CDII LINER NOTES

RMMGA CD Vol. 2 - Track Liner Notes

(listed alphabetically by artist's surname/band name)

Page 1: A - D     Page 2: E - L    Page 3: M - R    Page 4: S - Z

All notes, lyrics, etc. are copyrighted by their respective owners; reprinted here with permission.

Mike Salmon

The Farthest Shore (Mike Salmon) - [disc 1, track 17]

This piece is dedicated to Margaret Salmon, 11th Nov 1917 - 6th May 2000. Life seems a little strange without your mother.

George Seifert

1) Impending Doom (George Seifert) - [disc 1, track 5]

2) Let It Go (George Seifert) - [disc 4, track 12]

Jeff Sherman

1) Across the Great Divide (Kate Wolf) - [disc 3, track 14]

The first time I heard Nanci Griffith's recording of this Kate Wolf song I loved it. I just happened to be learning it around the time CD2 was being planned -- sort of an experiment in overdubbing with my Tacoma JK50CE4.

2) I Only Want to Be With You (Mike Hawker / Ivor Raymonde) - [disc 5, track 21]

After 3 weeks and 500 overdubs on my other submission I thought I'd try to do something a little more straightforward with this one. I'd forgotten all about the tune until I heard Vonda Shepard do a sort of a soulful version of it. Pure nostalgia and maybe a little cornball but I like the tune.

John Sorell

1) If I Only Had A Brain (E.Y. Harburg / Harold Arlen, arr. Earl Klugh) - [disc 4, track 6]

	Collings OM-3K, Sitka top, flamed koa back and sides
	Elixir light gauge strings
	2 Neumann K184 microphones
	SeaSound Solo digital/analog converter
	Cakewalk Guitar Studio 2
	Pentium III computer
	Standard tuning

2) Snowy Morning Blues (James P. Johnson / Perry Bradford, arr. Guy Van Duser) - [disc 6, track 13]

	McCollum Grand Auditorium, cedar top, flamed koa back and sides
	Thomastik-Infeld Spectrum Bronze strings, medium/light gauge
	2 Neumann K184 microphones
	SeaSound Solo digital/analog converter
	Cakewalk Guitar Studio 2
	Pentium III computer
	Drop-D tuning

Al Sterling

(Bedford, NH)

Memories Fade (Al Sterling) - [disc 1, track 10]

	Guitars: Larrivee C-05 (1999), Taylor 555 12-string (1996)
	Strings: Larrivee: Martin acoustic SP 80/20 bronze custom Light; Taylor: Martin Marquis acoustic bronze 12-string extra light (M1600)
	Capture: Shure BG 4.1 condenser microphone, Fishman Natural I (saddle pickup) with Fishman Pro-EQ pre-amp
	Recording: Fostex FD-4 to SCSI ORB Drive - mixdown through optical to SoundBlaster Live PC Card to .wav format
	Tuning: standard (capo at 4th fret)

This is the 1st song I ever wrote - it contains thoughts and images about making life count now while alive and leaving behind lasting (good) memories for those that are close to you as they carry on without you. The opening verse is from New Hampshire winter walks in the woods with my little boy (always full of questions).

Chris Stern

From Yorkshire, England living in the US since 1997. Singing and playing since 1965 (gulp!).

The tracks were recorded at Jamie DeFrates' studio in Jacksonville, Florida in June 2000. Jamie works extensively and very successfully in the TV and radio advertising field. His studio is located at a Jacksonville TV station and though small is amazingly well equipped. We recorded to hard disc. The recordings are all "live." Although I have L. R. Baggs LB6X pickups in both Olsons, we used only a studio microphone on the guitar albeit one of extremely high quality. Standard tuning on all tracks.

1) It Don't Bring You (Mary Chapin Carpenter) - [disc 3, track 2]

Truly great song.

'94 non-cutaway rosewood/cedar Olson SJ is the guitar. John Pearse phosphor bronze light gauge strings.

2) Sally's Theme (Chris Stern) - [disc 5, track 14]

Copyright © 1995 Chris Stern.

It's the rosewood/cedar Olson SJ again.

This little instrumental just arrived one day and I never really took it seriously until a friend asked me to play it at a gig a few years ago. I had no middle 8 at the time so just made it up as I played and I've done the same with that bit ever since.

I had no title and decided to dedicate the song to my friend Sally Johnson who was a painter who happened to have Down's syndrome. She loved my music and I loved her pictures. The mood of the piece makes me think of Sally sitting at her easel in the beautiful Yorkshire countryside where she lived. Sadly, Sally passed away a couple of months ago aged 26 and never heard her tune, but I'm sure she'll be up there somewhere painting and listening. She raised thousands of pounds for the Down's Syndrome Association selling her (extremely good) paintings.

3) Just a Mystery to Me (Chris Stern) - [disc 6, track 9]

Copyright © 1989 Chris Stern.

I was watching England play soccer very badly one evening on TV and one of the commentators said, "The way England are playing is just a mystery to me." A good line for a song, I thought.

'96 cutaway Olson rosewood/Engelmann spruce dreadnought on this one. John Pearse medium gauge phosphor bronze strings.

Dick Thaxter

1) Breezin' (Dick Thaxter) - [disc 6, track 4]

Technical info:

	Guitars: Collings C100 (two tracks -- one fingerstyle, one lead); Flinthill resonator; Hamer USA Cruise electric bass.
	Strings: D'Addario P/B bluegrass set, John Pearse P/B resonator strings.
	Sound: Collings used dual source Fishman/Crown mic into Raven Labs Master Blender (couldn't get a good sound with external mics). Resonator recorded with McIntyre pickup, MXR Dynacomp pedal, Raven Labs blender. Electric bass plugged straight into Raven Labs. Recorded direct to PC using Maxi Studio ISIS card, Cool Edit 2000 software.
	Tunings: Collings was in open D (DADF#AD) for both tracks. Reso in open G.

This is a song I wrote this spring and have wanted to write lyrics, but have been unsuccessful. One of these days...

2) TPOS Blues (Dick Thaxter) - [disc 4, track 1]

Technical info:

	Guitars: Collings C100, Flinthill resonator.
	Strings: John Pearse P/B lights, John Pearse P/B resonator set.
	Sound: Collings was recorded using Fishman/Crown mic dual source into Raven Labs Master Blender; reso recorded with MXR Dynacomp pedal and Raven Labs Master Blender. Recorded direct to PC using Maxi Studio ISIS card and Cool Edit 2000. Vocal used Sennheiser E835 mic and Soundcraft mixer.
	Tuning: CGDGBE for guitar, open G for reso.

The inspiration for this song is owed jointly to P. Debs, N. Draper, and M. Baglio. Even though Norman will tell you accurately that he actually shouted "No-Tone P.O.S." to Baglio, history has corrected this to T.P.O.S.

Greg Thomas

1) Both Sides Now (Joni Mitchell) - [disc 1, track 6]

Performed by Greg Thomas.

A Randy Scruggs arrangement, played in open G, on a Larrivee OM-02. Sorry for the string squeaks!

2) Last Thing on My Mind (Tom Paxton) - [disc 4, track 13]

Performed by the Greg Thomas Brothers.

All instruments and vocals are by me. An old Tom Paxton song that I really like, a pretty plain arrangement. I had been fooling around with the tenor guitar a lot, and it seemed to fit.

	Fingerstyle guitar: Martin OM28V
	Rhythm guitar: Taylor 410
	Lead guitar: 1930 Martin 017T tenor guitar
	Mandolin: 1979 Epiphone MM70 F style
	Fender bass

John Thomas

Stompin' on the Tappahannock (John Thomas) - [disc 2, track 21]

Technical info:

	Guitar: Flammang KP40 (koa parlor, style 40).
	Strings: D'Addario phosphor bronze extra light.
	Sonic capture devices: Solo fingerstyle, recorded in stereo with AKG C414 and
	Neumann U87 microphones, split right and left.
	Sonic recording device: ADAT XT.
	Tuning used: dropped D.

Esoteric stuff:

I recorded this at Hayloft Records in Milford, CT ( www.hayloftrecords.com ) for an upcoming CD tribute to David Flammang's guitars. It's what I call my "general, all purpose, east coast-style warm up tune." I stole it from Stefan Grossman (who stole it from Willie Walker) and I added some Blind Blake-style licks to the second section. It's very simple, and although it was my warm-up for the session, the producer Michael Branden chose it to show off the guitar's tone.

Robin Thomas

Both songs written by Robin Thomas, produced by Doug Gardner. Copyright 2000 Robin D. Thomas (both pieces).

Equipment: Guild F30R in standard tuning recorded by a Carvin mic into a 4-track (Yamaha) minidisc. For the second piece, a Kyser capo on the third fret.

1) The Gathering (Robin Thomas) - [disc 3, track 9]

A slower and somewhat less ornate version of this piece was the first thing I played at the open mic at EC I. Not having a name for it, as is the case with many of my tunes, Norm Draper suggested "The Gathering." So here it is.

2) One Happy Little Ditty (Robin Thomas) - [disc 5, track 17]

After I played this piece some time ago in the living room, Doug said, "well there's one happy little ditty."

Gary Trend

1) The Gasman Cometh (Flanders / Swann) - [disc 5, track 12]

Chosen for the perverse delight to be derived from the song. A wonderfully simple piece to play.

Guitar was a Seagull SM6, recorded in one pass, using a pair of Behringer dynamic mics plugged into two channels of a Roland VS-880EX. A little reverb was added.

2) My Lady's a Wild Flyin' Dove (Tom Paxton) - [disc 1, track 19]

This shows up my limited fingerpicking technique wonderfully. One day I'll learn another arpeggio and really scare myself. I like all Tom Paxton's music so choosing just one song was difficult. Same setup as before. This one's for Liz; without her there would be no point to the music.

UK3 Belper Folk Club

Goodnight Irene (Huddie Ledbetter) - [disc 2, track 1]

Recorded in a live session at the RMMGA UK3 Gathering in Belper, Derbyshire, England, on Sunday, April 16, 2000, with a cast of thousands. Lots of guitars. One acoustic bass. One banjo. The original recording was made on a Sharp portable minidisc recorder. The sound was tweaked a bit on a Roland VS880-EX recorder.

We were going to try for a second take, but dinner was served immediately after the first one, and the performers were more dedicated to eating than to creating a masterpiece. So was I.

Jan Vail & Ron Atchison

1) Waning Moon (Jan Vail / Ron Atchison) - [disc 4, track 10]

Technical info:

	Guitars: Jan Vail - Martin 00-21 (1975), Ron Atchison - Martin D-18 (1940)
	Strings: Jan - Elixir light gauge; Ron - ??
	Sonic capture devices: Shure SM-58 for vocals through Mixman 10 channel mixer into Macintosh 8500. Guitars plugged directly into the mixer. Jan's guitar has a Dean Markley under-saddle pickup. Ron's guitar has a Highlander pickup.
	Sonic recording devices: Deck 2 for recording and mixing within Macintosh 8500.

Esoteric stuff:

The first lyrics of this song came to me as I was driving to work, watching the sun come up in a smokey sky. I had to fish around for something to write with, and drive at the same time. Good thing I was able to read my writing. The rest of the lyrics came in dribbles and drabs. Once I had a verse or two, I brought them to Ron, who came up with the gorgeous guitar lines.

Of all the songs I have written (5), "Waning Moon" is my favorite. I love to play it. I love to sing it. I like the twist it takes from negative to positive. --Jan

2) This Path I Travel (Jan Vail / Ron Atchison) - [disc 6, track 18]

Technical data the same as "Waning Moon," except the computer was a 9600 Macintosh, and the vocal mic was a Beyer.

Esoteric stuff:

"This Path I Travel" was written through me. I was writing in my journal one morning, and thinking about my life and topics that could be used for songs, when it just started flowing from my pen. I wrote the whole song right then, and just made a few minor modifications. I then took it to Ron, and the two of us came up with chords and a melody.

This is the only song of mine to be recorded by another person and put on her CD. --Jan

Robert Van Niel

Ode To A Pelican (Robert Van Niel) - [disc 3, track 7]

Copyright © 2000 Robert H. Van Niel.

When I first started playing guitar, I began writing this tune and 20 or so years later I decided to finish it! It was originally titled "C Key Glider" (you know, like "CC Rider") and then, off the top of my head, I came up with the new title and it stuck. Also, it was originally just an open position chord progression, then the rhythm track (capo V fret) and the lead and harmonized lead fills were added.

Hometown: Westlake, Ohio. Guitars: Lakewood M54 and Taylor 914C; standard tuning and Shubb capo V fret. Strings: Martin SP light gauge (both guitars). DiMarzio Acoustic Reference Pickup (soundhole) through Alesis Quadraverb GT processor into Dell XPS R450 computer with Turtle Beach Montego II soundcard running Cakewalk Guitar Tracks.

Tim Wampler

1) Stone Whisper (Tim Wampler) - [disc 1, track 8]

Tuning - CGCGCEb

Al Petteway's "Whispering Stones" CD was one of the very first fingerstyle guitar CDs I heard, it changed the music forever, thanks Al...

The first part of the song, before the harmonics, is my interpretation of Al Petteway's "Whispering Stones." The rest is my first attempt at a fingerstyle piece in this tuning.

2) Rain Comes Again (Tim Wampler) - [disc 4, track 14]

	Tunings: Fingerstyle guitar part - DADGBD with a partial capo on second fret with 3-4-5-6 strings capoed and 1-2 strings open. Rhythm guitar part - EADGBD.
	Lead vocals: Tim Wampler
	Harmony vocals: Melissa Johnson
	Fingerstyle guitar: Tim Wampler
	Rhythm guitar: Jeff Adkins
	Bass: Rick Adkins
	Recorded live at Woodsong Studio (my garage apartment) in 1997.
	2 vocals, 2 guitars, and a bass on a 4-track Tascam.
	I played guitar and did the recording at the same time.

We all got together on a Saturday morning, practiced for about an hour, then turned the recorder on. I later fixed some minor problems with Sound Forge and remixed the song.

Thanks to all my friends and family...

J. Y. Whang

1) Love Like Laughter (Beth Orton / Ted Barnes) - [disc 3, track 5]

	Recorded in September 1999, via Tascam 414. Mics: Shure BG2.0 and Sennheiser e835.
	Digitized using Syntrillium Cool Edit and Xing AudioCatalyst.
	Tuning: standard (but capo II for the rhythm guitar part).
	I used a National thumb pick for either one or both guitar parts; can't remember.

When I first heard Beth Orton's album version of this song, it wouldn't let me go. I ended up listening to it as much as I could, just so I could learn to play it. I've grown to really like the song -- it's an engaging piece to both play and sing, although my voice can't compare with Orton's strong, wonderfully distinct voice...

Thanks to family members, friends and teachers who encouraged me to keep playing guitar. --Jennifer

2) Eye of the Hurricane (David Wilcox) - [disc 5, track 16]

	Recorded in July 2000, via Tascam 414, Shure SM57 mic, MXR Dynacomp (Dunlop reissue).
	Digitized using Syntrillium Cool Edit and Xing AudioCatalyst.
	Tuning: open C (CGCGCE).
	No picks used.

I first heard this song on the radio in late 1989, and I never forgot it. It was probably my first taste of contemporary, storytelling acoustic music. At the time I didn't even play the guitar! I finally learned the song a year or two ago, and it's still one of my favorites. This version isn't "perfect" (like all of my other recording projects), but the little quirks give it some character, at least. :-) --Jennifer

Sarah Whitaker

Ka Ipo Nohea (Queen Lili`uokalani, arr. Sarah Whitaker) - [disc 2, track 12]

Technical info:

	Guitar: Lance McCollum Meghann (OM) redwood and walnut
	Strings: John Pearse phosphor bronze lights
	Sonic capture device: AKG C300b microphone
	Sonic recording devices: Audio Buddy Preamp into a Sony MDS-JE630 minidisc recorder
	Tuning: Taro patch (open G) tuned up to A flat
	Equipment wrangler and cable disentangler: Reid Kaplan

Esoteric stuff:

"Ka Ipo Nohea" was chosen for the beauty of its poetry and sound.

It is supposed that Queen Lili`uokalani wrote this song for a child she was very fond of named Kaiponohea, though it could also be interpreted as a love song. Ka Ipo Nohea means charming (handsome) sweetheart. Double meanings (kaona) are high art in Hawaiian poetry.

Lyrics of "Ka Ipo Nohea": The lyrics copyright remains with Queen Lili`uokalani Trust.

`Auhea wale ana `oe,
E Nohea i ka lipo
`O ka `oi `oe o ka nani
Helu `ekahi a ka mana`o

Hui (refrain):
E Ka Ipo Nohea
Naue, naue mai i `ane`i
Ku`u ipo aloha
Ne`ene`e mai a pili

`O `oe ka `onohi daimana
`Anapa i ke awakea
`O ka`u li`a mau ia
No ku`u lei mae `ole

Malama `ia iho ho`i
Ke aloha o kaua
He ukana lu`ulu`u `ole
Au e hi`ipoi ai

Loose English translation by Sarah Whitaker:

Where are you (Listen to me)
Nohea (Handsome One) in the depths
You are the greatest of beauties
Number one to my mind

O charming sweetheart,
Move, move on over here
My darling beloved sweetheart,
Snuggle up close

You are the center of the diamond,
Sparkling in the mid-day sun
It was always my desire
For my never-fading lei

Preserved indeed will
Our love be,
A weightless burden
For you to carry

Michael A. Wong

1) Banish Misfortune (trad., arr. Tom Long) - [disc 2, track 5]

This is fingerstyle guitarist and fellow RMMGA-er Tom Long's very cool arrangement. Tom was a great encouragement and help when I started trying to learn this. It was this tune that got me into DADGAD.

Played on a Bourgeois JOMC Deluxe with Elixirs. DADGAD tuned 1/2 step down (for a bit more jangle). Recorded to PC. Shure SM57, SM58, Behringer MX802A mixer, Art Multiverb Alpha and n-Track Studio software.

2) I Will Be Here (Steven Curtis Chapman) - [disc 5, track 2]

My favorite Steven Curtis Chapman song. Like most members of the male species I tend to be uncommunicative, un-emotive, and generally have a difficult time communicating my feelings to the one person that means the most to me in this world. This song captures and sums up what in my heart of hearts I wish I could say to my wife more often. This is dedicated to my wife, Linda.

Bourgeois JOMC Deluxe with Elixirs, Tacoma M2 Mandolin with DR Rares,

Recorded to PC through Shure SM57, SM58, Behringer MX802A Mixer, Art Multiverb Alpha and n-Track Studio software.