Editor's note: I think I'm done typing up the entire jacket liner notes. Not because I think it's superfluous but rather it's time consuming! I think I should spend more time on making money and then I can buy a better camera and that would eliminate the necessity to type in longhand what can be transferred via visual means. Anyhow, the record is a winner. TV show theme music combined with actual footage of a faux historical event make this a sci-fi dream. Kinda like the soundtrack to nobody's life with an actor playing Nobody. What the hell am I talking about?
Editor's note: a Detroit local who has been active in the recording scene if not the playing scene around town. His MySpace says he just released a new CD in January and you can take a listen if you are so inclined. He says that he has a hundred or so songs that need to be turned into records. Well, CDs anyway, seeing as nobody is in search of new records these days.
The Barefoot Man (George Nowak) performs nightly at Barefoots Place at the GRAND CAYMANIAN HOLIDAY INN. The Grand Caymanian is the island's largest and most luxurious hotel.
It not only features first class accommodations but also excellent dining in the Chez Jacques Room, Dancing to Barefoot, 4 lighted tennis courts and more.
For more information write to: Holiday Inn Sales Office, Suite 205, 7220 N.W. 36th Street, Miami Florida 33166
Andy Martin (THE CAYMAN COWBOY) Can be seen nightly at the Galleon Beach Hotel, but not usually on stage as he is the Bar manager there. The Galleon is one of the island's oldest and most popular hotels. Not only known for its swinging night club THE WINDJAMMER LOUNGE but also two excellent restaurants, Cap'n Morgans Steak Galley, and THE MAN O' WAR ROOM.
The Galleon is located on the world famous 7-mile beach. Drop them a line at Box 71, Grand Cayman, B.W.I. for more information or drop in and say HI...and if you ask, we;re sure Andy will sing a tune for you.
When I was asked to write the liner for this Album, I thought to myself what can a Caymanian say about a German born countryfied barefoot man, who should have been a shoemaker, who has found his own "Place in the Sun" amongst us natives, and what can be said about a Cayman Bracker who would much rather sing a Country Song than look for soldier crabs in the moonlight. Of course I'm speaking about George "Barefoot Man" Nowak and Andy "Peanut Peender" Martin. That combination has made a great contribution to music in the Cayman Islands, as is evident by the popularity of their many recordings, and this Album is just another testimony of their Music Skills. Barefoot and Andy Peanut Peender Martin are both good song writers and singers in the Calypsonian Country Boy tradition, who writes from the Heart, and sings for the Soul and enjoyment of all.
Andy in his Countryfied Cayman Islands Style, and Barefoot in his Cayman Islands Calypsonian Country way. Together they are a showcase of what native and visitor who didn't leave or who came back to stay, can do, when both work in harmony, with the acceptance that native men should always captain the ship in Island waters. You'll find great enjoyment and pleasure in listening to the warmth and sincerity in the songs of Barefoot and Andy Peanut Peender Martin on this album. May they long, "Sing and Work in Harmony".
-Loxley E. M. banks, Programme Controller, Radio Cayman
Songs By Barefoot -I've Ruined My Liver (While healing my heart) -Don't steal me coconuts -Cho Cho -Island Lady -Banana Convention -Who Put the Pepper in the Vaseline
Songs By Andy -Cho Cho Letter From Sea Taxi Every Night At Midnight Yellow Pages You Sexy Thing
This album was recorded at MARK FIVE STUDIOS, Greenville, South Carolina, U.S.A. also/Kaymaniac Studios, Grand Cayman.
Back cover layout/Ray Jarvis Front cover photo/Ray Jarvis Produced by/G. Nowak for Barefoot Records, Box 1249, Grand Cayman, B.W.I.
Special thanks to our sponsors/THE VIKING GALLERY, HOBBIES AND BOOKS, ROSE'S VARIETY STORE, THE GRAND CAYMANIAN HOLIDAY INN, THE GALLEON BEACH HOTEL. Also special thanks to: the Musicians at mark Five and Kaymaniac Studios.
Cover photo taken at: EAST END VILLAGE, GRAND CAYMAN
CHO CHO ISLAND LADY YELLOW PAGES LETTER FROM SEA DON'T STEAL ME COCONUTS
Editor's note: I hate the sun, hot beach sands, tourists and most of the beachcomber ethos but me likes this here record. Much of my disdain for the sun and beach comes from an ex-girlfriend who on vacations to Florida would insist upon sitting in the sun for 5 or 6 hours at a time. I tan well but burn just as easy. Plus I wilt in hot weather and discombobulate and have been known to be felled by sunstroke a time or ten. Anyhow, I was the guy on the beach who would have his shirt on and a towel over his legs snoring away while his princess turned golden brown. As for the music: odd that a white German tourist who never left would be the Calypso songster and the native brutha would be a country slinger. Yet it works. Very well I might add. I'm surprised that this record is hardly sought after or more readily available. It's a keeper.
Here's a good article (by the Barefoot Man himself) on the strange music traditions of the small island.
Editor's note: I thought that this was going to be Mister Rogers sing-songish but it's actually more Suess-y but in a straight-forward and folksy way. I'll have to burn a copy and play it for my daughter in a year or so because I think it might actually scare the hell out of an almost 2 year old.
Editor's note: most of you if you know Tori Amos do so for songs like "Winter", "Cornflake Girl" and Caught a Lite Sneeze" and so on. Well, this is her first album and it's not so bad! I've read horrible reviews and though it's not up to snuff with her best works, an average first record isn't an unheard of thing. Hell, it sounds a lot like Kate Bush's better albums. Haha. Sorry, I know I'll be crucified now by the devotees. Thanks in advance.
There is a bit too much 80s in this recording but you can hear the roots of her more refined works sprouting up in spots. "Cool On Your Island" is passable pop goodness, "Fire on the Side" is B-Side Tori with an Amos attached sans the phonetics, "Etienne Trilogy" is more Tori Amos than Tori with big hair and and and well, yeah, the rest of the songs mostly suck badly. "Pirates" and "Fayth" are garbage but I think much of that is owed to the songs being co-written by Kim Bullard, whomever he may be. Most likely he's a Desmond Child of chick rock and helps to squeak one hit out of an artist while sucking the rest of their talent out of a song and making it commercial crap. The rest is just average pop slop gravy for some suit trying to humiliate somebody for profit.
Editor's note: I know how a lot of people feel about poetry: it's for pussies. Well, for the most part that is true. But mixed in with the self-aggrandizing, flowery, sensitive bards are a few masculine beasts such as Robinson Jeffers. A poet of no-standing in the first half of his life, Jeffers became the Stephen King of poets in the 1920 and 30s (Popularity-wise, not so much commercially viable though; this is after all poetry we're talking about.). But his vitriolic opposition to WWII struck down both his critical and public reputation. All the better I say! His narrative poetry--with "Roan Stallion" and "Tamar" being the watermarks--was filled with grisly violence, mass murder and suicide, beastiality, caustic anti-political language and most of all iron wrought images and symbolism that spoke inhumanly to this over-humanized world. Besides my baby daughter, Robinson Jeffers is my truest guru.
Rubberneckin' Paul Oakenfold REMIX (12" Extended) 5:19
Rubberneckin' Paul Oakenfold REMIX (Radio Edit) 3:28 Rubberneckin' (Original) 2:09
Editor's note: this is from wikipedia: "The soundtrack song "Rubberneckin'" was recorded at American Sound Studios in Memphis, Tennessee in January of 1969, during the midst of the sessions that resulted in Presley's "comeback" album, From Elvis in Memphis. The remainder of the songs were recorded at Recording Studios in Universal City, Los Angeles, California between March 5-7, 1969. Only "Rubberneckin'" was released to tie-in with the film (as the B-side of "Don't Cry Daddy"), with "Change of Habit", and "Have a Happy" appearing on the 1970 compilation album, Let's Be Friends and "Let Us Pray" not appearing until the 1971 compilation You'll Never Walk Alone. An additional song recorded for but not used in the film, "Let's Be Friends", appeared on the album of the same title. "Rubberneckin'" is also the only song from this film (or, indeed, any of Presley's recent films) that the singer agreed to perform in concert during his return to live performances that occurred around the time of the film's release. Some sources, such as Elvis: The Illustrated Record by Roy Carr and Mick Farren (Harmony Books, 1982) erroneously list "Let's Forget About the Stars" as a recording from Change of Habit; it was, in fact, recorded for a previous film, Charro!. Discounting songs later recorded for television and documentary productions, "Have a Happy" has the distinction of being the final soundtrack recording Presley made."
This is from me: OK. I'd never heard this one before and now I have the two versions mixed up in my mind as to which is the original! Ah- well. The nice touch with this remix is that they included the original song. Now...who'll be the next in line to be the KING?
Editor's note: "Did my trousers heal that blind woman?" asks T. L. Osborn and surely you must be thinking just as I am, "Hell, why not!?!?" Whatever gets you through the murky muddy waters of this life is the gospel to me. "Just don't hurt nobody and the big rewards here in the garden of Earthly Delights." Yeah, let's keep XTC and philosophy out of this one. T. L. delivers a strong sermon here and if you're a believer then you're apt to believe even more. If not, you're just going to get another piece of pure vinyl heaven.
The dances that are presented in this album are standard Macedonian Horos that lend themselves to different interpretations by different musicians. In this album, Joe Tricoff and his Orchestra have brought you their interpretations of these Horos for your listening and dancing pleasure.
Recorded and produced by JAY-TEE RECORD CO. 714 Ardmore Drive Dearborn Heights, Michigan 48127
Editor's note: all horos aside this ain't bad dancing music (as IF I danced! In my head I did though). It thumps and it bumps and jangles and jingles and trumpets rather ebulliently. Repetition must be a central theme in these songs because I had to keep checking if the record was skipping because the same sections seemed to play over and over. It must just be my untrained ear or part of the structure. Anyhow, very powerful ethnic music if you're eager to have a sock hop or something akin to it.
If the people at KGB continue turning out HOME GROWN albums for many more years, they may at last answer a question which no one ever asked:
How many places are there in the San Diego area worth writing songs about?
Considering the subject in another way, the question may not be answered in our lifetime, if the range of places immortalized in the year's album and its three predecessors is any guide. Geographically speaking HOME GROWN IV starts out on the sunny (except for morning clouds and fog) shores of Leucadia, travels downtown to Horton Plaza, heads across the Coronado Bridge to North Island, bounces back to Mount Helix or a clear-day view of Point Loma, journeys out to Sunnyside, and then makes two stops in Logan Heights before rollin' home. Along the way, it stops a few times to celebrate the glories of the region as a whole. This year's mention of Sunnyside, as a matter of fact, is a good yardstick of the resourcefulness of HOME GROWN contributors.
KGB Programs Director Rick Leibert and others judging the 354 songs (yes, another record number of records, easily beating last year's 325 and a quantum jump over the 142 entries for the first HOME GROWN) had never heard of Sunnyside. We liked James Francis Lamont's tune, but wondered if there really was a Sunnyside. Lamont provided proof, though, a regional map showing Sunnyside neatly ensconced between Jamul and Chula Vista, with its very own zip code, 92073.
Speaking of Chula Vista, newcomers for the first time shelling out their $1.01 for this disc should be informed that KGB jock Cap'n Billy began playing a comedic paean to Chula, as it's simply called by locals, by a group known as Rose and the Arrangement. Next thing we knew, a caller demanded a record about Ocean Beach. SO Billy invited listeners to record and send in songs about any San Diego area they favored.
At the same time, Leibert and former KGB Program Director Ron Jacobs were looking for a project to substitute for the previous year's KGB Charity Ball, which had drawn 51,778 folks to Sand Diego Stadium for a concert by Jesse Colin Young, Dr. Hook and the Medicine Show, J. Geils Band, Quicksilver, and other rock heavies, all for the benefit of United Way. But the fire department later announced seating limitations for the stadium that made another rock show impractical.
So Cap'n Billy had all these tapes hanging around, and KGB wanted another fund-raiser. Voila, the first HOME GROWN, a vinyl atlas of Mission Beach, Encanto, Santee, South Bay, Clairemont Mesa, El Cajon Boulevard, La Jolla, and the ever-popular Chula Vista. Not sure how popular the idea would prove, KGB ran off a first pressing of 1,000 records. They ended up selling 30,000, and last year's sales topped 50,000. All albums sold profit the United Way and its 100 human care agencies.
That's the great thing about the HOME GROWN project: everybody wins. KGB stages a first class promotion for the radio stations, local musicians have their work heard by the public, and the profits are used for the good of our community.
This year's selections represent not only geographical diversity but a healthy range of musical styles as well, from romantic ballads to heavy rock, from simple folk to big band blues, from blue-eyed soul to off-the-wall novelty. The musicians range from a 17 year-old high school girl to a jazz band full of pros and include one young man who once rented the Civic Theater for a concert starring himself.
The Mellow Side (This year the record is divided according to Mellow and Rock'n, rather than one and two.) opens with 24 year old Don Auten's Singing Celebration, an upbeat, optimistic salute to the idea of HOME GROWN, and an apt beginning for the album. Auten, who manufactures guitars in a La Mesa shop, is a Michigan native who says his primary intention in entering the HOME GROWN contest was to "find other musicians to play with." He recorded his song in a friend's garage, accompanied by a few other friends who chose to remain anonymous, and added that the whole project "cost me nothing." He played briefly with a rock band called Greenfield after his graduation from Monte Vista High School Spring Valley, took a year-and-a-half away from the guitar, and has only recently begun to play again. But his touch here is practiced, and his solos are unfailingly cheerful.
Bill Kaplan, 31, reports that he's "just a person," unemployed, an occasional teacher of guitar playing, who first wrote Singing My Way To San Diego about a year ago, then four months ago polished the lyrics with Bruce Krueger with an eye on the HOME GROWN album. A gang of studio musicians backed him on the recording. Kaplan and Krueger apply an understated, ironic wit to their brainchild, rhyming "California" with "adorn ya" and tossing in a quick tale about a lady in Nebraska. Kaplan, once a varsity gymnast at Annapolis, in 1974 had another of his songs, "El Hombre Muy Perfecto" played at the Woody Guthrie Festival of Songs in Los Angeles.
One of the more affecting performances on the album is Leucadia, by 17-year-old San Dieguito High School senior Diana Lea Monzeglio. Singing in the background is a friend of hers, Sara Ecke, and together they evoke memories of the straight-haired folkies of the 1960's. Monzeglio, who's been writing songs since she was in the fifth grade, has so far pursued her musical career by playing at parties and weddings around Leucadia. Eventually she hopes to be a music therapist, using music to help people with mental and emotional problems.
Sharp-eyed and historically hip HOME GROWN buyers may already have noticed something wrong with the title of The Alonzo F. Horton Memorial Rag. As Damon Runyan once wrote, a story goes with it. Yes, history buffs, the name of the man who in the 19th Century first planned San Diego's downtown area, and who is memorialized by Horton Plaza, was Alonzo Erastus Horton. But Hunt 'n' Peck explain lamely that water at the fountain has worn off the bottom leg of that middle initial on the plaque. Hence, "Alonzo F. etc. etc." Aren't you sorry you asked? And who are Hunt 'n' Peck? Their card says they are Gregory Hunt and E. Howard Peck, "the unnatural act." They also call themselves E.Z. Mark and Johnny "Jazz" Jones, and say they're both 28, but I cannot vouch for their veracity. They earn their living as musicians, though, and first submitted their silly song in 1974. This year they added a verse and bassist Bill Officer and made it. They come to HOME GROWN, by the way, via the sidewalks of Balboa Park, where they were known and tolerated as the Normal Heights Lounge Lizards.
Toll Bridge Refugee marks the fourth consecutive appearance of Barry Fox, 29, on HOME GROWN and a continued pattern of frustration. "My good cuts never got on," he says. "This time I did 'Julian Summer,' a song I was really excited about. But I have an unfortunate gift for writing satirical songs. I don't want to get into that bag, because even a satirical genius like Randy Newman doesn't sell. I want to be more commercial. I want to be taken seriously." Fox and his group, Island, made it onto the first HOME GROWN with a rocker, So Long San Diego, and in the following years succeeded with Black's Beach and S.D.S.U. Blues, both novelty numbers. He's the only performer who's been on all four albums and since last year has been making his living playing music but has found it necessary to take a few daytime jobs along the way. His HOME GROWN success, he said, "has forced me to think of music as a career."
The Mellow Side concludes with Light Of The City, with Ron Satterfield, 23, the lead crooner in a song that sees San Diego through misty eyes. "We're all just a bunch of friends," he said of the unnamed group on the record. Satterfield has played local lounges with the People Movers, and he and percussionist and co-writer(along with JOhn Slowiczek) Jan Tober have already submitted an album to a few record companies.
Listen, the group that placed Where Is San Diego on HOME GROWN II and City of Love on III, this year opens the Rock 'n' Side with Never Walk Away, by guitarist Marc Intravalia. The group has a long history in the area; its members are all in their early twenties, but they've been together since elementary school, and its present five members have played music together for three and a half years. Their winning song this year is in the folk rock tradition, soft in feel but with a punch of its own, and ends with a long instrumental passage that constitutes its own mini-song. "We're always writing new stuff," reports Intravaia, "but we make our living playing other people's stuff."
Peter Filacio, Jr. characterizes his style in I Can See The Point as "spaghetti reggae," and the description fits. His father, Pete, Sr., gives it a Mediterranean air with his mandolin, but the rhythms seem rooted in Jamaica. A dash of rock and a pinch of disco are present as well, and the whole mix is easy to dance to. Filacio, who wrote his song after seeing Point Loma and the Coronado Islands one day from Mount Helix, recorded Dago From Diego on the first HOME GROWN and Itchy Feet on the second.
James Francis Lamont is another familiar figure to local music watchers. In December of 1975 he hired the Civic Theater, plus a band, and a corps of dancers and put on a concert. Only a few hundred people showed up, but he was undaunted. His style was modeled on that of Frank Sinatra, but since then, he says, he's decided "to get out of that Sinatra thing." Sunnyside Sadie, then, is a 1930's spoof, with squeaky-voiced Jan Tober aiding the comedic dialogue, and provides the album with one of its sprightlier moments.
Logan Avenue Blues marks a pair of first for HOME GROWN being the first song centered on the black community and the first by a bona fide big jazz band. "The song has been around a long time," reports leader and saxophonist Ted Picou. Jimmy Noone wrote the music in 1965, and Picou added words in 1973. It was also in 1973 that Picou's band, since dissolved, recorded the song with a batch of others. It lay dormant until Picou submitted it to the HOME GROWN contest. Besides the heavy-weight vocal of Irvin "Big Daddy" Rucker, the recording is notable for the deep and bluesy organ solos of Jimmy Noone and a splendid series of consecutive crescendos by the whole ensemble at the end.
At this point, firmly grasp the volume knob on your gramophone and turn it UP! This so you can better enjoy my own personal favorite, Logan Heights. It has a raw, uninhibited vitality too rare in today's pop music and an absolutely uncompromising rhythm. "I gotta admit," says bassist Jeff Bock, one of the five East County white kids who comprise the Pillars of Society, "we're kind of surprised at how the sound came out."
The 1976 edition of HOME GROWN rocks off the turntable with Rollin' Home, by a Carlsbad band, Southbound. The band plays professionally on weekends, but during the week its members support themselves with day jobs. Bassist Paul Beach makes surfboards, while drummer Mike Corbett works in a nursery, and guitarists Bruce Dailey and Bob Lowder are a meatcutter and draftsman respectively. Together they end the album with sharpness and gusto.
A little quick math reveals that each song entry had one chance in 29.5 to make the album. But there were 146 drawings, paintings, photos, and assorted visual works submitted for the cover and only one to be picked. The artist who beat the odds was Gary Damon, 38, of the visual merchandising (window displays, furniture arrangements) department of the Broadway Store in Fashion Valley. Damon has been painting for several years but only lately has pursued a professional career. This year his work "We The People" won the Bicentennial Award at the Southern California Exposition at Del Mar.
So there it is, another year of HOME GROWN, another dozen songs about San Diego and environs, another sampling of the work of hometown musicians, another helping hand for the United Way.
Until next year, then.
Robert P. Laurence
The San Diego Union
Cover: Damon/Back cover photo: Tim Hammill/Sleeve photo: Bill Maier/Post Production: Bill Blue and Studio West/Production Assitance: Ed Hamlin, Jim McInnes, Lyn Lacye/Selection: Robert Laurence, San Diego Union; Delores Forcino, Old Town Circle Gallery; Phil Kirkland; KGB Music Staff/Profits from the sale of this album to 1976 United Way of San Diego/"When you help your neighbor you help yourself."
SIDE A: MELLOW SIDE
Singing Celebration - Don Auten (Don Auten) 3:58
Singing My Way To San Diego - Bill Kaplan (Kaplan-Krueger) 2:28
Leucadia - Diana Monzeglio & Sara Ecke (Diana Monzeglio) 3:07
The Alonzo F. Horton Memorial Rag - Hunt 'n' Peck (Johnny Jones) 2:02
Toll Bridge Refugee - Island (Barry Fox) 2:18
Light of the City - John Slowiczek, Ron Satterfield & Jan Tober (Slowiczek-Satterfield-Tober) 3:51
Never Walk Away - Listen (Marc Intravia) 4:34
I Can See The Point - Pete Filacio & The Fantasy Band (Pete Filacio) 3:54
Sunnyside Sadie - James Francis Lamont (James F. Lamont) 2:24
Logan Avenue Blues - Ted Picou & Good News (J. Noone-T. Picou) 3:38
Logan Heights - Pillars Of Society (Bock-Crocker-Landis) 2:21
Rollin' Home - Southbound (Beach-Corbett-Dailey-Lowder) 3:47
Editor's note: I thought much of the music was pretty good but the insistence of making the songs about San Diego basically destroyed the lyrics and sent the songs in directions that they probably wouldn't have normally. They seemed to have suffered for it too. Most come across as whimsical because of this and I'm sure that wasn't a happy point for the featured musicians. But I guess it's better to be heard than not and the record quality is great and I'm sure somebody in this compilation made it professionally somewhere along the line. Or maybe not. We need guitar teachers just the same.
Editor's note: woah, man! This guy holds the distinction of being Sly Stone's best friend, Nick Lowe's greatest influence and Marlon Brando's children's step-father, but boy could he lay down the southern rock and country soul groove, my brothers! This dude had quite a storied life but unfortunately most of it wasn't very pretty with this album being the high point of a descending spiral. This is the only album of self-penned originals that made it to light despite Ford having recorded with various labels, although in 2005 a previously unreleased compilation of some of these recordings were brought out (see the links above). A surprise underground classic found in a Nashville thrift store for a buck.
I came across this record on a few blogs and managed to track down some audio from WFMU's site. I would love to hear more from this honky-tonkin' caterwaulin' queen. Listen to the tracks below and I think you will too!