1. Zeke
& The Rat 4:45 Denis Farley - Pouring Rain Music BMI
Recorded 1/15/88 Natural
Sound Miami, FL; Denis Farley - Producer, Tom Anthony - Engineer; Paul Wishengrad
- Bass; Harvey Mandel - Guitar; Kevin Hurley - slide & acoustic guitar;
Denis Farley - Vocal & harmonica.
There's a bashful rat she's slick n' sly
find the time you can ask her why
smiles for the camera a great big cheese
better get that shot before she leaves
oh Bashful Rat
she rocks the boogie woogie
pickin' up on all the oldie goldie goodies
now she comes down low when she feels the heat
moves so fast you can't see her feet
oh that Bashful Rat she's rocks that boogie woogie
oh Bashful Rat she rocks the boogie woogie
pickin' up on all the oldie goldie goodies
now old zeke the cat he's cool n' tough
lives on the roof ‘cause he's had enough
he always up high, he can't come down
plays the blues ‘cause he likes the sound
ol'Zeke the cat he rocks the boogie woogie
pickin' up on all the oldie goldie goodies
now he comes down low when he feels the beat
moves so fast you can't see his feet
ol' zeke the cat you know he rocks that boogie woogie
ol'Zeke the cat he rocks the boogie woogie
pickin' up on all the oldie goldie goodies
Now Zeke n' the Rat they're from out of town
there in there out but they don't hang around
They smile for the camera a great big cheese
better get that shot before they leave
ol'Zeke and the Rat they rock the boogie woogie
pickin' up on all the oldie goldie goodies
now they come down low when they feel the heat
move so fast you can't see their feet
ol' Zeke the Rat they rock that boogie woogie
Zeke n' the Rat they rock that boogie woogie
pickin' up on all the oldie goldie goodies
This cut features legendary guitarist Harvey Mandel as
well as local South Florida great, Kevin Hurley on acoustic and slide guitar.
Kevin counts off the tune in the beginning. I had read that Harvey was living
in the area but I wasn't sure he would come out to do a session until Fleet
Starbuck, another South Florida blues man mentioned that, "yeah, he'll
step out." So I called Harvey, telling him how much I admired his solo
work and the collaborations with Canned Heat and John Mayall. I told him that
we were doing something like that USA/Union session in that we didn't plan to
use a drummer. So it was a special night at Tom Anthony's Natural Sound, then
in North Miami. Paul Wishengrad on bass, had been briefly with a band out of
Brooklyn, NY (my birthplace), called "Egg Cream." I think ya gotta
be from Brooklyn to know how popular a soda fountain drink an Egg Cream is there,
so it was a natural tag for a pop band. They had a fling on Roulette before
Paul made to South Florida and our gain. Ask anybody that followed music in
South Florida about Kevin Hurley. He's state of the art.
2. I'll
Never Drive Again 6:50 - Denis Farley, Albert Williams, Wayne Osnoe,
P.J. Hennigan, Perry Byrd
Pouring Rain Music BMI, Irish-Indian Music ASCAP
Recorded 5/20/87 Rainbow
Recorders on 16th Ave in Nashville, TN. Scott Bagget - Engineer; Albert Williams
- rhythm and lead acoustic guitar (guild); Denis - vocals.
Well I called you from 'frisco and I called you from L.A.
I called you from Phoenix, and I called you from Santa Fe
I called you from Dallas n' this is what I had to say
Refrain:
I'm tired of driving, I'm tired of living this way
say the word n' I'll turn this rig around today
well tell me that you want me to be your man
tell me that you want to be more than friends
I may never drive again . . .
eating in truckstops, smelling like diesel fuel
sleeping in motels feeling just like a fool
driving all night and smoking four packs of cools
paying high prices n' loving on the telephone
yeah I'm tired of the pressure and I'm tired of sleeping alone
broke down in Memphis I just want to go home
Refrain:
When
I got to Nashville in the Winter of '87 I needed a place fast. So looking through
the classifieds I saw an ad that was a hobo / musician's dream - "rent
in exchange for session work." Arriving at the house on Villa street just
off 16th Avenue and parrallel to it on the west side, I was introduced to Albert
Williams, who was the sort of honcho for the landlord and had a little studio
setup in the living room. The house was full of musicians, and I had arrived
just in time, as a room had become vacant. The tune, "I'll Never . . ."
here came out of one of our nightly "singing around and writing sessons"
that Albert had organized. Perry Bryd, one of the writers on this tune was driving
an eighteen wheeler for a living and trying to quit, like a bad habit, and probably
was the major inspiration for this little diddy. There's loads more to this
story and I'll put in another installment for another tune that most of this
crew wrote that we included in this release, "Ill
Never Give Up On You." I guess we were into making alot of resolutions
back then.
3. Teaser's Blues 8:32 Denis Farley
- Pouring Rain Music BMI
Recorded 1/1/95 at Mitch
Cohen's Mood Creations studio in Ossining, NY with Victor Schwarz on guitar
and Denis Farley on vocal and harmonica
I ain't up tight, got nothin'
to prove
ain't lookin' for fight, I just wanna groove
it's sunday afernoon babe, I just can't resist
I ain't got no gun, don't
need no bullet
I ain't on the run if you're wrong I'll forgive it
it's sunday afternoon babe, I just can't resist
you and me babe, it's feelin'
alright
a little fictitious but it goes with the hype
it's sunday afternoon babe, I just can't resist
you and me babe, it's feelin'
alright
a little fictitious but it goes with the hype
it's sunday afternoon babe, I just can't resist
it's sunday afternoon babe I just can't resist
Victor Schwarz
lives in Cold Spring, NY and he's fond of telling anyone that his music education
ended with the Weavers, a hit vocal quartet that included Pete Seeger, Lee Hayes,
Ronnie Gilbert and Fred Hellerman. They were as big as you can get in pop music
in the early '50s until they were blacklisted by the McCarthy witch hunters.
Vic is credited by Pete as being the inspiraton for the Clearwater Sloop, a
restoration of a 19th century sail powered boat that plied the Hudson River
carrying passengers and cargo before and during the advent of the steam engine
that made rail and steam boat travel possible. Vic had given Pete a book on
Hudson River Sloops as a present, and it sure set off one giant light bulb in
Pete's head. Today the Clearwater Sloop sails the Hudson and Long Island Sound,
carrying the messages of music, the river and all its life, and the enduring
power of wind. It's booked solid from April until November. Sail on Clearwater
!
4. Mild
Mannered Reporter 3:40 -- Denis Farley, Pouring Rain Music BMI
Recorded 87 at Natural Sound,
North Miami, FL; Tom Anthony - engineer; Harry Morgan - acoustic guitar; Denis
- vocals & harmonica.
It's a horned rim point
of view
it's over easy and it's hot and new
the deadline daily banter
of a mild mannered reporter
it's really extra if you
can read all about it
some folks they're gonna shout it
over those strobe lit droning tools
and all the mild mannered rules
mild mannered reporter
but just around the corner
is a phone booth transporter
and when superman beams on his clothes
tell me who else really knows . . .
when superman beams on his clothes
tell me who else really knows . . . the story, I said the story
the political scene is such
a horror
hollywood stews they'll wait for tomorrow
you putting your stock in the sports pages
in the center with all those sages
mild mannered reporter
but just around the corner
is a phone booth transporter
and when superman beams on his clothes
tell me who else really knows . . .
when superman beams on his clothes
tell me who else really knows . . . the story, the glory
oh that mild mannered reporter,
yeah
Harry Morgan
is the son of a famous banjo picker and songwriter that spent a good deal of
his professonal life working for the Spike Jones Orchestra. Harry's mom was
the MC of the show and the whole family traveled by rail with the band when
on tour. It was the Swing Era and before the days of the jet set. I met Harry
in Coconut Grove, FL at a funky music store on Bird Avenue. Harry's reputation
proceeded him and I was thrilled to see him picking in the store that day. I
couldn't help being kind of hypmotized by his fret work. His fingers seemed
to be moving in slow motion, and yet the tune was not slow. Harry was a Neil
Young afficionado and knew more Youing songs than anyone I ever heard besides
Neil Young himself. One day I took Fuzzy Samuel, who had played bass for Neil
on the CSN&Y 4 Way Street Album to see Harry play at a gig we did regularly
at a oconut Grove cafe. Fuzz came away from that experience mumbling one of
his singular phrases, to the effect that some people can play Neil Young better
than Neil.
5.
Hustler's Lament 6:50 Denis Farley - Pouring Rain Music BMI
Recorded at Bayshore 1.5
Miami, FL, Summer 1984 Buddy Thornton - Engineer; Paul Harris - Hammond B-3,
Mark Aguilar - Piano, Derek "Froggy" DeVries - Conga, Jim Brady - Drums, Martha
Waddel - Vocal, Denis Farley - Vocal;
Remixed at The Ranch NYC April 1985 Fuzz Samuel - Bass, Acoustic Guitar; Denis
Farley - Vocal;
Remixed at The Mosley's Bros Studio, Berry Hill, TN, Equinox 1987 Mark Mosley
- Engineer Ed Hubbel - Electric Guitar; Denis Farley - Tenor Sax
Stream of consciousness
rap in the Kerouac style (mid tempo blues in minor)
It was Halloween and
Vine, a trick or treat in space and time a night that seldom leaves deep in
the heart of make believe, so I dressed up as inspiration and went looking for
frivolous and flirtation pounding a beat on the boulevard n'making up stories
in wool and yarn, n'whistling a tune some old secret agent melody, flemmings
over the riff and me not knowing the difference between a leak or a legend or
what the interest is on borrowed time; all this above the din of heckles and
snides all crusing on a carbon monoxide high. That was me on the saxophone dialing
like a junk yard skunk in a no parking zone, but later I was down at the Chinese
crazy down on my knees gripping cement like a glove in Humphry's when some senior
gent, his eyes twinkling with the rent said he'd loan me this poem for some
consideration home and see if it didn't make sense this ol' Hustler's Lament.
He said ya gotta get rolling ya gotta get a buck there's no time for jive and
no time for shuck there's friends and foes and truth and lies but you gotta
get it while you're still alive Ya gotta get rolling ya gotta get a buck seven
come eleven n'what the heck you can't worry about a crash when you're life's
a wreck Ya gotta get rolling gotta get ahead maybe tonight you'll sleep in a
bed ya gotta get rolling the higher the better five'll get ya ten she will if
you let her Ya gotta get rolling n'don't look back you might turn to stone ya
might lose the knack ya gotta slip and slide through the side with the silk
and then find a scam with all that milk, don't ask whosit or whatsit or how
to get to first base, but when ya get there second base is the place It's just
an old bum's rap n'you can forget the whole thing but I can't stay down I need
a pocket full of that zing, stay away from the shootemups and don't forget the
clowns and when you head for home you can leave the guns in town n'keep on rolling
keep on the run everyone knows a moving target's more fun n'don't ask whadya
say or who do I pay, or is yer ticket good they're gonna throw it away, no way
yer gonna be understood. you can cop a feel make it booze or pills and lord
you can stick it in yer arm, but if it don't rhyme you got cause for alarm.
ya can put em' up and put'm down any which way you please it's a free lunch
just watch where you sneeze if yer in the way n' outta line in the sleeze and
in the slime well you can go to church transcend the earth and reach for the
sublime up and down and all around it's just another farm, magpies and mocking
birds are staying away from harm. I'll say it again you can make amends you
can let your voice resound æcause when the words don't mean a thing it could
be in the sound you can jump and shout dance all about while I whisper the word,
fools abound listening to the herd n' ok let us pray deep into the night n'
when we get to peace of mind we'll have gotten rid of fright and it's up tight
n'outta site we're all comin to the end mama's reachin out she needs you for
a friend. but watch out for the taker he walks a lonely street his need is greed
n' he'll let you bleed picking up on the heat he's soulless careless cold as
ice looking out for number one ain't never nice but he's picking up on the heat.
windows of his eyes lead nowhere, he don't care you pay his fare picking up
on the heat n'don't be mad if you've been had just pick up on the heat, the
beat n' bye bye another day hey buddy can you lend, a few more days and nights
to me and some cash for my friends. . .
It began
in 1980 on my first walk down Hollywood Boulevard on Halloween night. For a
kid that grew up on television and Saturday matinees at the town theater it
was an auspicious occasion. Most of the first part came to me that day, but
the body flowed like a fountain on a late night Greyhound bus, or train trip
to somewhere. I can't remember where I was going or where I was at. I only remember
writing as fast as I could, like some kind of crazy dream, and I'll never forget
that.
Back in L.A. in 1981, working for Fuzz Samuel, I typed it up on Ken Segal's
typewriter (this was even before the days of widespread IBM PCs or maybe even
Apples) !! Later in Miami I would jam it at gigs or anywhere they'd let me on
stage. By 1984 I was living in Islemorada, FL, the Keys, about mile marker 84.
At that time I was tracking songs with Buddy Thornton at Bill
Szymczyk's Bayshore 1.5 Studio. I had met Paul Harris while working for Fuzz
and hired him myself for the sessions at Bayshore. Paul had been a regular keyboard
player for Bill and Pandora Productions, appearing on hits like the Szymczyk
produced "The Thrill Is Gone" with B.B. King.
We had finished one tune and were packing up when Paul talked Buddy into cutting
the "rap" I had. Paul played the B-3 Hammond but without the Leslie
'cause it was on the blink. I later found out that Booker T played "Green
Onions" without a Leslie too. Mark Aguilar was there and since we didn't
have a bass player he played the bass on the baby grand piano. My friend "Froggy"
DeVries did the percussion and Mark's friend, Jim the traps The following year
when I added Fuzzy's bass in New York, we kept the piano in there and the sound
of both bass parts creates a solid bottom end. Fuzz also played a rhythm guitar
part on his Ovation acoustic / electric, a reggae strum that moved over the
bottom brilliantly - merging the two idioms. But if you listen to his bass part
you'll hear this same strange mix
I carried those tapes for another two years before I decided it was time to
add a lead guitar. Big Joe Fitz at WDST-FM in Woodstock, NY had played it on
the air even without the lead obligato. But while staying at that Villa street
house with Albert Williams (remember that - see "Ill
Never Drive Again" above), there was a guitarist by the name of "Smokin"
Ed Hubel. I loved Ed's daily routine. He would rise about noon or so each day
and light a cigarette and crack a beer, swing his legs over the side of the
bed and pick up his guitar and begin to play. After a few hours of that he would
walk down to the corner store for more beer and cigarettes and come back to
his bed to play through the early evening. All the while there was a huge floor
model televison next to, but pointing down the long access of the bed. It was
always on, day and night with just a faint sound of white noise, and snow across
the entire screen, like some kind of extra-terrestrial metronome. At night Ed
would go down to a gig or jam session somewhere in Nashville, usually on Broad
Street. Whatever you may see on those Nashville stations about country music,
if you survived a gig on Broad Street in '87, you had to have some kind of magic
going.
So I took Ed to the Mosley Brother's studio in Berry Hill and let him loose
on "Hustler's Lament." Ed played through it one time and then we recorded
him in one take. I put my tenor sax on the opening, Mosley mixed it, and we
left the studio within the space of one hour. Ed said I didn't have to pay him
up-front. I never saw him again, despite having a popular commercial radio station
with a Sunday night blues show put out a call for Ed while they played the song.
It was Ed's hometown, Kansas City, and I haven't heard from Ed yet. So Ed, if
your out there, give me a call and pick up your check. And you know what, you're
better than 99% of the so called blues guitarists out there !!
6. Okefenoke
4:25 Denis Farley - Pouring Rain Music BMI
Recorded 5/20/87 Rainbow
Recorders on 16th Ave in Nashville, TN. Scott Bagget - Engineer & bass;
Albert Williams - acoustic guitar (guild); Denis - vocals, tenor sax.
My old friend molasses was
funnin' a wily willow tree
while racing an inchworm and speaking with felicity
she said I could care less 'bout no skeeter fly or flee
or the king, or that bad ol' scaley thing of Okee-feno-o-o-kee
see nothing could keep me
from wonderin'
when I'm wanderin' wonderfly
whether nothin's really nothin'
or if nothin is for free
not to mention if nothin'
really nothin' could ever really be
she said you look like you're
one step from paradise
and you hear angels smiling and calling your name
yeah you're one step from paradise
and you hear angels smiling and calling your name
but the devil declares very honestly
that he thinks you're to blame
My old friend molasses was
funnin' a wily willow tree
while racing an inchworm and speaking with felicity
nothin' could keep me from wonderin'
when I'm wanderin' wonderfly, yeah, yeah
Well yeah, she said, never
never, never let, never, never let
wherever you may be, tangled up in some ol' wiley willow tree
never let anything fly, between you and little ol' me
but your smile, between you and little ol' me
between you and little ol' me
Again with
Albert at Rainbow Recorders. Dedicated to Walter Brennen and bad man Bond, but
only by coincidence. Also to a Southern Belle and Spanish Moss.
7. I'll
Never Give Up On You 2:32 - - Denis Farley, Albert Williams, Wayne
Osnoe, P.J. Hennigan
Pouring Rain Music BMI, Irish-Indian Music ASCAP
Recorded 5/20/87 Rainbow
Recorders on 16th Ave in Nashville, TN. Scott Bagget - Engineer & bass;
Albert Williams - acoustic guitar (guild); Denis - vocals.
I quit smokin' I quit drinkin'
I quit runnin' with fools
I quit cheatin' I quit speedin'
I even quit playin' pool
I gave up all the bad things I used to do
I gave up all the things you wanted me to
but I'll never give up on you
I quit stealin' I quit dealin'
I quit landing in jail
I quit cussin' I quit fussin'
I even quit chasin' tale
I gave up all the bad things I used to do
I gave up all the things you wanted me to
but I'll never give up on you
I'll clean up the dishes
after I eat
I'll pick up the lid on the toilet seat
I won't throw you words back in your face
I'll even join the human race
II'll start workin' I'll
start churchin'
I'll drive your mama around
l'll start bathin' I'll start shavin'
I'll even take you out on the town
I'll do all the things that you want me to
I'll give up all the things I used to do
but I'll never give up on you
This
was another product of those writing sessions with Albert Williams and the Villa
Street gang. It was a blast to do but is really screaming for a band arrangement.
Some day I'm gonna do it but in the heat and haste of '87-89, we just slammed
this on to the record without so much as a thought to production values and
arrangements. We just had so much fun doing it, that all that other stuff just
didn't matter. But one man's fun is another's bane. I sent this tape / LP to
the Kerrville folk festival people and got a letter back saying that "it
wasn't the kind of thing that they featured on their main stage." Albert
and his wife Alice however, played the Kerrville "new folk" show on
two occasions. Later, a gospel song Albert and I wrote at the Villa street sessions
won a national song competition sponsored by the Veterans Administration. Alice
and Albert traveled to Des Moines, Iowa to accept the award and perform the
song at the City Civic Center. I still haven't released it, which I guess is
kind of crazy. I think the Kerrville people might like it better than our "fun"
song. And then, I sent my latest CD to the Slippery Noodle in Indianapolis,
and they said it was "little sedate" for their crowd. Dammed if you
do, dammed if ya don't ?!?
8. Fiddle
Riddle 2:40 Denis Farley - Pouring Rain Music BMI
Recorded 7/85 LIttle Big
Horn Studio, New York City; Dave Rimiles - acoustic guitar & violin. Just
don't remeber the engineer or the drummer way down in the mix. Denis - vocals.
Remixed at Scott Petito's NRS Studio in West Hurley, NY sometime later. Scott
also played bass and engineered.
Well give me a cat with
a fiddle
a guitar I've got
the riddle
n' if that ol' beat's not too lame
I'll be a hard hearted hombre to tame
well I followed her jumping over
like a lucky lazy lonely lover
but that ol' time reel began to shuffle n' deal
said snake eyes your a rock n' roller
so give me a cat with a fiddle
a guitar I've got
the riddle
n' if that ol' beat's not too lame
you just might remember my name
we don't aim to feel any pain
well come back baby come back
I'm here high above the plain
and I've been listening that ol' hoot hoot owl
I quit wondern' who's to blame
so give me a cat with a fiddle
a guitar I've got
the riddle
n' if that ol' beat's not too lame
we don't aim to feel any pain
a hard hearted hombre to tame
repeat n' vamp
I saw Dave
play violin in Miami with the Bobby Rodriguiz Band at the Calle Ocho Festival
and hired him to play on a demo of this "swing" tune I was recording
on my home tape player. Later in NY I called Dave at his home in New Jersey
to come out and try to make a "real" recording of the "Fiddle
Riddle." Scott Petito had been with a band called Dry Jack, a kind of out
Jazz Band that did very well by Scott. My friend, Ken Segal had also toured
with the band as an opening act, doing stand up comedy. I met these guys independently
of each other, Ken in Miami in '76 and then low and behold, here I'm running
into the very band that my friend had toured with . . . kismet.
9. My
Poor Heart 3:01 Denis Farley - Pouring Rain Music BMI
Recorded 8/1/86 Rolling
Thunder Mobile Recorder at the Beacon Sloop Club, Beacon, NY; Mike Roam - engineer;
Jimmy Eppard - acoustic guitar, background vocals; Denis - vocals, harmonica;
Remixed at Natural Sound, Miami, FL with Kevin Hurley on slide guitar; Tom Anthony - engineer.
I'm gonna sit right down
in my old rocking chair
gonna keep on rockin' till you say you really care
gonna put my hands together lay back and say my prayers
and I'll keep on rockin' till my poor heart's repaired
Well alright darlin' I needed
some shakin' up
but please don't tell me that we're really breakin' up
I'm cryin' out loud I need you're lovin' care
only you babe will make this heart repaired
Please please darlin' don't
send me on that highway run
without you babe you know it just ain't no more fun
I'm cryin' out loud I need you're lovin' care
only you babe will make this heart repaired
I'm gonna sit right down
in my old rocking chair
gonna keep on rockin' till you say you really care
gonna put my hands together lay back and say my prayers
and I'll keep on rockin'
and I'll keep on rockin'
and I'll keep on rockin' till my that broken heart's repaired
We had just
finished recording "Sandy Beach" which appears on my '96 release,
"Moodswing Woogie" and the sloopers wanted to
get on home after all that hard work, but Jim and I had to get just one more
tune on tape before we packed up Mike Roam's Rolling Thunder recorders. So we
boogied on down until closing time. Later in Miami I overdubed Kevin's superb
slide guitar and it was good to go. A couple of years later in Nashville I had
a job as night watchman at a trailer sales lot. All I had to do was sleep in
the trailer, and I got paid for it !!! I had some great jobs in Nashville -
that town understands !! Anyway, one night I see a tour bus pull in across the
street at a supermarket parking lot. It sat there for quite a while until finally
curiosity got the better of me and I wandered over to it. Sure enough it was
a rendezvous for a band and they were all smokin' n' jokin' around the bus in
the parking lot. But up in the bus sitting all alone was a man in black with
very dark sun glasses and a small light lit just over his head. He wasn't reading
anything, just gazing straight ahead as far as I could tell behind the black
panes of his glasses. It was Roy Orbison. Naturally I went to pieces, and had
to run back over to the trailer and get a copy of "My Poor Heart"
to pitch to him. A star's life is not an easy one ?!?! So one of the guys in
the band brought the tape in to Roy and a little while later Roy came out and
hung with us in the lot, smokin' and jokin'. Then the rest of the band showed
and they jumped on the bus and split . . . just another night at the trailer
park in Music City.
10. Broke
n' Disgusted 2:53 Denis Farley - Pouring Rain Music BMI
Recorded 12/87 Natural Sound,
Miami, FL. Tom Anthony - engineer; Paul Wishengrad - bass; Harry Morgan - acoustic
guitar; Denis - vocals.
I'm broke n' disgusted
I can't be trusted this morning
n' sometimes I'm a singer
an ol' church bell ringer won't harm ya
I've been workin'
my mind
till I dug out a piece of my soul
and I'm sittin' out this waltz and singing
in the game of chairs we're playin'
'cause I can't hear the music anymore
I take long chances for
romance
my pretty girl and a slow dance
n' the beat of her heart close to me
it's why I'm up and out here showin'
I'd like to keep on getting to knowin'
her sweet sigh of ectasy
But I'm broke n' disgusted
I can't be trusted this morning
n' I'm still a part time singer
an ol' church bell ringer won't harm ya
I've been workin'
my mind
till I dug out a piece of my soul
it's a little borrowed a little new
like an old fool for the blues
and you can find it at the company store
I ain't much for examples
the good book's shown me samples
but this one I know for sure
if christ is what's christian
you can hold only suspician
for a man of peace that puts a gun in your hand
yeah I'm broke n' disgusted
I can't be trusted this morning
I'm still a part time singer
an ol' church bell ringer won't harm ya
I've been workin'
my mind
till I dug out a piece of my soul
it's little yours a little mine
I've been called a
rich man n' a poor man
looks like I'm just a hired hand
n' I know there ain't
no morality
with two masters for deceiving
you can bet I'll be believing
the one that's letting me be
Yeah I'm broke n' disgusted
n' I can't be trusted this morning
Just another
night in Miami - 1987.
11. Dreamin'
South 6:12 Denis Farley - Pouring Rain Music BMI
Recorded during the Spring
of '84 at DB studio, Bruce Hensel, engineer; Paul Harris - piano; Larry Oaks
- The Oberheim System - bass & drums; Denis Farley- vocals.Remixed during
the Summer of '84 at Bill
Szymczyk's Bayshore 1.5 Studio, Miami, FL. Buddy Thornton - engineer; Denis
vocals & tenor sax; Remixed at NRS, West
Hurley, NY, Fall/84; Scott Petito - engineer; Jim Eppard - electric guitar; Dennis Menard - electric
guitar; Denis Farley - vocals; Remixed
at the Ranch, New York City Spring '85 with the unknown engineer; Fuzz Samuel
- bass, Moon - trap set. Remixed at the Mosley Bros Berry Hill Studio, TN, May
of '87.
I'm dreamin' south I'm
dreamin' west
you win you lose you do your best
I'm dreamin south I'm dreamin' west
big apple fadin' flying dutchman's nest
Little bird there she's
lookin' at me
I'm in the movies selling poetry
down to earth lady, parking lot payday
got me back into the blues
our heartbeat's ticklin'
ol' father time
caressing lips it's a rosy rhyme
singing n' laughin' an ol' time sound
Effingham, St Louis on to Sringfield town
makin' love to Jeanie
how else could it be
when I kissed her goodby
I had no alibi
but these ol' lonesome blues
so I went back dreamin'
south dreamin' west
the Ozark hills and a Joplin rest
through Tulsa, Amirillo like a wave on a crest
sunrise in Winslow, Arizona
starting to remember my name
singing gypse lovin' Jeanie (hobo's lonely love song)
and that dreamin' remains
I'm dreamin' south I'm dreamin
west
you win you lose you do your best
I'm dreamin' south I'm dreamin west
two days in jail and a hollywood fest
This tape
braved rain, sleet, snow and temperatures that should have baked it. The amazing
job of Buddy Thornton and then The Mosley Bros to knit the guitar parts together
. . . something that is easily done in the random access world, is painstaking
tedium in linear editing. This song was written for Jeanie M., a lasting memory,
a moment in time.
All songs Pouring Rain Music BMI unless otherwise noted. © 1988 Flat Baroque Records.
Produced by Denis Farley. Mastered at Fuller Sound, North Miami Beach, FL. Art
Direction - Denis Farley; Cover illustration by Catherine Ann Ryder; Back photos
also by Catherine Ann Ryder. Additional graphics and layout by Denis Farley.
Special thanks to all the helping hands along the way. Dedicated to the many
creditors and shareholders of Pouring Rain Music.
Other Flat Baroque Records by Denis Farley: Biscayne Bay/Pony Express FB841, Moodswing Woogie - FB0391-496. Pryvit Blewz - FB1288. Manufactured & Marketed by Flat Baroque Records A division of Pouring Rain
Music. Flat Baroque Recordings are also available through
Amazon, Apple Music and your local music retal
outlet - listed in MUZE. Made in the U.S.A. All Right Reserved Unauthorized
duplication is a violation of applicable laws 1996, 2022 Baroque Records
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