written stuff, but "Day At The Office" ain't one. The words describe things that are typical in my line of work. Self-doubt is definitely one of those things. It could not be left out as it is a part of my day at the office.
Hello and welcome to the Once A Week Freek.
The first song in this series is called "Environmental Song”. It is the first song on my 2009 studio solo record called "Odd". I will release this compilation of songs one song at a time, once a week, in order as I intended for them to be heard. This is also how they will appear on the hard copy that will be available after the download release.
This song was recorded at Wally Cleavers recording studio in Fredericksburg, Virginia. I played guitar and bass and Jeff Covert played the electric guitar leads as well as the drum programming. Jeff also recorded and mixed the whole record. I originally played the drums but eventually opted for a more current sound. I was going for a "Duncan Sheik meets the Allman Brothers" type vibe with this song. I don't know if I came anywhere near their brilliance, but that is what is what I was going for. Lyrically I felt I was simply stating the obvious….just another in the long line of "carpe diem" themes. To me, the coolest thing about this first song is that it has never been played live on stage in front of an audience. My songs are usually road tested for a while before they are recorded. This will be the first time anyone (out of my acoustic hearing range) has heard it. Thank you for your purchase and please enjoy.