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Hash’s Faves: “Deserted Cities of the Heart”

14 May

Wheels_Of_FireThis week’s pick is more goddam hippie music; it’s the song “Deserted Cities of the Heart”performed by Cream, written by Jack Bruce and Pete Brown, from the band’s 1968 album Wheels Of Fire. The basic band of Bruce, Eric Clapton and Ginger Baker were augmented on the studio disc (it was a double album, one disc recorded in the studio and the other live) by producer/multi-instrumentalist Felix Pappalardi. On this particular song Bruce plays bass, acoustic guitar, cello and sings; Clapton plays electric guitar; Baker plays drums and tambourine; and Pappalardi plays the viola.

I’ve been keeping this under my hat for awhile, but for the last year I’ve been rehearsing with a new band (our maiden voyage will be on July 21) called Medicated Goo. It’s led by guitarist/vocalist John Kimsey, and is kind of an offshoot project of his Art Thieves and Twisted Roots Ensemble bands, both of which I’ve been a part of. We’re joined by John’s longtime musical partner-in-crime Dr. Brad Newton on drums; I’m playing bass and a little bit of guitar (!). The band is a cover band, with our repertoire limited (kind of) to the music of Cream, Jimi Hendrix and Traffic, although that allows us a certain amount of leeway (we play a couple of Blind Faith tunes and various other miscellanea). So what I’m trying to say here is that I’ve been immersing myself in the music of Cream.

This is the music that I grew up with, and with rare exceptions I’ve been finding that every song we add to the repertoire, I know in my bones. Maybe I’ve never played it before, on either instrument, but in my head I know how the song goes. But the really cool thing is that now that I’m way older and hopefully have a little more knowledge, I can really appreciate what made this group so special. The particular combination of personalities and musical backgrounds combined perfectly, as far as I’m concerned. In the great John McLaughlin biography Bathed In Lightning there’s talk that he was approached to be part of the band that Bruce and Baker were forming, but for whatever reason he declined. As much as I love McLaughlin, and as intriguing a band that that would have been, it wouldn’t have been the same; John was too much of a jazz player, and would have tipped the scales of the band’s chemistry too far in that direction, I think. Clapton’s background, personality, and his love for the blues helped to ground the band; Clapton himself would never describe himself as a jazz player, but he was sufficiently open-minded to be able to fit in with what the other two guys brought to the table. Baker really was a jazz drummer, while Bruce brought this whole other thing. Besides being a pretty good, and experienced jazz musician, he also had some folky leanings, and had some classical aspirations as well.

This song highlights all of these things; it has a rockin’, bluesy solo by Clapton, and the instrumental interludes sound like a combination of Baker’s jazz background and Bruce’s classicism. I wonder who came up with those bars of 3/4 in the verses, Baker or Bruce? And Jack’s bass playing is just beautiful, driving yet lyrical. The lyrics, by poet Pete Brown, are sufficiently surrealistic to accompany whatever trip you might have been on (I always pictured this song accompanying a painting by de Chirico).

Much like the Beatles, the personalities had quite a lot to do with the band’s creativity. Say what you will about Ringo’s drumming (personally, I think he’s a great drummer), but the Beatles simply would not have been as great with any other drummer. And although they started out as chums, I think that their last few albums, when personalities started to clash, were arguably their finest. And so it was with Cream; Baker and Bruce cordially (and sometimes not-so-cordially) hated each other, and I think that accounts for quite a bit of the fire, and certainly the tension, in their music. Clapton would eventually opt out of the drama, choosing the laid-back vibe of Bonnie and Delaney Bramlett’s band, and a long period of heroin and alcohol addiction. Cream’s career only lasted 2 years, with 4 studio albums, but they helped to change the face of rock music. I’d be willing to bet that quite a few rock musicians of my generation had their eyes and ears opened to the possibilities of jazz by their extended jamming, and for better or for worse the long, extended jam became a staple of rock music; punk and grunge music (again, for better or for worse) arose as a reaction against those excesses.

You can listen to it here:
https://www.youtube.com/watch?v=pL0yTZhuMzE

This post is reprinted from News From The Trenches, a weekly newsletter of commentary from the viewpoint of a working musician published by Chicago bassist Steve Hashimoto. If you’d like to start receiving it, just let him know by emailing him at steven.hashimoto@sbcglobal.net.

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Steve Hashimoto

Lyrics from the album He Flies

9 Apr

I’m posting the lyrics here to the songs from my album, He Flies. They’re in the same order here that they play on the album:

He Flies package v4.2.indd

  1. Zombies Stink (and Vampires Suck)
  2. May You Still Believe
  3. He Flies
  4. Over Yonder & Round the Bend
  5. Big Jim
  6. Cards on the Table
  7. Stagger Lee
  8. Corinna Corinna
  9. May Third
  10. Dance Till Morning Light
  11. Your Love Set Me Free
  12. Since Time Began

ZOMBIES STINK (& VAMPIRES SUCK

CRUISIN’ LONG IN MY HYBRID RIDE

NPR ON THE AIR INSIDE

TERRY GROSS HAD AN AUTHOR ON

WHO HAD JUST WRITTEN THE ZOMBIE DAWN

GOT NEWS FOR YOU HACKS OUT TO MAKE A BUCK

ZOMBIES STINK AND VAMPIRES SUCK

ZOMBIES STINK AND VAMPIRES SUCK

I DON’T CARE HOW YOU JIVE AND SHUCK

I BET YOU SECRETLY HAD ENOUGH

ZOMBIES, VAMPIRES, AND ALL THEIR STUFF

IT MAKES NO SENSE, I DON’T CARE WHAT’S BEEN SAID

THAT ZOMBIES EAT BRAINS WHEN THEY’RE ALL DEAD

AND WHAT’S SO GREAT ‘BOUT SLURPIN’ UP BLOOD

YOU AVERAGE VAMP’S A STONE COLD DUD

SLEEPIN’ IN COFFINS DON’T LOOK LIKE FUN

OR ALWAYS HIDIN’ OUT FROM THE SUN

ALL THESE SULTRY, SULLEN UNDEAD

‘BOUT TO DRIVE ME OUTTA MY HEAD

ZOMBIES SHUFFLIN’ ON DOWN THE STREET

ARE LAME AND TIRED AND LET ME REPEAT

THIS WORLD NEEDS ANOTHER VAMPIRE TALE

LIKE WE NEED MORE JUNK IN THE MAIL

IF YOU’RE LOOKIN’ FOR FANS YOU’RE FLAT OUTTA LUCK

CAUSE ZOMBIES STINK AND VAMPIRES SUCK

ZOMBIES STINK AND VAMPIRES SUCK

*

*

*

MAY YOU STILL BELIEVE

WHEN YOU WERE YOUNG YOU SAID THAT LOVE WOULD FIND A WAY

TO BRING PEACE ON EARTH SURE AS DAWN COMES EVERY DAY

BUT NOW YOU’RE GROWN LOOKING AT THAT CABLE NEWS

AND SEEING HOW THINGS ARE SURE GIVES YOU THE BLUES

CHORUS:

                 MAY YOU STILL BELIEVE, MAY YOU STILL BELIEVE

                       DESPITE ALL THE NEWS YOU RECEIVE

                        MAY YOU STILL BELIEVE

 

IN SCHOOL YOU PLEDGED YOURSELF TO THE LAND OF THE FREE

ONE LAND UNDER GOD WITH JUSTICE AND LIBERTY

NOW STEAD OF BLACK AND WHITE YOU SEE SHADES OF GRAY

WHAT’S JUST AND WHO IS FREE SOME DAYS YOU CAN’T SAY

CHORUS

YOU SAY THAT GOD IS WHERE WE GO AND ALL COME FROM

YOU SAY THAT GOD IS LOVE AND GOD’S RULE ONE DAY WILL COME

YET MADMEN BATHE IN BLOOD TO APPEASE THEIR GOD

AND ASK GOD TO BLESS THEIR CRUSADE OR JIHAD

CHORUS

*
*
*

HE FLIES

LITTLE BIRD SITTIN ON A TELEPHONE WIRE

LITTLE BIRD SITTIN THERE ALL ALONE

HE’S A SINGER & HE’S A HIGH FLYER

HE’S A ROVER FROM PARTS UNKNOWN

TOMORROW AIN’T GOT HIM UPSET

& HE DON’T CARE ABOUT YESTERDAY

HE GOT HERE LAST SPRING I BET

LEAVES TURN BROWN & HE’LL FLY AWAY

 HE FLIES. YEAH, HE FLIES.

LITTLE BIRD SINGIN BOUT THE NEW DAY

LITTLE BIRD SINGIN BOUT THE DAWN

HE FEELS FINE & DON’T CARE WHAT YOU SAY

HE’S GONNA GO WHERE HE FEELS DRAWN

THAT BLUE SKY & HIM GO WAY BACK

& HIM & THAT SUNSHINE SURE DO TOO

HE’S GOT WINGS & GOT THE  KNACK

WHEN IT’S TIME, HE KNOWS WHAT TO DO

HE FLIES. YEAH HE FLIES.

LITTLE BIRD DONT KNOW WHERE HIS OWN HOME’S AT

LITTLE BIRD DON’T EVEN CARE

HE AIN’T WORRIED BOUT A BIT OF THAT

IT’S ON BEYOND & HE’S BOUND THERE

HE DON’T KNOW WHAT’S RIGHT OR WHAT’S WRONG

HE DON’T KNOW THE TIME OF DAY

BUT HE KNOWS THE DAY IS LONG

& THE BREEZE FLOWS &, OH, BY THE WAY

HE FLIES. YEAH, HE FLIES.

HE FLIES.

*
*
*

OVER YONDER & ROUND THE BEND

IT WAS ON BEYOND THE FIELDS I KNEW

THICK MEADOWS AND TALL OAKS GREW

BENEATH A GOLD SUN THAT CAST ITS LIGHT

AND MADE WAY THEN FOR SUMMER NIGHT

(CHORUS):

OVER YONDER AND ROUND THE BEND

I ONCE WENT THERE; I CAN’T SAY WHEN

SOME BRIGHT MORNING I’MA GO AGAIN

OVER YONDER AND ROUND THE BEND

BENEATH A PALE MOON FOLKS DANCED TILL DAWN

THEY SANG AND LAUGHED AND CARRIED ON

AND MET THE DAYBREAK WITH A SMILING FACE

AND LOVED EACH OTHER IN THAT FAR PLACE

(CHORUS)

ALL THE PEOPLE THERE THEY WORKED TOGETHER

TO BUILD THEIR LAND AND LIFT EACH OTHER

EVERYONE WAS FREE, FREE AT LAST

GOOD WITH THE FUTURE GOOD WITH THE PAST

(CHORUS)

YOU CAN SAY IT WAS ALL A DREAM

OR JUST SOME TRICKSTER’S LOWDOWN SCHEME

BUT I DO KNOW WHAT I KNOW

AND I KNOW WHERE I WANNA GO

*
*
*

BIG JIM

FOLKS CALL HIM BIG JIM

HE’S GOOD TO ROCK ALL NIGHT

FOLKS CALL HIM BIG JIM

LORD, HE WAS BORN TO ROCK ALL NIGHT

ALL HE’S GOT IS THEM THERE BAD BLUES

HE SINGS ‘EM WITH ALL HIS MIGHT

HE GREW UP ON THE SOUTH SIDE

IT WAS TOO COLD TO HIM ROUND THERE

THE SOUTH SIDE OF CHICAGO

IT WAS TOO COLD TO HIM ROUND THERE

NOW HE LIVES IN JACKSON COUNTY

IT’S HIS HOME, HE DOES DECLARE

THEY GAVE JIM A GUN

AND SENT HIM OFF TO FIGHT

SENT HIM OFF TO NAM

TO BE PART OF THAT THERE FIGHT

THINGS THAT HE SAW THERE

STILL COME BACK TO HIM IN THE NIGHT

THE BLUES AND JACK DANIELS

ARE MUCH OK BY HIM

SINGIN’ THE BLUES AND OLE JACK DANIELS

ARE MUCH OK BY HIM

WHEN THE BAND’S IN THE ZONE

HE’S ALL DOWN WITH THE JAM

FOLKS CALL HIM BIG JIM

HE’S GOOD TO ROCK ALL NIGHT

*
*
*

CARDS ON THE TABLE

IF HAD A DOLLAR FOR EVERY FOOL I’VE KNOWN

EVERY LYIN’, CHEATIN’, BRAIN-DEAD BUMMER

WHO EVER TRIED TO RIP ME OFF

I WOULD NEVER HAVE TO WORK ANOTHER DAY

THE REST OF MY NATURAL LIFE

CHORUS:

PUT YOUR CARDS ON THE TABLE

LAY DOWN YOUR MONEY

PUT YOUR CARDS ON THE TABLE

WHAT’VE YOU GOT?

PEOPLE ALWAYS TALKIN’ BOUT

WHAT THEY’RE GONNA DO

GONNA MAKE IT REAL BIG, TAKE YOU WITH ‘EM

TO THE PROMISED LAND REAL SOON

THEY GOT A SURE FIRE DEAL COMIN’ THROUGH

AND THEY WANNA CUT YOU IN

CHORUS

 

ONCE I CHASED WHAT I WANTED STRAIGHT

DOWN THE OPEN ROAD

I GOT HIT HARD, KNOCKED DOWN, GOT UP & MOVED ON

BOTH EYES WIDE OPENED UP

SO IF YOU GOT A DEAL TO RUN BY ME

THERE’S ONE THING THAT YOU GOTTA DO

CHORUS

*
*
*

     Stagger Lee

The night was clear & the moon was yellow

& the leaves came tumbling down.

I was standing on the corner when I heard my bulldog bark.

He was barking at the two men who were gambling in the dark.

It was Stagger Lee & Billy, two men who gambled they.

Stagger Lee drew a seven; Billy swore that he drew eight.

Stagger Lee cried, “Billy, I can’t let you go with that.

You done won all my money & my brand new Stetson hat.”

Stagger Lee went home and he got his 44.

He said, “I’m going to the barroom just to pay debt that I owe.”

Stagger Lee went to the barroom & he crossed that barroom door.

He said, “Now nobody move!” and he pulled his 44.

“Stagger Lee!” cried Billy, “Please don’t take my life!

I got three little children & a very sickly wife.”

But Stagger Lee shot Billy; lord, he shot that boy so bad

That the bullet went through Billy & it broke the bartender’s glass.

*
*
*

CORRINA CORRINA

Corrina Corrina, gal where you been so long?

I been worried about you baby

Baby, please come home

I got a bird that whistles, I got a bird that sings

But if I ain’t got you, baby,

Life don’t mean a thing

Corrina, Corrina, gal you been on my mind

I been worried about you baby

Baby, please come home

*
*
*

        May Third

Here it is may third

And yet clouds fill the sky

Like they got a two-year lease.

Springtime, springtime,

I’m walking down the line

Lord knows it’s clear to me

CHORUS:

There ain’t no cause in hanging round

The nights don’t fly like before in this town

Ain’t no cause in hangin’ round

 

Tom he he left month or so ago

Believe he’s surely gone for good

And sister Lou she don’t

Treat me like she should

Boy, she really lets you know

CHORUS

Everybody’s scattered,

Married, or lost their way

I’se told david’s selling cars

Somewhere

A time did come

A time rolled on down the road

All it left was a song

DANCE TILL MORNING LIGHT                              

WELL, YOU WALK THROUGH THE NIGHT

YOU FEEL ALLRIGHT

THOUGH NOTHING IS REALLY REAL

YOU GET AROUND YOU’RE GETTING DOWN

YOU’RE SO HIGH YOU HARDLY FEEL

YOU BEEN UP AND DOWN THE STRIP

YOU KNOW THE TRIP

ALL ONE BIG HAPPY CROWD

YEAH YOU’RE LOOKING FOR LOVE

BUT CAN’T TALK ABOVE

THE MUSIC WE PLAY SO LOUD

CHORUS:

SO JUST DANCE, CHILDREN, DANCE                                       

THIS SOFT ELECTRIC NIGHT

DANCE, DANCE TILL MORNING LIGHT

YEAH, YOUR LOCAL ROCK STARS

AND OWNERS OF THE BARS

LOVE TO SEE YOU OUT TONIGHT

GO ON FEED YOUR HEAD, KNOCK YOURSELF DEAD

YOUR MONEY’S GOOD HERE IT’S ALLRIGHT

ACROSS THE ROOM,

THROUGH THE GLOOM

SOMEBODY CATCHES YOUR EYE

SO YOU WALK THAT WAY

WHAT CAN YOU SAY?

YOU’RE BOTH REAL HIGH

CHORUS

Your Love Set Me Free

Chorus:

Your love set me Free. Your love set me free.

Up in the ozone, I was alone

Chorus

When you caught my eye, I felt my spirit fly

Chorus

You saw through my jive, made me be alive

Chorus

You made me a man and glad that I am

Chorus

Oh, my God, your lips, are worth all your trips

Chorus

You knock me out. There’s not a shred of doubt.

Chorus

We been together, always forever

Chorus

You’re rain drifting down on a meadow, and by now I think you know

Your love set me free.

               

Since Time Began

My concentration drifts off into space

I might get to dreaming,

Be a million miles away

But I have loved you right from the start

CHORUS:

We can talk of chance, but I know all the same

We looked for each other

Down every road we ran

And I knew you the moment you came

Just like we were lover since time began

We both road eastbound when you caught my eye

That train flashed through the woodland

My soul began to fly

Like love returned from a lifetime apart.

Audio Playlist: He Flies

3 Apr

We just finished a CD called He Flies, and I’m creating a playlist of its songs :

All songs copyright 2015 or 2016 Donald Kent McDaniel, except “Stagger Lee” and “Corrina Corrina” (both traditional).

The CD is available at CD Baby and digital downloads are available there, too. Digital downloads are also available at Amazon, Google Play, iTunes, and everywhere else you can download music. (At iTunes just get into the store & search for “He Flies by Kent McDaniel.”)

If you’d like to see any of the songs lyrics, click here:

And here are the people who played on the album:

Alpha

Alpha Stewart plays percussion and/or drum kit on “May You Still Believe,” “He Flies,” and “Big Jim.” He’s who we count on for drums when we play out.

Robert

Robert Marshall plays drums on “Zombies Stink (& Vampires Suck),” “May Third,” & “Your Love Set Me Free.” He also mixed and mastered the album, at The Cave Recording in Evanston, Illinois.

photo

Dorothy McDaniel, plays bass and flute.

andrew mac

Andy MacCrimmon plays drums on “Over Yonder & Round The Bend,” “Cards on the Table,” and “Dance Till Morning Light.”

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Nicki Broeker sings harmony on “Cards on the Table.”

 

 

 

 

 

 

 

 

 

j.t

John Temmerman plays sax and saxello on “May You Still Believe” and “Cards on the Table.”

 

 

 

gus

Gus Friedlander plays banjo on “over Yonder & round the Bend.”

 

 

Me

Kent McDaniel is on vocals, acoustic and electric guitar. And wrote the ten originals on the album.

Playlist: Live at Custer Street

3 Apr

Here’s a playlist of the songs we recorded for our Live At Custer Street Album, recorded a few summRecorded at Custer Street Fair in Evanston, Illinoisers ago at Evanston’s Custer Street Fair. Originally we were only recording the songs to use with a video of the show we were making. After we listened to the set, though, we decided we had to do an album with it; it’d come off too nice not to. I’m playing guitar, Dorothy McDaniel’s playing bass, and Vic Varjan’s on drums. Dorothy and I are both singing, but I imagine you’ll be able to hear who is who.

If you really go for any of the tunes, you’re in luck: They’re all available just about anywhere music downloads are sold.

“Dance Till Morning Light”

11 Dec

Just finished mixing the song below (“Dance Till Morning Light”). The lyrics are underneath the sound Icon, and a few details about the recording are under them.

DANCE TILL MORNING LIGHT                              

WELL, YOU WALK THROUGH THE NIGHT

YOU FEEL ALLRIGHT

THOUGH NOTHING IS REALLY REAL

YOU GET AROUND YOU’RE GETTING DOWN

YOU’RE SO HIGH YOU HARDLY FEEL

YOU BEEN UP AND DOWN THE STRIP

YOU KNOW THE TRIP

ALL ONE BIG HAPPY CROWD

YEAH YOU’RE LOOKING FOR LOVE

BUT CAN’T TALK ABOVE

THE MUSIC WE PLAY SO LOUD

CHORUS:

SO JUST DANCE, CHILDREN, DANCE                                       

THIS SOFT ELECTRIC NIGHT

DANCE, DANCE TILL MORNING LIGHT

YEAH, YOUR LOCAL ROCK STARS

AND OWNERS OF THE BARS

LOVE TO SEE YOU OUT TONIGHT

GO ON FEED YOUR HEAD, KNOCK YOURSELF DEAD

YOUR MONEY’S GOOD HERE IT’S ALLRIGHT

ACROSS THE ROOM,

THROUGH THE GLOOM

SOMEBODY CATCHES YOUR EYE

SO YOU WALK THAT WAY

WHAT CAN YOU SAY?

YOU’RE BOTH REAL HIGH

CHORUS

I’m playing guitar and singing; my wife, Dorothy plays bass and flute. We recorded those tracks on Garageband and then transferred them to Protools at Evanston’s The Cave Recording, where Andrew MacCrimmon added  drums, recorded by Robert Marshall, who also mixed and mastered the recording.

Should you feel curious how and when I came to write the tune you can click on: https://dumbfoundingstories.com/2014/08/19/dance-till-morning-light/?iframe=true&theme_preview=true. That post contains said info and video of me singing the song accompanied by acoustic guitar.

He Flies package v4.2.indd

“Dance Till Morning Light” is on the album He Flies

Hash’s Faves: “I Wish”

10 Dec

i_wishThis week’s pick is Stevie Wonder’s “I Wish.”It was released as a single in 1976, and then included on the album Songs In The Key Of Life in the same year. The musicians are Nathan Watts, bass; Hank Redd, alto saxophone; Raymond Maldonado and Steve Madaio, trumpet; Trevor Laurence, tenor saxophone; trumpet; and Stevie on vocals, Fender Rhodes, ARP 2600 Synthesizer, and drums.

I played my first Christmas music gig of the year Friday and during the course of the job realized that this is really a Christmas song. Since it’s also one of my favorites and a Sueños staple, we played it, and no one objected, so jobbers, here’s your hip Christmas alternative.

The groove on this song is just the stankiest funk imaginable, driven by Watts’ bass line, which is a line that every bassist should know. It’s doubled by Stevie on synth, but he gives Watts the freedom to play some nasty fills on the vamp-out; after one of them Stevie absolutely cackles with glee. As a jobbing aside, here’s a little story from the trenches. This song is in High Society’s book, but it’s always been in the wrong key, I guess because the original key was too high for an earlier version of the band’s vocalists to handle. I hate it, because I only play a 4-string bass, and the bass line is not only impossible to play a half-step lower but it sounds stupid. Anyway, we were playing it one night with a female vocalist who was auditioning for the band. She evidently had a really weird sense of perfect pitch, because she sang it in the original key, completely ignoring us. The rhythm section made the switch somewhere in the first verse (with me thanking the Dark Gods of Jobbing,) but when the horns came in half of them hadn’t gotten the memo, so it was kind of our “Skies Of America” version of the song (look it up).

As another aside, I attended Senn high school on Chicago’s north side; it was one of the first Chicago schools to bus students in from across the city, including many black students from the south and west sides. It made for some bad moments: Senn was notable for riots in the schoolyard and fights in the halls, and the city eventually had to provide police escorts to get the black students to and from the el stop safely (you can read an account of this in the book The Old Neighborhood by Bill Hillmann, a former juvenile delinquent from my ‘hood). Bless her heart, my mother used to drive to school and fill up the car with a bunch of students who I had become friends with and drive them all the way home to the south side, which we were familiar with because when the Japanese first came to Chicago from California, out of the relocation centers, that’s where they settled, and our family dentist still had an office at 63rd and Jeffrey. Anyway, one of the first black kids I met at Senn was a guy named Larry Brown, who always claimed to be Stevie’s cousin. Stevie still hadn’t quite crossed over to massive mainstream popularity yet so most of us north siders didn’t even really know who he was talking about, but I do remember Larry brought a single in and showed us the songwriting credits, which read Stevland Morris, and for some reason that made it believable to all of us. I don’t know why this story has stuck in my brain the last 50 years.

You can listen to it here:
https://www.youtube.com/watch?v=hYKYka-PNt0

This post is reprinted from News From The Trenches, a weekly newsletter of commentary from the viewpoint of a working musician published by Chicago bassist Steve Hashimoto. If you’d like to start receiving it, just let him know by emailing him at steven.hashimoto@sbcglobal.net.

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Steve Hashimoto

“May Third”

20 Nov

Just finished a rough mix of the tenth song for my next album; the song’s called “May Third” and I think the album’s going be called He Flies.  I’m posting the song’s mix below this paragraph, and below it the lyrics, and lastly a little info about the tune.

MAY THIRD

Here it is May Third

and yet clouds fill the sky

like they got a two year lease

Springtime, springtime,

I’m walking down the line

Lord knows, it’s clear to me

CHORUS:

There ain’t no cause in hanging round

The nights don’t fly like before in this town

Ain’t no cause in hanging round 

Tom he left month or so ago

Believe he’s surely gone for good

And sister Lou she don’t

treat me like she should

Boy, she really lets you know

CHORUS

Everybody’s scattered, married, or lost their way

I’se told Davy’s selling cars somewhere

A time did come, a time rolled on down the road

All it left was a song

CHORUS

I wrote “May Third” way back in the early 197os, when I lived in Carbondale, but I never recorded it before now. Not sure why not, but things happen for a reason, I guess. I’m happy with the way the recording is turning out. All’s well that ends well. Dorothy McDaniel, my sweet wife, is playing flute, and Robert Marshall is drumming. I’m playing everything else, and most of the tracks were recorded in Garageband, then transferred to Pro Tools at The Cave Recording in Evanston, where Dorothy and Robert added their parts, and Robert mixed and mastered everything. Probably a f ew more tweaks to go on it in the mix.

he flies, art

Tentative cover for the album