Liner Notes

The Liner Notes:

Here it is, the long winded version of my own take on my new CD, “Salt”. This is what would have been printed on the back of the record sleeve around, say, 1972 or earlier. Back when artists or reviewers could carry on about the life altering significance of the album you’d be spinning right then and there at 33 1/3 rpm on your record player. It is worth noting that this recording, technically my fourth CD, does signify a new phase in my music. It truly is the first “solo” release since relocating to Austin, leaving behind a long-time band/recording scenario in Seattle. And, as I near the 10 year mark since my debut CD it somehow seems even more significant, at least to me personally. Since “Time To Go” there has been more than a complete album's worth of material written and recorded. But, it was never released as such for a number of reasons. I felt long overdue for a reinvention of sorts. Now, having been fully restored to my original mint condition at this point in my career, it's the right time to present some new sounds to the world. My style, often referred to as "Thinking man's Americana" was, for me, taken slightly further off the beaten path on this album into new sonic territory. I'm compelled to refer to it as "Technicolor-Americana" (thanks to Tom Benton) when asked these days. And, with that said, nearly six months to the day - start to finish, it is exciting to release an album that I am really pleased with; a collection of songs that are honest and sonically rich.

Let me begin with the album's title. Truth be told, the song, "Salt", came first. For me, finding an album’s title is merely a matter of trusting an immediate instinct. It seemed fitting to call the entire CD by that name simply because the song itself is such a deeply personal tune. In retrospect I’d have to suggest that the vibe of the song and even the production style it represents are what matter most about this album as a whole. It's a real centerpiece emotionally and sonically. When you hear it, I’m sure you’ll understand why the album was never referred to by any other name from the get-go.

On the one hand, I wanted this recording to be very plain spoken, as many of my songs are at their core. On the other, I usually hear my music as layered and multi-faceted. Eventually, I found this duality coexisted perfectly in my music. I always feel compelled to keep developing the handcrafted feel of each song in the studio. I prefer to approach the recording of my music as not necessarily a document of what occurs when the songs are performed live, but with more of an angle about giving the music, as a whole, a real five star treatment. This time around I embellished many of the arrangements in a sort of traditional way with extra “gospel/doo-wop” infused background vocals. The addition of horns was an experiment that I loved from the first moment I heard it. Arranging them was a great learning process as a “composer” and I was leaning hard on what I hear in Gil Evans arrangements with Miles Davis, as well as, Bill Frisell’s use of horns in his work.

I also wanted to treat the CD in its entirety as a complete subject, not just songs that have been lumped together as a compilation. Lyrically they come from many angles, but they all deal with the light and the darkness of the “human condition”. Yet, from one topic to another, they're all just down to earth reflections of heart and soul. These days the very nature of modern music consumption is unique in the way that many listeners are only after the songs they have an immediate connection with. Little patience is left for really listening through an artist’s complete work on an album. But, that did not sway my intention of creating a common atmosphere for all the songs collected on “Salt”. I heard it as a whole from the beginning and, as it unfolded, I began to understand where the recording needed to go in terms of production. Again, it's just about instinct.

There are organic, traditional elements (vocals, stringed instruments, percussion) melding with modern textures (drum loops, electronic loops, guitar synth and assorted ambient textures). I aimed for this balance in a somewhat subconscious way. I sought to create differing levels of density that would draw the listener into a musical scene that offers a sense of discovery with repeated listens. As if really taking in a view, this music is a landscape where the small details are as important as is the more obvious stuff in understanding the big picture. I also think that the best music, like a great film, encourages a lot of imagination. On this CD, I just wanted to set the scenes in motion and not get up in your face with them. The world's already doing enough of that business on us all every day.

Most importantly, however, it is my hope that you’ll find something in this music that moves you. Whether it’s a turn of phrase, a blue note or whatever, it’s my job as a songwriter to touch your heart and soul. A couple pieces may even set you to tapping the steering wheel or singing along when nobody’s looking. Oh, how I wish I could be a fly on your rearview mirror at that moment. Production flourishes aside, I’m very proud of the songs that have become the album, “Salt”. I’ve chosen them because they’ve moved me to finish writing (as not all songs do), to perform hundreds of times and, ultimately, to record them for this album.

It’s a ton of work to do this as an independent artist, but I did not work alone. Though these words of thanks can be found on the CD, I thought it only appropriate to repeat them here. My hat’s off to Danny Bennett (stunning, life affirming lap steel guitar), Tom Benton (thoughtful and deeply musical upright bass) and Megan Melara (soul stirring vocals) for bringing their uniquely personal talents to this recording. Thanks to Deb Yager for her unflinching support and promotional efforts and to Bo Reynolds for sharing his music. To John Fraser (and Jocelyn) for the Canadian hospitality, humor, booking efforts and fantastic photos (see cover photo). Thanks to Jim Wilson for his mastering expertise and technical insight. A nod to my dog, Django, for dreaming on the floor of the studio, thus inspiring a nice little interlude on the album. To the three F’s; Family, Friends and Fans, it wouldn’t happen without your support. And last but not least, to my lovely wife, Jeanne, for her rock steady belief in all that is me. She is the salt in my sea and the roots to my tree, without doubt.

[Back]

Top of Page