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Plunder
and Pillage
Liner
Notes January 2002 I’ve heard it
said that artistic projects are never really finished only abandoned.
Still there is something wonderful about completing a lengthy work such
as it is. Every recording presents a new set of challenges and this is
certainly no exception. I had originally planned to make the second CD
an all acoustic recording but then again as they say ‘best laid
plans’. The more I worked on this CD the more it developed into a kind
of showcase for all the musical styles I enjoy. There is no doubt that
the recording will receive little air time since the material is so
diverse that it clearly does not fall into a broadcast ‘format’. Probably the most
difficult thing about recording for me is the constant reminder to sing
out. I can see why the big, famous stars employ a vocal coach as part of
the recording budget. Musicians are busy trying to keep the notes
ringing true. It can really impact the power and clarity of the singing
if the chording of a song is particularly intricate. And then of course
there is always the temptation to be become distracted. I rather think
having some one else in the studio helps you focus. The
Careful Song arose out of the numerous rhythmic admonishments we all hear as a
culture nearly every day. This song is a collection of cautionary
phrases we apply as self management techniques. The song keeps
expanding. I wrote the core concept and a few lines while having a cool
down walk after a brisk jog, something I do everyday. I now have at
least one added verse which does not appear on the recording. I wanted
to put a little harmonica on the album and this was a great place for a
solo since it is basically a bluesy shuffle. This is one of the first
acoustic tunes I’ve written in many years and I re-discovered how much
fun it is. In
Twenty five Words or Less was
written by the Labounty/Freeland song writing team. I heard it many
years ago on a live radio broadcast featuring another great performer
named Michael Johnson. I was immediately attracted to the walking base
line and the clever lyrics. The song also displays an innocence that is
lacking in the tunes of today. Follow
Me was penned by John Denver
some 35 years ago. I of course learned it when it was new! There has
been a kind of resurgence in the popularity of his music. Nearly every
time it is performed some one will want to know from where it came. It
has a familiarity that rings as distant memory and is one of my own
personal favorites. It is still a basic, simple folk song with a
timeless sentiment and I do not believe it could be improved upon with
technology of any kind. Rap
Guitar is another tune
written by me. It started out as a humorous take on the state of pop
music that we know is playing right now on MTV though it is all too
dreadful for us to listen. Then I realized that there has always been
some other style of music to dominate the charts rather excluding those
of us who prefer the more simple and
heartfelt sound of actual musicianship. I jokingly thought it would
really be something if someone wrote a rap song for the solo acoustic
guitar. The song eventually evolved into the current diatribe you hear
and is humorous only because it is true When
Sunny Gets Blue is
no doubt familiar to the many lovers of romantic music from the
‘50’s. I first learned this song from my very old friend Kelton who
at the time was a fair Jazz guitarist. The song was so far over my head
musically that I didn’t think I’d ever be able to perform it… of
course this was in the early eighties. Several years later I heard it
performed by Kenny Rankin and became enthralled with his take on it. I
hope you like the way I’ve presented it here. In
the Name of Love was
initially recorded by Kenny Rankin as well, one of my long time heroes
of the recording industry. It was written by him and Estelle Leavitt
first appearing on the vinyl album ‘Silver Morning’. I had never
heard anything like it before. I was entranced and set off to find out
how to do it. Since then I’ve come to be very fond of this singing
style known as ‘vocal scat’. I once performed this song on WBFS
radio for the ‘King Paul Monarch Dodge’ show way back in 1983. The
host was shocked and speechless which I took as a good sign of things to
come! Mood
for a Day is from the ‘Yes’ fragile album. This album was on 8 track when I
listened to it my 1968 Pontiac LeMans! It took a lot of listening to
garner this song since it was in the early seventies and my skills were
terribly unrefined. I have come to think of it as two songs being played
simultaneously… one on the upper strings and one on the lower. Steve
Howe is one of the finest rock musicians of the genre and I hope to have
done justice to his composition for the benefit of new generations. Our
Love The melody and chord
changes in this song are so moving. When combined with the touching
lyrics it was too much for me to resist. It was recorded by Al Jarreau
and ably written by himself as well as Tom Canning and Jay Graydon.
Again, I think this is reminiscent of the love ballads from the
‘50’s. It has quite a vocal range and I don’t mind saying it was
tough to record. Nassau
in the Rear View Mirror needs
very little explanation. Both the Majesty and the Sovereign of the Seas
dock in the port of What can be said
about the work of Paul Simon and his composition Still
Crazy after All These Years. I’ve
invested thousands of hours to acquire musical skills and then to see
someone make it look this easy can be very frustrating. As in all great
compositions the music and the lyrics collide to achieve emotional
impact. I always felt this song was somewhat underplayed. The public has
a low tolerance for such plaintive ness. Lush
Life was first recorded by
Nat ‘King’ Cole and subsequently by daughter Natalie. It was
stunningly composed in 1949 by a sixteen year old boy named Billy
Strayhorn. I felt it was a very remarkable song in that the lyrics and
chord structure are so incredibly sophisticated even for a road weary
adult. It is a difficult song for me to perform which only adds to the
wonder associated with such a young composer. I hope the song can be
enjoyed by all. It is pretty introspective and most people don’t want
to examine a circumstance too closely. Jesu:
Joy of Mans Desiring is the
quintessential work for the guitar from JS Bach. I admit to a certain
fascination with the mechanics of baroque counterpoint and did in fact
make a recording of the ‘Bourees’ from JS Bach on an earlier album
‘Sandy Clams’. To provide the fullest acoustic tonality I have
retuned the instrument to ‘D’ tuning. This allows for a large number
of open strings and permits them to ring out. The cover photo for
‘Plunder and Pillage’ was chosen from the endless archives of the
National Oceanographic and Atmospheric Administration. It is a large and
appealing photo of the Steve D © 2002 Stephen
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