http://www.popmatters.com/feature/176475-black-vinyl-confessions-of-a-music-collector/
Wednesday 27 November 2013
Friday 15 November 2013
Love Sucks 30 Years Later
Sorry I haven't been here much. Usual reasons but here I am. Since 2013 marks the 30th anniversary of my music career, I've been taking a look back at the albums in question. Which makes no sense since most of the internet doesn't know anything about the albums of 30 years ago but maybe when I'm dead and gone somebody will come across this and may want to discover the forgotten tunes of yesterday.
But anyway.....Love Sucks was the 4th and final album of 1983, which started with So Much For That, found our muse on Town's Edge Rock and tried to take over Mike Swearingen's advice of go into comedy with Living In The Twilight Zone (now deleted). There was actually some decent songs that I did write and Be With Me became a prom slow dance song in 1991, eight years after the fact and a failed attempt to convince Doug Bonesteel's ex GF to take a chance on me when I dropped the tape off at McDonald's where she was working and waited by the phone.
And waited
and waited.
For the most part, the rest of Living In The Twilight Zone has been retired forevermore, since most of the songs were cornball but somehow Russ thought that Cocaine Train, a throwaway would work better on the Paraphernalia band output. To which it actually did, somewhat.
The original title of Love Sucks was Hey You (don't ask why) and the majority of songs were written around that time I was actually seeing somebody, some girl who passed out her phone numbers on our wild and wacky famed Squaw Creek Show, which would have been a classic album upon itself had Doug or Dennis would have bought the damn four track with them. Even though Teresa did that to everybody in the band, pass out her phone number, I was the only idiot who called her and we managed to have a brief three week meet and greet. But at that time of recording, Paraphernalia was rehearsing in our basement but the folks didn't really go for that but since I had the amps and guitars home, I decided to put them to use whereas making excuses why we couldn't rehearse over.
Starting out with the wacky instrumental Attack & Conquest Of The Giant Cosmic Oatmeal Cookie, it borrows from the introduction of Rush 2112 of all things and then moving on to more chaos. Credit must be given to my dad who actually set the recording up, placing of the mikes and reminding me to get things done before he came home at around 5 30. After Attack, we move into Hey You, which basically was a rip off John Mellencamp's Crumbling Down and basically it's another stuck in this town with the stuck up bitches again although me and Miss OConnor were still dating but time and age was playing against me. There was a six year difference and age and although it never occured to me, I had no intentions of taking it further and just hold hands and maybe go out to the drive in but that never happened. Hey You got redone in the 1998 The Art Of Deception Live album and is better heard that way than the original.
The End Of It All, is me trying to sing in a higher octave and this song had more in tune with what Mike Swearingen taught me in recording things. I can still listen to it but it's not something I'd revisit anytime soon. I outgrew it. But I think it had more to do with the end of me and Teresa than what let on.
It's So Hard remains the signature song, written and conceived upon my love affair and wanting to leave this shit state in favor of Arizona has hope and dreams written all over it. The call and response of I've been doing some thinking/maybe out and go for a ride/See my GF in Tempe/Surprise her and talk for a while (which surprise I had no GF in Tempe at that time). But I think it has the perfect antidote of cruising down Route 66 and thinking good times with my lady by my side. But then again I've always been a dreamer to the point of hiding from reality. Especially after the breakup and having the infamous girl in my PR class at Kirkwood who somehow thought I was cute enough to warrant a one on one chance meeting at Kitty's Showcase Bar one night and ended up being a big disappointment for both of us. And thinking one day I'll meet her again and hopefully say hi and hope for a better outcome, than me sitting frozen in my seat while she and her friend stalked out the room. Sad to say, that we never met again, even when trying to find her at Kirkwood and forgetting her name in the process.
One Little Girl, I don't sing that one anymore, it's too creepy. Everybody in the band had a GF, why not me? Why not never?
Well All Right, has been done from time to time, a more Bo Diddley arrangement than the one heard on Love Sucks, I had a good eye and ear for song arrangement due to Jack Orbit helping out and the breaks and drum bits that was more than just 4/4 time. My own version of Who Do You Love. Travelogue has the live version done five years later.
Ain't Life A Bitch (Especially When You're Married To One) was aimed at a certain band mate's wife at that time, thinking she was causing a riff between the guys in the band and basically we didn't need our own Yoko Ono tearing us apart. Very sarcastic in tone and lyrics, but never played live in concert.
The second side of the album, the songs are more downtrodden for it was at this point that Theresa and I were going different directions and neither one of us knew how to end it but we did on a very rainy and windy October night. Went home and wrote this song about the aftermath. It's a sad song about breakups but the last verse is more about liberation from a stagnagtic relationship that wasn't going anywhere. The final line of accept the fact that it's all over to the final accept the fact that we are over. And nobody going to help you in the dead of night when you're all alone and can't deal with being alone. I was 22 at the time and thinking my life was over since another relationship is done but as we found out 30 years that sometimes there will be chances to find that special someone. And then blow it all over again. Anyway, Dead Of Night has been used a lot in my life performances and it keeps the fans happy when they hear it.
Around And Around, have no idea how this song came to be, but I think it's more of an extension of Dead Of Night but more of a story of a guy looking for a one nighter and telling her to hit the road in nicer terms.
Midnight Madness, another rewrite of Around And Around or Dead Of Night but the two things that make this song stand out is the reggae type of break at the chorus and then the crash ending of this song. Now all I need, is one good reason, to make her feel, make her feel, make her feel, like I do.... and then the usual chaotic ending.
I think at this point the rest of the album isn't much to comment on. What I Need is a bitchy list of things that I don't need and tried to make it sound punk. The words are trash but the melody would be reused for the next album and retitled It's Not Easy.
Goin Home is the summary of the breakup of myself and Teresa and the first couple verses are positive and then we go into a Who like smash and crash of guitars and drums, the next verse finding the singer becoming more puzzled of things not going well and then the last two verses, saying goodbye and good riddance and the last verse redemption at the record shop. With a little bit more patience and arrangement this could have been a better song than what was presented at the time. But at the time, I was very depressed.
What Is Love was the final song. By then Dennis claimed his amp and guitar and so I used my old cheap K Mart amp and guitar. My mom was using the laundry room for washing clothes at the time so you get the hear the dryer in the background.
The Day After, was written seeing the show of the same night and wondering what happened if the big one was dropped upon us. Bombs of peace are causes of war was a nice start to the song but me and the late Larry Maier added cliche upon cliche and building up to an effects laden middle, thanks to the effects on Mr. Lancaster's amp. At the end his amp would make a WHOOSH at the end and I wanted to balloon it out to a minute and half but we ran out of tape and it came to be about 20 seconds.
And with that, 1983 ends with Love Sucks, to which we found a picture of a cat grinning in front of the camera that I ended up using (Thanks Yuri). I think at the time it was a worthy followup to Town's Edge Rock, more so than Living In The Twilight Zone. But even back then, I had no idea of who could be the right one for me, since Teresa wasn't the one and the woman in my PR class was there for the taking. Until 1989, I was on my own. After Love Sucks, I returned to the sprawling failure that was Paraphernalia and for the next year tried our best to get that band off the ground. And knowing that my love life of 1983 was a even bigger failure. But I continued to write more songs and a half year later, after taking a break from the other band, came up with a more raw, and stripped down affair I would call Infinite Loop.
The next step ahead in a career that seem to be destined to stay in the basement or the bedroom forever.
But anyway.....Love Sucks was the 4th and final album of 1983, which started with So Much For That, found our muse on Town's Edge Rock and tried to take over Mike Swearingen's advice of go into comedy with Living In The Twilight Zone (now deleted). There was actually some decent songs that I did write and Be With Me became a prom slow dance song in 1991, eight years after the fact and a failed attempt to convince Doug Bonesteel's ex GF to take a chance on me when I dropped the tape off at McDonald's where she was working and waited by the phone.
And waited
and waited.
For the most part, the rest of Living In The Twilight Zone has been retired forevermore, since most of the songs were cornball but somehow Russ thought that Cocaine Train, a throwaway would work better on the Paraphernalia band output. To which it actually did, somewhat.
The original title of Love Sucks was Hey You (don't ask why) and the majority of songs were written around that time I was actually seeing somebody, some girl who passed out her phone numbers on our wild and wacky famed Squaw Creek Show, which would have been a classic album upon itself had Doug or Dennis would have bought the damn four track with them. Even though Teresa did that to everybody in the band, pass out her phone number, I was the only idiot who called her and we managed to have a brief three week meet and greet. But at that time of recording, Paraphernalia was rehearsing in our basement but the folks didn't really go for that but since I had the amps and guitars home, I decided to put them to use whereas making excuses why we couldn't rehearse over.
Starting out with the wacky instrumental Attack & Conquest Of The Giant Cosmic Oatmeal Cookie, it borrows from the introduction of Rush 2112 of all things and then moving on to more chaos. Credit must be given to my dad who actually set the recording up, placing of the mikes and reminding me to get things done before he came home at around 5 30. After Attack, we move into Hey You, which basically was a rip off John Mellencamp's Crumbling Down and basically it's another stuck in this town with the stuck up bitches again although me and Miss OConnor were still dating but time and age was playing against me. There was a six year difference and age and although it never occured to me, I had no intentions of taking it further and just hold hands and maybe go out to the drive in but that never happened. Hey You got redone in the 1998 The Art Of Deception Live album and is better heard that way than the original.
The End Of It All, is me trying to sing in a higher octave and this song had more in tune with what Mike Swearingen taught me in recording things. I can still listen to it but it's not something I'd revisit anytime soon. I outgrew it. But I think it had more to do with the end of me and Teresa than what let on.
It's So Hard remains the signature song, written and conceived upon my love affair and wanting to leave this shit state in favor of Arizona has hope and dreams written all over it. The call and response of I've been doing some thinking/maybe out and go for a ride/See my GF in Tempe/Surprise her and talk for a while (which surprise I had no GF in Tempe at that time). But I think it has the perfect antidote of cruising down Route 66 and thinking good times with my lady by my side. But then again I've always been a dreamer to the point of hiding from reality. Especially after the breakup and having the infamous girl in my PR class at Kirkwood who somehow thought I was cute enough to warrant a one on one chance meeting at Kitty's Showcase Bar one night and ended up being a big disappointment for both of us. And thinking one day I'll meet her again and hopefully say hi and hope for a better outcome, than me sitting frozen in my seat while she and her friend stalked out the room. Sad to say, that we never met again, even when trying to find her at Kirkwood and forgetting her name in the process.
One Little Girl, I don't sing that one anymore, it's too creepy. Everybody in the band had a GF, why not me? Why not never?
Well All Right, has been done from time to time, a more Bo Diddley arrangement than the one heard on Love Sucks, I had a good eye and ear for song arrangement due to Jack Orbit helping out and the breaks and drum bits that was more than just 4/4 time. My own version of Who Do You Love. Travelogue has the live version done five years later.
Ain't Life A Bitch (Especially When You're Married To One) was aimed at a certain band mate's wife at that time, thinking she was causing a riff between the guys in the band and basically we didn't need our own Yoko Ono tearing us apart. Very sarcastic in tone and lyrics, but never played live in concert.
The second side of the album, the songs are more downtrodden for it was at this point that Theresa and I were going different directions and neither one of us knew how to end it but we did on a very rainy and windy October night. Went home and wrote this song about the aftermath. It's a sad song about breakups but the last verse is more about liberation from a stagnagtic relationship that wasn't going anywhere. The final line of accept the fact that it's all over to the final accept the fact that we are over. And nobody going to help you in the dead of night when you're all alone and can't deal with being alone. I was 22 at the time and thinking my life was over since another relationship is done but as we found out 30 years that sometimes there will be chances to find that special someone. And then blow it all over again. Anyway, Dead Of Night has been used a lot in my life performances and it keeps the fans happy when they hear it.
Around And Around, have no idea how this song came to be, but I think it's more of an extension of Dead Of Night but more of a story of a guy looking for a one nighter and telling her to hit the road in nicer terms.
Midnight Madness, another rewrite of Around And Around or Dead Of Night but the two things that make this song stand out is the reggae type of break at the chorus and then the crash ending of this song. Now all I need, is one good reason, to make her feel, make her feel, make her feel, like I do.... and then the usual chaotic ending.
I think at this point the rest of the album isn't much to comment on. What I Need is a bitchy list of things that I don't need and tried to make it sound punk. The words are trash but the melody would be reused for the next album and retitled It's Not Easy.
Goin Home is the summary of the breakup of myself and Teresa and the first couple verses are positive and then we go into a Who like smash and crash of guitars and drums, the next verse finding the singer becoming more puzzled of things not going well and then the last two verses, saying goodbye and good riddance and the last verse redemption at the record shop. With a little bit more patience and arrangement this could have been a better song than what was presented at the time. But at the time, I was very depressed.
What Is Love was the final song. By then Dennis claimed his amp and guitar and so I used my old cheap K Mart amp and guitar. My mom was using the laundry room for washing clothes at the time so you get the hear the dryer in the background.
The Day After, was written seeing the show of the same night and wondering what happened if the big one was dropped upon us. Bombs of peace are causes of war was a nice start to the song but me and the late Larry Maier added cliche upon cliche and building up to an effects laden middle, thanks to the effects on Mr. Lancaster's amp. At the end his amp would make a WHOOSH at the end and I wanted to balloon it out to a minute and half but we ran out of tape and it came to be about 20 seconds.
And with that, 1983 ends with Love Sucks, to which we found a picture of a cat grinning in front of the camera that I ended up using (Thanks Yuri). I think at the time it was a worthy followup to Town's Edge Rock, more so than Living In The Twilight Zone. But even back then, I had no idea of who could be the right one for me, since Teresa wasn't the one and the woman in my PR class was there for the taking. Until 1989, I was on my own. After Love Sucks, I returned to the sprawling failure that was Paraphernalia and for the next year tried our best to get that band off the ground. And knowing that my love life of 1983 was a even bigger failure. But I continued to write more songs and a half year later, after taking a break from the other band, came up with a more raw, and stripped down affair I would call Infinite Loop.
The next step ahead in a career that seem to be destined to stay in the basement or the bedroom forever.
Friday 27 September 2013
The Thoughts Of The Townedgers September Edition
End of the month already and just in time for fall. Two weeks again we released Thirty for the masses to hear and enjoy.
And we're still waiting.
And we're still waiting.
Thursday 15 August 2013
Thoughts Of The Townedger-August
Happy Birthday to Mom.
It's been a long week for people and passings, Alan Lanier passed away, he was part of Blue Oyster Cult but years of smoking caught up to him and he died from C.O.P.D. I've never been a big fan of smoking, my folks gave it up finally in the 80s but it kinda bums me out to see my best friend continue to fight the smoking demon and failing. But it's not for me to criticize what he likes to do. I just rather not visit any more funerals if I have to.
I have a co worker that worked in another department. Troy Liddell and his wife Kelly were both killed by a hit and run driver last weekend to which the hit and run driver remains at large. It's tough to live life in a world that you take your life in your own hands when you venture out on the road and never knowing if you'll get back home alive.
The one passing that I took notice was Jon Brookes, who died way too young at age 44 from brain cancer. If you live long enough like me, 44 years is a short time being on this planet and Jon did great things with The Charlatans UK And leaving behind a family too. Nothing more shattering than having to deal with that. It also shows that the time spent here on Earth is as fleeting as it comes, that one minute you're here and next you're not. I also believe that the the more you bitch the longer God lets you live, so I'll be here for a while.
The No Exit promotion is done and the critic in me has aroused from the dead. I was thinking of doing a revision of that album and taking some cuts off and adding a couple in its place but the issue at hand is of course The End. It seemed like a good idea at the time but the more I hear it the more I think it should have been left in the can. It was a good exercise to see if I could pull it off and for a couple months I did but it does sound dated, four months after issuing the album. The record has been a jinx from the start it seems, getting flooded out of the basement three times and the cover art that offended a few. I'm a bit torn to the fact that I should have simplified it down to 12 tracks and keep the running time under 50. But it is what it is I guess and warts and all, live with the end result. But it does pose a challenge for me to come up with a better flow and better songs next go round.
2013 still has been a crap year regardless. Can't please the public either, after being flooded most of the spring and June, it hasn't rained much and the farmers are crying again. Wish there was a way I could have given them the water in the basement that still makes this place smell like cat litter and GD gnats around my face inside intolerable.
I have no ideal who will be on the next album outside of Geoff. Robby Knowles remains penciled in, but Geoff has been clambering for Martin Daniels to return as the third member. Hardly anybody remembers John Verhoven anymore, even myself. When I do interviews about it, I forget V's name.
The reissue campaign got suspended as well due to weather related things too. It's going to be a very busy wintertime when that comes around.
We're Getting Nowhere has been getting some airplay loving, not bad for a 12 year old album. You Lost Me gotten some airplay on KMAI/Radio M Burg. Abstract Girl from the new album as well.
If I redo No Exit, I'd would use the first mix of One More Time, since the vocals came through better. If I reissue it, The End would be dropped. Maybe Stone City too. All Along The Watchtower would take it's place.(meaning replacing The End).
The next album I might return back to the Zildjian lineup of the early 2000's. Still have them put away in boxes. Probably one of the reasons why the 90s and Road Less Traveled sound better.
Russ told me that he thinks Pawnshops For Olivia was the best TE album made. Diggy thinks A Long Time Forgotten was the classic one.
If No Exit first edition felled by the wayside, it wouldn't command big bucks on the EBAY market. Nobody brought it in the first place. It's a matter of taste and what I think.. I think I've done better.
Songwriting today for me is much different than it was 20 30 years ago. The memories were clearer and my emotions wrote better songs. Nowadays its nostalgia and a fond looking back although Pawnshops For Olivia was much more inspired. It's easier to write about that then than now. Even done as acoustic, the songs still remain fresh. No Exit sounds dated four months after the fact.
Ain't it amazing that nobody in high school knew the whereabouts of Janice but I did? If you knew her last name and use google, you'll find she's out there. Her being chapter president of Ladies Auxiliary of a Church? That would be totality opposite of me playing rock star record and CD collecting hoarder. I know if I was with her, there would be no Townedgers but I might be playing in a church band. And having five kids, two that are into rap.
I know the next project will be the first that I attempt to do on Disc recording and not using cassette tape. Had it for many years, the one with disc recording since it has built in features (including, gasp Autotuner) and it's probably easier than four track tape recording. After fighting the masters of No Exit to make a presentable version, maybe it is time to move up. But I yet to master the MP3 art of making music that way. I know Diggy Kat made some MP3 copies of Pawnshops For Olivia but they sound much tinny than the cd version. But I owe him a radio spot.
Somebody yelling at the world? Beside myself? Oh really?
That's it for now. I'll be back and rocking before you know it again.
It's been a long week for people and passings, Alan Lanier passed away, he was part of Blue Oyster Cult but years of smoking caught up to him and he died from C.O.P.D. I've never been a big fan of smoking, my folks gave it up finally in the 80s but it kinda bums me out to see my best friend continue to fight the smoking demon and failing. But it's not for me to criticize what he likes to do. I just rather not visit any more funerals if I have to.
I have a co worker that worked in another department. Troy Liddell and his wife Kelly were both killed by a hit and run driver last weekend to which the hit and run driver remains at large. It's tough to live life in a world that you take your life in your own hands when you venture out on the road and never knowing if you'll get back home alive.
The one passing that I took notice was Jon Brookes, who died way too young at age 44 from brain cancer. If you live long enough like me, 44 years is a short time being on this planet and Jon did great things with The Charlatans UK And leaving behind a family too. Nothing more shattering than having to deal with that. It also shows that the time spent here on Earth is as fleeting as it comes, that one minute you're here and next you're not. I also believe that the the more you bitch the longer God lets you live, so I'll be here for a while.
The No Exit promotion is done and the critic in me has aroused from the dead. I was thinking of doing a revision of that album and taking some cuts off and adding a couple in its place but the issue at hand is of course The End. It seemed like a good idea at the time but the more I hear it the more I think it should have been left in the can. It was a good exercise to see if I could pull it off and for a couple months I did but it does sound dated, four months after issuing the album. The record has been a jinx from the start it seems, getting flooded out of the basement three times and the cover art that offended a few. I'm a bit torn to the fact that I should have simplified it down to 12 tracks and keep the running time under 50. But it is what it is I guess and warts and all, live with the end result. But it does pose a challenge for me to come up with a better flow and better songs next go round.
2013 still has been a crap year regardless. Can't please the public either, after being flooded most of the spring and June, it hasn't rained much and the farmers are crying again. Wish there was a way I could have given them the water in the basement that still makes this place smell like cat litter and GD gnats around my face inside intolerable.
I have no ideal who will be on the next album outside of Geoff. Robby Knowles remains penciled in, but Geoff has been clambering for Martin Daniels to return as the third member. Hardly anybody remembers John Verhoven anymore, even myself. When I do interviews about it, I forget V's name.
The reissue campaign got suspended as well due to weather related things too. It's going to be a very busy wintertime when that comes around.
We're Getting Nowhere has been getting some airplay loving, not bad for a 12 year old album. You Lost Me gotten some airplay on KMAI/Radio M Burg. Abstract Girl from the new album as well.
If I redo No Exit, I'd would use the first mix of One More Time, since the vocals came through better. If I reissue it, The End would be dropped. Maybe Stone City too. All Along The Watchtower would take it's place.(meaning replacing The End).
The next album I might return back to the Zildjian lineup of the early 2000's. Still have them put away in boxes. Probably one of the reasons why the 90s and Road Less Traveled sound better.
Russ told me that he thinks Pawnshops For Olivia was the best TE album made. Diggy thinks A Long Time Forgotten was the classic one.
If No Exit first edition felled by the wayside, it wouldn't command big bucks on the EBAY market. Nobody brought it in the first place. It's a matter of taste and what I think.. I think I've done better.
Songwriting today for me is much different than it was 20 30 years ago. The memories were clearer and my emotions wrote better songs. Nowadays its nostalgia and a fond looking back although Pawnshops For Olivia was much more inspired. It's easier to write about that then than now. Even done as acoustic, the songs still remain fresh. No Exit sounds dated four months after the fact.
Ain't it amazing that nobody in high school knew the whereabouts of Janice but I did? If you knew her last name and use google, you'll find she's out there. Her being chapter president of Ladies Auxiliary of a Church? That would be totality opposite of me playing rock star record and CD collecting hoarder. I know if I was with her, there would be no Townedgers but I might be playing in a church band. And having five kids, two that are into rap.
I know the next project will be the first that I attempt to do on Disc recording and not using cassette tape. Had it for many years, the one with disc recording since it has built in features (including, gasp Autotuner) and it's probably easier than four track tape recording. After fighting the masters of No Exit to make a presentable version, maybe it is time to move up. But I yet to master the MP3 art of making music that way. I know Diggy Kat made some MP3 copies of Pawnshops For Olivia but they sound much tinny than the cd version. But I owe him a radio spot.
Somebody yelling at the world? Beside myself? Oh really?
That's it for now. I'll be back and rocking before you know it again.
Tuesday 13 August 2013
Jon Brookes
Sad to hear about the passing of Jon Brookes, drummer for The Charlatans UK of a brain tumor. His drumming was one of the reasons why I listen to their albums all these years.
He will be missed.
He will be missed.
Wednesday 3 July 2013
Thoughts Of The Townedger-July
It's been a shitty year right from January 1. I try not to be superstitious about anything but I do think that 2013 has been a year to forget and we are only half way through this year. Five years ago, we did our last album and kinda went through life situations. Met a super sweet girl and she moved down here and we attempted to make something of it for a year before moving her back home. And then having Geoff Redding come back into the fold to make a return to the music scene.
For being over 50, No Exit proved to be one of the most hard rocking albums I've ever did and for the first three months in a shitty winter where it snowed every other day we stuck with it and came up with a album I thought would be for the ages. And I thought up a program that designated 2013 to be the year of The Townedgers and we were going to work the album through a networks of social sharing and getting the word out. The fine folks at Radio Buzzd headed up by our biggest fans Diggy Kat and Brittney promoted the album by playing it whole one memorable day in April. And I was gearing up a summer tour of certain places to play as well.
Sad to say that didn't happen. Ken Miller opted out into retirement after going through life saving surgery and the other Robbie Knowles had knee surgery but that the real reason why The Townedgers got put on hold. The major reason, the weather. Spending four straight months trying to move shit down the stairs after more water in the basement took the living spirit out of me and basically with a major cleaning campaign on the way here, I couldn't find the time to promote The Townedgers the best way I can, hell I couldn't even do anything on this blog in lyrics and comments and other assorted reasons. Another reason, No Exit, nobody wanted. After printing up about 50 copies, we waited and waited for anybody or anything who wanted a copy of their very own. This has never happen in our long career, nobody cared. It's rough out there to get music played with so many outlets on the internet and so few on regular radio. So after sopping up the basement for the 30th time this month while stomping on those GDed earwigs (a summertime annoyance) I told Geoff to go on his own and his band. Yep I gave up but life happens and sometimes you have to pay the bills the old fashioned way rather than trying to convince somebody to pony up 5 dollars for a CD that they would probably play once and then pawn off to somebody at a unknown party.
This wasn't the way to celebrate 3 decades of Town's Edge Rock and Roll. As for Soul Biscuits, if you want a copy of it, write me and we'll see what happens. Maybe when the fucking rainy season ends in November maybe we'll salvage something out of year that was supposed to be promising but ended up being the biggest disappointments I've ever known.
I'd advice you to check back for updates but then again nobody reads this anyway.
For being over 50, No Exit proved to be one of the most hard rocking albums I've ever did and for the first three months in a shitty winter where it snowed every other day we stuck with it and came up with a album I thought would be for the ages. And I thought up a program that designated 2013 to be the year of The Townedgers and we were going to work the album through a networks of social sharing and getting the word out. The fine folks at Radio Buzzd headed up by our biggest fans Diggy Kat and Brittney promoted the album by playing it whole one memorable day in April. And I was gearing up a summer tour of certain places to play as well.
Sad to say that didn't happen. Ken Miller opted out into retirement after going through life saving surgery and the other Robbie Knowles had knee surgery but that the real reason why The Townedgers got put on hold. The major reason, the weather. Spending four straight months trying to move shit down the stairs after more water in the basement took the living spirit out of me and basically with a major cleaning campaign on the way here, I couldn't find the time to promote The Townedgers the best way I can, hell I couldn't even do anything on this blog in lyrics and comments and other assorted reasons. Another reason, No Exit, nobody wanted. After printing up about 50 copies, we waited and waited for anybody or anything who wanted a copy of their very own. This has never happen in our long career, nobody cared. It's rough out there to get music played with so many outlets on the internet and so few on regular radio. So after sopping up the basement for the 30th time this month while stomping on those GDed earwigs (a summertime annoyance) I told Geoff to go on his own and his band. Yep I gave up but life happens and sometimes you have to pay the bills the old fashioned way rather than trying to convince somebody to pony up 5 dollars for a CD that they would probably play once and then pawn off to somebody at a unknown party.
This wasn't the way to celebrate 3 decades of Town's Edge Rock and Roll. As for Soul Biscuits, if you want a copy of it, write me and we'll see what happens. Maybe when the fucking rainy season ends in November maybe we'll salvage something out of year that was supposed to be promising but ended up being the biggest disappointments I've ever known.
I'd advice you to check back for updates but then again nobody reads this anyway.
Tuesday 2 July 2013
Townedger's Not Touring This Summer
Once again due to Mother nature's wrath and another month of flooding in the basement and other issues The Townedgers will not be performing this summer.
So much for the year of The Townedgers, we're sorry this had to happen but this weather has been a bitch. And I haven't been a right frame of mind to focus on the music whereas other shit continues to happen, which is monsoons, floods and now a onslaught of earwigs and other creepy crawlers in the house.
So for the rest of summer, I am committed to make some wholesale changes at my place of residence and try to find some way to keep the fucking water out of the basement one month straight this year. What I wanted to do I can't do so there we go. Geoff Redding will continue to play in his other band. Besides No Exit turned out to be a bomb of an album. First record I can think of that nobody bothered to ordered up a copy, even though we got some promotion and airplay on Mouse Tracks on Radio Buzz'd.
In September we'll take a final assessment and then go from there. Till then, thanks for your support.
So much for the year of The Townedgers, we're sorry this had to happen but this weather has been a bitch. And I haven't been a right frame of mind to focus on the music whereas other shit continues to happen, which is monsoons, floods and now a onslaught of earwigs and other creepy crawlers in the house.
So for the rest of summer, I am committed to make some wholesale changes at my place of residence and try to find some way to keep the fucking water out of the basement one month straight this year. What I wanted to do I can't do so there we go. Geoff Redding will continue to play in his other band. Besides No Exit turned out to be a bomb of an album. First record I can think of that nobody bothered to ordered up a copy, even though we got some promotion and airplay on Mouse Tracks on Radio Buzz'd.
In September we'll take a final assessment and then go from there. Till then, thanks for your support.
Sunday 16 June 2013
Thoughts of The Townedgers June Edition
Very interesting month to say the very least. The question of the day was what ever happened to Janice, who was part of my high school years. She basically disowned everything up here and moved to Sunnyville Texas sometime after Town's Edge Rock and outside of coming up for a 1990 reunion disappeared. She's has hard to pronounce and even harder to spell last name Tryggvason. Have never met her hubby but Jack Orbit has and claims he looks like my long lost twin brother. Can't be Jack, I've never been that far down in TX nor in Iceland either.
I still have issues with the reissue of Nice Weather We're Having, the new mix is way too tinny and lacking bass, I may return back to the original tape mix for a third try on CD but needless to say the damn 4 track made a mess out of Jeanette 15 Years Later and So Far Away.
My favorite TE record? I like some, and I love most of them but if I had to choose one that best describes me, that would be 2002's The Road Less Traveled. I've also listened to Moonlight Chronicles and although it's too bit bright, the last reissue strips all the echo that was originally on the first generation Tape/CD copy. Should have been a 1 LP and not a double album.
If I was a casual fan, I'd buy the TE catalog. There's some classic stuff there.
If Janice and I was together back then there wouldn't be any TE records. I don't think there'll be anything after 1979 come to think of it. I think that's why we never got together more than passing phase. She was always thinking about the future, I was one day at a time and what's new in music. I remember one time I was at the Marion Sidewalk sale and showed her the two albums I got, Sly and the Family Stone Stand and best of The Hollies. She had a funny look on her face. But I do know one time she called me up and she had either The Ramones or Sex Pistols playing in the background or maybe one of her friends did. Looking back maybe I should have given up on Jeanette in Michigan and at least go out on a date with her.
One big memory was that Me, her and Sue Rowe Boyd went on one of those Tilt A Whirl when Marion had those downtown fair days. Hell, they even paid for it, one example that they did really care about me.
The One That Knows Me Best wasn't about Janice but it was based around her telling me that She was the only social life that I ever had; That song had more about Clarice. She did like some of the Townedger's Music.
Once I get back from Arizona, the TEs will do some shows and I'm really thinking of bringing out the Zildjian lineup that I did for TE rock or Road Less Traveled. An old Zildjian 18 inch median thin crash always has a beefy sounding crash to it. I also plan to bring out the old Reuter snare drum that I used on Town's Edge Rock. I don't think it's the original snare from the Zickos set but I think it was the replacement. Got that at West Music in Coralville around 82.
The guys that own Villa's Patio and a couple more Mexican places have opened up The Cancun that used to be Happy Chef. Looks like they got Janeen back to wait on tables. Russ and Deb love her but I think she's a ditz myself, never says anything to me unless Russ and deb is there and it's oh you're Dudesky.
I still like Paiste cymbals. Still have em. I really don't do endorsements anymore since I'm too old to get endorsements but on each recording I try to point out what I used for make the recordings. But I think I'm planning to sell some of the cymbals that I have no use for anymore. Rudes might be the first to go.
Yep still have the Impulse Cymbals that Zildjian used to make. They were a copy cat answer to Rudes and didn't sell very well but I love the 16th inch crash, somebody actually thought I was playing Rudes on Wapsi Dreaming.
The rock bar scene of the 80s is long gone, it's not coming back but there's a few choice places to play at, but given the music of the TEs only Gabe's or CSPS is where I any chance of playing original stuff.
I actually like the way Jet Airliner came out on Soul Biscuits. It sounded ragged out and pissed off but it fit the mood of the song. Don't expect The FOX to play it or KUNI. They too have gone down hill.
I was telling Diggy Kat the other day how underrated Drive In Blues was in the trilogy of the classic 90s albums that I did. I played it twice in a row at work this week. Diamonds In the Skies gets all the credit and kudos but Drive In Blues really showed us coming of age.
I really don't like mixing cymbal brands but I could make an exception for the Paiste Twenty 18 China. The Novo China also stands out big time, a bit too much at times but that Twenty China has the perfect cut off crash.
I ended up getting the Zildjian Z power crash in 1986 after I started working full time again. Not a fan of power crashes it sticks out like a sore thumb but when you want to end a song with a crash, it's second to none.
The biggest regret was not able to play drums during the high school years and waiting five years to learn to play and sing. Would have been great to play All Over Now at the variety show when I was a senior in 78.
It would have been closer to punk rock than Led Zeppelin I tell you what.
Russ back then was mincing to a KISS song I do believe. But it took guts to get on stage and do that and later had his sister play piano when he was signing Mandy (the Barry Manilow song) but I was too scary cat to get on stage. Only thing I had back then was coffee cans. That would have made the Cherry Sisters look like Three Dog Night talentwise in Marion! But the 78 Quill show had Lon Washburn and his band playing some rock music and his playing inspired me to make more of myself and actually get a real drum set and learn to play. Only Took me five years after the fact but I think we have come a long way from those days.
We still can't find the tapes for 20 and so you'll have to be satisfied with the version that is out there. I have done a shitty job trying to keep things together when it comes to archives.
God bless you all.
I still have issues with the reissue of Nice Weather We're Having, the new mix is way too tinny and lacking bass, I may return back to the original tape mix for a third try on CD but needless to say the damn 4 track made a mess out of Jeanette 15 Years Later and So Far Away.
My favorite TE record? I like some, and I love most of them but if I had to choose one that best describes me, that would be 2002's The Road Less Traveled. I've also listened to Moonlight Chronicles and although it's too bit bright, the last reissue strips all the echo that was originally on the first generation Tape/CD copy. Should have been a 1 LP and not a double album.
If I was a casual fan, I'd buy the TE catalog. There's some classic stuff there.
If Janice and I was together back then there wouldn't be any TE records. I don't think there'll be anything after 1979 come to think of it. I think that's why we never got together more than passing phase. She was always thinking about the future, I was one day at a time and what's new in music. I remember one time I was at the Marion Sidewalk sale and showed her the two albums I got, Sly and the Family Stone Stand and best of The Hollies. She had a funny look on her face. But I do know one time she called me up and she had either The Ramones or Sex Pistols playing in the background or maybe one of her friends did. Looking back maybe I should have given up on Jeanette in Michigan and at least go out on a date with her.
One big memory was that Me, her and Sue Rowe Boyd went on one of those Tilt A Whirl when Marion had those downtown fair days. Hell, they even paid for it, one example that they did really care about me.
The One That Knows Me Best wasn't about Janice but it was based around her telling me that She was the only social life that I ever had; That song had more about Clarice. She did like some of the Townedger's Music.
Once I get back from Arizona, the TEs will do some shows and I'm really thinking of bringing out the Zildjian lineup that I did for TE rock or Road Less Traveled. An old Zildjian 18 inch median thin crash always has a beefy sounding crash to it. I also plan to bring out the old Reuter snare drum that I used on Town's Edge Rock. I don't think it's the original snare from the Zickos set but I think it was the replacement. Got that at West Music in Coralville around 82.
The guys that own Villa's Patio and a couple more Mexican places have opened up The Cancun that used to be Happy Chef. Looks like they got Janeen back to wait on tables. Russ and Deb love her but I think she's a ditz myself, never says anything to me unless Russ and deb is there and it's oh you're Dudesky.
I still like Paiste cymbals. Still have em. I really don't do endorsements anymore since I'm too old to get endorsements but on each recording I try to point out what I used for make the recordings. But I think I'm planning to sell some of the cymbals that I have no use for anymore. Rudes might be the first to go.
Yep still have the Impulse Cymbals that Zildjian used to make. They were a copy cat answer to Rudes and didn't sell very well but I love the 16th inch crash, somebody actually thought I was playing Rudes on Wapsi Dreaming.
The rock bar scene of the 80s is long gone, it's not coming back but there's a few choice places to play at, but given the music of the TEs only Gabe's or CSPS is where I any chance of playing original stuff.
I actually like the way Jet Airliner came out on Soul Biscuits. It sounded ragged out and pissed off but it fit the mood of the song. Don't expect The FOX to play it or KUNI. They too have gone down hill.
I was telling Diggy Kat the other day how underrated Drive In Blues was in the trilogy of the classic 90s albums that I did. I played it twice in a row at work this week. Diamonds In the Skies gets all the credit and kudos but Drive In Blues really showed us coming of age.
I really don't like mixing cymbal brands but I could make an exception for the Paiste Twenty 18 China. The Novo China also stands out big time, a bit too much at times but that Twenty China has the perfect cut off crash.
I ended up getting the Zildjian Z power crash in 1986 after I started working full time again. Not a fan of power crashes it sticks out like a sore thumb but when you want to end a song with a crash, it's second to none.
The biggest regret was not able to play drums during the high school years and waiting five years to learn to play and sing. Would have been great to play All Over Now at the variety show when I was a senior in 78.
It would have been closer to punk rock than Led Zeppelin I tell you what.
Russ back then was mincing to a KISS song I do believe. But it took guts to get on stage and do that and later had his sister play piano when he was signing Mandy (the Barry Manilow song) but I was too scary cat to get on stage. Only thing I had back then was coffee cans. That would have made the Cherry Sisters look like Three Dog Night talentwise in Marion! But the 78 Quill show had Lon Washburn and his band playing some rock music and his playing inspired me to make more of myself and actually get a real drum set and learn to play. Only Took me five years after the fact but I think we have come a long way from those days.
We still can't find the tapes for 20 and so you'll have to be satisfied with the version that is out there. I have done a shitty job trying to keep things together when it comes to archives.
God bless you all.
Saturday 15 June 2013
Last Train Home
Last Train Home-4:50
She was in my history class
Back in high school days
Don't recall how she sprung up
Her face I can't forget
Her face I can't forget
Sometimes I wish I could
I used to walk her home from school
And we sit back and argue
About marriage and the future
Janice I wished I never met you
I never took her to the prom
Instead I went to the edge of town
And by the light of the moon
Listened to the highway sounds
I used to walk her home from school
And we sit back and argue
About marriage and the future
Janice I wished I never met you
And you know I wished I never met you
We had our last fight and ended it
I just can't explain it
She's doing ten times better
More than we could ever been
And it's so it's over, it's been over
I'm getting on the last train home
And as I leave I wonder
Was it worth it to prove her wrong?
(c) 1989 Townedger's Music Emporium
From Moonlight Chronicles MR2-24533
She was in my history class
Back in high school days
Don't recall how she sprung up
Her face I can't forget
Her face I can't forget
Sometimes I wish I could
I used to walk her home from school
And we sit back and argue
About marriage and the future
Janice I wished I never met you
I never took her to the prom
Instead I went to the edge of town
And by the light of the moon
Listened to the highway sounds
I used to walk her home from school
And we sit back and argue
About marriage and the future
Janice I wished I never met you
And you know I wished I never met you
We had our last fight and ended it
I just can't explain it
She's doing ten times better
More than we could ever been
And it's so it's over, it's been over
I'm getting on the last train home
And as I leave I wonder
Was it worth it to prove her wrong?
(c) 1989 Townedger's Music Emporium
From Moonlight Chronicles MR2-24533
High School Sweetheart
High School Sweetheart (Smith) 4:25
Doesn't anyone remember Janice?
I used to think a lot about her
We had dreams and ambitions
But we never got it together
Sometimes I think she was forced upon me
She always popped up where ever I went
No I never should have given her a second thought
Cuz if I did she would break my heart
Teenage dreams forgotten it seems
You and I never meant to be
Your love's like a romantic novel
Never real but it's worth a look
She must have stayed up many a night
Thinking of ways of winning me over
I must admit that I had my chances
But I suppose I should give it a rest
For now she's only a ghost
In my story of life, she played a role
And I can't go back digging up the past
For what we know our love wouldn't last
Teenage dreams forgotten it seems
And the rain falls on our parade
All dressed up and no place to go
I think we both stood each other up
Doesn't anyone remember Janice?
Not anymore
(C) 1994 Townedger Music Emporium
From Weather On The Nines MRK-24924
Doesn't anyone remember Janice?
I used to think a lot about her
We had dreams and ambitions
But we never got it together
Sometimes I think she was forced upon me
She always popped up where ever I went
No I never should have given her a second thought
Cuz if I did she would break my heart
Teenage dreams forgotten it seems
You and I never meant to be
Your love's like a romantic novel
Never real but it's worth a look
She must have stayed up many a night
Thinking of ways of winning me over
I must admit that I had my chances
But I suppose I should give it a rest
For now she's only a ghost
In my story of life, she played a role
And I can't go back digging up the past
For what we know our love wouldn't last
Teenage dreams forgotten it seems
And the rain falls on our parade
All dressed up and no place to go
I think we both stood each other up
Doesn't anyone remember Janice?
Not anymore
(C) 1994 Townedger Music Emporium
From Weather On The Nines MRK-24924
Running In The Rain
Running In The Rain (Smith) 4:20
Heard about your wedding I've seen it in the paper
They said it was a success just what you wanted
I don't mean to intrude when I ask you this question
You sure have gone out your way to find the next one
But listen to me
For some sympathy
And what I say
That it should have been me
I'm just running in the rain
Cuz it keeps me sane
Trying to get over you
Just to ease the pain
My only wish was to see you again
I suppose there was a time but now there isn't
I guess the songs that I wrote you don't even mean much
But doesn't the thought even count?
But the movie's over
As you slip away
Too late the hero
There goes the train
I'm just running in the rain
Cause it keeps me sane
Trying to get over you
Just to ease the pain
Well I don't plan to see you again
Cause Dallas Texas is too far out of the way
And Arizona Nights you say are too hot
And come tomorrow another day
And one man's poison
Is another's drug
And one man's treasure
Look what the cat drug in..
I'm just running in the rain, don't mind me
C 1986 Wapsipinicon Dreamer Music
Songwriter's note: The Arizona Nights line was replaced with:
And Cedar Rapids you say is plainly too cold
I also been toying to resuffle that line with And this town has nothing left for you.
But upon looking at that line it kinda leaves the listener hanging on so basically I'll leave the CR line there for future concerts and recordings.
Originally off Wapsipinicon Dreaming (MRK-24186) 1986
New drum track recorded for the greatest hits Stories From The Road MR-24999 2000
Heard about your wedding I've seen it in the paper
They said it was a success just what you wanted
I don't mean to intrude when I ask you this question
You sure have gone out your way to find the next one
But listen to me
For some sympathy
And what I say
That it should have been me
I'm just running in the rain
Cuz it keeps me sane
Trying to get over you
Just to ease the pain
My only wish was to see you again
I suppose there was a time but now there isn't
I guess the songs that I wrote you don't even mean much
But doesn't the thought even count?
But the movie's over
As you slip away
Too late the hero
There goes the train
I'm just running in the rain
Cause it keeps me sane
Trying to get over you
Just to ease the pain
Well I don't plan to see you again
Cause Dallas Texas is too far out of the way
And Arizona Nights you say are too hot
And come tomorrow another day
And one man's poison
Is another's drug
And one man's treasure
Look what the cat drug in..
I'm just running in the rain, don't mind me
C 1986 Wapsipinicon Dreamer Music
Songwriter's note: The Arizona Nights line was replaced with:
And Cedar Rapids you say is plainly too cold
I also been toying to resuffle that line with And this town has nothing left for you.
But upon looking at that line it kinda leaves the listener hanging on so basically I'll leave the CR line there for future concerts and recordings.
Originally off Wapsipinicon Dreaming (MRK-24186) 1986
New drum track recorded for the greatest hits Stories From The Road MR-24999 2000
Friday 14 June 2013
Songs About Janice
As anybody who has listened to the Townedgers and the music of the past 30 years a lot of songs were based upon my experiences and crushes and loves on girls that I knew and at one time was a part of my life. But back in 1976 I really couldn't translate them very well into songs. A few of them were based upon Janice Berns, a skinny tall girl who somehow developed a crush on me during my sophomore year in high school to which I had to endure her shenanigans and her girlfriends at that time. But then again a few factors came into play as well.
A year before hand I ended up falling head over heels over some girl in Jackson Michigan in 1975 and turned my world upside down. Problem was I would never see her anymore after the summer of 1976 even though we promised each other to be true and faithful. Janice on the other hand came into my life and for all of rest of 76 and part of 1977 we were the Bickersons of high school. Her and her friend Anne would constantly come to my locker and bug the hell out of me. Looking back on hindsight I really blew that one. Janice was attractive, straight honor student, cheerleader and here she was bugging some lowlife across the tracks that had only interest for records, beer can collecting and gave his heart to somebody else at that time. I mean Janice did have a crush on me, one day in American Studies class she mentioned something about sitting on my lap and I dared her and damned if she didn't plopped herself on my lap.
For most of that time I resisted but finally when it came to pass that the Michigan love interest was gone forever more, they were playing Chicago's Colour My World and her friend said that Janice wanted to slow dance, so I basically went up and grabbed her hand to go to the dance floor and you think that would have been the start of something new. She grabbed herself away from me making me look like a fool and I called her a few choice names and stalked off but Sue instead came up and we finished that dance but I livid with Miss Berns. The next day, somehow she found me at my grade school and we just sat and argued big time. Somehow she mentioned she loved me that and I blew her off. Look at that another chance done by the wayside. And that turned out the be the cause and effect of the rest of the 70s, we both made feeble chances for a date but never seem to be on the right page. Circumstances also didn't help either, she became a cook at Applegate's Landing, some fly by night pizza joint and I became a dish washer which put more salt into the wound. But I don't think she ever dated anybody till I left school and I did see her with somebody a year later and was finally free from her but then got mad of the fact that it wasn't me that was with her.
Somehow in the course of that time, something in her changed and she became more bitter toward the town or maybe of the fact that she took a chance on a loner. Even up to Town's Edge Rock in 1983 I would have welcomed her into this life but I think I've seen her one time and she looked withdrawn and angry at the world. She dated a friend of my brother but sometime in 1984 she moved to Texas and married somebody that kinda looked like me in 1986 and outside of a 10th year high school reunion has simply dropped off the face of the planet or at least here in town. Even her high school friends have said they haven't heard from her in years either. It seems once she left town, she left everything behind in memories. Some people are like that I guess.
Even during the echophonic era I wrote a song that did mention Janice, Four In The Morning I think it was called but the tape got erased and it wasn't a good song anyway. In 1985 I did write Song For Janice for the Rock And Roll Made Me What I Am Today album but on the CD version I left it off. When she got married, my reaction was Running In The Rain off Wapsi Dreaming and it remains one of the most requested song in my reportorial output. Later on, she was the subject of note on We Never Danced to which I revisited my feelings of anger when she didn't want to dance with me even though she told everybody in earshot that she did. Last Train Home off Moonlight Chronicles in 1989 dealt with the playground argument of the next day after the dance to which the line utters Janice I wish I never met you probably had her echoing the same thing.
As you get older you wonder what if, what if we could have been together. On High School Sweetheart (1994-Weather On The Nines) I start the song out with Doesn't anyone remember Janice? To which I remember the good times that we did share in the brief time we were together around the town but perhaps the damming second chorus of
Teenage Dreams
Forgotten It Seems
And the rain falls on our parade
All dressed up and nowhere to go
I think we both stood each other up
37 years down the road, that line sums up the legacy of Me and Janice, of how a failed concept of having a teenage crush on somebody who wasn't interested at the time who turn somebody into a life of bitterness although I could be wrong and Janice might still be living and still married to same guy. I seriously doubt that we'll ever crossed paths again. Or what if I never went to Michigan and fell into an infatuation which blew up in my face as well. And then trying to win Janice back in the best way I knew how and that didn't work either.
What does she mean when she said she's my life
The only social life that I'll ever had
Making mistakes just like in the past
I guess she's the one that knows me best
Janice said the day after the failed dance that she was the only social life that I ever had which even made me laugh in her face even more but in a way she was somewhat right. I didn't date much if at all in high school outside of Penny which we did have a few dates but Janice and I was never on the same page, even when I wrote the chorus of The One That Knows Me Best in 1999.
As time goes by, the memories of high school fade into nothingness and perhaps she did marry the man of her dreams, they are still together and doing quite well out there in Texas just like the song Running In The Rain suggested. I also think she's doing a lot better now like the Last Train Home song suggested as well. She's a president of Ladies Auxiliary, and of a Catholic church. Ah, the power of the internet.
I guess in the outcome of life we were a clash of the air masses. I don't think she would have approved of my music and the extensive music collection over the years but that's all right.
I wish them the best of life.
A year before hand I ended up falling head over heels over some girl in Jackson Michigan in 1975 and turned my world upside down. Problem was I would never see her anymore after the summer of 1976 even though we promised each other to be true and faithful. Janice on the other hand came into my life and for all of rest of 76 and part of 1977 we were the Bickersons of high school. Her and her friend Anne would constantly come to my locker and bug the hell out of me. Looking back on hindsight I really blew that one. Janice was attractive, straight honor student, cheerleader and here she was bugging some lowlife across the tracks that had only interest for records, beer can collecting and gave his heart to somebody else at that time. I mean Janice did have a crush on me, one day in American Studies class she mentioned something about sitting on my lap and I dared her and damned if she didn't plopped herself on my lap.
For most of that time I resisted but finally when it came to pass that the Michigan love interest was gone forever more, they were playing Chicago's Colour My World and her friend said that Janice wanted to slow dance, so I basically went up and grabbed her hand to go to the dance floor and you think that would have been the start of something new. She grabbed herself away from me making me look like a fool and I called her a few choice names and stalked off but Sue instead came up and we finished that dance but I livid with Miss Berns. The next day, somehow she found me at my grade school and we just sat and argued big time. Somehow she mentioned she loved me that and I blew her off. Look at that another chance done by the wayside. And that turned out the be the cause and effect of the rest of the 70s, we both made feeble chances for a date but never seem to be on the right page. Circumstances also didn't help either, she became a cook at Applegate's Landing, some fly by night pizza joint and I became a dish washer which put more salt into the wound. But I don't think she ever dated anybody till I left school and I did see her with somebody a year later and was finally free from her but then got mad of the fact that it wasn't me that was with her.
Somehow in the course of that time, something in her changed and she became more bitter toward the town or maybe of the fact that she took a chance on a loner. Even up to Town's Edge Rock in 1983 I would have welcomed her into this life but I think I've seen her one time and she looked withdrawn and angry at the world. She dated a friend of my brother but sometime in 1984 she moved to Texas and married somebody that kinda looked like me in 1986 and outside of a 10th year high school reunion has simply dropped off the face of the planet or at least here in town. Even her high school friends have said they haven't heard from her in years either. It seems once she left town, she left everything behind in memories. Some people are like that I guess.
Even during the echophonic era I wrote a song that did mention Janice, Four In The Morning I think it was called but the tape got erased and it wasn't a good song anyway. In 1985 I did write Song For Janice for the Rock And Roll Made Me What I Am Today album but on the CD version I left it off. When she got married, my reaction was Running In The Rain off Wapsi Dreaming and it remains one of the most requested song in my reportorial output. Later on, she was the subject of note on We Never Danced to which I revisited my feelings of anger when she didn't want to dance with me even though she told everybody in earshot that she did. Last Train Home off Moonlight Chronicles in 1989 dealt with the playground argument of the next day after the dance to which the line utters Janice I wish I never met you probably had her echoing the same thing.
As you get older you wonder what if, what if we could have been together. On High School Sweetheart (1994-Weather On The Nines) I start the song out with Doesn't anyone remember Janice? To which I remember the good times that we did share in the brief time we were together around the town but perhaps the damming second chorus of
Teenage Dreams
Forgotten It Seems
And the rain falls on our parade
All dressed up and nowhere to go
I think we both stood each other up
37 years down the road, that line sums up the legacy of Me and Janice, of how a failed concept of having a teenage crush on somebody who wasn't interested at the time who turn somebody into a life of bitterness although I could be wrong and Janice might still be living and still married to same guy. I seriously doubt that we'll ever crossed paths again. Or what if I never went to Michigan and fell into an infatuation which blew up in my face as well. And then trying to win Janice back in the best way I knew how and that didn't work either.
What does she mean when she said she's my life
The only social life that I'll ever had
Making mistakes just like in the past
I guess she's the one that knows me best
Janice said the day after the failed dance that she was the only social life that I ever had which even made me laugh in her face even more but in a way she was somewhat right. I didn't date much if at all in high school outside of Penny which we did have a few dates but Janice and I was never on the same page, even when I wrote the chorus of The One That Knows Me Best in 1999.
As time goes by, the memories of high school fade into nothingness and perhaps she did marry the man of her dreams, they are still together and doing quite well out there in Texas just like the song Running In The Rain suggested. I also think she's doing a lot better now like the Last Train Home song suggested as well. She's a president of Ladies Auxiliary, and of a Catholic church. Ah, the power of the internet.
I guess in the outcome of life we were a clash of the air masses. I don't think she would have approved of my music and the extensive music collection over the years but that's all right.
I wish them the best of life.
Tuesday 4 June 2013
Modern Problems In Reflected Living 20 Years Later
This month we released two albums of historic value, one was Town's Edge Rock and ten years later Modern Problems In Reflected Living came to be. We focus on the latter.
I actually had an album done The First And Last Reunion when Jack Orbit came up to me and wanted to do a new album along with Ken Miller and Geoff Redding. But I thought since I was working nights at the time, it would free up days so that we could actually record new songs and we did.
The majority of songs were recorded in June of 1993 at the duplex lovingly called Broadcast Manor. Waste Of Time Wynna was the sequel to Pretender of Drive In Blues, I had this psycho chick at work that liked me but everytime I tried to ask her out, she would freak out and say she's engaged to this dude in Muscatine and bla bla bla and so basically this is a FOAD song aimed at Miss Wynna Witmer who's probably married and divorced five times already. Somebody's guitar is way out of tune on this one.
Pillar Of Salt-a odd one but I think it was a co write with Ken Miller about a reaction we saw on Oprah that didn't set well with us. I love the Geoff Redding guitar counterpoint as he strums to the offbeat. Diggy Kat played this a few times on his show although I think we have better songs on this album he could put on instead.
Hard To Love You-One thing about Orbit's contributions to this band is that he likes plenty of backing vocals. I sing well it's hard, Geoff, Jack and Ken sing To Love You and then we all get together on the final tag line but I think we gave that up on later recordings. I think Wynna may have been the target of ridicule on this song especially on the biological clock is ticking but as the years go on, the mind gets foggy.
How Far It Goes actually goes back to 1988 during the Postcards From The Edge, but none of the music fit the lyrics and we put them back into the closet till Geoff added a reggae guitar to the beginning.
Hey Bama-Something that I wrote down at DeSoda's on a fun filled Saturday Night. Ken actually is using a glass side on the bass to give it a different sound than usual. I think we were going for a Little Feat sound. Geoff sits this one out, which is probably the only recording with the Town's Edge Rock lineup of me, Orbit and Miller.
Debbie's Winegarden-Named after the chick that supposed to be my duet partner on this song but she never showed up to do the recording so we went on without her. Original intent was me to sing the first verse, her the second and both of us the final verse. It would have been gangbusters.
Missing Her-Another song conceived on the dance floor and in the bathroom at DeSoda's. Another song about a wasted weekend at the meat market.
Minor Miracle-Brian Mullahan's production on this album really came full circle as we used different methods of recording guitars and drums on this album. Although known as a perfectionist who would literately take apart other bands, he also recorded things as they happen, sometimes good and sometimes not so good and the drums are pretty sloppy to say the very least. Basically me and Geoff on this number.
Little Girl-Wynna again. She used to work with us at the old place of workage and although I think there was some sort of attraction, she seemed to take great pride in pissing me off with her split personalities although not as bad as Isabella when I decided to cast my lot with her 8 years down the road. The song is fun to do though.
Lies-When someone screwing you do you stop and say thanks.....how did we come up with that line? Oh the fun of observing folks at the singles bar and you can come up some interesting things as well. It really sounds punkish to me.
Are You Gonna Be The One-Originally from First And Last Reunion I had to include this to Modern Problems since it sounded so good.
Long Way To Go-Replaces the overlong Her Lightning Ways on CD. Something spur of the moment.
Away From You-One of the things that makes co-writing with Jack Orbit is that he managed to bring in a zinger set of lyrics or music when he feels the moment is right and he gets credited for the yuk yuk yuk yuk guitar riff at the beginning of the song. Another in a long line of infatuation songs that I tend to be good at that time.
Straight Laced And Gone- Aka Modern Problems In Reflected Living. A silly ditty that was fucking impossible to get on tape. Finally had to slow the guitars down to at least get the drums fit into the groove. Most of the lyrics is jive anyway.
Girl On Your Mind-Another Desoda's observation that became another song but I sang it in that hypnotic whine that was typical of the 1983-1985 era to which I was trying to find my voice. Sometimes that Illinois southern drawl really is a liability.
Don't Let Me Know-Lyrics were written around 1987 and never used for Tales Of The Red Caboose but Jack and Ken came up with a nice little riff that fit the words hand in glove. The stop and start of the chorus is fun to do live and usually the jam part we do extend it by a minute or two.
Frosted Flakes-Some perverted humor of watching some dumb show on TV and making fun of the ditz that was on that show, Road Rules maybe? Geoff Redding's guitar riff counterpoint is perfect.
When The Night Comes-Wrote this with Ken about five years prior but we could never get the feeling right till finally on the next to last recording session finally did this with a very slow and deliberate off beat snare drum hit. And for the first time ever, I actually did the lead guitar part. Very simple but reeking of despair.
Sun Ra-Done as a tribute to the eccentric jazz artist who passed away a day before and we decided to do something off the cuff and something avant-garde Amazing what a digital delay can do for you.
Modern Problems would be the final trilogy of a cycle of albums that began with Diamonds In The Skies and Drive In Blues ended with the pop rock style of MP but soon after the completion of this album I decided to put the band on hiatus while reunited with my old high school sweetheart of a life of being together, which only lasted about four weeks and endless days of rain which begin the flood of 93. By then while recording we were finally mastering the art of recording music and I can hear it on this recording. Hugh McConnell did wonders by placing the drum mic at certain spots and picking up everything
Broadcast Manor's recording room was my bedroom at the duplex and it was very cramped to say the very least, the amps were turned down fairly low and some of the songs we just plugged the guitar and delay into the four track itself. Worked out very well judging by how little space we had in there. The old Realistic Mic really did a good job despite the fact that it was battery operated and the threads were just about stripped off from all the use but it did managed to hang together for another five records before retiring it for good.
20 years later it still holds up very well and I can listen to every song from start to finish. Although some might opt for Diamonds In The Skies or Long Time Forgotten as the best of the TEs, I have to concour. All the 90s albums have something of value if they weren't they would have been retired long ago. Modern Problems In Reflected Living, while quickly conceived and recorded remains one of my favorite Townedgers albums ever. And that's saying a lot.
I actually had an album done The First And Last Reunion when Jack Orbit came up to me and wanted to do a new album along with Ken Miller and Geoff Redding. But I thought since I was working nights at the time, it would free up days so that we could actually record new songs and we did.
The majority of songs were recorded in June of 1993 at the duplex lovingly called Broadcast Manor. Waste Of Time Wynna was the sequel to Pretender of Drive In Blues, I had this psycho chick at work that liked me but everytime I tried to ask her out, she would freak out and say she's engaged to this dude in Muscatine and bla bla bla and so basically this is a FOAD song aimed at Miss Wynna Witmer who's probably married and divorced five times already. Somebody's guitar is way out of tune on this one.
Pillar Of Salt-a odd one but I think it was a co write with Ken Miller about a reaction we saw on Oprah that didn't set well with us. I love the Geoff Redding guitar counterpoint as he strums to the offbeat. Diggy Kat played this a few times on his show although I think we have better songs on this album he could put on instead.
Hard To Love You-One thing about Orbit's contributions to this band is that he likes plenty of backing vocals. I sing well it's hard, Geoff, Jack and Ken sing To Love You and then we all get together on the final tag line but I think we gave that up on later recordings. I think Wynna may have been the target of ridicule on this song especially on the biological clock is ticking but as the years go on, the mind gets foggy.
How Far It Goes actually goes back to 1988 during the Postcards From The Edge, but none of the music fit the lyrics and we put them back into the closet till Geoff added a reggae guitar to the beginning.
Hey Bama-Something that I wrote down at DeSoda's on a fun filled Saturday Night. Ken actually is using a glass side on the bass to give it a different sound than usual. I think we were going for a Little Feat sound. Geoff sits this one out, which is probably the only recording with the Town's Edge Rock lineup of me, Orbit and Miller.
Debbie's Winegarden-Named after the chick that supposed to be my duet partner on this song but she never showed up to do the recording so we went on without her. Original intent was me to sing the first verse, her the second and both of us the final verse. It would have been gangbusters.
Missing Her-Another song conceived on the dance floor and in the bathroom at DeSoda's. Another song about a wasted weekend at the meat market.
Minor Miracle-Brian Mullahan's production on this album really came full circle as we used different methods of recording guitars and drums on this album. Although known as a perfectionist who would literately take apart other bands, he also recorded things as they happen, sometimes good and sometimes not so good and the drums are pretty sloppy to say the very least. Basically me and Geoff on this number.
Little Girl-Wynna again. She used to work with us at the old place of workage and although I think there was some sort of attraction, she seemed to take great pride in pissing me off with her split personalities although not as bad as Isabella when I decided to cast my lot with her 8 years down the road. The song is fun to do though.
Lies-When someone screwing you do you stop and say thanks.....how did we come up with that line? Oh the fun of observing folks at the singles bar and you can come up some interesting things as well. It really sounds punkish to me.
Are You Gonna Be The One-Originally from First And Last Reunion I had to include this to Modern Problems since it sounded so good.
Long Way To Go-Replaces the overlong Her Lightning Ways on CD. Something spur of the moment.
Away From You-One of the things that makes co-writing with Jack Orbit is that he managed to bring in a zinger set of lyrics or music when he feels the moment is right and he gets credited for the yuk yuk yuk yuk guitar riff at the beginning of the song. Another in a long line of infatuation songs that I tend to be good at that time.
Straight Laced And Gone- Aka Modern Problems In Reflected Living. A silly ditty that was fucking impossible to get on tape. Finally had to slow the guitars down to at least get the drums fit into the groove. Most of the lyrics is jive anyway.
Girl On Your Mind-Another Desoda's observation that became another song but I sang it in that hypnotic whine that was typical of the 1983-1985 era to which I was trying to find my voice. Sometimes that Illinois southern drawl really is a liability.
Don't Let Me Know-Lyrics were written around 1987 and never used for Tales Of The Red Caboose but Jack and Ken came up with a nice little riff that fit the words hand in glove. The stop and start of the chorus is fun to do live and usually the jam part we do extend it by a minute or two.
Frosted Flakes-Some perverted humor of watching some dumb show on TV and making fun of the ditz that was on that show, Road Rules maybe? Geoff Redding's guitar riff counterpoint is perfect.
When The Night Comes-Wrote this with Ken about five years prior but we could never get the feeling right till finally on the next to last recording session finally did this with a very slow and deliberate off beat snare drum hit. And for the first time ever, I actually did the lead guitar part. Very simple but reeking of despair.
Sun Ra-Done as a tribute to the eccentric jazz artist who passed away a day before and we decided to do something off the cuff and something avant-garde Amazing what a digital delay can do for you.
Modern Problems would be the final trilogy of a cycle of albums that began with Diamonds In The Skies and Drive In Blues ended with the pop rock style of MP but soon after the completion of this album I decided to put the band on hiatus while reunited with my old high school sweetheart of a life of being together, which only lasted about four weeks and endless days of rain which begin the flood of 93. By then while recording we were finally mastering the art of recording music and I can hear it on this recording. Hugh McConnell did wonders by placing the drum mic at certain spots and picking up everything
Broadcast Manor's recording room was my bedroom at the duplex and it was very cramped to say the very least, the amps were turned down fairly low and some of the songs we just plugged the guitar and delay into the four track itself. Worked out very well judging by how little space we had in there. The old Realistic Mic really did a good job despite the fact that it was battery operated and the threads were just about stripped off from all the use but it did managed to hang together for another five records before retiring it for good.
20 years later it still holds up very well and I can listen to every song from start to finish. Although some might opt for Diamonds In The Skies or Long Time Forgotten as the best of the TEs, I have to concour. All the 90s albums have something of value if they weren't they would have been retired long ago. Modern Problems In Reflected Living, while quickly conceived and recorded remains one of my favorite Townedgers albums ever. And that's saying a lot.
Wednesday 29 May 2013
Thoughts From The Townedger May
What a month. I haven't done much in terms of adding stuff to the Townedger's site. We had way too many flooding rainy days to the point it stressed me out and couldn't think straight. I hate this weather, even more so than snows and ice of the wintertime. At least they don't seep into the basement like a six inch rainfall and lot of areas around here have gotten hit with way too much rain and the Cedar is out of its banks, just like it was five years ago on that infamous 2008 flood. I hate this type of history repeating. But at least the no rain prayer has held up the past five days. God willing.
I doubt if the Townedgers will do much touring behind No Exit. Reviews have been lukewarm and sales nil. Maier Records announced that Curio will be the third and final single off that album, the previous two failed to chart.
Thanks to Miss Mouse and Diggy Kat for playing the new album and some of the songs. I love them both.
Next month will be the 20th anniversary of Modern Problems In Reflected Living. I promise I'll write something about that album next month.
I don't expect the Smith/Orbit/Miller/Redding lineup to play at any time. Too many issues and the guys really don't want to deal with Jack although I continue to write songs with him.
Some of the TE back catalog will fall by the wayside. The 1989 albums have been a problem of trying to get the sound right and only thing I can do is re record the drum parts over again but that would ruin the original intent.
Still no intention of playing The End live.
Brian Mullahan could be a pain in the ass when he was producing but unlike other bands he knew when not to push, but sometimes the mistakes he left in the recording didn't help either. I cringe when I hear myself singing the wrong words in certain songs.
I could do another best of, or 3 decades of Townedger Rock And Roll. We'll see.
Walk A Thin Line, from Travelogue is the best version. The Soul Biscuits version tries but when I hear the 1988 remix version, it's garage punk heaven. That'll be on the best of.
Every Hour On The Hour, the 1986 Wendy Oaks farewell gig? Don't look for it on CD. It served its purpose back in 1986.
God is love.
I doubt if the Townedgers will do much touring behind No Exit. Reviews have been lukewarm and sales nil. Maier Records announced that Curio will be the third and final single off that album, the previous two failed to chart.
Thanks to Miss Mouse and Diggy Kat for playing the new album and some of the songs. I love them both.
Next month will be the 20th anniversary of Modern Problems In Reflected Living. I promise I'll write something about that album next month.
I don't expect the Smith/Orbit/Miller/Redding lineup to play at any time. Too many issues and the guys really don't want to deal with Jack although I continue to write songs with him.
Some of the TE back catalog will fall by the wayside. The 1989 albums have been a problem of trying to get the sound right and only thing I can do is re record the drum parts over again but that would ruin the original intent.
Still no intention of playing The End live.
Brian Mullahan could be a pain in the ass when he was producing but unlike other bands he knew when not to push, but sometimes the mistakes he left in the recording didn't help either. I cringe when I hear myself singing the wrong words in certain songs.
I could do another best of, or 3 decades of Townedger Rock And Roll. We'll see.
Walk A Thin Line, from Travelogue is the best version. The Soul Biscuits version tries but when I hear the 1988 remix version, it's garage punk heaven. That'll be on the best of.
Every Hour On The Hour, the 1986 Wendy Oaks farewell gig? Don't look for it on CD. It served its purpose back in 1986.
God is love.
Saturday 18 May 2013
Down On The Farm
This song was recorded for a forthcoming 2011 album that never got finished once my ex girlfriend moved into town, I basically shelved it and forgot all about it till going through tapes and picking up ideas for what would be No Exit. Elements of the song came from Daddy Put The Bomp, an old song from Ducks Deluxe to which song writing credit was given to Sean Tyla for inspiration. Working on a dead line to complete the album, the drum tracks were all over the place to which the final part is just me tapping on a mic stand since it sounded like a bass drum anyway. The album working title was Between The Cedar And The Wapsi, which I live between both rivers.
Down On The Farm (Smith/Redding/Tyla) 4:56
Between the Cedar and the Wapsi
This is where that you can find me down the road, down the road
Living easy and living free
Ain't no place that I rather be, rock and roll, rock and roll
Cuz down on the farm we put the rock in rock and roll
Rock and roll
Rock and roll
Cuz down on the farm we put the rock in rock and roll
See my baby such a cutie
She can shake it like a willow tree rock and roll, rock and roll
She's a wonder and she's a dream
She knows the ways to make me scream let it roll, let it roll
Cuz down on the farm she puts the rock in rock and roll
Rock and roll
Rock and roll
Cuz down on the farm she puts the rock in rock and roll
(repeat)
Love my baby love her too
Without her charm I wouldn't know what to do rock and roll, rock and roll
Do me wrong do me right
Why don't you do me like a Saturday Night, let it roll, let it roll
Rock and roll
rock and roll
rock and roll
rock and roll
rock and roll
rock and roll
rock and roll
rock and roll
cuz down on the farm she puts the rock in rock and roll
cuz down on the farm she puts the rock in rock and roll
etc.
etc.
(c) 2011 Hot Air Music
As you can tell, this was a songwriting in process as we were trying to get into the groove and upon looking at the finished product this is not one of the better songs ever written. Later on, when we performed this life, I changed the lyric See my baby, such a cutie, she can shake it like an old time movie which sounded better than the willow tree comment. For a throwaway, the music is actually quite good.
(from the Soul Biscuits! CD)
Down On The Farm (Smith/Redding/Tyla) 4:56
Between the Cedar and the Wapsi
This is where that you can find me down the road, down the road
Living easy and living free
Ain't no place that I rather be, rock and roll, rock and roll
Cuz down on the farm we put the rock in rock and roll
Rock and roll
Rock and roll
Cuz down on the farm we put the rock in rock and roll
See my baby such a cutie
She can shake it like a willow tree rock and roll, rock and roll
She's a wonder and she's a dream
She knows the ways to make me scream let it roll, let it roll
Cuz down on the farm she puts the rock in rock and roll
Rock and roll
Rock and roll
Cuz down on the farm she puts the rock in rock and roll
(repeat)
Love my baby love her too
Without her charm I wouldn't know what to do rock and roll, rock and roll
Do me wrong do me right
Why don't you do me like a Saturday Night, let it roll, let it roll
Rock and roll
rock and roll
rock and roll
rock and roll
rock and roll
rock and roll
rock and roll
rock and roll
cuz down on the farm she puts the rock in rock and roll
cuz down on the farm she puts the rock in rock and roll
etc.
etc.
(c) 2011 Hot Air Music
As you can tell, this was a songwriting in process as we were trying to get into the groove and upon looking at the finished product this is not one of the better songs ever written. Later on, when we performed this life, I changed the lyric See my baby, such a cutie, she can shake it like an old time movie which sounded better than the willow tree comment. For a throwaway, the music is actually quite good.
(from the Soul Biscuits! CD)
Thursday 9 May 2013
Soul Biscuits!
In keeping up with the fine "missing pieces" series, a new comp of unreleased songs and covers comes out this month with Soul Biscuits! (add exclamation point) a collection of songs that were slated for 2011 album but got shelved when my ex moved down here to be with me for a year. Also a good chuck of songs came from a late December 2012 session which yielded some cover versions to see if we had anything left to prove, as well as some songs that didn't make the No Exit cut but we put the copyright down as a 2012 release. That way we proved that there was an actual album release that year.
The tracking order:
1. My Girl Josephine (Barthomelow/Domino) 3:00
2. Down On The Farm (Smith/Redding/Tyla) 4:55
3. Queen Of Anamosa (Acoustic Version)(Smith) 2:30
4. Walk A Thin Line (Smith/Orbit) 4:09
5. I Thank You (Porter/Hayes) 3:24
6. Amtrak Baby (Smith/Miller/Castleman) 2:09
7. Jet Airliner (Pena) 4:58
Side 2
1. All Along The Watchtower (Dylan) 3:44
2. New Maierburg Blues (Smith/Verhoven/Miller) 3:40
3. Dead Of Night (Smith/Orbit) 4:20
4. Greenback Dollar (Band Version)(Axton) 3:00
5. Serenade In Blue (Smith/Redding) 4:25
6. Soul Biscuits (Redding) 3:00
7. The Mouse And Kat Show (Smith) 3:00
Bonus Tracks
Greenback Dollar (Kingston Trio Version)(Axton) 2:55
Sweet Jane (Reed) 3:29
Chapters (Smith/Redding/Orbit/Miller/McClelland) 2:33
Chapters recorded 2001 during the We're Getting Nowhere sessions
Sweet Jane recorded 2007 during the The Highway Home Sessions Produced By Rodney Smith
Produced by Richard Dennanbaugh
Co Produced by Rodney Smith
The participants of the sessions were
Rodney Smith-Vocals, drums, guitars
Geoff Redding-Guitar and backing vocals
John Verhoven-Bass except where noted
Ken Miller-Bass On Walk A Thin Line and New Maierburg Blues
Martin Daniels-Bass on Sweet Jane
Mark McClelland-Bass on Chapters
Recorded at various locations May 2011 and December 2012 at Junkyard Studios Viola/Springville IA
2012 The Townedgers Music Emporium
The tracking order:
1. My Girl Josephine (Barthomelow/Domino) 3:00
2. Down On The Farm (Smith/Redding/Tyla) 4:55
3. Queen Of Anamosa (Acoustic Version)(Smith) 2:30
4. Walk A Thin Line (Smith/Orbit) 4:09
5. I Thank You (Porter/Hayes) 3:24
6. Amtrak Baby (Smith/Miller/Castleman) 2:09
7. Jet Airliner (Pena) 4:58
Side 2
1. All Along The Watchtower (Dylan) 3:44
2. New Maierburg Blues (Smith/Verhoven/Miller) 3:40
3. Dead Of Night (Smith/Orbit) 4:20
4. Greenback Dollar (Band Version)(Axton) 3:00
5. Serenade In Blue (Smith/Redding) 4:25
6. Soul Biscuits (Redding) 3:00
7. The Mouse And Kat Show (Smith) 3:00
Bonus Tracks
Greenback Dollar (Kingston Trio Version)(Axton) 2:55
Sweet Jane (Reed) 3:29
Chapters (Smith/Redding/Orbit/Miller/McClelland) 2:33
Chapters recorded 2001 during the We're Getting Nowhere sessions
Sweet Jane recorded 2007 during the The Highway Home Sessions Produced By Rodney Smith
Produced by Richard Dennanbaugh
Co Produced by Rodney Smith
The participants of the sessions were
Rodney Smith-Vocals, drums, guitars
Geoff Redding-Guitar and backing vocals
John Verhoven-Bass except where noted
Ken Miller-Bass On Walk A Thin Line and New Maierburg Blues
Martin Daniels-Bass on Sweet Jane
Mark McClelland-Bass on Chapters
Recorded at various locations May 2011 and December 2012 at Junkyard Studios Viola/Springville IA
2012 The Townedgers Music Emporium
New Bottles For Old Wine 1999
There are many compilations than there are actual albums from the Townedgers in the 30 year history as I continue to try to horn my craft into something more meaningful. There's comps that do a good job, 2009's Country comes to mind, so does Observations From The Forefront which gave me a played song in Teri. And there's comps that have way too much filler or songs that sounded good at the time but not any more. Such is the case of New Bottles For Old Wine which took certain failures that didn't make the cut and when this album didn't tickle my fancy, the better songs got used for More Rodney Smith And The Townedgers and Even More. The ones that didn't, remains here in this junkyard of tunes.
The outtakes from albums of that era.
Lover's Night Out (Light At The End Of The Tunnel) 1996 Originally part of The First And Last Reunion, I decided to revisit this song three years later. This is a better version but since we have enough songs for Light, this one didn't make the cut. Later appeared on More.
Walk A Thin Line (Tales Of The Red Caboose) 1987 Two different versions of this song was released, the first one was a edited version that made Tales but the better version was reworked with a better drum sound for Travelogue, our 1988 live double. This version ended up being on Stories From The Road, The Best Of The Townedgers and remains the definite song. We made another attempt of this song for 2012 Soul Biscuits album and although it's a noble effort it pales next to this one. Side note, this was one of the last songs that I ever did using my old K Mart Telisco guitar and with the tube stack volume up high the sound kills. After that the guitar blew up.
The Question Remains (1989 Single) First song that I did on a regular four track and not exactly working the controls very well. Too much echo and the backing vocals are buried. Later attempted for 1993's Modern Problems In Reflected Living but never used till We're Getting Nowhere CD.
Hard Tellin- (Tales Of The Red Caboose 1987, drums overdubbed in 1995) Had we had a four track, Tales would have been a good album but with wrong headed ideas (recording on metal tape?). Richard Dennanbaugh convinced me that if we added new drums to the guitar it would sound better. Which does but one glaring fact: the guitar's out of tune! But at least I got the drum breaks right.
Girl From The Other Side Of Town (Tales Of The Red Caboose 1987) First version which was about going down highway 1 in Mount Vernon and seeing some chick sunbathing topless which became the inspiration of this song. Jack Orbit's lead didn't work very well and couldn't get the drums right till much later. Includes the line Sweet enough to eat which Maier Records rejected upon hearing it and we did a different take. But this one would make it to the More R.S and TEs CD.
The Way I Look At Things (1989) Attempted a couple times in the studio and then forgotten.
Jenny Sez Hi (Tales Of The Red Caboose 1987) We had plenty of ideas going full tilt during Tales and this one was more of the harder rocking tracks but that crappy assed marching snare drum didn't do much favors for me. Another bad idea gone wrong. Originally on Collecting Beer Cans For Fun And Profit, the first batch of TE leftovers ever put on cassette tape.
Miss Crank (Moonlight Chronicles 1989) Love Geoff Redding's Wilko Johnson guitar licks but the lyrics didn't fit the song very well. Attempted a few more times and gave up soon after.
Material Girl (Moonlight Chronicles 1989) A lot of songs that I writing back then dealt with bad girls and most of the time forgettible. It has some nice breaks in this but I didn't like this song much to give it a second thought. Purple Passion was much better.
Cocaine Train (Floodlands 1989) A acoustic version of the Paraphernalia song that the guys did back in 1984. Russ chose it since it had the C word in it. The TEs have done it on occasion.
Highway Of Love (Nice Weather We're Having 1990) Not as wild or over the top as the Postcards From The Edge version but Geoff adds some nice LA Woman type of guitar work on this and Jon Castleman plays bass. Left off the cassette version of Nice Weather but was later added on the CD version of said album.
Black Girlfriend (Nice Weather We're Having 1990) A song about racial tolerance but I think I wrote that song in response to my folks saying no of bringing a black GF home on a date. Didn't make the cut on Nice Weather, always thought it was lacking something.....
Sometimes I Do (Drive In Blues 1992) A cover of the Social Distortion song, sped up and full of backing vocals but thought it was too busy and not good enough so left it off DIB. 10 years later, we would do a much better and much more faithful to the Social Distortion version on The Road Less Traveled and five years later done to better effort on a 2008 live showcase.
You're Gonna Miss Me (Light At The End Of The Tunnel 1996) On a B Side You can do anything and so we did a attempt of the 13th floor elevator's only hit. It's kinda clumsy in its own way but I thought our version was better than the Sand Rubies version that made it to their live album.
Midnight Blue (Light At The End Of The Tunnel 1996) Trying to do something different so I lifted the chorus from Melissa Manchester and Carol Bayer Sager and gave them credit although I was also incorporating Lou Reed and the Velvet Underground's I Found A Reason in a way. We had enough songs for Light, this appears on More.
Her Lightning Ways (The First And Last Reunion 1993) Appears on the beginning of side 2 of the cassette version of Modern Problems In Reflected Living, this song pretty much is a jam song like Getting To This is a jam song or Tornado is a jam song. I was using my long time old K Mart guitar amp on this with the digital echo running through it. Left off the CD version of Modern Problems.
Gone Fishing (Diamonds In The Skies 1991) Originally slated to be the last song after Back To Marion but after hearing the final version, I didn't like the mix nor vocals to this. The titled lifted from Chris Rea but that's there the similarities end Not sure who I wrote it about, maybe Sweet Melissa or some part time chick at work that I had an eye on. Attempted to do this song a couple more times later on, but got bored with it and moved on to other things.
The outtakes from albums of that era.
Lover's Night Out (Light At The End Of The Tunnel) 1996 Originally part of The First And Last Reunion, I decided to revisit this song three years later. This is a better version but since we have enough songs for Light, this one didn't make the cut. Later appeared on More.
Walk A Thin Line (Tales Of The Red Caboose) 1987 Two different versions of this song was released, the first one was a edited version that made Tales but the better version was reworked with a better drum sound for Travelogue, our 1988 live double. This version ended up being on Stories From The Road, The Best Of The Townedgers and remains the definite song. We made another attempt of this song for 2012 Soul Biscuits album and although it's a noble effort it pales next to this one. Side note, this was one of the last songs that I ever did using my old K Mart Telisco guitar and with the tube stack volume up high the sound kills. After that the guitar blew up.
The Question Remains (1989 Single) First song that I did on a regular four track and not exactly working the controls very well. Too much echo and the backing vocals are buried. Later attempted for 1993's Modern Problems In Reflected Living but never used till We're Getting Nowhere CD.
Hard Tellin- (Tales Of The Red Caboose 1987, drums overdubbed in 1995) Had we had a four track, Tales would have been a good album but with wrong headed ideas (recording on metal tape?). Richard Dennanbaugh convinced me that if we added new drums to the guitar it would sound better. Which does but one glaring fact: the guitar's out of tune! But at least I got the drum breaks right.
Girl From The Other Side Of Town (Tales Of The Red Caboose 1987) First version which was about going down highway 1 in Mount Vernon and seeing some chick sunbathing topless which became the inspiration of this song. Jack Orbit's lead didn't work very well and couldn't get the drums right till much later. Includes the line Sweet enough to eat which Maier Records rejected upon hearing it and we did a different take. But this one would make it to the More R.S and TEs CD.
The Way I Look At Things (1989) Attempted a couple times in the studio and then forgotten.
Jenny Sez Hi (Tales Of The Red Caboose 1987) We had plenty of ideas going full tilt during Tales and this one was more of the harder rocking tracks but that crappy assed marching snare drum didn't do much favors for me. Another bad idea gone wrong. Originally on Collecting Beer Cans For Fun And Profit, the first batch of TE leftovers ever put on cassette tape.
Miss Crank (Moonlight Chronicles 1989) Love Geoff Redding's Wilko Johnson guitar licks but the lyrics didn't fit the song very well. Attempted a few more times and gave up soon after.
Material Girl (Moonlight Chronicles 1989) A lot of songs that I writing back then dealt with bad girls and most of the time forgettible. It has some nice breaks in this but I didn't like this song much to give it a second thought. Purple Passion was much better.
Cocaine Train (Floodlands 1989) A acoustic version of the Paraphernalia song that the guys did back in 1984. Russ chose it since it had the C word in it. The TEs have done it on occasion.
Highway Of Love (Nice Weather We're Having 1990) Not as wild or over the top as the Postcards From The Edge version but Geoff adds some nice LA Woman type of guitar work on this and Jon Castleman plays bass. Left off the cassette version of Nice Weather but was later added on the CD version of said album.
Black Girlfriend (Nice Weather We're Having 1990) A song about racial tolerance but I think I wrote that song in response to my folks saying no of bringing a black GF home on a date. Didn't make the cut on Nice Weather, always thought it was lacking something.....
Sometimes I Do (Drive In Blues 1992) A cover of the Social Distortion song, sped up and full of backing vocals but thought it was too busy and not good enough so left it off DIB. 10 years later, we would do a much better and much more faithful to the Social Distortion version on The Road Less Traveled and five years later done to better effort on a 2008 live showcase.
You're Gonna Miss Me (Light At The End Of The Tunnel 1996) On a B Side You can do anything and so we did a attempt of the 13th floor elevator's only hit. It's kinda clumsy in its own way but I thought our version was better than the Sand Rubies version that made it to their live album.
Midnight Blue (Light At The End Of The Tunnel 1996) Trying to do something different so I lifted the chorus from Melissa Manchester and Carol Bayer Sager and gave them credit although I was also incorporating Lou Reed and the Velvet Underground's I Found A Reason in a way. We had enough songs for Light, this appears on More.
Her Lightning Ways (The First And Last Reunion 1993) Appears on the beginning of side 2 of the cassette version of Modern Problems In Reflected Living, this song pretty much is a jam song like Getting To This is a jam song or Tornado is a jam song. I was using my long time old K Mart guitar amp on this with the digital echo running through it. Left off the CD version of Modern Problems.
Gone Fishing (Diamonds In The Skies 1991) Originally slated to be the last song after Back To Marion but after hearing the final version, I didn't like the mix nor vocals to this. The titled lifted from Chris Rea but that's there the similarities end Not sure who I wrote it about, maybe Sweet Melissa or some part time chick at work that I had an eye on. Attempted to do this song a couple more times later on, but got bored with it and moved on to other things.
Sunday 28 April 2013
End Of Month Thoughts From The Townedger
Sad to say that George Jones left us Friday, he lived 81 years and half of that on borrowed time. To me he was one of the best vocalists of all time as I grew up on a steady diet of Jones and his music from my folks record collection and myself. He may not been a rock and roller but he could have fit in there quite well with his early stuff. I'm not a big fan of He Stopped Loving Her Today, it's too sad for me to give it steady listens but his later day songs were just as good if not better. I tend to agree that Melba Montgomery was his best singing partner, Tammy Wynette was great too but there was electricity when George and Melba sang together.
I think Choices was a better autobiographic song of George Jones myself but I would also put It Don't Get No Better Than This right up there too.
Still in shock of Diggy playing the whole No Exit album to the radio buzz'd audience. Don't expect that to happen anywhere else. Most of the reviews that I have read were 3 star at best, read one that said I tended to repeat myself from other albums as well.
The problem of getting older is that I don't spend a lot of time songwriting like I used to say about 20 30 years ago. I'm trying to do my best making a living on something that pays and really don't observe and write them down like I used to. With No Exit, I wrote whatever came to mind and put it into use. The End was done spur of the moment. I'm sure it turned off a lot of listeners on Radio Buzz'd but I found it to be just as menacing and hypnotic at the same time.
There's always thoughts of telling people that The Townedgers have ran their course and it's time to disband but I've been saying that for, um 20 years at least. We always seem to come back to do another new effort. No Exit was done for ourselves and the fans. Of course that hasn't translated into sales. I'd go bother BoB Lefsetz and flood his inbox to hear it, but he'd only block me and write a blog about what kind of fucked up world do I get people to flood my inbox with music when I don't give a fuck?!
Bob Dorr? Great showman, knows his music and is a great DJ. The Blue Band is better seen live, their cds tend to be a bit goof offish.
Paraphernalia reunion? Don't foresee that happening. Would have loved to jammed with Mike one more time but missed out on that. Outside of Russ playing bass from time to time, I don't think anybody else plays guitar anymore. Think they all retired and enjoy being grandparents more. Even Randy, our soundboard guy is a grandpa now.
The TE classic period was 1990 to 1996. Got a second wind on There's Nothing Left and Road Less Traveled. And Pawnshops For Olivia. Town's Edge Rock was the start of something good and then it took three years to follow it proper.
Living In The Twilight Zone hasn't aged very well, nor the 1989 albums, the latter due to not working the 4 track very well, I still can't get a decent mix from Moonlight Chronicles and Floodlands. the 1985 albums were either too rushed or too labored. Had we had a decent four track back then Wapsi Dreaming, Tales Of The Red Caboose and Postcards From The Edge would be held in high regard as well. But they are the best ones in the Low Fi years.
Weather On The Nines? Some good songs on it, some not so good, that space mix that Hugh McConnell did hasn't aged very well either. What to do what to do.
Still haven't found the tapes for 20. Only thing left is the master which was put together quickly. I know we should have done something more than just half remakes and half new stuff, I disowned it for a while but a later listen proved that it wasn't all that bad.
Songs I love hearing on the radio? Dear Lisa, Bring It To Light, Teri come to mind.
I think Choices was a better autobiographic song of George Jones myself but I would also put It Don't Get No Better Than This right up there too.
Still in shock of Diggy playing the whole No Exit album to the radio buzz'd audience. Don't expect that to happen anywhere else. Most of the reviews that I have read were 3 star at best, read one that said I tended to repeat myself from other albums as well.
The problem of getting older is that I don't spend a lot of time songwriting like I used to say about 20 30 years ago. I'm trying to do my best making a living on something that pays and really don't observe and write them down like I used to. With No Exit, I wrote whatever came to mind and put it into use. The End was done spur of the moment. I'm sure it turned off a lot of listeners on Radio Buzz'd but I found it to be just as menacing and hypnotic at the same time.
There's always thoughts of telling people that The Townedgers have ran their course and it's time to disband but I've been saying that for, um 20 years at least. We always seem to come back to do another new effort. No Exit was done for ourselves and the fans. Of course that hasn't translated into sales. I'd go bother BoB Lefsetz and flood his inbox to hear it, but he'd only block me and write a blog about what kind of fucked up world do I get people to flood my inbox with music when I don't give a fuck?!
Bob Dorr? Great showman, knows his music and is a great DJ. The Blue Band is better seen live, their cds tend to be a bit goof offish.
Paraphernalia reunion? Don't foresee that happening. Would have loved to jammed with Mike one more time but missed out on that. Outside of Russ playing bass from time to time, I don't think anybody else plays guitar anymore. Think they all retired and enjoy being grandparents more. Even Randy, our soundboard guy is a grandpa now.
The TE classic period was 1990 to 1996. Got a second wind on There's Nothing Left and Road Less Traveled. And Pawnshops For Olivia. Town's Edge Rock was the start of something good and then it took three years to follow it proper.
Living In The Twilight Zone hasn't aged very well, nor the 1989 albums, the latter due to not working the 4 track very well, I still can't get a decent mix from Moonlight Chronicles and Floodlands. the 1985 albums were either too rushed or too labored. Had we had a decent four track back then Wapsi Dreaming, Tales Of The Red Caboose and Postcards From The Edge would be held in high regard as well. But they are the best ones in the Low Fi years.
Weather On The Nines? Some good songs on it, some not so good, that space mix that Hugh McConnell did hasn't aged very well either. What to do what to do.
Still haven't found the tapes for 20. Only thing left is the master which was put together quickly. I know we should have done something more than just half remakes and half new stuff, I disowned it for a while but a later listen proved that it wasn't all that bad.
Songs I love hearing on the radio? Dear Lisa, Bring It To Light, Teri come to mind.
Thursday 25 April 2013
No Exit Listening Party
Today, Diggy Kat and Miss Mouse from Radio Buzzd' gave the world the No Exit listening party which started around 4:30 my time to which they played every song off the new record. From Into The Now to The End, all 14 songs got their moment in the sun.
I am very honored that they showed the TE love.
Most of the songs sounded quite good except that One More Time, the vocals didn't come through as well as the version that was on the first mix. I'm not sure how I'm going to remedy that, unless I just put out the first version as a stand alone single. The first single is Cannery Row.
Hearing The End on the radio still manages to get me hypnotized through out the 9 and half minutes of that song. Later in the broadcast they did play a live version of the Doors classic. It was fun to do in the studio and a challenge as well but it's not high on my play list to do live.
Next month I will return to add lyrics from past albums, with an eye on the 30th anniversary of So Much For That, the album that ended the echophonic years and began the long winding road that is Route 66 then, The Townedgers now. I may just group the lyrics to that album in halves and make it play out like a LP record, namely side 1/side 2, you get the picture.
Since it's been five years ago, I should do a revisit of Pawnshops For Olivia as well. Diggy Kat made a observation that the 3 albums that I did in the late 00's were part of a trilogy of sorts. I've never really looked at it that way. A Long Time Forgotten was done acoustic and very quickly since the last couple efforts got shelved The Highway Home was trying for something that we did with success on Drive In Blues or Diamonds In The Skies. Pawnshops For Olivia is more stand alone I think, the only similarity would be that it's mostly acoustic like Long Time Forgotten but it's a dark and sad album, on the second side and certainly on the songs So Alone or Somewhere Down The Line. Beyond The Sun, our version of Love Will Tear Us Apart or the final goodbye.
No Exit was different than the albums of the late 00s, since the songs were thought up on the spot along with the melodies, something that I used to do a lot back in the early 80s. To revisit Stone City and actually make it a song rather than an afterthought that appeared on a thrown together outtakes album, that version was fun but it was there to fill out tape space, this version is more harder rocking. It's too early to talk about a new album, but the logical guess would be the next would be more of a return back to acoustic sounds of Pawnshops or Long Time Forgotten.
As always there's always in the back of our minds that any album I do might be the last one, life is like that, you never know when the last album will be the last album until they bury you. But I'm sure I'll return back to the studio for a batch of new songs or remakes or whatever sounds good and we'll go from there.
I am very honored that they showed the TE love.
Most of the songs sounded quite good except that One More Time, the vocals didn't come through as well as the version that was on the first mix. I'm not sure how I'm going to remedy that, unless I just put out the first version as a stand alone single. The first single is Cannery Row.
Hearing The End on the radio still manages to get me hypnotized through out the 9 and half minutes of that song. Later in the broadcast they did play a live version of the Doors classic. It was fun to do in the studio and a challenge as well but it's not high on my play list to do live.
Next month I will return to add lyrics from past albums, with an eye on the 30th anniversary of So Much For That, the album that ended the echophonic years and began the long winding road that is Route 66 then, The Townedgers now. I may just group the lyrics to that album in halves and make it play out like a LP record, namely side 1/side 2, you get the picture.
Since it's been five years ago, I should do a revisit of Pawnshops For Olivia as well. Diggy Kat made a observation that the 3 albums that I did in the late 00's were part of a trilogy of sorts. I've never really looked at it that way. A Long Time Forgotten was done acoustic and very quickly since the last couple efforts got shelved The Highway Home was trying for something that we did with success on Drive In Blues or Diamonds In The Skies. Pawnshops For Olivia is more stand alone I think, the only similarity would be that it's mostly acoustic like Long Time Forgotten but it's a dark and sad album, on the second side and certainly on the songs So Alone or Somewhere Down The Line. Beyond The Sun, our version of Love Will Tear Us Apart or the final goodbye.
No Exit was different than the albums of the late 00s, since the songs were thought up on the spot along with the melodies, something that I used to do a lot back in the early 80s. To revisit Stone City and actually make it a song rather than an afterthought that appeared on a thrown together outtakes album, that version was fun but it was there to fill out tape space, this version is more harder rocking. It's too early to talk about a new album, but the logical guess would be the next would be more of a return back to acoustic sounds of Pawnshops or Long Time Forgotten.
As always there's always in the back of our minds that any album I do might be the last one, life is like that, you never know when the last album will be the last album until they bury you. But I'm sure I'll return back to the studio for a batch of new songs or remakes or whatever sounds good and we'll go from there.
Monday 15 April 2013
Thoughts Of The Townedger April Edition 2013
Greetings one and all. I haven't forgot about y'all. I've been busy mailing off copies of NO EXIT and hopefully we'll get good reviews along the way. I don't spend much time in the TE My Space Site but I did managed to check up from time to time what the questions are.
Some viewpoints to questions.
The more I think about it, the more I'm not sold on remaking Town's Edge Rock 30 years later. I don't think I can improve on the original arrangements and music. Besides only the hardcore and myself will ever revisit it anyway.
I missed the jam session at my former lead singer Mike Swearingen's Tribute at the Eagle's Club, which sits on top of a hill and couldn't find it to save my soul. Never been there in my lifetime. Mike still remains in good spirits although I have to decline his invite of karaoke singing. I don't do that shit anyway. Mike still remains himself and back to his pack a day habit of smokes. His daughter is just like him, down to the pack a day and constant joking. Didn't see Russ there so whatever attempt of a Paraphernalia reunion fell short. Maybe next time I'll write down the fucking address before leaving the house.
Don Timmons is considered the best known Cedar Rapids drummer although there's plenty of them that could be considered great drummers as well. Cody Kollings can run circles around me. The female Kollings (is their last name a C? I forgot) is damn good as well but for me Lon Washburn remains the best drummer that I've known in town. The most reckless drummer in town? That would be me. Nobody was as wild as I was back in the 80s. Timmons could probably read music and play it better but I assure you that nobody bashed the cymbals and crashed them as hard as I did.
I'm still debating to retire the Townedgers name since it's my way of getting the music out although I could put the next effort out on my own name Rodney Smith. But it doesn't stand out as well as The Townedgers.
I don't do the single dating scene anymore, too old and set in my ways. I still talk to a handful of folks at Mingles but I canceled my membership in 2009.
Pawnshops For Olivia still hits hard at times. Most of the songs is just me playing the guitars, it was too personal for Geoff Redding to get involved with. No Exit, he's on all the songs this time out.
I write the lyrics and give credit to whoever gets into the music. Pawnshops though I had some help from Diggy Kat who contributed the middle eight version to Downer's Grove, Liz Chaffe got co write credit on Can't Be What You Want Me To Be (the title came from her Can't Be Who You Want Me To Be) and Nicole Passmore helped out on Place And Time. She helped shaped some of the words to Goodbye Doesn't Mean Forever, I think she wrote some ideas down when we first met in 2009 in St Louis and I found them while rummaging through a batch of song ideas. Stone City, the chorus line came from a Billy Lee Janey contribution to a album about Iowa, but the rest of the song came from two unfinished TE songs. Didn't intend to include it on the album but Diggy Kat told me to keep it on there.
The End was spur of the moment but thought it fit in nicely with the album. Don't look for me to perform it live though, it's not something the bar patrons would want to hear.
I have done The End back in 1976 for Beautiful Randictions but you don't want to hear that version. I was 15 and going through puberty at the wrong time. I like to think we got better since then.
Jack Orbit has approached me about producing the next album but Geoff and Ken don't really want him back in the band. It would be a cash in attempt to do a TE 30 album but I want to see No Exit get some traction before attempting to do another album that nobody here or wants except for myself and the three fans that do want to hear it.
Nobody has heard from Isabella (we broke up in 2001) after what we call the Disaster in Seattle get together. She may have Overdosed on Methadone in 2004 around that time everybody in Mingles was asking me about her whereabouts then. Even when we were going together she was a drug addict much to my dismay. My last memory of her is her freaking about losing her Methadone in a pizza joint when I had to use the bathroom and she was tearing up the place trying to look for it.
Last time I was up in Spokane, 2001 (See above)
I loved Seattle in the summertime, the five days I was there it didn't rain, and the skies so picture postcard blue and they had plenty of Wherehouse Music stores to keep me occupied. But that was 12 years ago, haven't been back since. Plane tickets are too high and it's 3 and half hours in a cramped airplane.
The Zickos set was the loudest drums I ever had. They sounded like thunder everytime I played them.
The old Zildjians that I had were the best sounding cymbals but I wasn't that impressed with the K hybrid or Z Power Crash that was great for accenting at the end of the song but not as a crash ride. I probably was the last to continue to use the Impulse cymbals even it was Zildjian's attempt to cash in on the Paiste Rudes. But I actually liked the Impulse cymbals a lot, more so than y'all.
Paiste 2002s are worth getting. The bigger the cymbal the better, I love the 20 inch 2002 Thin Crash. And the Paiste 20 18 inch China cymbal is a beast upon itself it really comes through the recordings very well. The Novo China is LOUD, probably too loud, too attention grabbing, I used it more for the Rude lineup that was favored back in 2007.
Haven't talked or seen Greg Nutter in over 10 years. Guess he's now down in Austin?
The Routers were a one time thing when Greg drafted me into that band and we played in 1991 and 1992 the latter which I got Mike Swearingen to do the vocals. The first time we played it was 30 degrees and the next year it was like 80 degrees and the mosquitoes were thick. Think I was keeping a better beat swatting them fucking things then playing the drums.
If your going to learn to play drums or guitar, learn at a early age, take lessons, and listen to records and then get a decent drum set to boot. I fucked off most of my grade and high school years and didn't learn to play them although I had a guitar at hand. Learn to practice and learn to write lyrics as early as you can. I would have benefited had I heeded that advice.
That's all for this month. I'll be back next month with more thoughts to your questions.
Some viewpoints to questions.
The more I think about it, the more I'm not sold on remaking Town's Edge Rock 30 years later. I don't think I can improve on the original arrangements and music. Besides only the hardcore and myself will ever revisit it anyway.
I missed the jam session at my former lead singer Mike Swearingen's Tribute at the Eagle's Club, which sits on top of a hill and couldn't find it to save my soul. Never been there in my lifetime. Mike still remains in good spirits although I have to decline his invite of karaoke singing. I don't do that shit anyway. Mike still remains himself and back to his pack a day habit of smokes. His daughter is just like him, down to the pack a day and constant joking. Didn't see Russ there so whatever attempt of a Paraphernalia reunion fell short. Maybe next time I'll write down the fucking address before leaving the house.
Don Timmons is considered the best known Cedar Rapids drummer although there's plenty of them that could be considered great drummers as well. Cody Kollings can run circles around me. The female Kollings (is their last name a C? I forgot) is damn good as well but for me Lon Washburn remains the best drummer that I've known in town. The most reckless drummer in town? That would be me. Nobody was as wild as I was back in the 80s. Timmons could probably read music and play it better but I assure you that nobody bashed the cymbals and crashed them as hard as I did.
I'm still debating to retire the Townedgers name since it's my way of getting the music out although I could put the next effort out on my own name Rodney Smith. But it doesn't stand out as well as The Townedgers.
I don't do the single dating scene anymore, too old and set in my ways. I still talk to a handful of folks at Mingles but I canceled my membership in 2009.
Pawnshops For Olivia still hits hard at times. Most of the songs is just me playing the guitars, it was too personal for Geoff Redding to get involved with. No Exit, he's on all the songs this time out.
I write the lyrics and give credit to whoever gets into the music. Pawnshops though I had some help from Diggy Kat who contributed the middle eight version to Downer's Grove, Liz Chaffe got co write credit on Can't Be What You Want Me To Be (the title came from her Can't Be Who You Want Me To Be) and Nicole Passmore helped out on Place And Time. She helped shaped some of the words to Goodbye Doesn't Mean Forever, I think she wrote some ideas down when we first met in 2009 in St Louis and I found them while rummaging through a batch of song ideas. Stone City, the chorus line came from a Billy Lee Janey contribution to a album about Iowa, but the rest of the song came from two unfinished TE songs. Didn't intend to include it on the album but Diggy Kat told me to keep it on there.
The End was spur of the moment but thought it fit in nicely with the album. Don't look for me to perform it live though, it's not something the bar patrons would want to hear.
I have done The End back in 1976 for Beautiful Randictions but you don't want to hear that version. I was 15 and going through puberty at the wrong time. I like to think we got better since then.
Jack Orbit has approached me about producing the next album but Geoff and Ken don't really want him back in the band. It would be a cash in attempt to do a TE 30 album but I want to see No Exit get some traction before attempting to do another album that nobody here or wants except for myself and the three fans that do want to hear it.
Nobody has heard from Isabella (we broke up in 2001) after what we call the Disaster in Seattle get together. She may have Overdosed on Methadone in 2004 around that time everybody in Mingles was asking me about her whereabouts then. Even when we were going together she was a drug addict much to my dismay. My last memory of her is her freaking about losing her Methadone in a pizza joint when I had to use the bathroom and she was tearing up the place trying to look for it.
Last time I was up in Spokane, 2001 (See above)
I loved Seattle in the summertime, the five days I was there it didn't rain, and the skies so picture postcard blue and they had plenty of Wherehouse Music stores to keep me occupied. But that was 12 years ago, haven't been back since. Plane tickets are too high and it's 3 and half hours in a cramped airplane.
The Zickos set was the loudest drums I ever had. They sounded like thunder everytime I played them.
The old Zildjians that I had were the best sounding cymbals but I wasn't that impressed with the K hybrid or Z Power Crash that was great for accenting at the end of the song but not as a crash ride. I probably was the last to continue to use the Impulse cymbals even it was Zildjian's attempt to cash in on the Paiste Rudes. But I actually liked the Impulse cymbals a lot, more so than y'all.
Paiste 2002s are worth getting. The bigger the cymbal the better, I love the 20 inch 2002 Thin Crash. And the Paiste 20 18 inch China cymbal is a beast upon itself it really comes through the recordings very well. The Novo China is LOUD, probably too loud, too attention grabbing, I used it more for the Rude lineup that was favored back in 2007.
Haven't talked or seen Greg Nutter in over 10 years. Guess he's now down in Austin?
The Routers were a one time thing when Greg drafted me into that band and we played in 1991 and 1992 the latter which I got Mike Swearingen to do the vocals. The first time we played it was 30 degrees and the next year it was like 80 degrees and the mosquitoes were thick. Think I was keeping a better beat swatting them fucking things then playing the drums.
If your going to learn to play drums or guitar, learn at a early age, take lessons, and listen to records and then get a decent drum set to boot. I fucked off most of my grade and high school years and didn't learn to play them although I had a guitar at hand. Learn to practice and learn to write lyrics as early as you can. I would have benefited had I heeded that advice.
That's all for this month. I'll be back next month with more thoughts to your questions.
Wednesday 3 April 2013
The Mike Swearingen Benefit
In my years of playing in bands, I have two constant players in outside projects. My best friend Russ was part of Paraphernalia/Tyrus years and IO and his cousin Mike Swearingen to which he was part of F.O.A.D (with Dave Kelsey of Mox Nix fame), Open Highway and Tyrus as well. Mike and I also was part of the Stone Garden reunion with Virgin Hanson and the other guy Rick (can't remember his last name but we did that in 1985) and Mike was part of the Routers band of 1992 (featuring Greg Nutter). Mike basically has retired from playing live music but he is part of Crown Karaoke which he would be at every Saturday Night at the Sip N Stir in Cedar Rapids before health issues have caused him to suspend that.
On April 14, there will be a benefit for Mike at the Eagle's Club in Cedar Rapids to which the fun begins at 10 AM and lasts till 6. There's hope that many of Cedar Rapids finest will be there to talk about the good times and doing a jam and Karaoke session that afternoon. I will be there sometime Sunday (don't know when) and perhaps there will might be a chance for me and Mike to do a couple songs together. If Russ decides to sign off and show up as well maybe all three of us will be together one last time to do some of our better known classic rock stuff.
In my estimation Mike was the perfect vocalist in the bands I was in and I have to credit and thank him for considering me to be the drummer of choice when his bands needed one or simply go up the country bar and do a couple jam songs on Sundays. It was his style that dictated the way that I played drums and sad to say I almost made him deaf in the process. We remain music brothers throughout the course of my time being a part of the CR music scene although I was more interested in doing The Townedgers/Route 66 band than being a classic rock cover band.
Hopefully we'll have pictures to show for when that day arrives. Here's Mike with the Full Circle Band ;)
On April 14, there will be a benefit for Mike at the Eagle's Club in Cedar Rapids to which the fun begins at 10 AM and lasts till 6. There's hope that many of Cedar Rapids finest will be there to talk about the good times and doing a jam and Karaoke session that afternoon. I will be there sometime Sunday (don't know when) and perhaps there will might be a chance for me and Mike to do a couple songs together. If Russ decides to sign off and show up as well maybe all three of us will be together one last time to do some of our better known classic rock stuff.
In my estimation Mike was the perfect vocalist in the bands I was in and I have to credit and thank him for considering me to be the drummer of choice when his bands needed one or simply go up the country bar and do a couple jam songs on Sundays. It was his style that dictated the way that I played drums and sad to say I almost made him deaf in the process. We remain music brothers throughout the course of my time being a part of the CR music scene although I was more interested in doing The Townedgers/Route 66 band than being a classic rock cover band.
Hopefully we'll have pictures to show for when that day arrives. Here's Mike with the Full Circle Band ;)
Sunday 31 March 2013
No Exit The Album
In April the Townedgers will release their first album in five years called No Exit. Recorded with longtime associate and producer Richard Dennanbaugh along with R. Smith, No Exit returns the the harder rock and roll sound that the TEs haven't done since There's Nothing Yet although Rod Smith has said that this record is more like Town's Edge Rock, the album that put R.Smith and company on the map 30 years ago. With a generous 14 song selection and 57 minute running time, it's another chapter into a long career and life's meaning for Rod Smith and the band.
For the first since 20, Geoff Redding returns to full time guitar player and John Verhoven taking up bass duties before leaving to reform Bullshot with Mark Glarington who contributes the title track and dedicated to Michelle Bachmann, the crazed GOP Minnesota Senator that has been known to say stupid stuff. The artwork itself pretty much ties in with the song as well.
Smith says that the recording was unique, the first time we went into the studio with a blank paper and no songs, the 14 songs, with the exception of One More Time which lyrics from a 1992 session was used and Stone City a remake of a hidden cut from More R.Smith And The Townedgers, finally given the full song treatment were recorded as they happened from jamming and coming up with new chords along the way. It's been a while since we done that way Smith says and even he was surprised of the end results.
The one cover song used is the infamous The End by The Doors, which came together very quickly after an impromptu jam session, to which Dennanbaugh overheard Smith sing This Is The End to a D minor chord Redding was playing as the band was writing new songs. One of most unsounding of all Townedgers number, the The End plays to the original Doors version with plenty of improvisation all around and done on a dare the song ends the album to which after the playback everybody looking and Smith saying "did we really do that?"
In R Smith fashion, the songs on No Exit are a style and ideas that is typical of The Townedgers, in fact when you think about it, plenty of influences are all over the place with the vocals the most surprising of all. Smith channels his inner Luna in One More Time, revisits the ghost of Jim Morrison on The End, screams with the best of Jaz Coleman of Killing Joke on Law Of The Land and somehow Ian Curtis plays rock star on You Know I'm Not Good For You, but Smith's inner Del Shannon can be heard on the reflective Curio and Passage To Yesterday and as always pays Neil Young a tribute with Into The Now.
"I think this record has the best vocals that I have ever done" Smith says with pride. "But God knows we spent many a hour trying to get them up in the mix. Plus the fact that either we had bad cassette tapes or the damn player was falling apart didn't help much either". Martin Daniels who worked on the remixing with Chris Denton said that was a problem as well. "Smith loves to hide the vocals as far back as he can" Daniels says "and we fought with technology to get them out in front". For the most part, I think there's a bit more sense of humor than Pawnshops For Olivia, said Daniels. Abstract Girl is very tongue in cheek, and the Pies in the oven comment, well that's about baking but I guess you can consider that risque.
No Exit the album begin in December after Diggy Kat, a friend DJ and Townedgers supporter was talking about a new album and Smith didn't think there wasn't any forthcoming, and basically the TEs were history. Diggy Kat convinced Smith to revisit the TEs catalog and played a few songs during his broadcast. "That got the ball rolling" said Smith. "So I spent most of January going through my favorite albums and decided let's give this another go and besides this is the 30th year of Town Edge Rock. So in late January and thoughout the winter months, Smith begin to write with major plodding from Redding and Dennanbaugh. Geoff Redding: "For the last five years, we did things Rod's way and nothing was getting done, we had to show him that's more to life than buying out music stores. We had to go over to his place, get him off the computer or from the TV set and get him to get involved with the music. If he got bored, we still had to continue to get him to be interested and that the biggest hurdle. We were going to lose him at the record store this time out."
Another factor in the making of No Exit was that a song submitted for Songs That Made An Impact, Queen Of Anamosa was included. "Make no mistake Diggy Kat got it going, therefore I had to make a new album" Smith says. "But I also thought Queen Of Anamosa was better as a electric number rather than the acoustic number that was quickly mixed and given to Diggy for his compilation" (the acoustic version can be found on Soul Biscuits! 2012) "therefore we did a electric number"
"In a era to which independent music is so much out there that everything gets lost in the shuffle No Exit was made for our fans and for myself," Smith remarks. " Basically I wanted to hear something new for myself since I am too a fan of The Townedgers. If I'm not a fan than it's all a wasted effort, you can't bullshit the masses or critics or radio, so it's all for ourselves and the ones that support us the best. I can see myself playing this album as long as I live. I think it fits in well with Pawnshops or Road Less Traveled or Diamonds In The Skies".
And what is about that Cannery Row? Smith: Basically it's my version of Don't Tell Me Your Troubles by Don Gibson done in a different way. Take yourself and problems away and go to Cannery Row and tell it to the ghosts that live there. It's something different I gather.
NO EXIT
Produced by Richard Dennanbaugh with Rodney Smith
Recorded by Richard Dennanbaugh, R.S. and Martin Daniels
Mixed by Chris Denton with input from the creepy old dude
Recorded at The Hoarder House, Springville Wintertime 2013
The Songs:
Into The Now (Smith/Redding) 4:19
Abstract Girl (Smith/Redding) 3:39
Queen Of Anamosa (Smith) 4:00
One More Time (Smith/Orbit) 4:55
Keep On Walking (Smith) 3:30
Cannery Row (Smith/Redding) 3:29
Law Of The Land (Smith/Orbit) 3:27
Goodbye Doesn't Mean Forever (Smith/Passmore) 5:07
You Know I'm Not Good For You (Smith/Miller) 3:09
A Passage To Yesterday (Smith/Redding) 2:46
Stone City (Smith/Redding/Verhoven/Janey) 2:24
No Exit (Smith/Redding/Glarington) 3:50
Curio (Smith/Redding/Verhoven) 2:40
The End (Morrison/Manzarek/Krieger/Densmore) 9:35
All songs Copyright Control.
The End: Doors Music Company (ASCAP)
For the first since 20, Geoff Redding returns to full time guitar player and John Verhoven taking up bass duties before leaving to reform Bullshot with Mark Glarington who contributes the title track and dedicated to Michelle Bachmann, the crazed GOP Minnesota Senator that has been known to say stupid stuff. The artwork itself pretty much ties in with the song as well.
Smith says that the recording was unique, the first time we went into the studio with a blank paper and no songs, the 14 songs, with the exception of One More Time which lyrics from a 1992 session was used and Stone City a remake of a hidden cut from More R.Smith And The Townedgers, finally given the full song treatment were recorded as they happened from jamming and coming up with new chords along the way. It's been a while since we done that way Smith says and even he was surprised of the end results.
The one cover song used is the infamous The End by The Doors, which came together very quickly after an impromptu jam session, to which Dennanbaugh overheard Smith sing This Is The End to a D minor chord Redding was playing as the band was writing new songs. One of most unsounding of all Townedgers number, the The End plays to the original Doors version with plenty of improvisation all around and done on a dare the song ends the album to which after the playback everybody looking and Smith saying "did we really do that?"
In R Smith fashion, the songs on No Exit are a style and ideas that is typical of The Townedgers, in fact when you think about it, plenty of influences are all over the place with the vocals the most surprising of all. Smith channels his inner Luna in One More Time, revisits the ghost of Jim Morrison on The End, screams with the best of Jaz Coleman of Killing Joke on Law Of The Land and somehow Ian Curtis plays rock star on You Know I'm Not Good For You, but Smith's inner Del Shannon can be heard on the reflective Curio and Passage To Yesterday and as always pays Neil Young a tribute with Into The Now.
"I think this record has the best vocals that I have ever done" Smith says with pride. "But God knows we spent many a hour trying to get them up in the mix. Plus the fact that either we had bad cassette tapes or the damn player was falling apart didn't help much either". Martin Daniels who worked on the remixing with Chris Denton said that was a problem as well. "Smith loves to hide the vocals as far back as he can" Daniels says "and we fought with technology to get them out in front". For the most part, I think there's a bit more sense of humor than Pawnshops For Olivia, said Daniels. Abstract Girl is very tongue in cheek, and the Pies in the oven comment, well that's about baking but I guess you can consider that risque.
No Exit the album begin in December after Diggy Kat, a friend DJ and Townedgers supporter was talking about a new album and Smith didn't think there wasn't any forthcoming, and basically the TEs were history. Diggy Kat convinced Smith to revisit the TEs catalog and played a few songs during his broadcast. "That got the ball rolling" said Smith. "So I spent most of January going through my favorite albums and decided let's give this another go and besides this is the 30th year of Town Edge Rock. So in late January and thoughout the winter months, Smith begin to write with major plodding from Redding and Dennanbaugh. Geoff Redding: "For the last five years, we did things Rod's way and nothing was getting done, we had to show him that's more to life than buying out music stores. We had to go over to his place, get him off the computer or from the TV set and get him to get involved with the music. If he got bored, we still had to continue to get him to be interested and that the biggest hurdle. We were going to lose him at the record store this time out."
Another factor in the making of No Exit was that a song submitted for Songs That Made An Impact, Queen Of Anamosa was included. "Make no mistake Diggy Kat got it going, therefore I had to make a new album" Smith says. "But I also thought Queen Of Anamosa was better as a electric number rather than the acoustic number that was quickly mixed and given to Diggy for his compilation" (the acoustic version can be found on Soul Biscuits! 2012) "therefore we did a electric number"
"In a era to which independent music is so much out there that everything gets lost in the shuffle No Exit was made for our fans and for myself," Smith remarks. " Basically I wanted to hear something new for myself since I am too a fan of The Townedgers. If I'm not a fan than it's all a wasted effort, you can't bullshit the masses or critics or radio, so it's all for ourselves and the ones that support us the best. I can see myself playing this album as long as I live. I think it fits in well with Pawnshops or Road Less Traveled or Diamonds In The Skies".
And what is about that Cannery Row? Smith: Basically it's my version of Don't Tell Me Your Troubles by Don Gibson done in a different way. Take yourself and problems away and go to Cannery Row and tell it to the ghosts that live there. It's something different I gather.
NO EXIT
Produced by Richard Dennanbaugh with Rodney Smith
Recorded by Richard Dennanbaugh, R.S. and Martin Daniels
Mixed by Chris Denton with input from the creepy old dude
Recorded at The Hoarder House, Springville Wintertime 2013
The Songs:
Into The Now (Smith/Redding) 4:19
Abstract Girl (Smith/Redding) 3:39
Queen Of Anamosa (Smith) 4:00
One More Time (Smith/Orbit) 4:55
Keep On Walking (Smith) 3:30
Cannery Row (Smith/Redding) 3:29
Law Of The Land (Smith/Orbit) 3:27
Goodbye Doesn't Mean Forever (Smith/Passmore) 5:07
You Know I'm Not Good For You (Smith/Miller) 3:09
A Passage To Yesterday (Smith/Redding) 2:46
Stone City (Smith/Redding/Verhoven/Janey) 2:24
No Exit (Smith/Redding/Glarington) 3:50
Curio (Smith/Redding/Verhoven) 2:40
The End (Morrison/Manzarek/Krieger/Densmore) 9:35
All songs Copyright Control.
The End: Doors Music Company (ASCAP)
Curio
CURIO-2:40
(Smith/Redding/Verhoven)
I really must be going
I must be on my way
Like a river that is flowing
I'm moving on from place to place
I live for the moments
That help and get me through this day
And everything is paid for
It's all yours to take away
And like a bargain store, you know
That everything must go
I sure hope what you're looking for
You might find
Just like a curio
Like a curio
Memoirs of this life
An souvenirs of days gone by
Long ago forgotten
Hidden deep within my mind
It's not what I ask for
When I see it slip away
And end up having relics
Of long gone yesterdays
And like a bargain store, you know
That everything must go
I sure hope what you're looking for
You might find.
Just like a curio
Like a curio
(C) 2013
(Smith/Redding/Verhoven)
I really must be going
I must be on my way
Like a river that is flowing
I'm moving on from place to place
I live for the moments
That help and get me through this day
And everything is paid for
It's all yours to take away
And like a bargain store, you know
That everything must go
I sure hope what you're looking for
You might find
Just like a curio
Like a curio
Memoirs of this life
An souvenirs of days gone by
Long ago forgotten
Hidden deep within my mind
It's not what I ask for
When I see it slip away
And end up having relics
Of long gone yesterdays
And like a bargain store, you know
That everything must go
I sure hope what you're looking for
You might find.
Just like a curio
Like a curio
(C) 2013
No Exit
NO EXIT-3:50
(Smith/Glarington)
It was here where I last left ya
Finished what we started before
The uptown Chevy girl has returned home
As she sits upon her velvet throne
Thinking that she did no wrong
While the man of her dreams had enough and he is gone
(C)
And I wish you the best
And you learn something from this
But you left me with no exit
Forever gone from your bitterness
Ain't it funny how love begins
Ain't it sad when it ends
It's a shame it came be like that just in the movies (in the movies)
I'm not at good at ultimatums
Especially on the receiving end
It's a good indication, reason why you're lonely
(C)
One more bridge to cross
And the river is looking wide
But you burn that bridge down
I sure hope I can get to the other side
(C)
And I wish you the best
Hope you learn something from this
But you left me with no exit
Forever gone from your pettyness
(C) 2013
(Smith/Glarington)
It was here where I last left ya
Finished what we started before
The uptown Chevy girl has returned home
As she sits upon her velvet throne
Thinking that she did no wrong
While the man of her dreams had enough and he is gone
(C)
And I wish you the best
And you learn something from this
But you left me with no exit
Forever gone from your bitterness
Ain't it funny how love begins
Ain't it sad when it ends
It's a shame it came be like that just in the movies (in the movies)
I'm not at good at ultimatums
Especially on the receiving end
It's a good indication, reason why you're lonely
(C)
One more bridge to cross
And the river is looking wide
But you burn that bridge down
I sure hope I can get to the other side
(C)
And I wish you the best
Hope you learn something from this
But you left me with no exit
Forever gone from your pettyness
(C) 2013
Stone City
STONE CITY 2:25
(Smith/Redding/Verhoven/Janey)
Gonna put on my walking shoes
Going down to Stone City Blues
Viola in the neighborhood
We're a suburb of Stone City
Stone City, Stone City
Stone City Rock And Roll
Stone City, Stone City
Rock on
ROCK ON!
Let me tell you about a place I know
It's what we call the general store
Next to the Wapsi where you can fish
Keep the big ones throw back the rest down in
Stone City Stone City
Stone City Rock And Roll
Stone City Stone City
Rock on
ROCK ON!
Stone City (yeah)
Stone City
rock on, rock on etc etc.
In the summertime in the shade
We'll playing like we have got it made
Don't need a reason to celebrate
Of the best damn place in the state
Down in Stone City, Stone City
Stone City Rock And Roll
Stone City, Stone City
Rock on
ROCK ON!
(C) 2001 2013
(Smith/Redding/Verhoven/Janey)
Gonna put on my walking shoes
Going down to Stone City Blues
Viola in the neighborhood
We're a suburb of Stone City
Stone City, Stone City
Stone City Rock And Roll
Stone City, Stone City
Rock on
ROCK ON!
Let me tell you about a place I know
It's what we call the general store
Next to the Wapsi where you can fish
Keep the big ones throw back the rest down in
Stone City Stone City
Stone City Rock And Roll
Stone City Stone City
Rock on
ROCK ON!
Stone City (yeah)
Stone City
rock on, rock on etc etc.
In the summertime in the shade
We'll playing like we have got it made
Don't need a reason to celebrate
Of the best damn place in the state
Down in Stone City, Stone City
Stone City Rock And Roll
Stone City, Stone City
Rock on
ROCK ON!
(C) 2001 2013
A Passage To Yesterday
A PASSAGE TO YESTERDAY-2:45
(Smith/Redding)
A passage to yesterday
Returning to days gone by
Thinking of my youth
When it used to be good
When life was easy back then
Records in the store
Is what I came here for
The melody that plays
And takes me away
To a place I've long to return
After the sun goes down
Wait till the stars come out
Make a wish and keep it
For some day it might come true
The life that I lead
Of music you can see
Has been here so far
Just like this old guitar
And shall be my friend till I'm dead
After the sun goes down
Wait till the stars come out
We'll make a wish and keep it
For some day it might come true
Progess must be made
But leave me in my ways
Cause, I'm not from here
And you're not from there
And never the twain shall meet
(C) 2013
(Smith/Redding)
A passage to yesterday
Returning to days gone by
Thinking of my youth
When it used to be good
When life was easy back then
Records in the store
Is what I came here for
The melody that plays
And takes me away
To a place I've long to return
After the sun goes down
Wait till the stars come out
Make a wish and keep it
For some day it might come true
The life that I lead
Of music you can see
Has been here so far
Just like this old guitar
And shall be my friend till I'm dead
After the sun goes down
Wait till the stars come out
We'll make a wish and keep it
For some day it might come true
Progess must be made
But leave me in my ways
Cause, I'm not from here
And you're not from there
And never the twain shall meet
(C) 2013
You Know I'm Not Good For You
YOU KNOW I'M NOT GOOD FOR YOU 3:09
(Smith/Miller)
It's not my intention to be
To leave you in misery
To show an loving embrace
Could be your biggest mistake
You are a woman at hand
And I'm a playing in this band
And like I give a damn
You don't fit my demands
You know I'm not good for you
You know I'm not good for you
You know I'm not good for you
It's just the way it is
I have no time for this
Of some unwilling bliss
Another test of wits
On a illogical myth
On a illogical myth
You know I'm not good for you
You know I'm not good for you
You know I'm not good for you
It's just the way it is
It's just the way it is
It's just the way it is
You know I'm not good for you
(C) 2012
(Smith/Miller)
It's not my intention to be
To leave you in misery
To show an loving embrace
Could be your biggest mistake
You are a woman at hand
And I'm a playing in this band
And like I give a damn
You don't fit my demands
You know I'm not good for you
You know I'm not good for you
You know I'm not good for you
It's just the way it is
I have no time for this
Of some unwilling bliss
Another test of wits
On a illogical myth
On a illogical myth
You know I'm not good for you
You know I'm not good for you
You know I'm not good for you
It's just the way it is
It's just the way it is
It's just the way it is
You know I'm not good for you
(C) 2012
Goodbye Doesn't Mean Forever
GOODBYE DOESN'T MEAN FOREVER-5:05
(Smith/Passmore)
I'm traveling on in a minstrel show
Driving down on a open road to places unknown
I'm feeling tired as I'm getting stoned
Playing a song that touches down deep in my soul
Goodbye doesn't mean forever
It means I had a good time see you later
Goodbye shouldn't mean forever
It paves the way to a start of a brand new day
The hippie dream is not what it seems
You see the old man has left and became a Conservative
So we fend for ourselves cuz there's no one we can trust
It's just the way we live
The way we give
And get nothing in return
Goodbye doesn't mean forever
I had a good time see you later
Goodbye shouldn't mean forever
It paves the way to a start of a brand new day
And so it goes, and you and I know
That the time we share together
Are few and far between
So you take what you can get and you never forget
That the man in the band
With guitar in the hand
Is just a spirit that you can never land
Now goodbye doesn't mean forever
I hope you had a good time see you later
Goodbye shouldn't mean forever
It paves the way to the start of a brand new day
(C) 2013
(Smith/Passmore)
I'm traveling on in a minstrel show
Driving down on a open road to places unknown
I'm feeling tired as I'm getting stoned
Playing a song that touches down deep in my soul
Goodbye doesn't mean forever
It means I had a good time see you later
Goodbye shouldn't mean forever
It paves the way to a start of a brand new day
The hippie dream is not what it seems
You see the old man has left and became a Conservative
So we fend for ourselves cuz there's no one we can trust
It's just the way we live
The way we give
And get nothing in return
Goodbye doesn't mean forever
I had a good time see you later
Goodbye shouldn't mean forever
It paves the way to a start of a brand new day
And so it goes, and you and I know
That the time we share together
Are few and far between
So you take what you can get and you never forget
That the man in the band
With guitar in the hand
Is just a spirit that you can never land
Now goodbye doesn't mean forever
I hope you had a good time see you later
Goodbye shouldn't mean forever
It paves the way to the start of a brand new day
(C) 2013
The Law Of The Land
THE LAW OF THE LAND-3:30
(Smith/Orbit)
The law of the land
Money is the name
The law of the land
Richness is the fame
How much can you make?
The law of the land
Survival is the game
The law of the land
Richmen put in their claim
To boost their profit line.
Save us from ourselves
Save us from ourselves
Save us from ourselves
SAVE US FROM OURSELVES
The law of the land
Is not for you or me
The law of the land
Are only to decieve
while the thieves find the loopholes
Save us from ourselves
Save us from ourselves
Save us from ourselves
SAVE US FROM OURSELVES
Save me from yourself
(C) 2013
(Smith/Orbit)
The law of the land
Money is the name
The law of the land
Richness is the fame
How much can you make?
The law of the land
Survival is the game
The law of the land
Richmen put in their claim
To boost their profit line.
Save us from ourselves
Save us from ourselves
Save us from ourselves
SAVE US FROM OURSELVES
The law of the land
Is not for you or me
The law of the land
Are only to decieve
while the thieves find the loopholes
Save us from ourselves
Save us from ourselves
Save us from ourselves
SAVE US FROM OURSELVES
Save me from yourself
(C) 2013
Cannery Row
Cannery Row 3:30
(Smith/Redding)
There are many things on my mind
So many things so little time
What we accumulate in this life
And never satisfied of what we find
(C)
So take your problems down the road
And go as far as you can go
Down to a place called Cannery Row
That's where the ghosts live I am told
Cannery Row.
Living a life of misadventure
Loving a life of misconception
We are not of who we are
Is the biggest cause of deception here
(C)
I'm not a advocate for romance
But I will thank you for this dance
And if I ever get the chance
Maybe I will show you the golden chalice
(C)
I think I'm down to my last years
Of running around and submit more fears
Got what I wanted and I threw it away
For this life is like a unsolved mystery
(C)
So take your problems down the road
And go as far as you can go
What is this place called Cannery Row
It's where the ghosts live I am told
Cannery Row
Cannery Row
Cannery Row
Cannery Row
(C) 2013
(Smith/Redding)
There are many things on my mind
So many things so little time
What we accumulate in this life
And never satisfied of what we find
(C)
So take your problems down the road
And go as far as you can go
Down to a place called Cannery Row
That's where the ghosts live I am told
Cannery Row.
Living a life of misadventure
Loving a life of misconception
We are not of who we are
Is the biggest cause of deception here
(C)
I'm not a advocate for romance
But I will thank you for this dance
And if I ever get the chance
Maybe I will show you the golden chalice
(C)
I think I'm down to my last years
Of running around and submit more fears
Got what I wanted and I threw it away
For this life is like a unsolved mystery
(C)
So take your problems down the road
And go as far as you can go
What is this place called Cannery Row
It's where the ghosts live I am told
Cannery Row
Cannery Row
Cannery Row
Cannery Row
(C) 2013
Keep On Walking
KEEP ON WALKING (We'll Get There) 3:25
(Smith)
Woke up this morning and I had the blues
I'm gonna take a trip, put on my walking shoes
Down to a place called top of the point
Gonna see this woman rocking the joint
She hits the stage all dressed in black
And takes her shoes off, she don't look back
That boogie woman like to feel the burn
As she plays her guitar to black cat bone
Big black drummer he keeps the beat
Vibrations running down to the street
She's asking us if she want some more
Of those funky old blues she knows by the score
So tell me how did I get this way
Got this guitar slinger right in my face
I know she wouldn't give me the time of day
I'm too old for her you know that's my fate
Walk some more babe!
I had a good time down at the show
Till the car broke down, now I'm all alone
It's a long walk to get back home
Was it worth it you ask well maybe so
Walk on
Keep on walking
Keep on walking
Keep on walking
Keep on walking
We'll get there.
(C) 2013
(Smith)
Woke up this morning and I had the blues
I'm gonna take a trip, put on my walking shoes
Down to a place called top of the point
Gonna see this woman rocking the joint
She hits the stage all dressed in black
And takes her shoes off, she don't look back
That boogie woman like to feel the burn
As she plays her guitar to black cat bone
Big black drummer he keeps the beat
Vibrations running down to the street
She's asking us if she want some more
Of those funky old blues she knows by the score
So tell me how did I get this way
Got this guitar slinger right in my face
I know she wouldn't give me the time of day
I'm too old for her you know that's my fate
Walk some more babe!
I had a good time down at the show
Till the car broke down, now I'm all alone
It's a long walk to get back home
Was it worth it you ask well maybe so
Walk on
Keep on walking
Keep on walking
Keep on walking
Keep on walking
We'll get there.
(C) 2013
One More Time
ONE MORE TIME-4:57
(Smith/Orbit)
Maybe I should have let her flowers
Or called her every hour
Or left a note to say How Are You?
I hope she at least read it once
Do you think I tried too hard
Or if I didn't try at all?
You think that if she really cared
She would at least, at least call
(C)
Take it out on me baby
Take it out on me baby
Take it out of me baby, one more time
Well she said that she had another
Somebody she spends her time with
I didn't ask her to give up her world
Just think of me once in a while
(C)
Not asking you to give up your life
I just want you to take a chance
Well if she really did cared at all
She wouldn't put me though this hell
(C)
May just as well not fall in love
Cuz you never ever get anywhere
Competition gets to be too much
And you never get what you want
Take it out on me baby
Why don't you take it out on me baby
Come on and take it out on me baby
One more time
One more time
One more time
(C) 2013
(Smith/Orbit)
Maybe I should have let her flowers
Or called her every hour
Or left a note to say How Are You?
I hope she at least read it once
Do you think I tried too hard
Or if I didn't try at all?
You think that if she really cared
She would at least, at least call
(C)
Take it out on me baby
Take it out on me baby
Take it out of me baby, one more time
Well she said that she had another
Somebody she spends her time with
I didn't ask her to give up her world
Just think of me once in a while
(C)
Not asking you to give up your life
I just want you to take a chance
Well if she really did cared at all
She wouldn't put me though this hell
(C)
May just as well not fall in love
Cuz you never ever get anywhere
Competition gets to be too much
And you never get what you want
Take it out on me baby
Why don't you take it out on me baby
Come on and take it out on me baby
One more time
One more time
One more time
(C) 2013
Saturday 30 March 2013
Queen Of Anamosa
QUEEN OF ANAMOSA-4:00
(Smith)
She's the queen of Anamosa
The pride of Garnavillo Road
She used to live in New York City
Now some folks think that's sure a pity
(C)
And you know there ain't nothing wrong with that
And you know that woman knows where it's at
And you know it wasn't easy getting here
Take me home before the fools drive me away
She's gotta smile that I'm dreaming of
I wanna drink from her loving cup
Now there's no reason for this bitterness
With her around it's happiness
(C)
She's the queen of Anamosa
Small town wonder gonna pull you under
A nation of fools in front of her stage
She makes it clear that she's all the rage
(C)
(c) 2012
(Smith)
She's the queen of Anamosa
The pride of Garnavillo Road
She used to live in New York City
Now some folks think that's sure a pity
(C)
And you know there ain't nothing wrong with that
And you know that woman knows where it's at
And you know it wasn't easy getting here
Take me home before the fools drive me away
She's gotta smile that I'm dreaming of
I wanna drink from her loving cup
Now there's no reason for this bitterness
With her around it's happiness
(C)
She's the queen of Anamosa
Small town wonder gonna pull you under
A nation of fools in front of her stage
She makes it clear that she's all the rage
(C)
(c) 2012
Abstract Girl
ABSTRACT GIRL-3:39
(Smith/Redding)
Well I'm beating it down the line
Going about ninety five
I gotta destination that I must be getting to
She's making pies in the oven
Stuffing cherries into her muffins
She gonna see what trouble she can get into
(C)
And I'm not saying that it's going to be me
But I just have to see
Imperfect world with an abstract girl
Taking our changes on what's to be
Well I'm living fancy and free
Doing what comes naturally
I'm set in my ways, cannot change so come what may
It's not easy for her to do
To give her love to some old fool
There's other guys standing in line but they know she's mine
(C)
Last (C)
I'm not saying that it's going to be me
But I just have to see
Imperfect world with an abstract girl
Making the changes on what's to be.
(C) 2013
A live version substitutes the line
She's baking pies in the oven
Making Chicken Biscuits for supper.
In today's PC word I added that line to get away from the double entre of stuffing cherries in her muffins. Seems to work better for the live crows as it stands.
(Smith/Redding)
Well I'm beating it down the line
Going about ninety five
I gotta destination that I must be getting to
She's making pies in the oven
Stuffing cherries into her muffins
She gonna see what trouble she can get into
(C)
And I'm not saying that it's going to be me
But I just have to see
Imperfect world with an abstract girl
Taking our changes on what's to be
Well I'm living fancy and free
Doing what comes naturally
I'm set in my ways, cannot change so come what may
It's not easy for her to do
To give her love to some old fool
There's other guys standing in line but they know she's mine
(C)
Last (C)
I'm not saying that it's going to be me
But I just have to see
Imperfect world with an abstract girl
Making the changes on what's to be.
(C) 2013
A live version substitutes the line
She's baking pies in the oven
Making Chicken Biscuits for supper.
In today's PC word I added that line to get away from the double entre of stuffing cherries in her muffins. Seems to work better for the live crows as it stands.
Into The Now
INTO THE NOW-4:19
(Smith/Redding)
Woke up to the feeling now that feeling is coming back
Just like an engine train riding down that rusty track
I've been gone for so long not that anybody really cared
But it's time to make it known that this old boy is coming back
It's all right
It's all right
It's all right
Can you feel it in the air as the winds of change begins?
I didn't mean to be the barer of the negative
But it's all in your mind to think it's all positive
Separate the good and bad and take it for what it is.
It's all right
It's all right
It's all right
Little things mean a lot especially compliments
Doesn't take a genius to see you get more loving with that
But run them in the ground and you'll reap what you sow
Don't take my silence for granted I have forgotten more than you know
It's all right
It's all right
It's all right
(C) 2013
(Smith/Redding)
Woke up to the feeling now that feeling is coming back
Just like an engine train riding down that rusty track
I've been gone for so long not that anybody really cared
But it's time to make it known that this old boy is coming back
It's all right
It's all right
It's all right
Can you feel it in the air as the winds of change begins?
I didn't mean to be the barer of the negative
But it's all in your mind to think it's all positive
Separate the good and bad and take it for what it is.
It's all right
It's all right
It's all right
Little things mean a lot especially compliments
Doesn't take a genius to see you get more loving with that
But run them in the ground and you'll reap what you sow
Don't take my silence for granted I have forgotten more than you know
It's all right
It's all right
It's all right
(C) 2013
Friday 29 March 2013
So Much For That
Before Town's Edge Rock, there was So Much For That, the first attempt to do real songs and overdub them to make them sound like a proper album. Prior to that, Jack Orbit was producing the last echophonic album and it wasn't going anywhere so he basically said if you're going to get anywhere, write your songs.
For three weeks I basically practiced playing the guitar and writing off hand lyrics left and right. It was fairly easy, since I wasn't working anywhere and I was going to Kirkwood to learn to get into the field of radio (which turned out to be a bust). And I had parents that actually supported my rock and roll wanna be and my father still had that reel to reel player that I used for the earlier stuff.
When recording, I used the reel to reel tape to do the guitar and vocals and for overdubbing the drums I would record them on cassette and used the reel to reel to set the recording levels. Very primitive especially later albums would be from cassette to cassette which was a good idea in theory BUT, the Realistic cassette deck played tapes faster than the other cassette player, which meant the songs sounded slower. This was before the days that I got a 4 track recorder but for the most part it did the job.
The Songs:
LuWanna (Smith/Schminkey) 3:41
You Were With Me (Smith/Schminkey) 3:30
Don't Take It Home (Smith/Glarington) 3:08
Train Goes Nowhere (Smith) 3:49
Movin On To Better Things (Smith/Willard) 6:05
The Wire (Smith) 3:45
We Had Met The Enemy And They Are Us (Smith) 4:00
Headbanger (Smith) 5:00
I Wanna Make You Mine (Smith) 1:33
Flattery Will Get You Nowhere (Smith/Orbit/Glarington) 4:10
Arizona Nights (Smith/Orbit) 3:20
Crackpot Experiment (Smith) 1:25
Why Me Why You (Smith) 2:40
Unfinished Song (So Much For That) (Smith/Orbit/Miller/Glarington) 4:47
Production By Jack Orbit with Rodney Smith
Recorded By Kyle Guttenburg, assisted by Ken Miller
Recorded April 1983 Maier Studios
A lot of the songs were slapped together from old written lyrics, Don't Take It Home was co written with Ron Glarington, whose son Mark would help me write some of the new album No Exit. Movin On To Better Things was given another shot but on this version, the guitar was tuned way out of tune to try to match the original version off Paraphernalia which was out of tune. You Were With Me originally done by The Open Highway band since I wanted to do an original song and they did this one just to shut me up. Arizona Nights would appear later on Living In The Twilight Zone with drums added on.
30 years onward, So Much For That has been forgotten although I Wanna Make You Mine and Headbanger were done live with the TEs from time to time as well as The Wire. Back in the 80s, Movin On To Better Things was the last song we would do before calling it an evening. Another problem was that the songs were done in various tempos and measures, meaning it was hard to hit the right breaks on We Have Met The Enemy....or LuWanna which has that walking blues shuffle that I have trouble playing at times. The call and response of drums and guitars hitting the breaks on Why Me Why You has worked better in the studio than playing live plus the fact that Geoff Redding never cared much for it. Train Goes Nowhere was worked into our playlist in the 1990s but since has been retired. Arizona Nights was supposed to be a statement about loving the Arizona desert and it was honest at the time but for the most part I simply outgrew it. The Unfinished Song is snippets of noise and guitar and drum solos featuring a goofy ending.
Well it's a beautiful day today, wouldn't you agree?
So We're taking the rest of the day off but will leave you with some advice
Stay cheerful and smile all the time and we'll see you on the other side.
It took about 20 takes to do the final guitar line, which goes to show that sometimes having a lead guitarist would work better for me. The guitar line that ended the scene of Beverly Hillbillies before they went to commercial.
So Much isn't a perfect album but it was much better than the last album of this multitude but it did suggest that with more practice and better songs this band would get better. Which lead to Town's Edge Rock.
And a new era.
For three weeks I basically practiced playing the guitar and writing off hand lyrics left and right. It was fairly easy, since I wasn't working anywhere and I was going to Kirkwood to learn to get into the field of radio (which turned out to be a bust). And I had parents that actually supported my rock and roll wanna be and my father still had that reel to reel player that I used for the earlier stuff.
When recording, I used the reel to reel tape to do the guitar and vocals and for overdubbing the drums I would record them on cassette and used the reel to reel to set the recording levels. Very primitive especially later albums would be from cassette to cassette which was a good idea in theory BUT, the Realistic cassette deck played tapes faster than the other cassette player, which meant the songs sounded slower. This was before the days that I got a 4 track recorder but for the most part it did the job.
The Songs:
LuWanna (Smith/Schminkey) 3:41
You Were With Me (Smith/Schminkey) 3:30
Don't Take It Home (Smith/Glarington) 3:08
Train Goes Nowhere (Smith) 3:49
Movin On To Better Things (Smith/Willard) 6:05
The Wire (Smith) 3:45
We Had Met The Enemy And They Are Us (Smith) 4:00
Headbanger (Smith) 5:00
I Wanna Make You Mine (Smith) 1:33
Flattery Will Get You Nowhere (Smith/Orbit/Glarington) 4:10
Arizona Nights (Smith/Orbit) 3:20
Crackpot Experiment (Smith) 1:25
Why Me Why You (Smith) 2:40
Unfinished Song (So Much For That) (Smith/Orbit/Miller/Glarington) 4:47
Production By Jack Orbit with Rodney Smith
Recorded By Kyle Guttenburg, assisted by Ken Miller
Recorded April 1983 Maier Studios
A lot of the songs were slapped together from old written lyrics, Don't Take It Home was co written with Ron Glarington, whose son Mark would help me write some of the new album No Exit. Movin On To Better Things was given another shot but on this version, the guitar was tuned way out of tune to try to match the original version off Paraphernalia which was out of tune. You Were With Me originally done by The Open Highway band since I wanted to do an original song and they did this one just to shut me up. Arizona Nights would appear later on Living In The Twilight Zone with drums added on.
30 years onward, So Much For That has been forgotten although I Wanna Make You Mine and Headbanger were done live with the TEs from time to time as well as The Wire. Back in the 80s, Movin On To Better Things was the last song we would do before calling it an evening. Another problem was that the songs were done in various tempos and measures, meaning it was hard to hit the right breaks on We Have Met The Enemy....or LuWanna which has that walking blues shuffle that I have trouble playing at times. The call and response of drums and guitars hitting the breaks on Why Me Why You has worked better in the studio than playing live plus the fact that Geoff Redding never cared much for it. Train Goes Nowhere was worked into our playlist in the 1990s but since has been retired. Arizona Nights was supposed to be a statement about loving the Arizona desert and it was honest at the time but for the most part I simply outgrew it. The Unfinished Song is snippets of noise and guitar and drum solos featuring a goofy ending.
Well it's a beautiful day today, wouldn't you agree?
So We're taking the rest of the day off but will leave you with some advice
Stay cheerful and smile all the time and we'll see you on the other side.
It took about 20 takes to do the final guitar line, which goes to show that sometimes having a lead guitarist would work better for me. The guitar line that ended the scene of Beverly Hillbillies before they went to commercial.
So Much isn't a perfect album but it was much better than the last album of this multitude but it did suggest that with more practice and better songs this band would get better. Which lead to Town's Edge Rock.
And a new era.
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