DREAMGOESON

Kina Grannis appears on Jimmy Kimmel Show

2012-01-26T16:02:00.000-08:00

Rising star Kina Grannis performs on Jimmy Kimmel Show

Web sensation Kina Grannis performed “In Your Arms” from her “Stairwells” album on Jimmy Kimmel Live on January 12. The singer-guitarist was joined by cellist Keith Tutt II.

The “In Your Arms” video, which features Grannis performing to a backdrop of jelly beans, is nearing five million views on YouTube. The video was directed by Greg Jardin and took nearly two years to complete.

HERE is Kina's official video of "In Your Arms" featuring hundreds of thousands of jelly beans.

Greg Lawson feature story

2011-12-05T11:39:00.000-08:00

Dale Kawashima writes about Greg Lawson, who wrote the Jennifer Lopez hit, "Love Don't Cost a Thing," on Songwriter Universe.

READ STORY ON GREG LAWSON HERE.

"To Live In Her Life"

2011-11-17T16:20:00.001-08:00

Listen to Peter Day's new release, "To Live In Her Life," here.

To Live In Her Life

Peter records Moogy Klingman lullaby

2011-11-11T12:09:00.000-08:00

The late, great Mark "Moogy" Klingman, who is best-known for co-writing "(You Gotta Have) Friends," passed away on November 15, 2011. At his 61st birthday party two months earlier, Moogy sang a lullabye that he sings to his 10-year-old son George. In this video, Peter Day performs a cover of the song.

My Fender Vibrolux guitar amp 1962-63

2010-09-27T16:17:00.001-07:00

I have owned this early 1960s Fender Vibrolux amplifier since 1968, when my father took me to Johnny Thompson Guitars in Monterey Park to purchase an amp to go with the Guild Starfire electric guitar that I he bought for me. I believe it’s a 1962, but it’s definitely from the 1961-63 brownface Vibrolux era.

I played the amp in many garage bands, especially from the late 1960s through the 1980s. In the early 1970s, I thought it would be neat to cut the cabinet in half and make it into a amp head, like a Bandmaster. Well that wasn’t a very bright idea, so several years later a musician buddy of mine crafted a homemade cabinet. The cabinet was made out of plywood and is currently without any covering on it. It’s totally functional but very rustic looking.

Because the tube chart was discarded when I cut the cabinet, it’s a bit of a challenge to find the exact date of manufacture. But I have included numerous photos to help those knowledgeable about such things. In one of the pictures of the back, there’s the number 01627. I’m not sure if that means anything.

I have changed the tubes as needed throughout the years, so some of the tubes are the originals while others are modern-day. I’d purchase whatever tube I would find without regard to vintage stuff. In the late 1980s, I put a Radio Shack piezo speaker in there. Interesting idea, but it’s disconnected now. The 12-inch speaker is a 1970’s Jensen.

The vibrato is great. This thing sounds awesome, especially when cranked up to 6, 7 or above. Creamy tube tone. Love it.

On the front it says “Fender Elec. Inst. Co.”

More recent photos and a video are available.

It’s been a tough decision to let this amp go, but I need the money to help pay for my daughter’s education.

Feel free to contact me for more information. Thanks!

Podsafe Music is now Music Alley

2010-02-08T16:48:00.001-08:00

I guess I'm a little late to realize this, but Podsafe Music — where I had a few songs performed on podcasts — has changed its name to Music Alley. Here's my artist page:

Music Alley - Peter Day

Connor family performs at Ojai jam session

2010-01-10T16:16:00.001-08:00

Singer-guitarist Michael Connor of Placerville, his son Andrew and daughter Claire performed a few songs during an impromptu jam session at a family function in Ojai.

The musicians played several songs each. Featured here are video performances of Michael playing "And I Love You So," Claire singing "Make You Feel My Love" and Andrew singing and playing "Lost Highway."

Michael performed professionally for several years before settling down and starting his own private education consulting firm. With Michael and wife Lynne's three children now young adults — son Chris also is a college student — perhaps he'll pick up his trusty Martin D-18 more often.

Also playing at the family jam session were Claire and Charlie McClung, a husband-wife duo based in Laguna Beach.

Fin Johnston has song on Radio Indie

2009-12-14T18:03:00.000-08:00

Keyboard player, bassist, producer Fin Johnston has a song on RadioIndie.com.

Here's the link:

Little Bit O Funk

Rick Mapel discusses his life drawings

2009-11-29T22:35:00.001-08:00

Rick Mapel discusses his artwork at his friend Ben Brooks' home in Pasadena.

Rococo Live - November 24, 1978

2009-11-25T17:31:00.000-08:00

ROCOCO LIVE "Rococo Live" (1978) Click here to listen to the entire performance.

On November 24, 1978, my longtime friend Robert Soelberg set up his JVC KD-55 cassette deck in the living room of the Brady family home on Irving Street between 1st and 2nd in Los Angeles. Brian Brady had arranged for our band, Rococo, to get together to play a small party. I asked Robert, who earlier in the year recorded my "Too Nude To Think" album at his Zenith Studio in Malibu, to record the event.

Formally, our band, which also included songwriter-guitarist-vocalist Rick Mapel and drummer extraordinaire Rick Brownell, had stopped regular rehearsals earlier in the year. But the countless hours practicing in Brian's second-story, above-garage studio had paid off, and the intricate parts came back to us.

We played a nine-song set of songs written by bandmembers. The evening's set list (right-click to download individual songs):

1. Fame (Rick Mapel)
2. Time Coast (Rick Mapel and Chris McGowan)
2. Lingering (Peter Day and Mercy Rangel)
4. Cool Breezer (Rick Mapel)
5. Love It So Much (Peter Day with inspiration from Rick)
6. Something's Moving (Brian Brady)
7. Tijuana (Rick Mapel)
8. Assembly (Rick Mapel and Ben Brooks)
9. Jimmy's Out Pinchin' Part 1 (Rick Mapel and John Iddings)
10. Jimmy's Out Pinchin' Part 2 (Rick Mapel and John Iddings)

Robert used two microphones to capture a simple stereo mix. But the mix had an atypical balance with drums, bass and rhythm guitar on one side and my overly loud lead guitar dominating the other. As a result, during the digital remix I used equalization to bring down the level of my lead, but the guitar's tone -- and other levels -- suffer as a result.

Joining the band on some songs are Mercy, who sang on "Lingering," Ben Brooks on flute on "Assembly," and saxophonist Neal Schleimer, whose soulful strains can be heard on the latter tunes. During the the band chatter segments there are voices and mentions of Elena Sherk, who was Rick's girlfriend, and others. I believe Erin and Megan Brady may have been in the audience.

The Ballad of Ernest Angely - Dr. Demento, November 2, 1980

2009-11-14T16:45:00.000-08:00

"The Ballad of Ernest Angely," a song co-written by lyricist J.C. McGowan (aka Chris McGowan) and myself, appeared on the syndicated Dr. Demento radio program on November 2, 1980. The group's name for the project was The Altar Boys, but that's me playing and singing everything. In fact, I'm playing real drums on the track. The star of the song, however, is Ernest Angely, an iconic televangelist whose voice is heard throughout.

The Ballad of Ernest Angley - Peter Day and Chris McGowan on Dr. Demento Show in 1980

Troubleshooting

2009-11-13T20:01:00.001-08:00

This blog contains MP3 and video media players that require the latest version of the Adobe Flash Player. Windows users using Internet Explorer often have out-of-date Flash Players. To get the latest Flash Player, you can download it HERE at Adobe.com.

The Firefox browser is more reliable on both Windows and Mac systems. You can download it HERE.

Most Mac users using the Safari browser should have no problem viewing and using the media players on this blog.

You may need to upgrade your Adobe Flash Player to listen to MP3 song files in this section. You can get the latest version HERE. For more information, scroll down toward the bottom of this page.

Peter's Unsolicited Collaborations

2009-11-13T17:24:00.001-08:00

Sometimes I get inspired to add additional instrumentation to otherwise completed songs by friends and musicians I admire. To me, it's a fulfilling creative experience that I thoroughly enjoy. Ironically, no musician has ever liked what I created. I guess to them it's like painting a mustache on their perfect painting. I certainly don't mean any disrespect. -- PETER DAY

"Memory" by Kina Grannis (Peter added drum programming, bass, piano, vibes)

"Never Look Back" by Ari Hest (Peter added drum programming, bass, piano, glockenspiel and orchestration)

"Spiral" by Marva Jan Marrow (Peter added orchestration, MIDI flutes)

"Two Hearts" by Jeff and Tracy Bowen (Peter added drum programming, organ, orchestration)

"The Last Chance" by Steve Horan (Peter added orchestration)

"The Other Part of You" by Keary Jon Botley (Peter added orchestration)

The Peter Nexus

2009-11-13T17:23:00.001-08:00

Why are these musicians on Peter's music blog? Well, here are brief synopses on how they relate to my music life.

BOB DAY — Bob not only is my first cousin, but at just nine months younger than I he is one of my dearest friends. He and I started playing in garage bands at the same time in the 1960s, we formed the Rough Cousins soon after, and later joined as the acoustic flute-guitar duo, TwoDay. Decades later we still encourage each other in our music endeavors.

RICK MAPEL — As a lesser member of our high school's cross country team, I idolized Rick, then known as "Dick," not only for his prodigious running talent but also his unique guitar playing and one-of-a-kind conversational delivery. (Rob Ukropina once called him one of the "top 10 funniest guys he ever met.") After high school, Rick and I connected on equal ground and began playing music and going on "donut runs" down Huntington Drive. Soon we connected with the other half of Rick's acoustic combo, flutist Ben Brooks. Rick and I roomed together in the late 1970s, and we've been good friends and music collaborators ever since.

THE GLEN GANG — I am the keyboardist/guitarist and general utility player in The Glen Gang, the group that converges on Ben Brooks' Rock Room studios in Pasadena Glen several times a year. Besides Ben and myself, the group consists of lead singer/bassist Scott Ned Oskar Kirby, vocalist/guitarist Rick Mapel, and several others who have contributed mightily to the cause. Notables are songwriter/guitarist (and Ned's collaborator) Steve Horan, and drummer Martin Lovelace. The Glen Gang is currently recording its third album.

This is an ongoing list. Come back later for more information.

Starting 1980s decade uploads

2009-11-05T22:28:00.000-08:00

I just uploaded my 1987 album "Private World" to the albums section. This heavily Prince-influenced albums is one of my favorites. It's just so darn Prince, from its sophomoric lyrics to the racy themes. It was my last solo project before I was married later that year, and it's amazing to see how much romantic chaos I was still in.

In the past several days I've been noodling around with a piano/vocal version of "The World Comes Between Us." I'm hoping to put up a video on YouTube.

Speaking of YouTube, I received another comment from a viewer on my version of my cousin Bob's "Wait In The Garden." The viewer just said one word, "Gorgeous." Man, thanks!

You can also listen to "Private World" by clicking the link below.

"Private World" (1987)

Albums on demand

2009-10-26T12:34:00.000-07:00

You can listen to any of the Dreamgoeson recording artists directly from your computer. Just click on an album link and a music player will pop out and start playing. The music player is resizable, so you can grab and drag the player to any size you prefer with your mouse.

PETER DAY
"Grains of Sand" (2008)
"Pieces of a Portrait" (2004)
"Bible Memory Verses, Vol. 1" (2002)
"My Tug of War of God and Woman" (1999)
"Domestic Policy" (1993)
"Private World" (1987)
"Can't Hide" (1982)
"February and March Songs" (1981)
"Metamorphosis" (1977)

BOB DAY
"Return to Hollowgrove" (1982)

THE GLEN GANG
"...Again" (2008)
"Songs From The Rock Room" (2004)

ROCOCO
"Rococo Live" (1978)

CLAIRE & CHARLIE
"The Living Room Session" (2008)
"Soul In The House" (2003)

Peter Day - "Grains of Sand"

2009-10-26T11:10:00.000-07:00

You can listen to Peter Day's 2008 album, "Grains of Sand," here.

Peter Day - "Grains of Sand" (2008)

Bob Day - Return to Hollowgrove

2009-10-23T20:44:00.000-07:00

Bob Day - "Hollowgrove" (1982)

The latest from the Rock Room — "Jeanie"

2009-10-16T20:17:00.000-07:00

Click here to listen to "Jeanie"

The Glen Gang is known for its offbeat rock songs, but the boys have come up with an Americana-styled tune this time. "Jeanie," which was written by Ben and Oskar, features Rick Mapel on lead vocal with Oskar adding some tasty background vocals.

Steve Horan and Pete Day laid down acoustic guitar parts. Later Pete came in and recorded honky tonk piano and bass. Martin Lovelace drives the groove with his brushes while a talented neighbor of Ben's recorded a tasty steel pedal track.

Bob works with Marva on male vocal demo

2009-07-04T12:31:00.000-07:00

Bob Day laid down a vocal track on Marva Marrow's demo recording of a song entitled "New Dawn." The song is part of an Italian musical for which she was contracted to provide English lyrics.

Bob pitched the idea of singing the song so producers could get an idea of what the lead male character might sound like. When completed, the project may see production in America, perhaps Broadway, according to Marva.

Several versions of "Ravings of the News" featured on new cooking video

2009-06-29T11:41:00.000-07:00

A version of Bob Day's "Ravings of the News" recorded at Ben Brooks' Rock Room Studio -- featuring Bob playing flute -- opens a new video on how to cook "Italian Roasted Rabbit." Later in the video, Bob's home-recorded version of the same song, featuring melodic ukulele and recording lines can be heard as chefs Sonia and Barrow get into full swing.

Pete's Picks #2 - Sunday, June 21, 2009

2009-06-21T12:40:00.000-07:00

I've picked three songs for the second installment of "Pete's Picks." The top pick is the joyous, tasty "Donny & Emma (Short Ribs)" by Steve Horan and Scott Ned Oskar Kirby. The second is speedy jazz-rock number by Rococo, of which I was the lead guitar player in 1980, we're calling "Brian's Song," after the writer, bassist Brian Brady. The final pick is "All The Right Parts," an eclectic collection of textures and melodies by my old buddy Robert Soelberg.

"DONNY & EMMA (SHORT RIBS)"

"Songs about food and places are funny!" says songwriter Steve Horan. "I love lyrics that name specific things, use proper nouns. The worst song lyrics I can think of are those in that song 'More Than Words' by Extreme because the lyrics are all these vague, touch feely words. Bugs the shit outta me."

For Scott Kirby, who Steve calls Ned while Pasadena friends know him as Oskar, describes the collaborating process with Steve: "What happens with us is that usually I get the ball rolling, but once it's rolling Steve really takes control," Ned says. "He's pickier (and more creative) at word Tom Foolery than I am."

He also admits that he is not the master of the Hip Hop culture.

"I am really not tuned into black culture other than their food. Lame? Totally. But the first thing I am going to gravitate to if I try to write a soul song is soul food. That's how white and ignorant I am."

Anyway you slice it, the duo's latest tune is a catchy, soulful delight.

"BRIAN'S SONG"

No, this isn't a song about a football player who dies of cancer. The song originally had a different name, but Brian and I can't remember what it was called. It should come back to us.

Rococo was a jazz-rock quartet based in Brian's egg-shell-carton-covered upstairs garage studio. Much of the material was vocalist/guitarist Rick Mapel's, but it was extremely egalitarian, so we all pitched in material and sang vocals. I like to think of it as the Monkees on steroids minus the hair. Despite bassist Brian composing this number, it showcases the awesome drumming talents of Rick Brownell, who temporarily left the music world to grow bonsai. All these years later, Rick stands about 6'7" tall while his bonsai are still short.

"ALL THE RIGHT PARTS"

Robert, who I've known since seventh grade, hasn't been into computer-based music for long, but he's already recorded four incredible electronic albums. Two are available on CD Baby with the other two not yet released. It was hard to pick any one song from his collection. Each one is a journey. But I especially like how this one opens with organ and then grows from there. Toward the end there's a hauntingly beautiful melodic texture that I really enjoy. I'm not sure where the title comes from. Maybe there's a story there.

Donny & Emma (Short Ribs) - Steve Horan and Scott Kirby

Brian's Song - Rococo

All The Right Parts - Robert Soelberg

Tuesday night jam sessions in San Clemente

2009-06-17T13:59:00.000-07:00

Keyboard player Norman Abejon invites jazz musicians and those wanting to dine by the Pacific Ocean to come to the Tuesday night jam sessions from 6:30 to 9:30 p.m. at the Blue Danube restaurant. Norman, formerly a jazz fixture in the Pasadena area, co-hosts the jams with saxophonist Mike Debellis.

Blue Danube
111 W. Avenida Palizada
San Clemente, CA 92672
(949) 218-5186

For information, click HERE.

Meet Arlo Brooks

2009-06-16T13:54:00.001-07:00

Listen to Arlo Brooks' "Grandpa" album

Meet Guillermo Guzman

2009-06-11T19:17:00.000-07:00

Listen to Guillermo Guzman's MySpace music (takes 30 seconds to load)

Guillermo Guzman has been making music for over 30 years. He has played bass professionally in the studio, film, TV, and on stage, with his own bands and with well known pop, jazz, latin and world music artists. He has also been producing records during the last 15 years, for artists such as Justo Almario, Juan Carlos Quintero, Thania Sanz, Richie Gajate Garcia, Machehual, Luis Villegas, Jon Varto, Rogelio Mitchell, Soulpoet, Richard Samuels, Murray Middleman, Viva Jalisco, Mauricio Ramirez, Osmin Aparicio, and many others.

COLOMBIAN NATIVE

A native of Bogota, Colombia, where he started his musical career, playing in Rock & Roll bands and his own band (La banda de Marciano) and later on moving into a studio recording career, recording more than 100 albums for just about every artist and major record label in the country. Guillermo came to the United States in October 1976 where he lived and work with several bands, backing up shows every weekend at "El Patio" a very prestigious latin club in Queens, New York, and playing jazz, rock and funk gigs the rest of the week, he now resides in Los Angeles where he settled in 1978.

He was part of the house band for "The Tony Orlando Show," for The Paul Rodriguez Show" and "The Gisselle Fernandez Show," with numerous appearances at "The Johnny Carson Show," The Merv Griffin Show," "The Mike Douglas Show," "The Jerry Lewis Telethon" host band in New York five years in a row.

A-LIST BASS PLAYER

He has played or recorded with Aretha Franklin, Billy Preston, Adam Sandler, Rita Moreno, Captain & Tenille, Nelle Carter, Stephen Stills, Felix Cavalieri, Jose Feliciano, Melba Moore, The Beach Boys, The Platters, Chick Corea, Burt Bacharach, Dionne Warwick, Juliet Prowse, Tolu, Tommy Walker, Huayucaltia, Chayanne, Ricky Martin, Tito Puente, Celia Cruz, Michelle Greene, Luis Perico Ortiz, Alex Acuña, Pete & Sheila Escovedo, Raphael, Ana Gabriel, Marisela, Carmen Jara, Lucho Gatica, Angelica Maria, Olga Gillot, Sarita Montiel, Armando Manzanero, and many more.

He has gone on tour with Tony Orlando, Vikki Carr, Jackson Browne, Strunz & Farah, Justo Almario, Bongologic, Rique Pantoja, Latoya Jackson, Sherman Hemsley, Nelson Ned, Marisela, Joan Sebastian and many more. Some of his original compositions can be heard on Justo Almarios albums, Family Time & Count me in and Richie Gajate Garcia, Mis tres hijos.

He is currently performing in town with several local groups and finishing new productions for Rogelio Mitchell's upcoming album, "World Custodian," "Hymn's to a Different Drum" an album with Justo Almario, Rique Pantoja & Walter Rodriguez, Osmin Aparicio's new album and Roger Espinoza new project, "Masks," with his production company, Guillermo Guzman Music.

— FROM GUILLERMO GUZMAN'S MYSPACE PAGE

Opinion: Todd Rundgren should perform only "A Wizard, a True Star" songs at historic concert

2009-06-10T08:29:00.000-07:00

Imagine quarterback Tom Brady performing in a combine demonstration just minutes prior to the Super Bowl kickoff. Or what if opera singer Placido Domingo sang his favorite pop hits just before beginning a performance of "La Traviata."

Of course, that would never happen. And hopefully reports that Todd Rundgren will warm up the audience at his historic "A Wizard, a True Star" concerts later this year with other hit songs are false.

"A Wizard, a True Star" is a masterpiece, especially in retrospect 36 years later. "A Wizard" followed Todd's one-man tour de force "Something/Anything?" in 1972. "Something/Anything?" had numerous hits including "I Saw The Light," "Hello It's Me" and "Couldn't I Just Tell You." It was -- and still is -- one of the most endearing pop albums ever made.

But Todd is his own man, and instead of repeating the style of music that he'd already been doing for three albums ("The Ballad of Todd Rundgren" and "Runt" preceded "Something/Anything?") he decided to have faith that his vision of unbridled creativity was true. When AWATS came out he discovered that that premise was both correct -- and false. AWATS' sales were significantly lower than his previous record, but the new masterpiece helped solidify an even more loyal fan base.

Todd's non-AWATS favorites are fantastic songs that more people should hear. But not at the AWATS concert events. If Todd and his band leave everything on the stage when the band plays in Akron, Ohio on September 6, they won't have anything else to give -- and the audience will have an experience of a lifetime.

— PETER DAY

dreamgoeson.com

AWATS concert information

Pete's Picks #1 - Monday, June 8, 2009

2009-06-08T10:38:00.000-07:00

My top pick for this week is "Ravings of the News," a World Music-style instrumental by my cousin, Bob Day. Bob recorded several albums in the 1980s, holding festive album release soirées atop his Hollywood Hills home, but grownup responsibilities — i.e. marriage and parenthood — eventually took precedence over his music.

It took him many years to get back into the studio, and recently Bob set up a computer-based studio in his Burbank home. Using the ukulele given as a present by his brother Andy, Bob recorded his first tune in years. "Ravings of the News" also is featured in a cooking video.

"A good friend of mine who owns the Girasole Cucina Italiana restaurant in the Hancock Park Larchmont had an idea to run an episodic cooking show on her websites, Girasole Cucina and Sonia and Barrow," Bob says. "She needed some background music for the beginning, so I played her a song I had written on ukulele about questionable journalism called 'Ravings of the News.' The idea I had was to play it instrumentally with ukulele, guitar and recorder while plucking the melody with single note on ukulele a la the Gipsy Kings."

Once the last episode is completed, Barrow, Sonia's daughter-in-law, will take it to a cooking convention and present the rough-cut episodes to sell. The concept is based on the mother-in-law handing down the family recipes via the cooking shows. Bob's music is featured on "Rissoto and Peas," "Holiday Turkey," and "Quick Tips (Cutting Onions)" episodes.

Also featured song picks this week are the infectious ditty "Death Is Depressing," which was sung by Scott Kirby but featured on Steve Horan's latest CD, the Glen Gang's pop "Sophie's World" from their 2004 CD, and "Hey Lillo," one of Golden Globe-nominated songwriter Marva Jan Marrow's recent home recordings.

— PETER DAY

Ravings of the News - Instrumental by Bob Day

Death is Depressing - Steve Horan with vocal by Scott Kirby

Sophie's World - The Glen Gang

Hey Lillo - Marva Jan Marrow

Song story tidbit - Death Is Depressing

2009-06-05T14:39:00.000-07:00

"I wrote the 'Do you think that death is depressing' line while sitting on Beethoven's grave in the Zental Friedhof in Wien, Austria," according to Scott Kirby, who sings the catchy "Death Is Depressing" song in the Singles section of Dreamgoeson.com.

"It just came to me," Scott says. "Luckily I had my little MuVo MP3 player and it had a mic on it, and I sang that line into the little mic. Later I wrote the rest, but without Steve (Horan) it wouldn't have materialized. Steve did make it come to life."

Meet Rick Brownell

2009-06-03T08:29:00.000-07:00

ABOVE: A young Rick Brownell learns a rudiment from his father, Bob Brownell, when the Brownell family lived in Hartford, Connecticut.

“Paradiddle Joe

Swings at the chorus in a fascinating way

Sends all the boys and girls to come to hear him play

Paradiddle doodle all the day”

(as played by Henry Riggs)

I’ve had a love for the drums from the first time I saw my Dad play. Bob Brownell was a good drummer that picked up the hobby late in life. While selling life insurance in Hartford, Connecticut he was fortunate to study with Joe Porcaro, one of the most accomplished drummers and teachers on the scene today, and father of the late great Jeff Porcaro of Toto fame. Bob played drums in the Fiercely Enthusiastic Jazz Band (F.E.J.B.) in Hartford, CONN.

I got serious about music and drumming when my Dad bought me my first set of red sparkle Ludwigs when I was in 8th grade. I would get off the bus, run down the driveway … yell to my Mom that I was home, sprint up to my bedroom and turn on the stereo real loud and play along to ….

Mitch Ryder and the Detroit Wheels:

“Devil with the blue dress, blue dress, blue dress ….devil with the blue dress on…

dada dada dada dada da da … Wearin' her wig hat and shades to match She's got high-heel shoes and an alligator hat ….

Or Vanilla Fudge:

“Set me free why don’t you babe … Get out my life why don’t you babe OOooo

You don’t really love me … you just keep me hangin on.”

Or the Beach Boys:

“Round round get around, I get around Yeah Get around round round I get around, Get around round round I get around Wah wa ooo”

I was in a band in junior high school and later on at boarding school in New York. I fooled around on the drums for years just copying other drummers, sitting in for a solo on occasion when my Dad’s band played. My first gigging band was with the Jim Sarkisian Band in Devon, PA., doing covers from Gordon Lightfoot to the Moody Blues. That’s where I met Ron Jennings, a great guitar player and Jimi Hendrix imitator, who greatly influenced my love for music. We were worlds apart socially and otherwise, but from the same side of the tracks musically.

Ron really challenged me to attack the drums and try different rhythms, and was always an inspiration. Ron later went on to play with LuvPark, and became a fine studio guitarist in PA. recording with Bootsie Collins and doing all the guitar underscoring for The Fabulous Funk Brothers: ‘Standing in the Shadows of Motown,’ among other things. We played together in various rock bands in PA., and Ron moved to CA to play with me there for awhile as well while I was finishing my college stint at Cal Poly San Luis Obispo.

For awhile I lived in Berwyn, PA. with Rob Wessel and played with him in a band doing his original songs before moving to CA.

When I first moved to CA. in 1972, Kevin Mahan was playing sax in a 60-70s club band and asked if I would play drums for ‘The Sons of Grease.’ I had known Kevin when my parents lived in CA. for a few years and I was in 7th and 8th grade with Scott Kirby and Kevin. Kevin and I had a lot of fun playing 60-70s cover tunes in that big club in Oxnard for that summer. Some times we would get a little rowdy and show up for the second set as ‘Pelvic Thrust and Hip Gyrations.’ After that gig, Kevin and I played with Michael Brewin in Santa Barbara, a good jazz and prog-rock guitarist doing some of Michael’s originals and pop jazzy cover tunes.

After my return to San Marino, I played with Peter Day, Ben Brooks and Rick Mapel in various bands doing originals. Rococco was by far my most ambitious band attempt and in retrospect, some of my best drumming. I probably could have suffered along as a musician being poor and happy in Rococco until the day I died. But God had other plans.

Time passed and I went to seminary in Portland, Oregon near the end of 1980. There I started playing drums with ‘The People Next Door,” a group of Christian musicians and vocalists founded by Bill Berry and folks from Sunset Presbyterian Church. We played James Taylor, Michael W. Smith and 4 Him songs for various events and worship services around Portland, OR. We recorded a Christmas Special for a local network at Bill Berry’s recording studio in Wilsonville, OR.

I later moved to Springfield, OR. and played with Neil Patton at EBF Church. Neil is a fine producer, pianist and songwriter. It was while I was in Springfield that I also hooked up with Tempermental and recorded a CD of their originals with them in a studio in Eugene. It was the first time I had recorded music using a click track.

Today I own a custom-made set of GMS maple acoustic drums and a Hart Dynamics 6.4 pro electric set. I have recently been playing at various churches with friends and look forward to slamming down the time and rhythm whenever I get the chance.

— Rick Brownell

RICK BROWNELL POSTS

Hart endorses Saint Blues Guitar Workshop

2009-06-02T17:29:00.000-07:00

This comes from publicist Emily Lanigan:

Grammy award winner Alvin Youngblood Hart has announced an endorsement agreement with Saint Blues Guitar Workshop in Memphis, Tennessee. Hart adds the Mississippi Bluesmaster to his regular lineup of guitars. He has been a longtime admirer of St. Blues since the release of their original line in the early 1980’s.

“I look forward to taking it on tour with me and playing some rock and roll,” Hart said. Highly experienced at guitar and amp repair, Hart also hopes to bring his own brand of “Mad Science” into to the St. Blues collaboration.

Hart's guitar playing has received praises from Eric Clapton, Luther Dickinson and other notables. Hart is the recipient of numerous industry awards including a 2005 Grammy Award. Currently Hart tours with his band Alvin Youngblood Hart’s Muscle Theory, with South Memphis String Band and as a solo acoustic act.

Both Hart and St. Blues make their home in Memphis, Tennessee. “It was a natural choice,” said Brian Halley, St. Blues’ Director of Sales and Marketing, “We love working with local musicians and supporting the music from our own backyard.” Longtime master luthier Tom Keckler first started St. Blues in 1983 after several other fruitful projects. His first creation, the Bluesmaster soon found itself in the hands of everyone from ZZ Top’s Billy Gibbons to U2’s Bono. Today every St. Blues guitar is finished and set up right in Memphis and will always have its roots in this hallowed ground.

Amazon.com Widgets

About St. Blues Guitar Workshop
Originally launched in Memphis in 1984 by one of Schecter Guitar Research’s early founders, Tom Keckler, St. Blues quickly became one of the sought after boutique guitar brands in the mid to late 80’s but closed shop in 1989. The artists that played or still play, original St. Blues are a who’s who of rock and blues legends. In 2006 the company was relaunched. The current St. Blues line features the original Bluesmaster (61 South, Mississippi Bluesmaster, B-II and B-IV), the Bluescaster (BC-IV) and the King Blues Bass. Based out of Memphis, Tennessee, St. Blues markets its line of vintage style guitars and basses through over 150 independent dealers around the US and overseas.

For additional information:

Alvin Youngblood Hart on Myspace

Saintblues.com

Meet Marva Marrow

2009-06-02T15:46:00.000-07:00

Marva Marrow began her musical journey singing folk songs and her original compositions in coffeehouses and folk clubs in her hometown of Denver, CO, when she was 15 years old. But her passion for music began before that, when she was little more than a toddler and Judy Collins, her across-the-street neighbor, then a budding concert pianist, babysat for Marva. Soon Judy was giving Marva her first piano lessons and then introduced her to Judy’s mentor and teacher, Antonia Brico, a musical giant in Denver and the first US female symphony conductor. Brico taught Marva for several years, with a relationship that was much closer than just teacher and pupil. In fact, Marva spent many hours with Brico, learning music, exploring her Victorian mansion and hearing the stories of a pioneering woman growing up in a man’s world.

Continuing her classical piano studies with the formidable Russian, Yasha Hellmann (who later became Dean of Music at the Stanford University Music School), Marva was soon anxious to leave the constraints of classical music and head in a different direction — toward folk music. Beginning with a ukulele, she found the limitations of that instrument too narrow. So, with savings, she bought a cheap classical guitar, covered with layers of black varnish. She spent many hours stripping the varnish and refinishing the guitar, finding a much richer tone, and an instrument with a voice, inside its wooden heart.
With a few lessons and a burning passion, she learned to play, making up her own sorts of chords and progressions and applying them to the accompaniment of original songs. No grand guitarist, her voice was her primary instrument and composition and lyrics, her tools.

When a young friend wanted to sell his old Martin Dreadnought guitar and get an electric one, she bought it on installments, working an entire summer as a receptionist in a beauty salon to pay the $175 for the 1934 guitar. She still has this guitar (purchased when she was 14) to this day and it has traveled all over the world with her, shared many adventures and experiences. One adventure included an airplane belly landing in Puerto Rico. Her beloved Martin and two prized giant pineapples were not damaged in the emergency landing.

She lived in Puerto Rico for three years and sang in clubs there, was well known locally. She also wrote and sang many advertising jingles for radio. Then she moved to New York, where she had previously lived and briefly had a songwriting contract, which turned out to be pretty much a dead end.

She then moved to Woodstock, NY to work as a babysitter on weekends and during the week, lived in the family’s house in the middle of the forest. While living there (the year after the famous festival) she continued writing — it was a very fertile period. She also mingled with the locals, including Jimmy Hendrix’s managers and the musicians who lived there at the time.

Next stop (and it is a long story — won’t go into details here) she went to London briefly, then to Italy. Italy became a long love affair, both literally and figuratively. She sang in clubs all over the country and soon had a recording contract with a recording label, Numero Uno, which was the crown jewel at the center of what is now considered the Golden Age of music in Italy.

She wrote for many of these artists and collaborated with many others, either singing on their albums, touring as opening acts or writing English lyrics or songs for them. She also sang for many advertising jingles, mini-songs at the time, with a whole 30 minutes of airtime dedicated to “caroselli” or TV ads, a very creative, soft sell approach to marketing at that time.

She also met her long time love, Patrick Djivas, the bass player for the top Italian band (STILL the top Italian band), PFM, Premiata Forneria Marconi. They lived together for 12 years. When Numero Uno was absorbed by the giant RCA Records, at that time the most powerful record company in Europe, she went along to RCA.

The charismatic Ennio Melis, head of RCA, a visionary who gave some of the most talented and prolific singer-songwriters of the time their start, took her under his wing. So she spent many months in Rome, working with various artists, writing, recording and collaborating in many ways (and living on the luxurious RCA expense accounts).

Then the most famous and revered artist of them all, Lucio Battisti, requested she write the English lyrics for his album. This collaboration took place closer to her Milan home and then Lucio and Marva went to Los Angeles to live and work at the legendary Chateau Marmont in Hollywood for nine months (taking trips back home to Milan to see her boyfriend, etc) while Marva completed the lyrics and Lucio worked with producer George Martin on the pre-production. Things were going really well until the English lyrics started getting too much acclaim and Mogol (Giulio Rapetti), the famous Italian lyricist, famous also for his ego, got his feathers ruffled. He decided there was much too much limelight on the English version and too little ego-stroking for his taste. So, suddenly, Marva was off the project.

She returned to Italy, singing and touring and wrote the lyrics for the PFM album, Chocolate Kings, which was in English. Then she went to California to find a house for the band to record that one and a subsequent album, Jet Lag. The band arrived in California and they all stayed for several more months in a huge mansion in Bel Air while Marva wrote lyrics for the Jet Lag album and the band recorded in the studio in Los Angeles.

Returning to Milan, for Marva, musically things started going downhill as disco music made its hip shaking, ground rattling grand entrance into the music scene, wiping away all interest in other forms of music. It was fight ‘em or join ‘em, and the fight became simply too great for an artist who was used to writing introspective and very personal singer-songwriter types of songs.

With her RCA contract expiring and feeling the crunch and the frustration, Patrick persuaded her to get into photography. Within months of taking up photography, she was the most requested photographer for album covers and the one that the record companies sent on tour with the American bands. Soon she was being sent to the US for photo shoots as stringer for Italian TV Guide and others. But it was hard to leave music behind.

Fast forward to a couple of years ago… An Italian friend, Tony Renis, who had produced or written music for Julio Iglesias, Celine Dion with Andrea Bocelli, Diana Ross, Lionel Ritchie, and others (and with whom Marva had collaborated on a musical score for Blu Gang, a Bonnie and Clyde knock off movie, musical director, Bill Conti), got in touch. He wanted her to write lyrics for a new song.

So she wrote the lyrics to Merry Christmas in Love, which, sung by the 15-year-old phenomenon, Renee Olstead, became the title song for the movie with Danny de Vito by the same name. The song won the Donatello, the Italian Oscar for Best Original Song in a Motion Picture in 2005 and was nominated for a Golden Globe in 2006.

Marva now writes and records in her home studio in Hesperia, CA. She is currently working on new compositions of her own and writing the English lyrics for an Italian musical, with the hopes for a future Broadway production.

— FROM MARVA JAN MARROW'S PUBLICIST

MARVA MARROW POSTS

SONGS FROM THE MARVA JAN MARROW VAULT:

Feedin' On Dreams - Marva Marrow

Go Man - Marva Marrow

Italian song demo - Marva Marrow

Our Dear Angel - Marva Marrow

Phoenix - Marva Marrow

Marva Marrow's Italian Wikipedia page

WHAT'S COOKIN' IN MARVA'S MUSIC KITCHEN:

Hey Lillo - Marva Jan Marrow

Three Friends to perform songs of Gentle Giant

2009-06-02T12:45:00.001-07:00

"Three Friends has started performing the repertoire of Gentle Giant in Europe, with three successful gigs already under their belts. Their performances include material from classic Giant albums Three Friends, Acquiring the Taste, Octopus, Free Hand, In a Glass House, The Power and the Glory, and the self-titled debut, and they are rehearsing more of their old material that they have not yet had a chance to play live. Dual keyboards are used to replace instruments such as violin and cello."

FOR ENTIRE ARTICLE, CLICK HERE

Meet Keary Jon Botley

2009-06-01T13:43:00.001-07:00

Just One Chance

Meet Tempermental

2009-06-01T09:29:00.000-07:00

In 2005, Rick Brownell, a drummer with roots in jazz, rock and progressive music, performed in the Oregon band, Tempermental.

Members of Tempermental:
Wendy Dixon - piano, vocals
Rick Brownell - drums, vocals
Dave Thomas - bass, vocals
Dick Bennick - rhythm guitar, vocals
Randy Brewer - lead guitar

Perhaps the catchiest from the band's only album was "Desert Sky," a song written by Randy Brewer and sang by Dick Bennick.

Desert Sky - Tempermental

Meet The Glen Gang

2009-05-30T08:45:00.000-07:00

The Glen Gang is a band made up of childhood friends who've stayed in touch for 30 years and never stopped playing or sharing music. Four years ago they started meeting at Ben's house in the Pasadena Glen where they began recording songs. Nestled in a canyon in the foothills of the San Gabriel mountains, Ben's house - built in 1915 - features a room walled with rock and mortar: the Rock Room. There, surrounded by hundreds of CDs and albums, musical instruments, and windows looking out into the lush greenery of the Glen, the Glen Gang records their songs. The Glen Gang isn't a commercial band. They don't play a specific style. They don't play live. They just do what they want. They're happy just making music. Currently the quartet is working on its third CD.

THE GLEN GANG POSTS

The many identities of Scott Kirby

2009-05-30T08:06:00.000-07:00

Just for the record, Scott Kirby has several monikers. In the late 1970s, after his stint leading the Orange County-based Frigid Heirs, he gained serious recognized with several Ben Brooks productions as Oskar Scotti. He's been known as Oskar Kirby, Oscar Kirby and in his Orange County circle, Ned.

Cowsills drummer finds niche with Beach Boys

2009-05-19T11:36:00.000-07:00

By PETER DAY

John Cowsill had an inkling that his young life was different than other 10-year-old's when the drummer was about to take the stage at Sound Blast 66, a free New York City concert in 1966 featuring "Little" Stevie Wonder, the Beach Boys, the Byrds and other top music acts.

"We opened the concert," Cowsill said during a phone interview with the Hesperia Star last Thursday while the musician was on tour with the Beach Boys in New Orleans. "I've never been nervous. I don't think I was nervous then. I think the most nervous I was, was backstage watching David Crosby (of the Byrds and later of Crosby, Stills & Nash fame) with his page boy hair cut."

Just one year later, the Newport, RI-based Cowsills would emerge from obscurity with "The Rain The Park & Other Things," a Beatles-esque pop song that climbed to No. 2 on the U.S. song charts. The group followed "The Rain" with another Top 10 song, "Indian Lake," in 1968 and the iconic "Hair," another No. 2 hit song, in 1969. They also performed the music for "Love American Style."

"I was raised on the Beach Boys, Beatles and Stones. I'm so glad that I was there and available. Most people my age didn't get it, but I was a fly on the wall."

For most radio listeners in the 1960s, the Cowsills seemed like the all-American family. Four of the Cowsill's seven children started the band, which consisted of brothers Barry, Bill, Bob and John. Later they were joined by sister Susan, brother Paul and their mother Barbara.

The group was on TV several times in the late 1960s including appearances on The Ed Sullivan Show, The Tonight Show Starring Johnny Carson and The Johnny Cash Show. By the age of nine John Cowsill and his brothers were playing at bars.

"We just weren't allowed to sit in the bar. It was just an amazing thing. My family was so talented, and they still are."

But early success also came with unanticipated pain.

In 1985, the family's matriarch, Barbara Cowsill, died of emphysema. In 1992, their father, Bud Cowsill, died of leukemia. Following Hurricane Katrina in late 2005, Barry's badly decomposed body was recovered from the Chartes Street Wharf in New Orleans. And in early 2006, Bill died in Calgary, Alberta due to complications from several ailments including emphysema.

Despite the ups and downs of being in the musical Cowsill family, John has found a steady gig with one of most popular groups in history, the Beach Boys. The Beach Boys are currently on tour.

"It's a good band. It's really a good band. This is the best version of the (Beach Boys) band I've ever heard. I'm still playing Beach Boys songs."

A multi-instrumentalist, John Cowsill also plays guitar and keyboards. But perhaps the most special part of joining the Beach Boys in concert is that Cowsill gets to sing several of the group's beloved songs.

"I flip between Carl (Wilson) and Al (Jardine) constantly. I sing ‘Sail on Sailor,' ‘Help Me Rhonda' and the unison lead on ‘Wouldn't It Be Nice.' There's just so much material."

Married to guitarist Victoria Peterson of the Bangles, John Cowsill, now 53, is clearly happy to be doing what he's been doing all of this life - making memorable music.

"I am just so thankful. I am thrilled to be playing this stuff. I'm in heaven now. I have the best seat in the house."

This article orginally appeared in the May 5, 2009 edition of the Hesperia Star newspaper.

Meet MapelBrook

2009-05-16T21:25:00.000-07:00

Go to ImageShack® to Create your own Slideshow

Rick Mapel and Ben Brooks began experimenting with songs while in high school. Their blend of nylon-stringed guitar playing fused with melodic flute soon caught the attention of others. The duo won first place at the school's talent show, which earned them the grand prize of $20 and a solo concert in the auditorium. The school newspaper, the Titan Shield, said they wowed the crowd, which earned the boys an encore. As a result, the event went over schedule and students were late to their next period. Later, a record company executive expressed interest in Mapelbrook, and the duo recorded a demo at a professional recording studio.

Click here to listen to Mapelbrook - The 1970 Recordings. Songs include "Assembly," "Dark as a Dungeon," "Go Away Mama," and "Got a Letter."

MAPELBROOK POSTS

Peter Day's current projects

2009-05-15T21:12:00.000-07:00

Hear what's going on inside Peter's studio.

The Lithium Limbo lost vocal

April 7, 2006

Originally, I recorded a Stan Ridgway-esque vocal that laid over the wild fretless bass solo in the middle of the song. Eventually I decided it was too much, so I got rid of it, but you can hear it here.

The Lithium Limbo

April 6, 2006

OK. This is definitely one of the weirdest things I've every recorded. Not too long ago I bought a beautiful -- yet very inexpensive -- Essex fretless bass guitar. One afternoon a musician buddy from Sunland Neighborhood Church, Charly Calicott, who now lives in Victorville, set up the bass. Later on I added roundwound Rotosound strings, like Jaco used. The next week I was jamming on it and came up with a very strange riff. So I revved up the G5 and GarageBand and got working. It's an odd samba rhythm. Initially I called it "Psycho Samba" but later changed it to "The Lithium Limbo." I emailed my music buddy Kevin Mahan, who sent me a great fluegelhorn track. The middle-section solo, by the way, is my Essex fretless through an everything-on-it GarageBand distortion patch. I don't think I've heard of another over-the-top fretless solo like this.

Queen of the East Parking Lot

April 7, 2006

This was written and recorded last fall after Tina Karas' challenged me to write a song about the SMHS east parking lot. A very lengthy description of the song's theme and accompanying blog comments can be found below.

The extensive Queen of the East Parking Lot entry

The Glen Gang current projects

2009-05-15T21:08:00.000-07:00

For a group of old music buddies, the Rock Room is where they are free to be creative, share ideas, laugh out loud, reminisce, or just get to work. The quartet is surrounded by more than a half century of vinyl, CDs and tape recordings, some recording gear and acoustic and electronic instruments. Looking out at the Glen, they are home.

The Glen Gang is Ben Brooks, Scott Kirby, Rick Mapel and Peter Day.

Here's a sneak peek at recordings-in-progress for our next CD:

Back Again I Fall

Friday, April 7, 2006

This song was recorded in the Rock Room last weekend, Saturday, April 1, and Sunday, April 2. Ben had the chords. Scott came up with the lyrics. Peter recorded the instrument tracks, except the tamborine, which was played by Scott.

Innocent Ones tracks only

Thursday, April 6, 2006

Ben came up the chords for most of this song. Later Peter created a bridge and recorded the tracks at his studio. Initially called "Gazing Right Through," Scott came up with new lyrics and melody and we call it "Innocent Ones". Some of Peter's "gazing, gazing, etc." vocal is still here. Ben and Scott will record Scott's vocals and Ben's flute in The Rock Room.

Football Field

April 6, 2006

Peter was a guest of the San Marino High School Class of 1975 30-Year High School Reunion Sunday afternoon picnic at the high school. There he was reacquainted with several lovely ladies. Later that weekend he shared his adventure with fellow members of the Gang. Scott came up with these lyrics, memories of the famous "Upper Field." Scott sings lead with Peter debuting as a vocalist on the bridge. This is probably the most energetic rock song we've done with Scott's kick-ass vocal and Peter's gnarly electric guitar work.

MapelJam

April 6, 2006

Our northern band member, Rick Mapel, came down for his annual Christmas visit, and of course the band recorded a few acoustic jam sessions. This is perhaps the best. It wanders a lot but occasionally gels. Rick is on nylon acoustic, Ben on flute and Peter on Korg keyboard. Scott was home in Branson.

Joan Traitel

April 6, 2006

Also during the Class of 1975 weekend of recording in The Rock Room, the trio of Ben, Scott and Peter created this bizarre, impromptu jam recording that was extemporaneously called "Joan Traitel." The name is a combination of Class of 1975er Joan Murphy, who was Peter's neighbor in the 1960s, and Dee Ann Traitel. As it turns out, Dee Ann's mother's name is actually Joan, but that is completely coincidental.

Peter Day discography - partial list

2009-05-12T21:12:00.002-07:00

SOLO CDs
To Live In Her Life (2011)
Grains of Sand (2008)
Pieces of a Portrait (2004)
Bible Memory Verse Songs - Vol. 1 (2002)
Tug of War of God and Woman (2000)
Domestic Policy (1993)
Private World (1987)
A Dream Goes On Forever (1986)
My Lost Identity (1984)
Can't Hide (1982)
Double Star (1981)
(collaboration with lyricist J.C. McGowan)
Too Nude to Think (1979)
(collaboration with lyricist J.C. McGowan)
Top Secret
Petra and the Martian Army Ants

CDs PRODUCED BY PETER DAY
Day Family Christmas
Mercy and Peter

JINGLES
Barb Stanton theme song
Pepe Pollo

RADIO
The Ballad of Ernest Angely
Giant Munchkin Dwarf

Pieces of a Portrait track listing

2009-05-12T21:11:00.001-07:00

It's the WeatherThe Siren Sings

Barry White's Lost Track

Peter's Shuffle

The Ballad of Justin and Britney

Psycho Groove

Shuffling the Past

I'm Not Clay

Speechless

Techno Power Snippet

Wishful Thinking

Bob Day's Hollowgrove

2009-05-12T17:51:00.001-07:00

Click on a link below to listen to streaming audio.

Return to Hollowgrove

2Day announcement

2009-05-12T17:50:00.001-07:00

Bob is working on a reunion with his cousin, another multi-instrumentalist Peter Day. The two are working on an EP that the duo will use for promotion purposes.

Bob's music featured on Web site

2009-05-12T17:49:00.000-07:00

The original music of Bob Day is featured on the Sonia & Barrow web site, which features videos and recipes of "Northern Italian Cooking With An American Twist." Sonia Tolot owns Girasole, a family-owned restaurant at 2251-1/2 Larchmont Blvd., Los Angeles. Sonia and her daughter-in-law, Barrow, have created the show to spread their love of fine food.

A video episode on how to cook risotto with peas features "Pachaca," a latin-influenced creation by Bob on the ukulele he received as a gift from his brother, Andy. A touching video account of Luca Batista Tolot's baptism features Bob's classic "I'm Finally On My Way."

To listen to the music, and learn how to cook wonderfully tasty Italian food, log onto http://www.soniaandbarrow.com/

To view each video directly, click on the links below.

Risotto with Peas

Luca's baptism

Bob Day pic

2009-05-12T17:48:00.001-07:00

Random comments

2009-05-12T17:45:00.001-07:00

Anonymous said...
Hi Rick,

Name from the past - Gordon Grannis? Recognize it?

Peter Day sent me the link to this great video of you playing/singing. Beautiful work on the guitar, great job. Also, I like your art work too. You have been busy these many years since I last saw you. Was that 1969? I think so.

Keep up the good work.

Happy New year too>

---

john hohnstein said...
You used to say "I'm just a regular guy..."! I think not! Have been trippin on your blog- it's great to see that you are still quite irregular~ and I mean that in the most admiring way! Love your art, Rick! Wonderful to experience this 'other' talent of yours. Very cool pieces, my old friend!

I value the time and music we shared back in the TARA years- it was an honor and pleasure to play and create with you and Ben- what a trip to hear some of those tunes on the 'world wide web'- thanks!!

Peace and Harmony to you, Rick
Your old keys friend
john

February 24, 2009 10:31 AM

Rick Mapel painting

2009-05-12T16:57:00.001-07:00

The Riggie Jam Sessions

2009-05-12T16:56:00.001-07:00

THE MEANING OF BEAUCOUP
One night in 1981 when Rick Mapel's parents were away, Rick and his buddies, who he then called The Beaucoup Brothers, got together to jam. Joining Rick were Mark Takeuchi on bass, Peter Day on funky electric guitar, Ben Brooks on flute, Neal Schleimer on tenor sax and a mystery conga player. Rusty the white poodle, a.k.a., "Cuddly Guy," also was on hand.

RICKY'S IN L.A.
This was recorded in Ben Brook's "Rock Room" probably during the Christmas holidays of 2005-06. Taking the lead vocal and bass duties was Oskar Kirby with Ben Brooks on flute, Kevin Mahan on flugelhorn and Peter Day on a cosmic synth vamp. Rick is holding down the jazz guitar.

Meet Rococo

2009-05-12T16:55:00.001-07:00

Around 1980, Rick Mapel headed the L.A.-based progressive rock group, Rococco. Reworking classics from his earlier days, Rococco also served as an opportunity for Rick to experiment with some newer tunes. Perhaps the most notable was "Time Coast," a collaboration that featured the lyrics of J. C. McGowan, who later went on to write the definitive book on Brazilian music.

Rococco consisted of Rick Mapel on guitars and vocals, Brian Brady on fretless bass and vocals, Richard Brownell on drums and Peter Day on guitar and keyboard.

CLICK ON A SONG TITLE TO LISTEN:

Now playing: Rick Mapel

The Glen Gang: 2000 - current

2009-05-12T16:54:00.000-07:00

Rick Mapel is a member of the Glen Gang, a Pasadena-based group whose nucleus is a foursome with four decades of musical partnership. Gathering in the "Rock Room" at the rustic home of Ben Brooks, other members include vocalist Oskar Kirby and multi-instrumentalist Peter Day. Several others make key contributions to the group's eclectic sound. Notables, who have helped hone the Glen Gang's sound, include Martin Lovelace on drums, Rich Mangicaro on percussion, Craig Windsor on cajon, Terry Ripley on electric guitar, vocalists Emily Lanigan and Ben's wife, Clarissa, who lends her vocals for spoken word parts. Currently guitarist Steve Horan and bass player/vocalist Ross Harris are recording tracks in the Rock Room.

The following songs showcase Rick's guitar playing.

FOLLOW YOUR HEART

ETERNITY TANGO

Flight

2009-05-12T16:53:00.000-07:00

In the mid-1970s, Rick was at the center of Flight, a five-piece group based in Altadena. Joining Rick were Ben Brooks on flute, Peter Day on guitar, Bill Thompson on bass and Richard Brownell on drums. Brownell replaced Greg Vosburg, who was featured on some of the group's earlier recordings made at the University of Southern California. Produced by Ben, the USC recordings were engineered by Tom Gimbel.

The Art of Rick Mapel

2009-05-12T16:52:00.002-07:00

Art is Rick's passion. From his studio in the Avenues section of San Francisco, Rick works with oils, watercolor and pencil.

TO VIEW RICK'S ARTWORK, CLICK ON A LINK:
water color paintings
oil paintings

The Bagmen

2009-05-12T16:52:00.001-07:00

When Rick is not creating colorful art in the buff, he's often performing with his street group, the aptly named Bagmen.

MapelBrook

2009-05-12T16:51:00.001-07:00

Random photos of Rick

2009-05-12T16:50:00.001-07:00

Peter Day visited Rick in San Francisco in August of 1984. Here is a brief collection of photos Peter took of Rick during the visit.

rick in san francisco — august, 1984

Go to ImageShack® to Create your own Slideshow

Conversations with Rick Mapel

2009-05-12T16:49:00.001-07:00

Rick has singlehandedly created his own dialect, a blend of other-side-of-the-tracks country bumpkin and erudite academic. To understand its uniqueness, click on the link below:

COMING SOON!

Contact Rick Mapel

2009-05-12T16:48:00.001-07:00

Although Rick communicates like no one else through his music, art and conversation, he does not do email. To get a message to Rick, send an email to the friendly webmaster at dreamgoeson@yahoo.com.

Latest from Rick Mapel

2009-05-12T16:47:00.001-07:00

Currently Rick Mapel is slaving away on some new artwork in his San Francisco digs while wearing a leopard-skin loincloth.

Rick Mapel fans and friends

2009-05-12T16:46:00.000-07:00

Rick's long-distance run — from Pasadena
to Santa Monica and back

By Rick Brownell

You know I missed high school with all you Rococco guys right? I moved back to Berwyn, PA. and went to Berwyn High for 8th & 9th grade. My parents thought I was getting into too much trouble, so they shipped me off to boarding school in New York for 10th-12th grade so I could learn something or other. One of the things I didn't learn very well was how to run cross country. I still hate the memory of cross country some 38 years later! Oh, I was on the team. Whenever they gave the stats in the school newspaper the last line always read, "Brownell also ran." What a tribute, eh? I moved back to California in 1972, two years after graduating from boarding school.

I wasn't, nor would I ever be a runner like Rick Mapel. He was built for it and was good at it. I think it was one of his safer addictions. One day while I was driving around town running some errands in Pasadena (about the time I was just starting to play drums with Rococco), I came to a stop light right near the entrance to the Pasadena Freeway. There was Rick, standing there, waiting for the light to change, so he could get on the entrance to the freeway, apparently planning to run along the side of the freeway. He was wearing some running shorts, a colorful tee shirt, a big 'ol cowboy hat, and a worn out pair of cowboy boots that had holes in them. I had to ask, yelling out my car window: "Rick .... what are ya doin?" As the light changed, he started running with the traffic, turned his head, smiled and yelled back, "I'm running to Santa Monica. And back."

The distance between Pasadena, CA and Santa Monica, CA is 22.0 miles (35.0 km). Just think what he could have done if he'd actually taken running seriously!

About The Living Room Sessions

2009-04-14T18:58:00.000-07:00

The Living Room Sessions
Intimate recording sessions at home

Claire and Charlie session - January 27, 2008

2009-04-14T18:54:00.000-07:00

NOON — On Sunday, I loaded up my mini-disc-based mobile recording gear and headed down to the Laguna home of my sister Claire Day and her husband Charlie McClung. Half way down on the 91 the rain was pouring heavily, but I was eager to test the gear — and especially my new CAD M-179 microphone — and begin a new, creative era: The Living Room Sessions.

2:45 P.M. — First up was Claire who sang two songs while playing her Takamine Classical EC132 guitar. Claire is a very gifted singer, songwriter and guitar player. She teaches guitar, and one of her former students is Kina Grannis, the singer-songwriter who won the Dorito's Crash The Super Bowl competition. Using a two-mic setup meant I had to keep things simple. I pointed the CAD microphone straight at Claire's mouth. Perhaps I should I should have pointed it upward to limit some of the sound coming from her guitar, which I used a Behringer C2 small diaphragm angled downward. After the take, I realized there was noticeable noise coming from the refrigerator in the nearby kitchen. Claire performed a second, but I decided to go with the first due its groovy vibe.

During mixdown of the first song, "A Whole New View," I put her voice dead center with a slight amount of small reverb and light compression. I duplicated the guitar track, panning each to about 2 and 10 o'clock. On one track I put some light chorus; on the other was some small reverb. On Claire's second song, "Fight For A Better Life," I used a slight dash of medium room reverb instead.

THE FIRST RECORDINGS

— CLAIRE'S SONGS

A Whole New View

Fight For A Better Life

AROUND 4 P.M. — CHARLIE'S TURN After getting a brief level check, we were recording Charlie, a lawyer by day and musician and community theater actor (as is Claire) at the Laguna Playhouse after hours and on weekends. His first song "The River" really demonstrates the duo's ability to write songs that could easily be picked up by other artists. "The River" reminds me of when Ben Brooks published "The Captain," which was picked up by Roger Whittaker. In fact, I can imagine Whittaker doing this one.

The CAD M-179 microphone really suits Charlie's voice, I think. It picks up his manly resonance. During the mixdown, I broke a promise that I wouldn't use any noticeable reverb. But to me the bigness of the song called for some. The second song, "Gold Is Rainin'" had slightly more compression on the vocal and a delay on the duplicate guitar track.

CHARLIE'S TUNES

The River

Gold Is Rainin'

5 P.M. — THE DUO PERFORMS For the last part of the recording session, I recorded Claire and Charlie performing a few songs together. Instead of the CAD M-179, I put up the matched pair of Behringer C2 microphones. Originally I was trying for a A-B setup some distance away from the singers, but everything moved in closer and in the end each musician was only about two feet from the microphone.

I suppose not to be unexpected, Claire & Charlie warmed up with several spirit numbers while I was setting up. I caught a bit of the creativity. Perhaps I'll include some of the bits later. But the first official song we recorded was a song about saving the environment, "The Great Whales Are Dying." Of course Claire & Charlie had to write a song for a generation. This one is the bookend to The Who's "My Generation" ("I hope I die before I grow old.") This rocker is anthem for the Baby Boomers. It's called "We Ain't Finished Rockin' Yet." I added some slap echo on Claire's great background vocals. After the session, Charlie treated us and the kids, Charlie and Samantha, to a great dinner at Olamendi's. ¡Muchas gracias, amigo!

THE CLAIRE & CHARLIE SONGS

The Great Whales Are Dyin'

We Ain't Finished Rockin' Yet

ENCORE PERFORMANCE:
"Shoes" video

Shoes

Meet Rick Mapel

2009-04-11T15:05:00.001-07:00

Rick Mapel is a true one-of-a-kind person. A talented artist, he approaches everything — even life — from a unique perspective. His resulting artistic creations, which also include songs, are refreshly frank and intriguing.

RICK MAPEL POSTS

The Glen Gang: Songs from the Rock Room

2009-04-11T14:38:00.001-07:00

The Glen Gang: Songs from the Rock Room

Meet The Glen Gang

2009-04-11T14:36:00.001-07:00

Scott "Ned" "Oskar" Kirby: vocals and bass guitar

Ben Brooks: flute, keyboards and vocals

Pete Day: guitars, keyboards and vocals

Rick "Dick" Mapel: guitars and vocals

GUEST MUSICIANS

Rich Mangicaro: percussion on "Let the Night Begin"

Terry Ripley: electric guitar on "Let the Night Begin"

Clarissa Brooks: spoken word from "Conversations with God" by Neale Donald Walsch on "Falling Up"

Tiffney Mortensen: vocals on "Sophie's World"

Emily Lanigan: Vocals on "Sophie's World"

Jake: canine sneezing on "Intruder Barking Binky"

NED

The master of extemporaneous prose and inspired melody, Ned is a longtime collaborator of Ben. In the late 1970s, the duo co-produced a series of 45s. One made it to the listener portion of the popular "American Bandstand" TV show starring Dick Clark. Today, Ned volunteers as a mentor for a youth-based entertainment non-profit foundation.

BEN

A former music journalist, Ben for several decades has helped promote many of the most popular songs on radio. Specializing in the "Hot Adult Contemporary" format, several fresh faces in the music industry are finding success through Ben's expertise.

PETE

The utility musician of the group, Pete has composed and recorded music for small-market radio. One of his compositions is the theme song for a Clear Channel Radio host. He has had two novelty songs featured on the syndicated Dr. Demento show. During the day, he is an award-winning newspaper writer for a community weekly newspaper.

RICK

Possessing a charming, but extremely offbeat, sense of humor, Rick blends a unique collection of influences -- folk, jazz, rock and world rhythms -- when he plays the nylon-string acoustic guitar. He is a fine artist specializing in pointillism and works as a trained massage therapist with expertise in deep-tissue massage techniques.

The Glen Gang ... Again

2009-04-11T14:34:00.000-07:00

The Glen Gang ... Again

Meet Robert Soelberg

2009-04-11T14:32:00.001-07:00

From the drum chair in grade school to all the musical chairs of producer, song writer, engineer, musician, Robert Soelberg is a master of rhythms, textures and ethereal melodies. He combines Rock, Jazz & Sonic Textures into unique Audio Collages.

Other Soelberg tidbits:

• He was given the drum chair in 6th grade orchestra when everyone else declined; soon learning he had a "rhythm deficiency."

• Soelberg was drummer for the top SoCal teen bands "The Unknowns" and the "World of Us."

• Recent EPs "Trial Balloon" and "Attractive Moments" were written, recorded and assembled with the magical Garageband software from Apple, Inc. at the quaint seaside ZenithPointStudio.

• A home recording enthusiast, he has recorded three "lost" albums: "Commonwealth," "Songs from the Point" and "From Hills Away."

• He is a self taught musician with broad musical interests. Except opera.

• Favorite group: "The Doors" • Favorite food: Hamburgers • Favorite color: Green

ROBERT SOELBERG POSTS

ROBERT SOELBERG MUSIC LINKS:

Trial Balloon on CD Baby

Attractive Moments on CD Baby

ROBERT SOELBERG ART LINKS:

RobertSoelberg.com

Robert Soelberg's "Soft Cheerful Hallucinations" (2004)

Review of Steve Horan's latest

2009-01-05T20:46:00.000-08:00

Webmaster's note: Because these comments come from a principal on Steve Horan's latest CD, I decided to include them as a separate post to give them more weight.

The concept is exceptional. I really like the way the songs move from one to the other--like a variety show with big personalities.

The lyrics and melodies are very creative and can be ingrained in my head from time to time. Some lyrics, which Peter identifies in his webpage comments, are very strong and memorable. Steve mentioned that the Obama election took some of the wind out of the songs' political sails , but nonetheless, the statements are clear to me. I'm sure others wouldn't understand the "I Hate America" posture, but it was a strong opinion that was simutaneously critical and hopeful. Clearly, Steve is not saying that he hates America.

Oskar's intro is a RIOT. (I almost choked when I first heard him say "only $8 a plate"). Sort of a demented Joel Gray from Caberet.

Oskar's voice is strong and he can have a real rocker flavor. So his vocal "Do You Think Death is Depressing" caught me off guard. Nice work there.

My only complaints about the CD are with respect to the vocals. Having mastered this CD and Steve's last CD, I hear that Steve's style is to mix the vocals much lower in the mix much more than I would. I think vocals should be outfront and clearly audible, which they often are not. However,that's a rocker's mix and I am not a rocker. My other negative critisim would be a stylistic difference also, and that is the quality of the singing. I really like the way Steve expresses and phrases, but his voice is not technically good. BUT, that doesn't mean that he should change this one bit. It's just my opinion that this CD would have much more commercial potential with the same expression and phrasing combined with better intonation and attack. Also, Oskar (surprisingly because he is a good singer) is way out of pitch in a few places. Again, the style is engaging and compelling, but not sellable -- and if you don't care about the commercialism of it,
then more power to you. We can understand this, but most will not.

This CD was a lot of fun to listen to and work on. I was really impressed with the extensive writing that went into this, and all the combined efforts/performances from the musicians that played on it.

Kevin Mahan
Mastering engineer on Steve Horan's "Volker Mastdarm's Wunderbar!!lounge"

Review of Steve Horan's latest

2009-01-02T20:49:00.000-08:00

REVIEW

Volker Mastdarm's Wunderbar!!lounge

Steve Horan

December 2008

By PETER DAY
Budget Home Recording

Turn back the clock to 1977. The punk music scene is thriving, and Elvis Costello has emerged as a voice that combines the rebelliousness of the Sex Pistols with the catchiness of the Beatles. Today, 30 years after Costello made his mark on a new mainstream, Orange County, California-based songwriter Steve Horan releases his second album in a year, "Volker Mastdarm's Wunderbar!!lounge."

The CD, which has 16 unusually diverse tracks, is a welcome respite from the overly-compressed, overly-processed superficiality that is de rigeur in today's music. Not only is there no quantization to keep the tracks aligned, but "Wunderbar!!lounge" has the rhythmic tightness (or rather looseness) of a garage band of wide-eyed, pumped-up 13-year-olds. But as the open-minded listener quickly learns, that's part of the charm of the project. While it's lacking a state-of-the-art orderliness, the album more than makes up for technical deficiencies with heart, inspired performances and innovative — and sometimes downright daring — songwriting.

Ned Kirby (a.k.a Scott Kirby, Oskar Kirby and Oskar Scotti), the former lead singer of the Frigid Heirs, an Orange County late-1970s band that included guitarist Horan, provides the lounge-style vocals that set a deceivingly mellow opening to "Wunderbar!!lounge." Abruptly, the jazzy electric piano gives way to heavy driven guitars and drums. "I'm gonna bleed pagan red! I'm gonna bleed pagan red!" Kirby shouts about a love-spurned zombie in "Pagan Red."Immediately, listeners realize this is going to be a wild ride.

Horan drops it down a few notches with "Anything You Want," but Kirby again takes the album to new territory with his oddly refreshing "Death Is Depressing." "Do you believe that death is depressing? I did myself, but I was only guessing." It's not a normal pop hit, but the song is so endearing that it could find a special spot in cyberspace (or perhaps a movie soundtrack).

Horan can do much more than merely channel Elvis Costello. He also comes up with folk-influenced gems such as "I Need My Drinkie-Poo," "Why Are We Cruelest?" and "I Hate America," the most jarring of Horan's recent material. "I hate America, the land of the blind, deaf and dumb, and I hate America for what it has become," Horan sings. As Horan has explained, however, he does not actually hate America, he hates the skewed Fox News neo-con concept of America.

"Why Are We Cruelest?" also provides food for thought. "Why are we cruelest to the ones nicest to us, Why do we ignore them when they cry?"

But there's ample levity on the album too. "Tired of Dating" features singers April Frerking, a protege of Kirby, and Amanda Harris. In fact, "Tired of Dating" song could be the hit of the album. Technically it may be the tightest, thanks to talented drummer Charles Wiley, but it also has a refreshing quality, thanks to Horan's clever lyrics.

One of the most promising numbers, Ross Harris' esoteric "Please Slow It Down," unfortunately doesn't get to where it appears to be heading. A truly lovely song, the production suffers from performance problems that drag it down. The players should have spent a little more time nailing their parts.

Another great number, "Afterglow," also falls short despite an infectious melody. While his lead vocal is compelling, Kirby's background vocals sound like scratch vocals, not the final product. And it's really too bad. "Afterglow" otherwise has a great feel, and Horan's guitar-based Beatlesque ending is pure magic.

All songs resonate, most notably "Hillary Queen," an upbeat political tune that pokes fun at Hillary Clinton's apparent desire for power.

The unsung heroes of "Wunderbar!!lounge" are mastering engineer Kevin Mahan of MusicFlog Studios, who brings the sounds together, and musician Florian Grote, who adds tasty jazz piano that brings the fleeting lounge motif into the project.

Technically, "Wunderbar!!lounge" may not have all of the bells and whistles. Recorded on a seven-year-old Windows-based computer with only 512 K RAM, the CD is a testament that talent, drive and ingenuity can overcome almost any technical shortcoming.

POTENTIAL SONG PLACEMENT
Horan should put the album on soundclick.com, where he can select whether listeners can purchase the song download or listen for free, and cdbaby.com, where he can create a web page dedicated to the CD. Also, he can request digital distribution, which will put "Wunderbar!!lounge" on iTunes and other online stores. He could also get the songs on the iTunes store by using tunecore.com.

With a little creative promotion, "I Hate America" should make its mark. Get it on podsafemusic.com, where podcasters can use the song for their netcasts. Discuss the song on huffingtonpost.com.

Although the moment may be passing, "Hillary Queen" could become an anthem of sorts. At least, Horan should place it on podsafemusic.com. He also could get "Why Are We Cruelest?" and "I Hate America" on folkalley.com. With just a little tightening up, "Tired of Dating" could be ready for radio. Some college stations might place a few of the songs. It's worth a shot.

It's amazing that Horan can produce such a great product on such a relatively old computer. If it works, don't fix it. But promoting his music is another issue. He probably should consider investing in a second computer (perhaps a laptop) that has wifi and at least 2 megabytes of RAM. He'll need that to manage files and connect with various music services.

HOME RECORDING GEAR
Microphones: Studio Projects B1 and Audio Technica PRO 45 choir mic, Shure SM57 and two SM58s. "I used all of them when recording Charles on drums in the standard setup: two condensers for stereo room and the dynamics for close micing."

Headphones: AKG HP40
Studio Monitors: Harmon Kardon computer monitors that came bundled with his CD.

Digital Audio Workstation software: Cakewalk Home Studio 2.

Computer: "Dell Pentium III w/ 512 MB DRAM that I bought in 2001, same set up I've used all along with the Santa Cruz soundcard from Turtle Beach."

INSTRUMENTS
Guitars: "Mainly my Tele and my Takamine classical on this last CD. I also used my Gibson J45, my strat, Coronado, and Les Pauls a couple of times. I used my Gretsch bass, borrowed Ross's Carvin bass for one song and Ross used his old P bass. Oh, I used the old Fender Villager 12-string a couple of times."

Keyboards: "I recently upgraded from a crap Casio to a better Casio WK-8000 but the crap one was used more on the last CD than the new one."

Peter Day's Grains of Sand

2008-11-26T19:13:00.000-08:00

The 2008 release of "Grains of Sand" marks the third decade that eclectic pop-rock musician Peter Day has produced and released his own solo albums. First starting with simplistic multi-track recordings made by bouncing tracks between two portable cassette recorders, "Grains of Sand" was created on GarageBand and complimented with acoustic and electric guitars and fretted and fretless basses.

Made over a four-year period, no two songs on "Grains of Sand" are alike. Featuring the romantic acoustic pop of "Sunset to Sunset," the album explores the twisted complexities of acid jazz ("The Lithium Limbo") and symphonic explorations of instrumental music ("Turkish Tryst" and "The Last Grain of Sand"). Day even taps into contemporary dance beats with "Quinceañera Crush." But the surprise of the album is "Ghosts," a haunting bossa nova whose words were written by teenager Joe Herrera. The collaboration came when Herrera's middle school English teacher shared the boy's award-winning poem with musician Day.

Joining the project are longtime music buddy Ben Brooks on flute and jazz player Kevin Mahan on flugelhorn. Day performs and sings on all other tracks.

Over the years, Day has played guitar and piano in diverse musical situations. In the 1970s, he played keyboard in an R&B band called Torage that featured actor Michael Dorn on bass. He also played guitar in the dance band ensemble, Jesse James Church III and the Reverend Angels, which was the starting place for Mercy Powell of Mercy and the Merkettes. Later, he performed in several church bands, including the Kids Church band at Christian Assembly Church in Los Angeles, whose main worship band features the extraordinary gifts of Tommy Walker. Day is a member of the Glen Gang band in Pasadena with Brooks, Oskar Kirby and Rick Mapel. He also had two songs on the Dr. Demento syndicated radio show.

Peter Day is member of The Glen Gang

2008-09-08T19:21:00.000-07:00

Peter Day is a member of the Glen Gang, a Pasadena-based group whose nucleus is a foursome with four decades of musical partnership. Gathering in the "Rock Room" at the rustic home of Ben Brooks, other members include vocalist Oskar Kirby and guitarist/vocalist Rick Mapel.

Several others make key contributions to the group's eclectic sound. Notables, who have helped hone the Glen Gang's sound, include Martin Lovelace on drums, Rich Mangicaro on percussion, Craig Windsor on cajon, Terry Ripley on electric guitar, vocalists Emily Lanigan and Ben's wife, Clarissa, who lends her vocals for spoken word parts. Currently guitarist Steve Horan and bass player/vocalist Ross Harris are recording tracks in the Rock Room.

Peter is the Glen Gang's utility man, playing guitars and keyboards.

Peter Day Soundclick widget

2008-09-08T19:19:00.001-07:00

Now playing: Peter Day

Peter Day music sampler

2008-09-08T19:19:00.000-07:00

ALBUMS

Listen to "Day in a Labyrinth"

Other songs:

POP

The Siren Sings

JAZZ

The Lithium Limbo

ROCK

Gothic Love Thing

Queen of the East Parking Lot

I'm Not Clay

BALLAD

It Never Was

WORLD

Turkish Tryst

ON THE RADIO

Barb Stanton (AM-960) theme song

2005

The Ballad of Ernest Angeley

(The Dr. Demento Syndicated radio program, November, 1980)

Peter Day's Day in a Labyrinth

2008-09-08T19:16:00.000-07:00

"Day in a Labyrinth" is a collection of songs and instrumental sketches I recorded over a four-year period, from 2001 to 2005. The music was recorded at two home studios, one in Pasadena, the most recent in the High Desert. Various computer programs were used including Pro Tools Free, Ableton Live Lite, Audacity, MicroLogic AV and GarageBand, which is my current music program of choice.

All of the songs, except "It's The Weather," were written by myself. Claire Day McClung, my sister, wrote "Weather" when she was 14.

Instrumentation consists of keyboards, electric, acoustic and bass guitars and vocals. I play all of the instruments, with many sounds being generated by a MIDI keyboard. Very few "loops" were used. Drum patterns were programmed as live and real sounding as possible.

THE NAME "DAY IN A LABYRINTH"
Originally, I referred to the album as "Pieces of a Portrait," but I thought the name didn't have enough pizzazz. So I solicited a new name via email. The following are some nominees:
Everything In Between
Pisces Wild Ride
Four More Years
A Complicated Character
A Fractured Portrait
Portrait
Somewhere Between Genius and Schmaltz
Finally, Karen Lindsey came up with "Day in a Labyrinth."

THE SONGS

Cowboy Roy's Last Ride — One afternoon in July of 1998, I was driving from Apple Valley through Victorville to Wrightwood when I came across an unusual sight. It was the funeral procession of Roy Rogers, who had died days before, making its way to the museum in his name and that of his wife, Dale. It was a surprisingly awesome event, actually regal. A horse-drawn hearse carried his body. Afterward, I plunked out this instrumental on the piano.

It's The Weather — My sister, Claire, wrote this when she was about 14. Our father recorded "Claire Sings Claire," a collection of Claire's songs, when she was a freshman at San Marino High. This was always one of my favorites from that tape. I added an R&B feel and an instrumental bridge.

The Siren Sings — I was smitten by a girl in the Christian Singles community I was involved in at Christian Assembly Church in Eagle Rock. She and I talked on the phone and emailed each other, but it turns out I wasn't the only one…. Not only was she playing the field, but she seemed to have drinking problem. I'm glad my fantasy of hooking up with her wasn't actualized.

Barry White's Lost Track — I figure the late singer Barry White would have liked this. The idea is for the listener to take on White's persona with his soulful low voice and make up words to this track. Try it in the shower for starters. Musically, it was influenced by the great Fin Johnston, who is the master of the B-3 organ. The song is stream of consciousness; it wasn't thought out beforehand or mapped out.

Peter's Shuffle — This song probably more than any other shows off my instrumental skills. I'm playing jazz-rock guitar on my souped up red Fender Squier, bass on my black Fender Jazz, and organ on my XP-80.

The Ballad of Justin and Britney — The breakup of Justin Timberlake and Britney Spears was one of the big tragedies of our lifetime. It's the modern-day Elizabeth Taylor and Richard Burton — only worse. I envision Justin singing this in concert with the teenie boppers slowly waving their arms with cigarette lighters raised and lit. What a moment that would be! But of course like most of my songs, a part of my heart is in this song. The chorus "I send my love to you, I know your heart will hear" was written for a loved one in my past.

Psycho Groove — This is another stream-of-consciousness musical snippet. I especially like the funky clavinet. Move over, Stevie!

Twisted Blue — Ben Brooks wrote the chords and created the basic feel to this. I took it home and completely redid the tracks and wrote some words. "Twisted Blue" comes because this is a twisted 12-bar blues. I'm very pleased with the sonically twisted elements and techno dance groove.

Shuffling the Past — This was actually from a portion of my mammoth "Electric Eel Orchestra" composition I created in the 1970s. It was a jam with no edits. Very 1970s.

I'm Not Clay — It's true, "I want to be a special guy/one who stands high above the fray," but as the song continues, "I'm not clay/I'm not a play thing for you to push around." From my point of view I'm just saying, "Hey, sorry chick, you can't change me so don't bothering trying." But I can imagine the woman thinking, "What's this guy's trip?" Musically, this is probably the most complete production of the CD. It starts out with a Todd Rundgren piano feel but then morphs into a glorious rock thing. I especially like the bridge with slide guitar and strings. The ensuing guitar solo is the musical embodiment of my macho statement. An oboe just wouldn't fit.

Speechless — The first version of this song originally appeared on an album I did in the 1980s, but I forgot what I called it. This is one of my favorite instrumentals. It's a lot of fun to play. I used my GT-3 guitar effects processor to get some edgy sounds. The distorted octave thing almost sounds like Prince.

Techno Power Snippet — This just what it says, a techno power snippet.

Wishful Thinking — One day I was praying for something really special. I believed I was hearing what God was telling me. All I'll say is I got what I was praying for, so I guess it wasn't just wishful thinking. This production also features the CD's standard instrumental pallet — piano, bass, B-3 organ, electric guitar and clavinet. The bass track is especially interesting. It's a blend of real bass and a MIDI keyboard track using the Marcus Miller sound. Listen closely and you can hear it.

Never Was —A few years ago, I was hanging out with a woman that I worked with. Even though she completely wasn't my type, I developed feelings for her. Go figure. But it never was in the cards. I moved away, and that was that. The cello and violin arrangement was inspired by Tommy Walker's "What a Good God." The final sound of a piano damper lifting clunkily was borrowed from Ben Folds on a great William Shatner album, "Has Been."

2008-09-08T19:09:00.000-07:00

Peter Day's latest, "Grains of Sand," hits online stores.

Peter Day's Tug of War lyrics

2008-08-16T19:23:00.000-07:00

All songs written and performed by Peter Day. Peter plays piano, acoustic and electric guitars,bass and Yamaha PSR-500 keyboard.Recorded during 1999 on a Fostex XR-7 Multi-tracker 4-track cassette recorder at Peter's studios in Wrightwood and Monrovia.

HOW MANY TIMES?
Enough is enough. Or is it?
How many times can these words be spoken?
And how many times can my heart be broken?

JUST BEING WITH YOU
Being in love was so real to me. The realization for this song came while I was turning left onto Highway 395 from Phelan to Wrightwood.
You don't need to say a thing
You don't have to think of some sweet song to sing
Your kisses would be mighty nice
But sitting still will more than suffice

Just being near you is wonderful
Just being with you is perfect

You don't have to cook a meal
You don't have to concoct some great big fancy deal
Just holding you would soothe the soul
But I don't need that to make me feel whole

CHORUS

A TENDER MOMENT
Every night after I'd visit Traci, I would wish upon a star that God would "put us together in holy matrimony" as I drove down Apple Valley Road. Guess I'm still sorting that one out.
I wished upon a star
I wished that we were right where we are right now
Making promises and sharing our dreams

You are the perfect one
Your spirit shines through hot like the sun on me
And my heart beats only for you

A tender moment like this
The magic of our kiss
Is all because God's wonderful
Is all because God's beautiful
It's all because we seek God's way
That we're in love today

TRACI
"Traci" is my "Marlene," which Todd did in 1972

Traci, Traci
My thinking was so crazy
My view was sort of hazy
Then I looked at you

Traci, Traci
Of all that's in this city
No girl could be as pretty
No eyes as true blue

I know you think of me as just a friend
But I dream that someday a kiss you will send

Oh, Traci, Traci
I wonder if it could be
That you are falling for me
Like I am falling for you

THE WAITING IS HARD
I'm still waiting... and it's still hard.
A diamond glows under a clump of coal
But the waiting is hard

The healing starts after the hurting stops
But the waiting is hard
The waiting is so hard

I am patient in your spirit
I can hold on through this challenge
God is near me
Please, God, hear me

Love's so sweet after a lonely stretch
But the waiting is hard

And your eyes speak to my hoping heart
But the waiting is hard
The waiting is so hard

(chorus)

TILL YOU LEAVE
This is what happens when unconditional and conditional love collide.
Hold me till the morning
Hold me through the night
Tell me that you've loved me
Till you leave me here

Remember when we first talked
For hours on the phone
Knowing it would never end
Till you leave me here
Till you leave me here

I love you
I love you

Kiss me till the morning
Kiss me through the night
Tell me that you've loved me
Till you leave me here
Till you leave me here

PIANO FOR 4 HANDS
Traci and I regarded this as one of the best songs I'd written. The lyrics may be too private for everyone to understand. Our relationship blossomed in a prayer meeting that met every Wednesday night at her house, hence the "caressing our fingers" during prayer time.
A private melody only we could play
Sitting side by side with no words to say
Caressing our fingers and touching our soul
We belong to each other
Our song makes us whole

A piano for 4 hands playing one from the heart
Intertwining together till it's time to part
From start to finish till God says it's through
Thatís when the four hands become to parts of two

Measure after measure we repeat the tune
Wondering if our song was too much to soon
We keep on playing straight from the top
Creating fond memories till it all comes to a stop

(chorus)

BRIDGE:
That's when the melody plays so sad and slow
That's when the chorus refrains again and again
My love...
WHERE DOES LOVE GO?
I know where my love is. Right here in my heart.

Love goes
Love hides
Love goes
Love hides

Where does love go when the storm batters all your hope?

SEND ME A WIND
Kaitlin and I were struggling to row our rubber raft in Jackson Lake when I had the realization: Sailing on God's power is a lot easier than thrashing about on our own.
Send me a wind that blows me your way
Fill up my sail with power and grace
Move me with your wind

Straighten my path so I can sail free
Follow your star on a wide open sea
Move me with your wind

Yes, the Lord lights the way home
Yes, the Lord is the way

PLEASE REMAKE ME
One moment I realized I had made another person my god. It became crystal clear to me that I could never please my false god and that only the true living God could be my answer and salvation.
No one has the potter's hands
Like the one who's made it all
No one knows my hearts desire
Like the one who hears my call

No one can create in me
All the good things I'm called to be
No one can do those things
Except thee

Now I'm broken again
But I'm right where you want me
For your molding and shaping
A new life to begin

I am wounded and hurting
As I cry out your name
Lord, I'm ready
Lord, I'm willing
Please remake me

No one can put the joy in me
Like the one who knows all my pain
No one makes my life complete
Like the one whose sun dries my rain

No one gives the perfect gift
Like your heaven and eternity
No one can give those things
Except thee

(chorus)

BRIDGE:

There's a word I hear that's straight from your voice
It tells me that I have a choice
I can stand still
Or follow you
So I follow you

IN MY GRATITUDE
Tommy Walker asked me to perform this song at the 2000 Praise Party at CA. As I told him, I wasn't really sure what this song meant when I composed it. I felt kind of guilty singing it at first. Then I realized God was telling me that we're all supposed to follow Christ and be like him.
In my solitude I thank you
In my servitude I praise you
In my gratitude I'm yours completely

Yours concretely
Your salt
Your hope upon this earth

I'm your light that shines toward heaven
Your living flesh that aches for all mankind

In my solitude I know you
And in my servitude I love you
In my gratitude I'm yours
Completely yours
PRAISE THE LORD
This is my "I could have had a V-8" praise song. I finally realized that writing a praise song needn't be a chore. It's simple: It's all about praising God as sincerely as you can.

Praise you Lord
Yes, you are holy
I praise you Lord
The one true God

I praise your name
For what you have given
I praise you Lord
For everything
All good things

Youíve given us the earth
All good things
Youíve given us the stars
All good things
Youíve given us new hope
All good things
Youíve sacrificed your life

Praise you Lord
For your compassion
I praise you Lord
For saving me

I praise you Lord
For your sweet mercy
I praise you Lord
For everything
All good things

You've given me this life
All good things
You've given me your word
All good things
You've given me new hope
All good things
You've given me your life

All songs written by Peter Day
©2000 Peter E. Day

Peter Day's Domestic Policy album

2008-08-15T19:24:00.000-07:00

Ten years has created such a different emotional landscape for Peter Day. As his marriage unraveled during 1992 and 1993, Peter documented his divergent emotions and thoughts in song through the making of the 1993 album "Domestic Policy."

Perhaps because of the deep emotions associated with the songs, the album was given to only a handful of friends. Today, however, Peter has re-sequenced the album and packaged "Domestic Policy" for compact disc.

"I'm having a fun time listening to it," Peter says. "I hadn't heard it in years. A lot of the material really holds up well."
Due to a few off-color thematic concepts and a raunchy vignette on a hidden track, he warns that the CD comes with a parental advisory.

"Being a journalist by profession I generally don't believe in sugar-coating the truth," Peter says. "This is me, plain and simple. The lyrics shows a soul in pain, searching for truth and relief from relationship dysfunction."

The most provocative theme is a sarcastic look at waning marital sex in "If Not For AIDS." In the song Peter explores the idea of connecting with a handyman to make up for a lack of romantic interaction.
"Deadbeat Dad," which is a quirky blend of Prince and Stan Ridgway, voices the frustration and fear of losing one's family.

A fan of radio political commentator Rush Limbaugh, Peter sneaks in the political ditty "Winnie Mandela," which slams the iconic left.

The Prince-like hopeful "Gotta Have Faith" concludes the CD.

I gotta have faith to carry on
I gotta know what's right or wrong
I gotta have hope
Because I'm dangling from a rope that's far too long
I gotta have faith to hold on

"I hope my friends will enjoy this journey into my musical and emotional heart and soul. I think there's something for everyone on this CD. But beware, some of it is a little odd. But, hey, that's me, if you haven't noticed."

For more information,
email dreamgoeson@yahoo.com
©2003

XP-80

2008-06-01T15:31:00.000-07:00

This is a 76-note Roland XP-80 workstation in great condition. It's been used lightly in a home studio. It was not used for gigging. The XP-80 is highly regarded as a workstation and for its quality sounds.

A sustain pedal is not included, so the purchaser will need to buy one separately. Also, this unit has four expansion slots, but no expansion cards are included.

I only accept Paypal, and I will not ship outside of the U.S.

The following is from the Roland web site:

The 76-note XP-80 is an integrated workstation with 64-voice polyphony, 16-part multitimbral capabilities and Roland's acclaimed 32-bit RISC chip processor for integrated sequencing, arrangement and synth layering possibilities. Expansion slots accommodate any four of the SR-JV80-Series expansion boards simultaneously.

• Pro-quality 76-note weighted-action workstation keyboard, velocity/aftertouch-sensitive

• 64-voice polyphony, 16-part multitimbral capabilities

• 8 MB of internal waveform memory; 40 MB and more than 1,500 Patches when fully expanded

• Accommodates up to four SR-JV80-Series expansion boards simultaneously

• 16-track MRC-Pro sequencer with direct-from-disk playback

• New sequencer functions like "non-stop" loop recording for added ease

• Huge 320x80 full-dot backlit LCD for instant verification of all parameters

• Onboard sequencer memory: 100 patterns, one song, 60,000 notes

• Advanced arpeggiator including MIDI sync and guitar strum mode

• Realtime Phrase Sequence (RPS) for on-the-fly triggering

• 42 insert effects: reverb, chorus, delay, ring modulation, distortion, etc.

• Two pairs of independent stereo outputs

• Quick Palette with four assignable sliders; Click out with volume knob

• Collection of dedicated function buttons for increased operational ease

Meet Claire and Charlie

2008-05-15T07:38:00.000-07:00

CLAIRE AND CHARLIE POSTS

Meet Rococo

2008-05-14T22:06:00.000-07:00

ROCOCO POSTS

Meet Flight

2008-05-14T22:05:00.000-07:00

FLIGHT: From left (kneeling) guitarist Pete Day, guitarist and vocalist Rick Mapel, (back row) flutist Ben Brooks and drummer Rick Brownell. Not pictured: bassist Bill Thompson.

Flight was a late-1970s, Pasadena-based group with jazz, rock, folk and R&B roots. The group consisted of Ben Brooks on flute, Rick Mapel on guitar and vocals, Rick Brownell on drums, Peter Day on guitar and Bill Thompson on bass.

FLIGHT POSTS

Meet Steve Horan

2008-05-14T20:01:00.000-07:00

Steve Horan grew up near Asbury Park, the Jersey Shore city where Bruce Springsteen forged a following in the early 1970s. Later, Horan played guitar in high school bands after the family moved to Vermont.

During the early 1980s, after Horan moved to California, he joined the New Wave band The Frigid Heirs, which featured the dramatic rock vocal stylings of front man Oskar "Ned" Kirby (a.k.a. Scott Kirby and Oskar Scott). During their tenure, the Frigid Heirs opened for punk luminaries X and Black Flag.

In the late 80s, Horan played lead guitar in the Inland Empire sensation, the Street Hearts. After that he retired to pursue domestic bliss.

But in 2001 the creative juices began to flow and Horan started recording solo CDs at his Orange County home. After the first two CDs, "Mi Mi Mi" and "Sing Sing," he began inviting other singers and musicians to join his projects. Three releases followed on Slo-Town records and tapes: "The Fall Collection," "THE MAGNIFICENT StEVEN," and "Volker Mastdarm's Wunderbar Lounge."

DEATH IS DEPRESSING

From Steve Horan's "Volker Mastdarm's Wunderbar Lounge" album

featuring the vocals of Scott Kirby, songwriter

STEVE HORAN POSTS

Meet Scott Kirby

2008-05-14T19:59:00.000-07:00

SCOTT KIRBY POSTS

Meet Peter Day

2008-05-14T19:58:00.000-07:00

Listen to Peter Day's "Pieces of a Portrait" album

Peter Day is a musical renaissance man a la longtime hero Todd Rundgren. Day plays, composes, arranges and produces most of the tracks on his records. Mostly known as a jazz-rock electric guitarist or keyboardist with a mixture of funky and ballad stylings, he also plays bass (Victor Wooten is his current favorite) and dabbles on drums. In addition, Day received a few pointers on orchestration while assisting on a record under brilliant composer/producer/director Mark Edward Lewis.

One of Day's first albums, "Too Nude To Think," a collaboration with Brazilian music expert J. C. "Chris" McGowan, was recorded in 1979 by Robert Soelberg in Soelberg's Malibu-area Zenith Point recording studio. Composer Soelberg records aural landscapes using hypnotic loops and ethereal textures. Also in the late 1970s, Day played keyboard in the R&B group Torage, which featured Star Trek actor Michael Dorn ("Worf") on bass and vocals. He also took one guitar lesson from Stan Ridgway before Ridgway's Wall of Voodoo success. During college, Day and his cousin, Bob Day, formed the duo, Twoday.

Around 1980, Day teamed up with Mercy Powell to form a duo performing original songs. Powell, who has been a queen of the Doo-Dah Parade in Pasadena, is the leader of Mercy and the Merkettes.

Two of Day's recordings, "The Ballad of Ernest Angely" and "Giant Munchkin Dwarf," were played on the syndicated Dr. Demento radio program. The latter was performed by the L.A.-based Rococo progressive rock band featuring San Francisco jazz singer/guitarist Rick Mapel, Oregon drummer Rich Brownell and L.A. bassist/vocalist Brian Brady.

Besides being a member of the Glen Gang, Day's recent musical projects have included a duo with jazz-soul singer Tina Mosley.

Day has also written jingles for small-market TV and Radio. In recent years, his "She Talks The Talk" was featured on former Clear Channel radio host Barb Stanton's radio show.

PETER DAY POSTS

Meet Ben Brooks

2008-05-14T19:57:00.000-07:00

Ben Brooks has the best of both worlds. Music is both his passion, which he pursues while recording solo and group projects in his Rock Room studio, and his day job. As a radio promotion man, Ben has worked numerous songs that have rocketed to the top of the charts.

After graduating from the University of Denver with a degree in Mass Communications (and a minor in Philosophy, which has helped him to keep life's ups and downs in perspective), his progressive rock group, Tara, opened for the legendary B.B. King in the 1970s.

Later, he co-founded a company that produced demos for aspiring songwriters. One artist whose songs he helped produce was Diane Warren who later became one of the most successful songwriters of the last three decades. Ben's entrepreneur spirit also helped him as a publisher, a role that landed song placements with R&B jazz duo George Duke/Stanley Clarke and folk crooner Roger Whittaker.

Meanwhile Ben was developing a music journalism career, writing for Billboard HITS, Music Connection and serving as music editor for the Pasadena Star-News daily newspaper.

His Top 40 promotion began in the early 1980s when Ben connected with the Dudley-Gorov Organization. He helped promote the likes of Prince, Chaka Kahn, Kool & The Gang, Dream Academy, Gap Band, Los Lobos and Laura Branigan to success.

In 1987, he explored other musical genres as a Enigma Records head of Top 40 promotion. Ben successfully broke Stryper, Poison, the Smithereens and more.

Then in the early 1990s, he was hired by the Walt Disney Company to launch Hollywood Records, breaking hits for music's most recognizable acts, Queen, Elton John, Rod Stewart, Sting, Vanessa Williams and others.

In 1996, Ben joined Trauma Records, doing multi-format promotion and breaking No Doubt and NBA basketball star Shaquille O'Neal.

In 1998, Ben decided to form his own music marketing company, Brooks Marketing. Working for small and large record labels, his fingerprints are over many hits. A sampling includes Sixpence None the Richer, David Gray, Norah Jones, Maroon 5, Alicia Keys, Evanescene, Ray Charles, KT Tunstall, Daughtry, Amy Winehouse, Kelly Clarkson and more.

In the mid-2000s, Ben added a new venture, RadioInformer, which compiles, produces and ships audio CD samplers in DVD boxes, with recording artist advertising on front and back, to radio programmers.

When he finds time to pursue his own musical creations, Ben produces and records The Glen Gang, an eclectic group consisting of friends who have made music since they were teenagers.

BEN BROOKS POSTS

Meet Kevin Mahan

2008-05-12T21:07:00.000-07:00

Kevin Mahan learned trumpet in 4th grade in Palo Alto. After the family moved to San Marino, he picked up guitar while at Huntington Junior High School. There, Kevin formed the Czars with Ben Brooks, Bobby Peterson and George Santoro and learned how to play all the surf songs "I've not been able to wipe out of my mind."

When he got to high school, he played in the SMHS band under the great suicider Glen Stuart, picking up the baritone horn.

He also sang in church choirs at St. Edmund's Episcopal Church, just a stone's throw away from Woody & Eddy's restaurant and cocktail lounge.

Kevin won a sax in a bet in college and worked on that for many years, playing in bands all through college, most notably with the great R-Brow in the band Sons of Grease.

He's alway been around recorders going back to a two-inch reel-to-reel deck at age 10.

He picked up pedal steel guitar in 2003 and has played in some country bands and The Midnight Boys, a rockabilly band.

For Kevin, writing music is a passion — when it shows up.

KEVIN MAHAN POSTS

Claire and Charlie's "Soul in the House" recordings

2008-02-08T14:25:00.000-08:00

Soul in the House

Peter Day's Day in a Labyrinth

2007-07-02T19:25:00.000-07:00

Everything In Between
Pisces Wild Ride
Four More Years
A Complicated Character
A Fractured Portrait
Portrait
Somewhere Between Genius and Schmaltz

Finally, Karen Lindsey came up with "Day in a Labyrinth."

THE SONGS

Cowboy Roy's Last Ride — One afternoon in July of 1998, I was driving from Apple Valley through Victorville to Wrightwood when I came across an unusual sight. It was the funeral procession of Roy Rogers, who had died days before, making its way to the museum in his name and that of his wife, Dale. It was a surprisingly awesome event, actually regal. A horse-drawn hearse carried his body. Afterward, I plunked out this instrumental on the piano.

It's The Weather — My sister, Claire, wrote this when she was about 14. Our father recorded "Claire Sings Claire," a collection of Claire's songs, when she was a freshman at San Marino High. This was always one of my favorites from that tape. I added an R&B feel and an instrumental bridge.

The Siren Sings — I was smitten by a girl in the Christian Singles community I was involved in at Christian Assembly Church in Eagle Rock. She and I talked on the phone and emailed each other, but it turns out I wasn't the only one…. Not only was she playing the field, but she seemed to have drinking problem. I'm glad my fantasy of hooking up with her wasn't actualized.

Barry White's Lost Track — I figure the late singer Barry White would have liked this. The idea is for the listener to take on White's persona with his soulful low voice and make up words to this track. Try it in the shower for starters. Musically, it was influenced by the great Fin Johnston, who is the master of the B-3 organ. The song is stream of consciousness; it wasn't thought out beforehand or mapped out.

Peter's Shuffle — This song probably more than any other shows off my instrumental skills. I'm playing jazz-rock guitar on my souped up red Fender Squier, bass on my black Fender Jazz, and organ on my XP-80.

The Ballad of Justin and Britney — The breakup of Justin Timberlake and Britney Spears was one of the big tragedies of our lifetime. It's the modern-day Elizabeth Taylor and Richard Burton — only worse. I envision Justin singing this in concert with the teenie boppers slowly waving their arms with cigarette lighters raised and lit. What a moment that would be! But of course like most of my songs, a part of my heart is in this song. The chorus "I send my love to you, I know your heart will hear" was written for a loved one in my past.

Psycho Groove — This is another stream-of-consciousness musical snippet. I especially like the funky clavinet. Move over, Stevie!

Twisted Blue — Ben Brooks wrote the chords and created the basic feel to this. I took it home and completely redid the tracks and wrote some words. "Twisted Blue" comes because this is a twisted 12-bar blues. I'm very pleased with the sonically twisted elements and techno dance groove.

Shuffling the Past — This was actually from a portion of my mammoth "Electric Eel Orchestra" composition I created in the 1970s. It was a jam with no edits. Very 1970s.

I'm Not Clay — It's true, "I want to be a special guy/one who stands high above the fray," but as the song continues, "I'm not clay/I'm not a play thing for you to push around." From my point of view I'm just saying, "Hey, sorry chick, you can't change me so don't bothering trying." But I can imagine the woman thinking, "What's this guy's trip?" Musically, this is probably the most complete production of the CD. It starts out with a Todd Rundgren piano feel but then morphs into a glorious rock thing. I especially like the bridge with slide guitar and strings. The ensuing guitar solo is the musical embodiment of my macho statement. An oboe just wouldn't fit.

Speechless — The first version of this song originally appeared on an album I did in the 1980s, but I forgot what I called it. This is one of my favorite instrumentals. It's a lot of fun to play. I used my GT-3 guitar effects processor to get some edgy sounds. The distorted octave thing almost sounds like Prince.

Techno Power Snippet — This just what it says, a techno power snippet.

Wishful Thinking — One day I was praying for something really special. I believed I was hearing what God was telling me. All I'll say is I got what I was praying for, so I guess it wasn't just wishful thinking. This production also features the CD's standard instrumental pallet — piano, bass, B-3 organ, electric guitar and clavinet. The bass track is especially interesting. It's a blend of real bass and a MIDI keyboard track using the Marcus Miller sound. Listen closely and you can hear it.

Never Was —A few years ago, I was hanging out with a woman that I worked with. Even though she completely wasn't my type, I developed feelings for her. Go figure. But it never was in the cards. I moved away, and that was that. The cello and violin arrangement was inspired by Tommy Walker's "What a Good God." The final sound of a piano damper lifting clunkily was borrowed from Ben Folds on a great William Shatner album, "Has Been."

Peter Day's studio gear

2007-07-01T19:26:00.000-07:00

Here is my studio gear:
Mac G5 tower 2 GB RAM
Edirol MA-10D studio monitors
AKG K101 stereo headphones
Lexicon Alpha two-channel USB audio interface
M-Audio Audio Buddy two-channel microphone preamp
CAD M179 condenser microphone
Electro-Voice PL76B handheld condenser microphone
Naiant MSH-1 omnidirectional matching pair microphones
Behringer C-2 small diaphragm matching pair condenser microphones
Infinity SL-10 bookshelf speakers

Old Code

2007-06-05T14:12:00.000-07:00

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RAVINGS OF THE NEWS

Instrumental by Bob Day

A few album links

2006-07-03T19:28:00.000-07:00

Return to Hollowgrove (1982) - Bobby Day

Day in a Labyrinth (2004) - Peter Day

Songs from the Rock Room (2004) - The Glen Gang

Soul in the House (2002) - Claire and Charlie

Meet Bob Day

2006-07-02T19:28:00.000-07:00

Listen to Bob Day's "Hollowgrove" album

Bob Day began his musical journey in the mid-1960s in the wake of the "British invasion." He played drums while a member of his first band, the Windsor Squares, a midtown Los Angeles garage band that performed the songs of the day including tunes from the Beatles, Rolling Stones, and later, Grand Funk Railroad.

At the same time, his cousin Peter Day was honing his guitar skills in a Pasadena band. When the two were in junior high Bob and Peter formed The Rough Cousins, whose signature song was a decidedly adolescent version of Steppenwolf's "Born To Be Wild."

While hanging out at his cousin's house, Bob's Uncle Larry taught him chords on the guitar. Toward the end of high school, Peter joined Bob's new band, Bra Gra Da Da, which featured Brian Brady on bass and vocals, Cary Gray on vocals and guitar, Bob on drums and Peter on guitar.

Besides learning guitar, Bob expanded his musical abilities by getting a Gemeinhardt flute after hearing Jethro Tull hit the airwaves. In the fall of 1973, Bob and Peter rented a duplex a block away from the beach for $250 a month in Del Mar. Of course Peter's Guild Starfire guitar and his Bob's black Ludwig drum set were living room centerpieces. But they also experimented with acoustic music and formed a duo, 2Day.

Peter got a headstart writing songs, probably because his younger sister Claire started so early, at the age of 11. But Bob wasn't far behind. Once he began writing songs during those college days, he was a natural. "Wait In The Garden" was a huge hit among family and friends.

Eventually, Bob recorded several albums on a Teac 3340S four-track reel-to-reel in Brian Brady's above-the-garage studio. Of his albums, "Return to Hollowgrove" is one of his most popular.

What is most amazing about "Return to Hollowgrove" — and all of Bobby's albums — is he plays all of the instruments. On this album, he plays acoustic and electric guitars, bass guitar, keyboards, flute, sax, trumpet, penny whistle and more. On top of that, he adds harmonies to his lead vocals, all on a four-track recorder.

Recently Bob Day's music has accompanied cooking videos by Sonia & Barrow.

BOB DAY POSTS

Peter Day discography

2006-04-15T19:31:00.000-07:00

SOLO CDs

Grains of Sand (2008)
Pieces of a Portrait a.k.a. Day in a Labyrinth (2004)

Kids Church Bible Song Demos (2001)

Tug of War of God and Woman (2000)
Domestic Policy (1993)
Private World (1987)
Dream Goes On Forever (1986)
My Lost Identity (1984)
Can't Hide (1982)
The March Songs (1981)
Double Star (1981)
(collaboration with lyricist J.C. McGowan)
Too Nude to Think (1978)
(collaboration with lyricist J.C. McGowan)
Top Secret (1977)
Petra and the Martian Army Ants (1975)

CDs PRODUCED BY PETER DAY

2002 - Christmas in Triple Time, jazz featuring Tina Mosley and Moondance

Day Family Christmas
Mercy and Peter

FEATURED ON

Glen Gang "Again" (2007)
The Glen Gang (2004)

JINGLES

Barb Stanton theme song
Pepe Pollo

ON THE RADIO

The Ballad of Ernest Angely
Giant Munchkin Dwarf
Christmas in Victorville

Peter Day Discography

2001 - Kids Church CD, original scripture songs produced by Mark Edward Lewis

More of what's going on in Peter Day's studio

2006-04-15T19:29:00.000-07:00

Hear what's going on inside my studio.

May 12, 2006

I Think You Knew

Last weekend I was plucking the guitar while watching TV and came up with a little atmospheric tune. Within minutes I fired up the GarageBand, set up the microphone and recorded. I added a one-take piano part and then a string track. The result is a pleasant song I call "I Think You Knew."

May 11, 2006

Gothic Love Thing

OK, this is freakin' weird. A few days ago I came up with a weird riff -- E minor with a Maj. 7th in it -- that sounded perfect for Oskar Ned Kirby. I intended to create a simple acoustic guitar demo so he could come up with the words. The next thing I knew I had created this entire gothic, monstrous production. This most recent version has crows panned from right to left, some voice fixes and more expansive electric guitar eq.

April 2006

Last Chance (orchestral additions)

Oskar Ned Kirby's friend Steve Horan has a nifty CD entitled "The Fall Collection." It's really a great, little album full of 13 songs, many of which sound very Elvis Costello. One of my favorites is the meloncholy "Last Chance," featuring Steve's friend Mike Milliner on lead vocals and Charles Wiley on drums. For fun, I decided to give my new GarageBand Jam Pack -- the orchestral one -- a whirl. I really had a fun time creating orchestration to Steve's song. I know strings don't fit the alternative punk ethic, but I hope Steve doesn't mind.

March 2006

The Lithium Limbo

OK. This is definitely one of the weirdest things I've every recorded. Not too long ago I bought a beautiful — yet very inexpensive — Essex fretless bass guitar. One afternoon a musician buddy from Sunland Neighborhood Church, Charly Calicott, who now lives in Victorville, set up the bass. Later on I added roundwound Rotosound strings, like Jaco used. The next week I was jamming on it and came up with a very strange riff. So I revved up the G5 and GarageBand and got working. It's an odd samba rhythm. Initially I called it "Psycho Samba" but later changed it to "The Lithium Limbo." I emailed my music buddy Kevin Mahan, who sent me a great fluegelhorn track. The middle-section solo, by the way, is my Essex fretless through an everything-on-it GarageBand distortion patch. I don't think I've heard of another over-the-top fretless solo like this.

November 2005

Queen of the East Parking Lot

The extensive Queen of the East Parking Lot blog entry

Summer 2005

Fun in the Sandlot

I created this three-song medley as a sort of Peter Day Music sampler. This is an example of the fine work available at Peter Day Music, blah, blah. Actually, I should probably have a voiceover saying that. Robert Soelberg showed me how to meld the three songs together.

Summer 2005

Turkish Tryst

This is another oddity that came about as a test for some soundfonts I discovered for my computer recording rig. The most prominent sounds are a massive drum set, solo violin, huge piano strike and soprano sax. Kevin is not fond of the sax sound, but I think it's neat. I enjoyed playing it with its swelling vibrato.

Comments

Code from Beau - open new page

2005-06-16T13:05:00.000-07:00

Listen to Guillermo Guzman's MySpace music

Musicians

2004-09-08T19:17:00.000-07:00

RICHARD MAPEL

Rick is a one-of-a-kind artist, musician and conversationalist.

ROBERT SOELBERG

Robert and I go way back, all the way to junior high school in the mid-1960s. Robert fuses intellect — he received his juris doctorate from Pepperdine University — with a unique perspective. His passion also is his art and photography, but I'm partial to his music productions on GarageBand and Logic Studio.

BOB DAY

Bob is my cousin and my oldest friend. In the 1960s we each had neighborhood garage bands. Later, when psychedelia hit America, we formed the Rough Cousins with Bob playing drums and me on guitar. He picked up the flute during his late teens, and we formed the acoustic duo TwoDay. In the late 1970s, Bob showed his immense multi-instrumentalist abilities when he recorded a series of albums.