Burl Dunn
ALBUM NOTES FOR "TEXAS SOCIALIST DANCE SONGS INSTIGATED AND AGITATED BY BURL DUNN" (scroll down for all other album notes)
I titled this album with tongue slightly in cheek. Most of the songs are fun and non-political. But, I do not believe that “In the beginning God created heaven and the earth” so that T. Boone Pickens could own and control the water. I do not believe that “And the earth brought forth grass, and herb yielding seed after his kind, and the tree yielding fruit, whose seed was in itself, after his kind: and God saw that it was good” so that Monsanto could co-opt the sacred process and become the god of seeds.
I do believe in the Public Library, Public Health Departments, and Community Fire Departments. You see, much of what Socialism does is to provide a democratic control of things that, by logic and By God belong to the People and for the People. The early basis for laws governing broadcast radio and later TV, was that the “airwaves” belong to the People. I see no difference now that we have cable and the internet. The electromagnetic spectrum was always in the “airwaves.”
Many grandparents and great-grandparents of today’s Texans were farmers and they knew exactly who their enemies were: national banks, corporate and private monopolies topped the list. Lampasas and Parker Counties were hotbeds of activity for populist causes like cooperatives and water rights. And, Texas was the only southern state whose Farmer’s Alliance was open to black farmers!Before I had my albums replicated by CD Baby I burned them on my computer. Naturally, after the first year I recorded with Big John Mills and Sterling Finlay I put all the songs I liked from that year on the CD. I had Contrary replicated first because it was all such a fresh creation and I was so proud of it. My wife did not like Contrary's guns and threats and murder AT ALL, but I put it out first. When I was preparing Texas Dance Songs I followed Big John's advice. He said why put in a controversial song or two on an album that otherwise is dance music? So I saved all my political stuff. "Demand and Supply" was recorded the first or second day of the first year. Big John counted us in at a tempo way faster than I had ever played it and man, it improved the song 100%. You can just hear how much fun we had. And, by the way, the song is about private property rights - sorta strange for a socialist album, eh?
Neither Big John nor Sterling said a word about "I Wasn't Born in the Homeland," and trust me, if Big John was offended he would have let me know one way or another. I'm not saying they agreed with every word, just that they played it quite sweetly. By the time we did "My Magical Horse" Big John was so into his big lyrical sound that I stopped the first take and said, "Hey man, it's just a simple folk song. It doesn't need to sound majestic."
In 2011 engineer Russell Tanner fed and mixed some recordings that my son, Forest Arturo Dunn, and I had recorded on an early Roland digital workstation. Forest added so many tracks that he had to do a lot of bouncing and Russell worked hard with some fancy plug-ins to bring out some aspects, such as Forest's piano playing. Big John used his Tele to overdub parts on "The Real Thing" and "Bar Talk."
Forest spent his last years in Tucson and he had a great drummer friend named Rick Moe. Forest told me that the first tracks he did for Bar Talk was Rick's drums. I wasn't there and Forest did not play along. Imagine that! He somehow communicated every nuance of that song to Rick and Rick wailed out every beat and every change. Then Forest added all his parts and finally I came to town and did rhythm guitar and sang as the very last things! That's the kind of talent we lost when we lost Forest. And Rick, I sure hope you are in a great band in New York City or wherever you are now. Nobody sounds like Rick Moe except Rick.
Kundalini Baby and Don Felp's '65 Ford were the only songs on this album from the 2013 session. I heard Don in Austin and fell in love with his songs. Don is a real deal cowboy tall drink of water writer and I thank him for working out publishing so that I could record his song without it just being a handshake deal. It's published by Don and registered with BMI.
All my albums can be heard on Spotify and some other online stations. All my albums can be downloaded from iTunes, amazon, CD Baby and others.
ALBUM NOTES FOR "TEXAS DANCE SONGS" (OTHER ALBUMS, JUST SCROLL ON DOWN)
I miss the mere size of old lp records with pictures you can see and notes on the back you don't have to unfold and squint at. These are the album notes for my CD I call "Texas Dance Songs."
Every third of July as I grew up I watched my Uncle Joe Dunn play his fiddle and lead a band of Dunns through some fine old songs and hymns. When the '60s Folk Boom hit I was primed to learn guitar and when I heard Pete Seeger and Bob Dylan - well it was all over. I was twelve and I taught myself to play, but of course I had been playing violin since the fourth grade so I thank the Amarillo, Texas Public School District for teaching me to read music.
Well, in 2011, my wife Rosemary encouraged me to go to Austin and see if I could get something going. I found the open mic at the Cheatham Street Warehouse run by the great Kent Finlay. He had a studio, the Woodshed, and could get you any backup musician you needed. It all depended on how much you could pay the player. Rosemary was eager to pay for a record. I thought that if I could get some recognition I could bring my son's songs to the attention of the world.
I thought I'd get a country band sound complete with fiddle and steel guitar, but then I heard Big John Mills play an acoustic set at Cheatham Street. My God, what a talent! Kent's son Sterling is a fine upright bass man. I thought about one of my favorite old records - Gordon Lightfoot's first album. It's all Gordon singing and playing guitar, a lead guitar, and an upright bass, so that's how we did it. I even copied Gordon by having one song that was just bass and voice - "Pack Rat Nest." Sterling and I did that in one take.
I was determined to play ensemble style, not lay down track by track. The first song we recorded was "Cockroach Fever." Nailed it in two takes. I labeled it as explicit when I listed it with CD Baby which I wish I hadn't done especially because if you see the album on Amazon they have every single song labeled "explicit." My favorite cousin, a strict Southern Baptist loves it so it sure ain't dirty.
As that first day sailed along we recorded most of what became "Texas Dance Songs" and several of the songs on "Texas Socialist Infiltration Dance Songs." I was mighty proud that I kept up with Big John and Sterling. We clicked. Late in the session we were playing some song and my mind drifted into how amazing it sounded and - I fucked it up. After that I bowed out for two songs. I had lyrics and chords written out. I played a few bars of each song to give them the idea and then they played. What came out was beautiful, but it wasn't those two songs anymore so I put them on the back burner. After Big John and Sterling left I laid down my guitar part for Rosemary's two favorites - "I Never Waltzed With You" and "In Our Dance" - because I was afraid I wouldn't capture the lilt of those two songs in the ensemble setting.
The second day we finished up. Then Big John laid down electric lead parts on some songs that Forest and I had recorded around 2000. 'Round and 'Round is one of those. More on that when I write notes on "Texas Socialist Dance Songs."
It had been a prolific session. I was happier than I had been for a long time.
Next year, 2012, was also a prolific year. I wrote seven new songs in a month or so. After recording that album (Contrary) I sat in a motel room and wrote four chord progressions using the common chords from the diatonic scale - major, minor, minor, major, major, minor, diminished. It was an exercise for old three chord Burl. I asked Big John to play those chords but didn't specify how. Then Johnny Arredondo added drums. I was so amazed with the results that I offered Big John the chance to own half of the copyright and performance rights in exchange for free work later. I tried to offer that twice, but each time, before I even got the whole concept of the deal out of my mouth he turned it down. It makes me think of all those guys going to the California Gold Rush (me) who went broke and the one who set up a supply store (Big John) and made fortunes. The two best of these songs are on Texas Dance Songs: "Top Down" and "Just Us Chickens."
All my albums can be heard on Spotify and some other online stations. All my albums can be downloaded from iTunes, amazon, CD Baby and others. I go by my middle name, Burl, because if you google "Burl Dunn" it's easy to find. Try it! Thanks.
ALBUM NOTES FOR "CONTRARY"
n the winter of 2011 I first took my best friend, the rez dog Edy, with me to Texas. We went to Padre Island where I had memories of my baby Forest Arturo Dunn in a Snugglie on Mama's chest and sea birds flying over his head. I practiced up on old and new songs that I thought might go well at open mics in Austin. As I described in the album notes for "Texas Dance Songs" I ended up recording with Big John Mills and Sterling Finlay at the Woodshed Studios of the Cheatham Street Warehouse in San Marcos, Texas. Russell Tanner, engineer.
With the thrill of a successful session in memory I was more inspired about writing than I had been for decades. For 2012 I had an idea for a song cycle - concept album - whatever you want to call it. I had some of it written but mostly I finished it on the beach. I scattered some of the few ashes I had of my son's body on the beach. I drank, wrote, played, and walked with dear old Edy who was obviously in her last years with me.
My concept was highly influenced by the news. I had been reading so many stories of men released from prison after DNA evidence proved their innocence. I was wondering how many poor innocent victims had been tortured at Abu Ghraib and were being tortured at Guantanamo and at secret prisons around the world. I knew in my heart that America was creating future terrorists by these actions. When reading about Americans released after being cleared of rape, murder, and other crimes by DNA evidence I was always struck by the statements and apparent attitudes of these men. Where was their anger? Had it been burned out by religion? Had they become passive due to an overload of injustice?
I wrote "Confession" from the point of view of a man who was confessing that, by God, he was going to kill that damn, lying judge who sent him away unjustly. But as I began "Tattooed With Regret" I knew I didn't want to finish the album with the concept of killing. And I knew I wasn't going to have the man find religion. No, I turned to a theme close to my heart - the idea of living invisibly - the theme of many of my short stories like "The Meadow." It's only in the last two songs that it becomes clear how the man will end up.
As a country murder ballad, I'm very proud of "Fear the Man." "Riverside Blues" is actually a song I wrote around 1969 and I use it as the turn-around moment when he turns his heart from hatred to his strange future.
Anyway, here's the story of the recording of "Contrary." I said to Kent Finlay, the American Treasure, patron of songwriters, that I wanted a drummer who just used a snare drum, but who used every inch of it - like I've seen on the streets and in the bars in Mexico. Poor guy who only has that snare drum, sticks, and brushes. And wails, Man. And I wanted to start with a song that is only drums and guitar. Kent said it was unusual but he got me Johnny Arredondo. Thanks Kent!
So Johnny shows up with a nice big kit and cases of percussion instruments. Oh well. Russell Tanner sets us up in separate rooms but where we can see each other and we work out for a bit. The sweet drum intro is where he was at about a minute into my original idea. He counted me in - 1,2,3,4."
I must say, I was not shy in asking to do something in the studio. I had recorded - the most important being the lovely year when Forest Arturo Dunn, my son, played with me. I'll talk more about those for the album notes of "Texas Socialist Infiltration Dance Songs Instigated and Agitated by Burl Dunn."
When we did the first track of "Light My Last Cigarette" I just played a 12 bar blues hitting one chord per measure on the first beat. The track was meant to be dropped, I just wanted to give Johnny free reign on how he played it. The next day (half drunk) I said, "Johnny, can you turn this s*** into wine?" But after about few minutes he asked, "What do you want me to do with this?" I said, "Play it like it's 1962 and you're backing the stripper at Jack Ruby's club in Dallas." And he grinned and did.
I laid down "Riverside Blues" on my nylon string guitar and wanted to try a better take the next day, but Johnny and Russell kept saying leave it so I did. I can't remember how many tracks they used for the drums and percussion. I just drank beer and enjoyed my money's worth! (As an aside, I'll tell you that working with pros at the Woodshed can be more affordable than you'd imagine.) Uh, that's not a dispersion on Johnny's playing. Russell must have told him that it was my daughter Hannah's and her brother's favorite. When he finished he said, "I'll live forever 'cause I played on that song." I wish it didn't look sappy on the printed page. Johnny treated me totally as a peer.
The last two songs where my twisted ideas appear have a funny musical story. Big John Mills, on about 10 seconds of hearing my playing before turning it over to him, improvised a sweet song along with Sterling Finlay. I rewrote the words and melody accordingly. "Let's Go Now" is the same chords as "Round and 'Round." ! You'd have to listen to them back to back to get the irony of that!
I was working on the lyrics to "Let's Go Now" in a motel early one morning. Rosemary was sleeping and I had headphones on. I forgot that my voice was something she'd hear. So she wakes up to me saying, "Shhhh, are you ready? Let's go now? Are you ready? I've got the feeling, I've seen the light..." Rosemary is fun.
If you google "Burl Dunn" that's me. Or just type my name into your favorite download page. Or go to spotify. I'm a "CD Baby." BMI
ALBUM NOTES FOR "PETE SEEGER LIVES HERE"
Pete Seeger recorded a series of records beginning in, the 1950s called American Favorite Ballads. Then in 1961 Oak Publications published a songbook by the same name. I recently recorded 18 of the songs at Elephonics Recording Studio in Albuquerque, New Mexico. Jesse Korman is the owner and engineer of this fine studio and he found Jared Putnam, a superb upright acoustic bass player to accompany me. American Favorite Ballads now available from Oak Archives, Music Sales America, distributed by Hal Leonard Corporation. I'm quite sure one could easily find a copy. ISBN 978-0-8256-0094-4
This wonderful book has been an instructor to me - some songs have chord structures I would never have guessed at, others are wonderfully simple 'learning songs' with two chords. It has been a reminder of my childhood - I used to sing these songs in school. And it has been a comfort to me, something I've returned to over and over through the years.
We play it uptempo. I added some scat singing and repeats for fun. Jared does some fine whistling on "Swanee River."
I think a lot of the ridicule suffered by some singers and their folk renditions comes about because they play them too slow. And one of my favorites from the album is "On Top of Old Smokey" which I pepped up a bit without the feeling of rushing. Excuse the bragging, but I sang it with soul, and Jared's bass part is exceptional!
When we remember Pete let's remember not only the great songs he wrote, but pay honor by keeping alive his beloved songs by that greatest author of folk songs, anonymous. But, please let's keep him identified by both names. I searched in vain for the name "Pete" on Bruce Springsteen's great "Seeger Sessions" album.
I do believe in the Public Library, Public Health Departments, and Community Fire Departments. You see, much of what Socialism does is to provide a democratic control of things that, by logic and By God belong to the People and for the People. The early basis for laws governing broadcast radio and later TV, was that the “airwaves” belong to the People. I see no difference now that we have cable and the internet. The electromagnetic spectrum was always in the “airwaves.”
Many grandparents and great-grandparents of today’s Texans were farmers and they knew exactly who their enemies were: national banks, corporate and private monopolies topped the list. Lampasas and Parker Counties were hotbeds of activity for populist causes like cooperatives and water rights. And, Texas was the only southern state whose Farmer’s Alliance was open to black farmers!Before I had my albums replicated by CD Baby I burned them on my computer. Naturally, after the first year I recorded with Big John Mills and Sterling Finlay I put all the songs I liked from that year on the CD. I had Contrary replicated first because it was all such a fresh creation and I was so proud of it. My wife did not like Contrary's guns and threats and murder AT ALL, but I put it out first. When I was preparing Texas Dance Songs I followed Big John's advice. He said why put in a controversial song or two on an album that otherwise is dance music? So I saved all my political stuff. "Demand and Supply" was recorded the first or second day of the first year. Big John counted us in at a tempo way faster than I had ever played it and man, it improved the song 100%. You can just hear how much fun we had. And, by the way, the song is about private property rights - sorta strange for a socialist album, eh?
Neither Big John nor Sterling said a word about "I Wasn't Born in the Homeland," and trust me, if Big John was offended he would have let me know one way or another. I'm not saying they agreed with every word, just that they played it quite sweetly. By the time we did "My Magical Horse" Big John was so into his big lyrical sound that I stopped the first take and said, "Hey man, it's just a simple folk song. It doesn't need to sound majestic."
In 2011 engineer Russell Tanner fed and mixed some recordings that my son, Forest Arturo Dunn, and I had recorded on an early Roland digital workstation. Forest added so many tracks that he had to do a lot of bouncing and Russell worked hard with some fancy plug-ins to bring out some aspects, such as Forest's piano playing. Big John used his Tele to overdub parts on "The Real Thing" and "Bar Talk."
Forest spent his last years in Tucson and he had a great drummer friend named Rick Moe. Forest told me that the first tracks he did for Bar Talk was Rick's drums. I wasn't there and Forest did not play along. Imagine that! He somehow communicated every nuance of that song to Rick and Rick wailed out every beat and every change. Then Forest added all his parts and finally I came to town and did rhythm guitar and sang as the very last things! That's the kind of talent we lost when we lost Forest. And Rick, I sure hope you are in a great band in New York City or wherever you are now. Nobody sounds like Rick Moe except Rick.
Kundalini Baby and Don Felp's '65 Ford were the only songs on this album from the 2013 session. I heard Don in Austin and fell in love with his songs. Don is a real deal cowboy tall drink of water writer and I thank him for working out publishing so that I could record his song without it just being a handshake deal. It's published by Don and registered with BMI.
All my albums can be heard on Spotify and some other online stations. All my albums can be downloaded from iTunes, amazon, CD Baby and others.
ALBUM NOTES FOR "TEXAS DANCE SONGS" (OTHER ALBUMS, JUST SCROLL ON DOWN)
I miss the mere size of old lp records with pictures you can see and notes on the back you don't have to unfold and squint at. These are the album notes for my CD I call "Texas Dance Songs."
Every third of July as I grew up I watched my Uncle Joe Dunn play his fiddle and lead a band of Dunns through some fine old songs and hymns. When the '60s Folk Boom hit I was primed to learn guitar and when I heard Pete Seeger and Bob Dylan - well it was all over. I was twelve and I taught myself to play, but of course I had been playing violin since the fourth grade so I thank the Amarillo, Texas Public School District for teaching me to read music.
Well, in 2011, my wife Rosemary encouraged me to go to Austin and see if I could get something going. I found the open mic at the Cheatham Street Warehouse run by the great Kent Finlay. He had a studio, the Woodshed, and could get you any backup musician you needed. It all depended on how much you could pay the player. Rosemary was eager to pay for a record. I thought that if I could get some recognition I could bring my son's songs to the attention of the world.
I thought I'd get a country band sound complete with fiddle and steel guitar, but then I heard Big John Mills play an acoustic set at Cheatham Street. My God, what a talent! Kent's son Sterling is a fine upright bass man. I thought about one of my favorite old records - Gordon Lightfoot's first album. It's all Gordon singing and playing guitar, a lead guitar, and an upright bass, so that's how we did it. I even copied Gordon by having one song that was just bass and voice - "Pack Rat Nest." Sterling and I did that in one take.
I was determined to play ensemble style, not lay down track by track. The first song we recorded was "Cockroach Fever." Nailed it in two takes. I labeled it as explicit when I listed it with CD Baby which I wish I hadn't done especially because if you see the album on Amazon they have every single song labeled "explicit." My favorite cousin, a strict Southern Baptist loves it so it sure ain't dirty.
As that first day sailed along we recorded most of what became "Texas Dance Songs" and several of the songs on "Texas Socialist Infiltration Dance Songs." I was mighty proud that I kept up with Big John and Sterling. We clicked. Late in the session we were playing some song and my mind drifted into how amazing it sounded and - I fucked it up. After that I bowed out for two songs. I had lyrics and chords written out. I played a few bars of each song to give them the idea and then they played. What came out was beautiful, but it wasn't those two songs anymore so I put them on the back burner. After Big John and Sterling left I laid down my guitar part for Rosemary's two favorites - "I Never Waltzed With You" and "In Our Dance" - because I was afraid I wouldn't capture the lilt of those two songs in the ensemble setting.
The second day we finished up. Then Big John laid down electric lead parts on some songs that Forest and I had recorded around 2000. 'Round and 'Round is one of those. More on that when I write notes on "Texas Socialist Dance Songs."
It had been a prolific session. I was happier than I had been for a long time.
Next year, 2012, was also a prolific year. I wrote seven new songs in a month or so. After recording that album (Contrary) I sat in a motel room and wrote four chord progressions using the common chords from the diatonic scale - major, minor, minor, major, major, minor, diminished. It was an exercise for old three chord Burl. I asked Big John to play those chords but didn't specify how. Then Johnny Arredondo added drums. I was so amazed with the results that I offered Big John the chance to own half of the copyright and performance rights in exchange for free work later. I tried to offer that twice, but each time, before I even got the whole concept of the deal out of my mouth he turned it down. It makes me think of all those guys going to the California Gold Rush (me) who went broke and the one who set up a supply store (Big John) and made fortunes. The two best of these songs are on Texas Dance Songs: "Top Down" and "Just Us Chickens."
All my albums can be heard on Spotify and some other online stations. All my albums can be downloaded from iTunes, amazon, CD Baby and others. I go by my middle name, Burl, because if you google "Burl Dunn" it's easy to find. Try it! Thanks.
ALBUM NOTES FOR "CONTRARY"
n the winter of 2011 I first took my best friend, the rez dog Edy, with me to Texas. We went to Padre Island where I had memories of my baby Forest Arturo Dunn in a Snugglie on Mama's chest and sea birds flying over his head. I practiced up on old and new songs that I thought might go well at open mics in Austin. As I described in the album notes for "Texas Dance Songs" I ended up recording with Big John Mills and Sterling Finlay at the Woodshed Studios of the Cheatham Street Warehouse in San Marcos, Texas. Russell Tanner, engineer.
With the thrill of a successful session in memory I was more inspired about writing than I had been for decades. For 2012 I had an idea for a song cycle - concept album - whatever you want to call it. I had some of it written but mostly I finished it on the beach. I scattered some of the few ashes I had of my son's body on the beach. I drank, wrote, played, and walked with dear old Edy who was obviously in her last years with me.
My concept was highly influenced by the news. I had been reading so many stories of men released from prison after DNA evidence proved their innocence. I was wondering how many poor innocent victims had been tortured at Abu Ghraib and were being tortured at Guantanamo and at secret prisons around the world. I knew in my heart that America was creating future terrorists by these actions. When reading about Americans released after being cleared of rape, murder, and other crimes by DNA evidence I was always struck by the statements and apparent attitudes of these men. Where was their anger? Had it been burned out by religion? Had they become passive due to an overload of injustice?
I wrote "Confession" from the point of view of a man who was confessing that, by God, he was going to kill that damn, lying judge who sent him away unjustly. But as I began "Tattooed With Regret" I knew I didn't want to finish the album with the concept of killing. And I knew I wasn't going to have the man find religion. No, I turned to a theme close to my heart - the idea of living invisibly - the theme of many of my short stories like "The Meadow." It's only in the last two songs that it becomes clear how the man will end up.
As a country murder ballad, I'm very proud of "Fear the Man." "Riverside Blues" is actually a song I wrote around 1969 and I use it as the turn-around moment when he turns his heart from hatred to his strange future.
Anyway, here's the story of the recording of "Contrary." I said to Kent Finlay, the American Treasure, patron of songwriters, that I wanted a drummer who just used a snare drum, but who used every inch of it - like I've seen on the streets and in the bars in Mexico. Poor guy who only has that snare drum, sticks, and brushes. And wails, Man. And I wanted to start with a song that is only drums and guitar. Kent said it was unusual but he got me Johnny Arredondo. Thanks Kent!
So Johnny shows up with a nice big kit and cases of percussion instruments. Oh well. Russell Tanner sets us up in separate rooms but where we can see each other and we work out for a bit. The sweet drum intro is where he was at about a minute into my original idea. He counted me in - 1,2,3,4."
I must say, I was not shy in asking to do something in the studio. I had recorded - the most important being the lovely year when Forest Arturo Dunn, my son, played with me. I'll talk more about those for the album notes of "Texas Socialist Infiltration Dance Songs Instigated and Agitated by Burl Dunn."
When we did the first track of "Light My Last Cigarette" I just played a 12 bar blues hitting one chord per measure on the first beat. The track was meant to be dropped, I just wanted to give Johnny free reign on how he played it. The next day (half drunk) I said, "Johnny, can you turn this s*** into wine?" But after about few minutes he asked, "What do you want me to do with this?" I said, "Play it like it's 1962 and you're backing the stripper at Jack Ruby's club in Dallas." And he grinned and did.
I laid down "Riverside Blues" on my nylon string guitar and wanted to try a better take the next day, but Johnny and Russell kept saying leave it so I did. I can't remember how many tracks they used for the drums and percussion. I just drank beer and enjoyed my money's worth! (As an aside, I'll tell you that working with pros at the Woodshed can be more affordable than you'd imagine.) Uh, that's not a dispersion on Johnny's playing. Russell must have told him that it was my daughter Hannah's and her brother's favorite. When he finished he said, "I'll live forever 'cause I played on that song." I wish it didn't look sappy on the printed page. Johnny treated me totally as a peer.
The last two songs where my twisted ideas appear have a funny musical story. Big John Mills, on about 10 seconds of hearing my playing before turning it over to him, improvised a sweet song along with Sterling Finlay. I rewrote the words and melody accordingly. "Let's Go Now" is the same chords as "Round and 'Round." ! You'd have to listen to them back to back to get the irony of that!
I was working on the lyrics to "Let's Go Now" in a motel early one morning. Rosemary was sleeping and I had headphones on. I forgot that my voice was something she'd hear. So she wakes up to me saying, "Shhhh, are you ready? Let's go now? Are you ready? I've got the feeling, I've seen the light..." Rosemary is fun.
If you google "Burl Dunn" that's me. Or just type my name into your favorite download page. Or go to spotify. I'm a "CD Baby." BMI
ALBUM NOTES FOR "PETE SEEGER LIVES HERE"
Pete Seeger recorded a series of records beginning in, the 1950s called American Favorite Ballads. Then in 1961 Oak Publications published a songbook by the same name. I recently recorded 18 of the songs at Elephonics Recording Studio in Albuquerque, New Mexico. Jesse Korman is the owner and engineer of this fine studio and he found Jared Putnam, a superb upright acoustic bass player to accompany me. American Favorite Ballads now available from Oak Archives, Music Sales America, distributed by Hal Leonard Corporation. I'm quite sure one could easily find a copy. ISBN 978-0-8256-0094-4
This wonderful book has been an instructor to me - some songs have chord structures I would never have guessed at, others are wonderfully simple 'learning songs' with two chords. It has been a reminder of my childhood - I used to sing these songs in school. And it has been a comfort to me, something I've returned to over and over through the years.
We play it uptempo. I added some scat singing and repeats for fun. Jared does some fine whistling on "Swanee River."
I think a lot of the ridicule suffered by some singers and their folk renditions comes about because they play them too slow. And one of my favorites from the album is "On Top of Old Smokey" which I pepped up a bit without the feeling of rushing. Excuse the bragging, but I sang it with soul, and Jared's bass part is exceptional!
When we remember Pete let's remember not only the great songs he wrote, but pay honor by keeping alive his beloved songs by that greatest author of folk songs, anonymous. But, please let's keep him identified by both names. I searched in vain for the name "Pete" on Bruce Springsteen's great "Seeger Sessions" album.
