Copyright © 2003 Bunkertop Music (BMI)

	Guitar: Tacoma EM9C equipped L. R. Baggs Hex pickup
	Strings: Martin SP 80/20 bronze lights
	Tuning: Standard
	Vocal mic: Earthworks OM1 omnidirectional condenser mic w/ pop filter
	Guitar preamps/effects: L. R. Baggs Para Acoustic D.I. (PADI), Yamaha AG Stomp
	Other recording devices: Panasonic DAT recorder, Mackie 1202 mixer, Sony headphones, Lexicon "Alex" effects boxes, DBX stereo compressor/gate, Ashley stereo 7 band parametric EQ, Alesis reference amp and studio monitors
	Recording details: Both songs were performed and mixed "live," meaning that all the levels and effects were set ahead of time. The guitar and voice were then mixed live onto both left and right tracks of the DAT tape. What you hear in the headphones while recording is pretty much the final result, except that I went back and compressed the live mix of "Go Spoonman, Go" a bit to bring up the guitar. The guitar was recorded off the Hex pickup to avoid vocal bleedover into a guitar mic. (The mic level would have had to been jacked way up to capture my bare-fingered picking on this tune.) I used the Baggs PADI for preamping and tone adjustments. The AG Stomp provided some stereo reverb and a small amount (15%) of close condenser mic simulation. If I recall correctly, I also added some bass with the Stomp, while notching the muddy stuff out with the PADI. In retrospect, I wish that I'd tried mixing a bit of guitar mic in with the pickup signal. A bit of vocal bleedover might have given a more "live" sound to this live recording.

Reason for selection: Personal favorite. "Go Spoonman, Go" was written in 2001 as a tribute to my late friend and frequent stage partner, Dana Mansfield.

Copyright © 1979 Bunkertop Music (BMI)

	Guitar: Taylor 514C (NOT CE! It's a pre-Prefix guitar)
	Strings: Martin SP phosphor bronze mediums
	Tuning: Open C tuning
	Picks, etc. used: I use fingerpicks on this one; a steel slide on my pinky
	Recording devices: Same as for "Go Spoonman, Go" -- except that the guitar was recorded with an Earthworks OM1 omnidirectional condenser mic (I have a matched set).
	Recording details: The guitar part is plenty loud, so there's no vocal bleedover problem. Incidentally, I LOVE the OM1 mics. There's no proximity effect and I can mic as close as I like (using pop screen for vocals). This allows me to actually "work" the mic(s) a bit while monitoring the performance on headphones.

Reason for selection: Nostalgia. This song was written in the '70s and first released on a record album in 1979. This particular performance was recorded around 2000. Hearing this song always makes me wonder if I wasn't better off for being totally ignorant (at the time) of my technical limitations as a guitarist (I was probably having too much fun to care). This song makes creative use of easy-to-play chords and simple right hand moves.

	Guitar: Breedlove, Ed Gerhard Signature model
	Strings: Elixir medium Nanoweb
	Tuning: DADGAD with capo at 5th fret
	Recording details: Recorded at Mark Carleton's home studio in Northern Colorado (Thanks Mark!). The setup included two Neumann KM184 microphones preamped via a Mackie 1604-VLZ Pro mixer, and Alesis ADAT XT-20. A MOTU 2408 was used for digital transfer from the ADAT to PC. Reverb added using the TC Native Reverb plug-in. No EQ was used.

Composed by Al Petteway, "Spindrift" is the first cut on his Whispering Stones CD. A transcription of this piece is available from Mel Bay Publications.

The distinctly Celtic flavor, and harp-like effect of the ringing open tones, recalls fond memories of my experiences while living in Wales. While there I became good friends with a craftsman builder of Celtic harps. During my visits to his home, his wife would play traditional Welsh tunes on these wonderful instruments.

	Guitar: 1997 Olson SJ Indian rosewood/Sitka spruce with cutaway
	Strings: Elixir Nanowebs, light gauge
	Sonic capture devices: L. R. Baggs under-the-saddle pickup, L. R. Baggs Para Acoustic DI, Shure SM58 mic at 13th fret
	Recording devices: Boss BR8 Digital Recording Studio, Sony tape deck

I had to do something in response to 9/11 and this is it. Haunted by the words of the counter melody in "Scarborough Fair/Canticle": "and to fight for a cause they've long ago forgotten," I began working on this arrangement many months ago. This is my first attempt at arranging and the process has been fascinating -- this thing just kept changing and growing!

I owe so much to my teacher, Brooks Williams, for all of his guidance, patience, friendship, encouragement and inspiration; and to my bebit, my love and best friend, Chip Pray, for all you are, all you do and for never letting me quit! Thanks guys, and thanks to the three best kids in the world: Jon, Lara and Libby, for putting up with Mom's passion for the guitar. I love you all so much!

	Copyright © 2002 Steve Hawkins. All rights reserved.
	Recorded by Alan Whiteside using two Groove Tubes microphones, a Yamaha Digital console and Pro Tools.

	Guitar: Brook Guitars Lyn model, 00-12 fret
	Strings: John Pearse 80/20, light gauge
	Tuning: DADGAD

Written as a gift for a friend.

	Guitar: Lance McCollum Kayleigh model, jumbo
	Strings: Elixir Nanowebs, light gauge
	Tuning: DADGAD

Inspired by Marilyn Jordan's peanut butter pie dessert at the East Coast and Texas RMMGA gatherings.

GutMusic 2002.

	Guitar: 1929 National Style "2" Tricone
	Strings: John Pearse phosphor bronze (12 - 56)
	Tuning: DADF#AD
	Picks and stuff: Fender medium flat pick, plastic aLaska Pik on my middle finger, and a brass aLaska Pik on my ring finger. Slide is an old brass Dunlop conical one.
	Sonic capture devices: Two AKG C1000 mics
	Recording devices: 6-channel Behringer mixer, Alesis MicroVerb, Sony MD deck

Seeing the movie O Brother, Where Art Thou? made me appreciate old timey music so much, that I came up with this song.

	Guitar: 1993 Martin M-38 (both tracks)
	Strings: John Pearse phosphor bronze, medium gauge, starting to lose their sparkle.
	Tuning used: Standard tuning, capo II
	Sonic capture devices: Guitar - two Oktava MC012 mics positioned in "coincident X-Y" configuration, approximately 6 inches in front of the neck-body joint. Vocal - Oktava MC319 microphone with pop screen.
	Sonic recording devices: Mackie 1402 mic preamps, then straight to ADAT via the mixer insert points.
	Recording details: Guitar track 1 (fingerpicked) and vocals were recorded "live." Guitar track 2 (strummed with a flatpick) was added immediately afterwards.
	Produced, engineered and mixed by Michael Pugh at No Busking Studios, Ashburn, Virginia.

I've always felt that Mac captured the essense of small-town Mississippi with this song. It's been a favorite of mine for a long time.

	Guitar: 1993 Martin M-38
	Strings: John Pearse phosphor bronze, medium gauge, getting pretty dead by the time this was recorded.
	Tuning used: CGCGCF, capo III
	Sonic capture devices: Guitar - two Oktava MC012 mics positioned in "coincident X-Y" configuration, approximately 6 inches in front of the neck-body joint. Vocal - Oktava MC319 microphone with pop screen.
	Sonic recording devices: Mackie 1402 mic preamps, then straight to ADAT via the mixer insert points.
	Recording details: Guitar and vocals recorded in a single take ("live" in the studio).
	Produced, engineered and mixed by Michael Pugh at No Busking Studios, Ashburn, Virginia.

I just think this is a very cool song. I don't understand what it means, but I really like it.

	Guitars:   - Front and center is a Fender R-50 resonator with a Seymour Duncan Hot P-90 pickup.   - Featured on the left, a 1966 Harmony Vibrajet provides the tremolo chord at the beginning of each measure.   - On the right, a Gretsch Hawaiian reissue with a vintage DeArmond 260 magnetic soundhole pickup fills out the chord progresion.   - On the left, a 1964 Guild Mk I all-mahogany nylon-string guitar with a B-Band UST (under-saddle transducer) and Core99 preamp plays some little fills.
	Tuning: The guitars were all in standard tuning, except the Fender was in open Ab.
	Preamps: The Fender was played through a Tube Works Real Tube II preamp. The Harmony, Gretsch and Guild guitars were played through an ADA MP-1 tube preamp.
	Recording details: Recorded on a home-built computer, using a Mackie 1202-VLZ into a Turtle Beach Pinnacle sound card, and Sonic Foundry's ACID software.

"All Blues" is a basic 12-bar, in 6/8 meter. It was first recorded in 1959. Usually done in G, this arrangement is in Ab, for no good reason.

	Guitar: Olson SJ Rosewood/Cedar
	Strings: D'Addario phosphor/bronze light (EJ-16)
	Tuning: Standard
	Sonic capture devices: B-Band Core w/ mic (dual source)
	Recording details: Recorded at home, into my Apple Macintosh Powerbook G4/500, using a Behringer MX602A mixer, Griffin iMic USB adapter, and BIAS Deck 3.5 LE and Felt Tip Sound Studio software.

Song inspiration: I wanted to add something fun to my RMMGA CD III submissions. I wrote this in the car on my way home from work one evening.

I could use lots more practice at blues soloing on the guitar. When I played this recording for my husband (he hadn't heard me play this before), he insisted it wasn't me. I was hysterical laughing. He really didn't believe it was me.

I had fun playing around with the multitrack software for this. I did this in very few takes, and it probably shows <grin>. I'm usually pretty shy about singing for other people. I hope you enjoy this. I had fun making it. Thanks to everyone for listening!

Lyrics for "Old String Blues" (copyright © 2002 Amy Katriel):

I hear it coming on,
I hear it coming on, soon [2x]
I gotta change these old strings
they don't even stay in tune

Gonna take a half an hour,
drive my fam'ly from the room [2x]
I'd rather be playin'
but these old strings ain't ringing true

[instrumental solo]

I tried bulk strings but I couldn't make the leap
When it comes to strings, I just can't be cheap

I read the newsgroup string wars
so many times over the years [2x]
it all comes down to: what sounds good to your ears

I got the old string blues
I can't afford no roadie
Don't know how those folks with 10 guitars keep 'em in fresh strings
I don't care if this doesn't jive with those Internet Blues Rules
ain't puttin' no cheap strings on my Olson, man, you gotta be kiddin' me

	Guitar: Olson SJ Rosewood/Cedar
	Strings: D'Addario phosphor/bronze light (EJ-16)
	Tuning: Open C (CGCGCE), capo 5
	Sonic capture devices: B-Band Core w/ mic (dual source)
	Recording details: Recorded at home, into my Apple Macintosh Powerbook G4/500, using a Behringer MX602A mixer, Griffin iMic USB adapter, and BIAS Deck 3.5 LE and Felt Tip Sound Studio software.

In October 2000, when I took delivery of the Olson after a 22-month wait, I waxed poetic on RMMGA about the experience and the tune I wrote within an hour of picking up the guitar for the very first time. This is that tune. The original text of that RMMGA post is available (as of Fall 2002) on the Olson website (http://www.olsonguitars.com/rv_first_strum00.html#t2) and on my website (http://musicinfo.homeip.net:8080/guitar/).

I am still enjoying the Olson as much as when I first got it. Every time I play it, I marvel at the sounds that come out of it. Thanks to everyone for listening!

Copyright © 2001 David Kilpatrick

	Guitar: Lowden O-10
	Strings: Newtone 12-52 phosphor bronze
	Sonic capture devices: Two AKG C1000S mikes
	Recording device: Roland VS880EX digital recorder

The farmers of Scotland wondered, in the grip of winter and the foot and mouth epidemic of 2001, if they were the last generation on the land . . . this song is a lament for the last farmer, whenever and wherever he (or she) may be.

The snow which came at the end of February to the Scottish Borders was not welcome in the way our snow at Christmas had been. It was sudden, heavy, wind-blasted and clinging; it brought down trees, and it brought down most of the power lines in the entire region. Many were without power for a week and food had to be airlifted to isolated farms and villages. Simultaneously, an epidemic of foot and mouth disease swept the country; great trenches were dug and cows, sheep and pigs burned by the thousands. The farm sheepdogs and the hunting horses had to be destroyed too, wherever the disease was found. Farmers who would have been able to help clear the roads of snow were quarantined on their land, and not allowed to move. The countryside was barred to visitors. Some farmers saw this as the final blow -- the end of their farming lives. One Irish farmer, aged 29, looked more like 49 as he spoke on TV about having to "get a job" and never return to farming.

This instrumental was my reaction to the whole scene -- the darkness of towns without light or heat, empty roads, telephones and mobiles all dead, only news on the radio about the growing problems. I called it "The Last Farmer" because that is the saddest part of it all -- the idea that a period of a month, maybe, in winter, could end a way of life for so many people. I do not think it will, but unless we change many of our ways there will be a bleak time to come.

Of course, it did not end that way; it is hard to remember that period now, and how everyone felt. We forget very quickly, but I still have the tune.

Copyright © 2002 David Kilpatrick

	Guitar: Lowden O-12
	Strings: Newtone 12-52 Masterclass
	Tuning: Dropped D
	Sonic capture devices: Under-saddle Fishman Natural Matrix 1, AKG C1000S vocal and guitar mikes
	Recorded live on Roland VS880EX digital recorder

Edinburgh (Scotland!) is a wonderful city in summer and if you've been there, the chances are you have ended your night out as the sun rose again. As much a cameo of the festival city as a love song . . . From some unusual chord changes on the guitar, the song grew over a short period. It is a strange kind of song since rhymes, and the pattern of the words, don't really matter much. I think my writing here was influenced most by the songs of the late Isaac Guillory, who came here often. The lyrics are quite changeable when sung, since the song was written originally "in my head" and not on paper. This represents a reasonable set!

Lyrics for "Over Edinburgh" (copyright © 2002 David Kilpatrick):

I remember one night you were mine
I looked into your eyes
And time
Stood still
We talked, we talked, we talked, we talked, we talked
'Til the sun came up over Edinburgh

Candelight and roses and red wine
Lamplight shines
On the wet streets
Where the rain has fallen all night long
And we walked, we walked, we walked we walked back home
As the sun came up over Edinburgh

Music from an open doorway
Fills the night
Someone drops a bottle on the stone
Mutters curses softly underneath his breath
As the last taxi
Makes its way back home
And the sun comes up over Edinburgh

Monday morning, back to work again
But I can't concentrate I dream of you and think of when
I'll see you soon as daylight ends and we'll watch
The sun go down over Edinburgh

[repeat verse 2, and instrumental to end]

	Guitar: Martin 000-15
	Strings: Martin SP lights
	Sonic capture: Avlex PRA-H7A microphone
	Recorded using Cakewalk Guitar Tracks

I first heard this tune in a Merrie Melodies cartoon.

	Guitar: Martin 000-15
	Strings: Martin SP lights
	Sonic capture: Avlex PRA-H7A microphone
	Recorded using Cakewalk Guitar Tracks with reverb, flange and chorus

I chose this song after a discussion about the Beatles with Jim McCrain.

	Guitar: A splendific McCollum Grand Auditorium with cedar top and drop-dead gorgeous koa back and sides.
	Strings: Elixir Nanoweb light gauge
	Tuning: Dropped-D - DADGBE
	Sonic capture: Two Neumann KM184 microphones, Mackie 1402-VLZ mixer, Ashly PQX 572 Parametric Equalizer (for room acoustics), Mackie HR824 studio monitors
	Recording devices: Carillon Pentium 4, 1.7 GHz computer; Delta 66 sound card; Cubase VST/32 rev 5.1 software; TC Native Reverb;

My wife Sonny and I go for a walk every evening and I hear melodies while she tries to tell me things (Sorry, Honey!). This one has some fun harmonics in the middle.

	Guitar: A splendific McCollum Grand Auditorium with cedar top and drop-dead gorgeous koa back and sides.
	Strings: Elixir Nanoweb light gauge
	Tuning: DADGAD
	Sonic capture: Two Neumann KM184 microphones, Mackie 1402-VLZ mixer, Ashly PQX 572 Parametric Equalizer (for room acoustics), Mackie HR824 studio monitors
	Recording devices: Carillon Pentium 4, 1.7 GHz computer; Delta 66 sound card; Cubase VST/32 rev 5.1 software; TC Native Reverb;

A little bit of gentle rain and some distant thunder; there's nothing more romantic than walking though the woods during a summer storm.

	Guitar: Lakewood Grand Concert
	Strings: 12-53 phosphor bronze strings
	Tuning: DADF#BE
	Sonic capture: Pick-Up The World #40 stereo pickup through a Pick-Up The World stereo power plug.
	Recording info: Simple first take, recorded direct into a Fostex digital multitrack recorder.

Written in the cargo space of a commercial truck, while on forced down time penalty at the D.O.T. weigh station in St George, Utah. Inspired by the afternoon cumulus cloud formations looking west over Phoenix.

	Guitar: Lowden F-23
	Strings: 13-56 80/20 brass strings
	Tuning: Standard
	Sonic capture: Pick-Up The World #40 stereo pickup through a Pick-Up The World stereo power plug.
	Recording info: Recorded direct into a Fostex digital multitrack recorder. Lumpy played two tracks: rhythm laid down first then lead added over that. Simple one-take fun recording done in a spare bedroom at home.

Classic surf tune done by The Ventures and others. The quintessential music of my youth.

	Guitar: 1920 Martin 0-18
	Strings: A used set of Argentine lights recycled from my Dell'Arte; these are made for Selmer-Maccaferri gypsy guitars but also sound nice on old parlors.
	Tuning: Taro patch (open G, DGDGBD)
	Sonic capture device: Sony 737 stereo mike
	Sonic recording devices: Sony M1 DAT -> computer via SPDIF input on Soundblaster Live! card. Drive -> Cool Edit 2000 for editing and "Warm Room" reverb.

I am not a songwriter at all, but this collection of riffs, phrases, and turnarounds emerged from my slack key practice sessions as my most frequent warm-up noodling. I was never sure whether I was just stringing together fragments of songs I'd heard somewhere but forgotten, or if maybe I'd actually, finally composed something, sort of. So at a workshop, I asked George Kahumoku, Jr. if he recognized this mess of noodles, and he said he didn't, so I guess I did make it up.

I've played guitar for better than forty years, but with ki ho`alu I'm a beginner all over again. And because I'm just a Minnesota haole boy, I decided to call this piece "Malihini Slack Key," from the Hawaiian word for "guest" or "newcomer."

If there is a single inspiration for the tune (and my trying to play slack key at all), it's Uncle Raymond Kane, whose eloquent and deceptively simple playing made me want to try it myself. Mahalo nui loa, Uncle Ray.