Look at My Face 1979
Recorded on 1 or 2 cassette machines.
Currently unavailable due to poor quality of master.
|1.||Look at My Face|
|3.||United Flight #47|
|6.||I want to Hold You|
|7.||That's the Kind of Love|
This was my first attempt at multi-tracking with whatever cheap-ass
equipment I could pull together. Any sound-on-sound layers were done
by recording a cassette take, playing it back through the best system I
could muster at the moment, and recording the second track live by
playing along. Result = massive tape hiss, take-it-or-leave-it mixes and
tons of fun! Steffan Soule was there for the recording of "Look at my
Face" and "I Want to Hold You".
This "technique' of recording became somewhat of a (bad) habit. Result =
several albums of material with 3rd rate sound quality... but full of
enthusiasm, hope and tons of can-do attitude!
I dig the guitar playing (I was gigging 5 times a week, so I had my chops
in shape) and most of the songs are pretty ok too. A little over the top in
the wistful romanticism, but POPISH to say the least.
I would call this "showcase" length, and I shamelessly submitted a copy
of it to every major record label at the time. Result = rejection letters!
Concert recording, June 17th 1979
|1.||Love Came Easy|
|2.||Pray for Rain|
|3.||River of My Dreams|
|4.||Let it Out|
|5.||Drink Thee a Cup of Tea|
|7.||We May Be Roses|
|8.||I Speak of Life|
|9.||Go Back Home|
|10.||Joy Runs Wild|
|12.||Sweet Summer Lovin'|
|14.||Again & Again|
|17.||If I Had a Hammer|
One constantly red-lined cassette master remains of one of the best
performances from my early life.
Jody in front, me and Abby in my apartment on Thomas Street, 1979.
Jody Moore helped rein in the "space cadet within". We put on a tight,
fun 2-set show at the beautiful former-church that was owned by the
Seattle Times and eventually torn down for parking.
I saw John Renbourn perform there as well as Stefan Grossman in the
early days of Windham Hill.
Demo tape for Stan Johnston and A&M Records 1980
|1.||That's the Kind of Love|
|2.||Sad as Sad Can Be|
|3.||In the Single World|
|4.||Part of You (is Shining Too)|
|5.||Dance of the Divas|
|6.||The Bridge Between Us|
Yes, I know. I threw "That's the Kind..." at them again. I couldn't believe
no one was jumping at the chance to make me famous. Recorded at the
Baltimore Hotel in L.A. (it was on the corner of 5th and Los Angeles near
the Greyhound depot) on a very crappy little cassette machine with no
external microphone. I made copies of this at a dubbing place... yes folks,
I paid money to copy this tape. "Sad..." and "Part of You..." are my
favorites, and had been totally "lost" to me until digging into the archives.
I was living (in a roach-infested room in a drunk-infested hotel) in L.A to
try to force my way into the "industry". I managed to hang out through
sheer determination 3 times at Rudy Records while Crosby Stills and
Nash were recording "Daylight Again". Stan Johnston was my "great
white hope". I was also playing several nights a week in Venice at 2
French restaurants, and some other engineer/producer "discovered" me
one night. He gave me one free studio session at 4am, to record tracks
for what we both hope would be the theme to a film he had an in to
score. The title was "The Bridge Between Us".. (to be shot in Lake Havasu
City where some couple reunites from their London love affair of decades
ago on the "replaced" true London Bridge... brilliant plot, eh?) and I
composed the theme.
The Latin influence on these songs is both deliberate and shameless in
an attempt to convince Herb Albert that I could be a star on his label.
I lasted 4 months in L.A.
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