Denis Farley | Pryvit Blewz (Private Blues)

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Pryvit Blewz (Private Blues)

by Denis Farley

Farley played and studied with jazz great, Ira Sullivan, blues legend John Lee Hooker and folk legend Pete Seeger, while maintaining a solo identity with his record label, a publishing company and now a media company, his Pouring Rain Music.
Genre: Blues: Harmonica Blues
Release Date: 

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1. Zeke & The Rat
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6:55 $0.99
2. I'll Never Drive Again
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2:14 $0.99
3. Teaser's Blewz
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2:27 $0.99
4. Mild Mannered Reporter
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5. Hustler's Lament
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6. Okefenoke
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7. I'll Never Give Up On You
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8. Fiddle Riddle
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9. My Poor Heart
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10. Broke n' Disgusted
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11. Dreamin' South
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ABOUT THIS ALBUM


Album Notes
Reviews Pryvit Blewz (an alternative phonetic spelling of Private Blues)

"Best New Blues Recording" -- John Macdonnell, WUWF-FM Pensacola, FL.

Lauded by John Macdonnell at WUWF-FM Radio, Pensacola, FL., a 100,000 watt regional powerhouse, as the Best New Blues Recording in May of 1988, DENIS FARLEY's self produced debut LP PRYVIT BLEWZ (sounds like Private Blues) for homegrown label FLAT BAROQUE RECORDS, got lucky with the talking blues, beat poetic, rap track HUSTLER'S LAMENT (selection 5 on the CD). Licensed in succession to Mobile Records, Memory Machine, Harvey's Music and then Galaxy Music Distributors, it rode a 1992 compilation CD, The "Copulation Compilation" to the top of the Jukebox market in 1993, where it cruised for over five years. The CD is still for sale worldwide (Google the CD title). Right place, right time. Originally released in 1988 on the LP, Pryvit Blewz, it is powered by the combination of Farley's street poetry and the veteran session crew at Pandora Productions, well known for having produced B.B. King, The Eagles, Joe Walsh and many others. Most of this crew show up again on "Dreamin' South" at the end of side two. The acoustic "Mild Mannered Reporter" featuring Harry Morgan on guitar and Denis on vocals and harmonica also shines and received enough college airplays at its release in 1988 to crack into BMI's sliding royalty fortress. This was the artist's first LP release. -- Flat Baroque

"Denis Farley, who has played music with Ira Sullivan, has an album out on Flat Baroque Records. It's called Pryvit Blewz and it's a winner. Good luck with it Denis!" -- Kay N. Peters, Miami Columnist - Kay's Scene

"Funky and Clever" -- - Jewels Ross, Music Director, KDNK-FM Carbondale, CO

"An eclectic blend of soulful introspection" -- Edgar Allan Poe IV, WDNA-FM, Miami, FL

"Good Honest American Music" -- Big Joe Fitz, WDST-FM, Woodstock, NY

"The enthusiasm comes through the music" -- Michael Stock, WLRN-FM, Miami,FL

Music Notes - Southern Dutchess News -- 1/11/89, by John Darcy, Arts Editor
On 'Pryvit Blewz' Denis Farley offers a mostly acoustic mix of blues and funky folk music, and the album is a rhythmic, smoky ride on which showmanship - unfortunately The Word in entertainment today - plays second fiddle to straightforward, honest music.
The musician, born in New York City, grew up in Beacon. The record earned him the number 7 slot in Music-Machine Magazine's 1988 Critics Poll of local releases.
Farley's singing is understated slippin' and aslidin', in the vocal vein of guitar great Ry Cooder (his milestone work of the '70's such as the album, "Into the Purple Valley"). Farley's understatement makes the clever storylines and humor of the songs that much more effective. The "pryvit" songs that come to mind here are "I'll Never Drive Again," featuring guitarist Albert Williams.
"Teaser's Blewz" is a rhythm & blues shuffle with a lazy, liquid vocal, "Zeke and the Rat" is a medium tempo boogie featuring Harvey Mandel on guitar. Mandel at one time picked for the group Canned Heat and British Bluesman John Mayall.
On the tune "Mild Mannered Reporter," Farley displays his good-humor chops in a Superman /Clark Kent send-up capped by a bluesy harmonica. "Well it's a horned rim point of view . . ."
Calvin "Fuzz" Samuel handles bass guitar chores on "Hustler's Lament," a talking blues number rife with scatter-shot, Dylanesque imagery. Samuel was a member of Stephen Stills' group Manassas in the '70's. (That unit also featured ex-Byrd Chris Hillman.) Paul Harris, also a Manassas alumnus, performs on "Hustler's Lament" as well.
Farley sails on saxophone in the number "Okefenoke," a swampy soiree into southern bluesland.
"I'll Never Give Up On You" might be the masterwork here, lyrically. Farley ruminates a relationship on its last legs, and a pledge on his part to make it work, tells the lady in question that he's quit this, surrendered that, "I gave up all the things you told me to / But I'll never give up on you."
Farley departs from his talk-sing technique on "My Poor Heart" in favor of a down and dirty country blues, with a little falsetto thrown in for good measure. And to solid effect.
"Broke and Disgusted" is a Fred Neil-like coffeehouse folk blues that is essentially a slowed-down song of self-assessment.
This fine debut album is availbable at Book & Record stores in the area.
In a recent note, Farley says the record is receiving radio airplay nationwide.
- Music Notes by John Darcy, Arts Editor for the Southern Dutchess News

"Blues: The aspiration of Beacon's Denis Farley" -- Bob Pucci, Correspondent, Evening News 1988
Picking at Chinese food, with a trace of the sniffles (allergies) Denis Farley is talking about the economics of the music business and singing the blues.
His album "PRYVIT BLEWZ" has been getting good air play. Its predominant blues sound with a trace of country western thrown in speaks well for the talents of its creator. Notable tracks include "Dreaming South", "Zeke and the Rat" and "Mild Mannered Reporter." Farley suggest that promoting the album may be more difficult than producing it.
After much research, mailings and telephone calls, Denis has literally written the book for the promotion of works by blues performing artists. His Blues Promotion Handbook will be published this year by the Williams File in Nashville.
He relishes his roles as promoter, producer, agent, song writer, song plugger and publisher, although sometimes he wishes he could settle down, performing at will, earning enough for a house, home recording studio, jeep and kids.
Denis did not have any scheduled gigs in the area on his recent visit to his hometown, Beacon, but he did sit in with his friend Jim Eppard and the Crows when they played at Sidetrakked, a bar in Poughkeepsie which features a monthly blues night.
As a musician he plays harmonica and works the saxophone but lately he's been leaning more to the harmonica and a folk sound.
His next album "Letters of Transit" will be a folk album featuring two songs with local inspirations: "Sandy Beach" and the "Ghost of Bannerman's Island."
"Sandy Beach started out as a little shuffle ad-libbed at the 1983 Pumpkin Festival," said Denis. "When I was working on the melody I had Kenny Roger's rendition of the Gambler stuck in my head. When I turned it around I discovered that it was a variation on the Tennessee Waltz.
Honed and refined on the advice of Pete Seeger, Denis has recorded this song of summer twice with Seeger and once with a full reggae band call Reggae Justice.
"The Ghost of Bannerman's Island" is an anti-war song about an enticing specter who leads men and women to a bloody death. Denis recites the lyrics. They are filled with finely tuned images and line so powerful grace. Denis the song writer is also a poet.
When asked about the anti-war sentiments in his music, Denis offered some background on his experience and the discovery of his avocation.
"I joined the army after being drafted for money and prestige, but I developed a different perspective when I found myself in training to lead a combat squad," he said. At Fort Benning, GA while in Officer Training School, he started to write, exhibiting an acerbic wit and an ability to entertain. When he was given an essay to write as punishment for not studying in study period, Farley expressed his thoughts in a tract on the relative and private nature of time. When Denis recited his essay to his commander and fellow officers in training it brought down the house with laughter.
Denis is also a pitchman who tries to sell his songs to established artists. A gospel tune "Dark Waters" for example is being considered by a well known gospel group.
While working as a stage hand for U2 he tried to sell song to lead singer Bono. Meeting the singer backstage Denis described the song. Bono extended his hand to accept the demo tape. Unfortunately Denis did not have the tape in his pocket.
The music business is full of insulators, people who act as middle men between talent and agent, agent and producer, etc. Denis has spent years learning the game and fronting for himself. Jim Reynolds is the name of his promoter, agent, who is never in the same room with Denis Farley the singer, song writer. They are one and the same.
"When I go to work in the studio, I tend to be well organized. Studio time is expensive, so I need to have a strong idea of how I want each piece to sound," Farley says.
Sometimes the sound is determined by the economics rather than esthetics. The tracks on "PRYVIT BLEWZ" featuring a full studio sound with electric guitar and bass with Denis on sax have a rich texture that would seem to encourage the investment in a fuller sound.
By the time this piece is published, Denis will be on the road. He will write a little, perform a little and promote a lot. Denis is ready.
Like a character in a song, he says, "It is important to look into the sun each day and enjoy your accomplishments and dreams." -- Bob Pucci, Correspondent, Evening News, Beacon, NY

1. Zeke & The Rat 4:45 Denis Farley - Pouring Rain Music BMI

Recorded 1/15/88 Natural Sound Miami, FL; Denis Farley - Producer, Tom Anthony - Engineer; Paul Wishengrad - Bass; Harvey Mandel - Guitar; Kevin Hurley - slide & acoustic guitar; Denis Farley - Vocal & harmonica.

There's a bashful rat she's slick n' sly
find the time you can ask her why
smiles for the camera a great big cheese
better get that shot before she leaves
oh Bashful Rat
she rocks the boogie woogie
pickin' up on all the oldie goldie goodies
now she comes down low when she feels the heat
moves so fast you can't see her feet
oh that Bashful Rat she's rocks that boogie woogie
oh Bashful Rat she rocks the boogie woogie
pickin' up on all the oldie goldie goodies

now old zeke the cat he's cool n' tough
lives on the roof ‘cause he's had enough
he always up high, he can't come down
plays the blues ‘cause he likes the sound
ol'Zeke the cat he rocks the boogie woogie
pickin' up on all the oldie goldie goodies
now he comes down low when he feels the beat
moves so fast you can't see his feet
ol' zeke the cat you know he rocks that boogie woogie
ol'Zeke the cat he rocks the boogie woogie
pickin' up on all the oldie goldie goodies

Now Zeke n' the Rat they're from out of town
there in there out but they don't hang around
They smile for the camera a great big cheese
better get that shot before they leave
ol'Zeke and the Rat they rock the boogie woogie
pickin' up on all the oldie goldie goodies
now they come down low when they feel the heat
move so fast you can't see their feet
ol' Zeke the Rat they rock that boogie woogie
Zeke n' the Rat they rock that boogie woogie
pickin' up on all the oldie goldie goodies

This cut features legendary guitarist Harvey Mandel as well as local South Florida great, Kevin Hurley on acoustic and slide guitar. Kevin counts off the tune in the beginning. I had read that Harvey was living in the area but I wasn't sure he would come out to do a session until Fleet Starbuck, another South Florida blues man mentioned that, "yeah, he'll step out." So I called Harvey, telling him how much I admired his solo work and the collaborations with Canned Heat and John Mayall. I told him that we were doing something like that USA/Union session in that we didn't plan to use a drummer. So it was a special night at Tom Anthony's Natural Sound, then in North Miami. Paul Wishengrad on bass, had been briefly with a band out of Brooklyn, NY (my birthplace), called "Egg Cream." I think ya gotta be from Brooklyn to know how popular a soda fountain drink an Egg Cream is there, so it was a natural tag for a pop band. They had a fling on Roulette before Paul made to South Florida and our gain. Ask anybody that followed music in South Florida about Kevin Hurley. He's state of the art.

2. I'll Never Drive Again 6:50 - Denis Farley, Albert Williams, Wayne Osnoe, P.J. Hennigan, Perry Byrd
Pouring Rain Music BMI, Irish-Indian Music ASCAP

Recorded 5/20/87 Rainbow Recorders on 16th Ave in Nashville, TN. Scott Bagget - Engineer; Albert Williams - rhythm and lead acoustic guitar (guild); Denis - vocals.

Well I called you from 'frisco and I called you from L.A.
I called you from Phoenix, and I called you from Santa Fe
I called you from Dallas n' this is what I had to say

Refrain:
I'm tired of driving, I'm tired of living this way
say the word n' I'll turn this rig around today
well tell me that you want me to be your man
tell me that you want to be more than friends
I may never drive again . . .

eating in truckstops, smelling like diesel fuel
sleeping in motels feeling just like a fool
driving all night and smoking four packs of cools

paying high prices n' loving on the telephone
yeah I'm tired of the pressure and I'm tired of sleeping alone
broke down in Memphis I just want to go home

Refrain:

When I got to Nashville in the Winter of '87 I needed a place fast. So looking through the classifieds I saw an ad that was a hobo / musician's dream - "rent in exchange for session work." Arriving at the house on Villa street just off 16th Avenue and parrallel to it on the west side, I was introduced to Albert Williams, who was the sort of honcho for the landlord and had a little studio setup in the living room. The house was full of musicians, and I had arrived just in time, as a room had become vacant. The tune, "I'll Never . . ." here came out of one of our nightly "singing around and writing sessons" that Albert had organized. Perry Bryd, one of the writers on this tune was driving an eighteen wheeler for a living and trying to quit, like a bad habit, and probably was the major inspiration for this little diddy. There's loads more to this story and I'll put in another installment for another tune that most of this crew wrote that we included in this release, "Ill Never Give Up On You." I guess we were into making alot of resolutions back then.


3. Teaser's Blues 8:32 Denis Farley - Pouring Rain Music BMI

Recorded 1/1/95 at Mitch Cohen's Mood Creations studio in Ossining, NY with Victor Schwarz on guitar and Denis Farley on vocal and harmonica

I ain't up tight, got nothin' to prove
ain't lookin' for fight, I just wanna groove
it's sunday afernoon babe, I just can't resist

I ain't got no gun, don't need no bullet
I ain't on the run if you're wrong I'll forgive it
it's sunday afternoon babe, I just can't resist

you and me babe, it's feelin' alright
a little fictitious but it goes with the hype
it's sunday afternoon babe, I just can't resist

you and me babe, it's feelin' alright
a little fictitious but it goes with the hype
it's sunday afternoon babe, I just can't resist
it's sunday afternoon babe I just can't resist

Victor Schwarz lives in Cold Spring, NY and he's fond of telling anyone that his music education ended with the Weavers, a hit vocal quartet that included Pete Seeger, Lee Hayes, Ronnie Gilbert and Fred Hellerman. They were as big as you can get in pop music in the early '50s until they were blacklisted by the McCarthy witch hunters. Vic is credited by Pete as being the inspiraton for the Clearwater Sloop, a restoration of a 19th century sail powered boat that plied the Hudson River carrying passengers and cargo before and during the advent of the steam engine that made rail and steam boat travel possible. Vic had given Pete a book on Hudson River Sloops as a present, and it sure set off one giant light bulb in Pete's head. Today the Clearwater Sloop sails the Hudson and Long Island Sound, carrying the messages of music, the river and all its life, and the enduring power of wind. It's booked solid from April until November. Sail on Clearwater !

4. Mild Mannered Reporter 3:40 -- Denis Farley, Pouring Rain Music BMI

Recorded 87 at Natural Sound, North Miami, FL; Tom Anthony - engineer; Harry Morgan - acoustic guitar; Denis - vocals & harmonica.

It's a horned rim point of view
it's over easy and it's hot and new
the deadline daily banter
of a mild mannered reporter

it's really extra if you can read all about it
some folks they're gonna shout it
over those strobe lit droning tools
and all the mild mannered rules
mild mannered reporter

but just around the corner
is a phone booth transporter
and when superman beams on his clothes
tell me who else really knows . . .
when superman beams on his clothes
tell me who else really knows . . . the story, I said the story

the political scene is such a horror
hollywood stews they'll wait for tomorrow
you putting your stock in the sports pages
in the center with all those sages
mild mannered reporter

but just around the corner
is a phone booth transporter
and when superman beams on his clothes
tell me who else really knows . . .
when superman beams on his clothes
tell me who else really knows . . . the story, the glory

oh that mild mannered reporter, yeah

Harry Morgan is the son of a famous banjo picker and songwriter that spent a good deal of his professional life working for the Spike Jones Orchestra. Harry's mom was the MC of the show and the whole family traveled by rail with the band when on tour. It was the Swing Era and before the days of the jet set. I met Harry in Coconut Grove, FL at a funky music store on Bird Avenue. Harry's reputation proceeded him and I was thrilled to see him picking in the store that day. I couldn't help being kind of hypnotized by his fret work. His fingers seemed to be moving in slow motion, and yet the tune was not slow. Harry was a Neil Young afficionado and knew more Young songs than anyone I ever heard besides Neil Young himself. One day I took Fuzzy Samuel, who had played bass for Neil on the CSN&Y 4 Way Street Album to see Harry play at a gig we did regularly at a Coconut Grove cafe. Fuzz came away from that experience mumbling one of his singular phrases, to the effect that some people can play Neil Young better than Neil.

5. Hustler's Lament 6:50 Denis Farley - Pouring Rain Music BMI

Recorded at Bayshore 1.5 Miami, FL, Summer 1984 Buddy Thornton - Engineer; Paul Harris - Hammond B-3, Mark Aguilar - Piano, Derek "Froggy" DeVries - Conga, Jim Brady - Drums, Martha Waddel - Vocal, Denis Farley - Vocal;
Remixed at The Ranch NYC April 1985 Fuzz Samuel - Bass, Acoustic Guitar; Denis Farley - Vocal;
Remixed at The Mosley's Bros Studio, Berry Hill, TN, Equinox 1987 Mark Mosley - Engineer Ed Hubbel - Electric Guitar; Denis Farley - Tenor Sax

Stream of consciousness rap in the Kerouac style (mid tempo blues in minor)
It was Halloween and Vine, a trick or treat in space and time a night that seldom leaves deep in the heart of make believe, so I dressed up as inspiration and went looking for frivolous and flirtation pounding a beat on the boulevard n'making up stories in wool and yarn, n'whistling a tune some old secret agent melody, flemmings over the riff and me not knowing the difference between a leak or a legend or what the interest is on borrowed time; all this above the din of heckles and snides all cruising on a carbon monoxide high. That was me on the saxophone dialing like a junk yard skunk in a no parking zone, but later I was down at the Chinese crazy down on my knees gripping cement like a glove in Humphry's when some senior gent, his eyes twinkling with the rent said he'd loan me this poem for some consideration home and see if it didn't make sense this ol' Hustler's Lament. He said ya gotta get rolling ya gotta get a buck there's no time for jive and no time for shuck there's friends and foes and truth and lies but you gotta get it while you're still alive Ya gotta get rolling ya gotta get a buck seven come eleven n'what the heck you can't worry about a crash when you're life's a wreck Ya gotta get rolling gotta get ahead maybe tonight you'll sleep in a bed ya gotta get rolling the higher the better five'll get ya ten she will if you let her Ya gotta get rolling n'don't look back you might turn to stone ya might lose the knack ya gotta slip and slide through the side with the silk and then find a scam with all that milk, don't ask whosit or whatsit or how to get to first base, but when ya get there second base is the place It's just an old bum's rap n'you can forget the whole thing but I can't stay down I need a pocket full of that zing, stay away from the shootemups and don't forget the clowns and when you head for home you can leave the guns in town n'keep on rolling keep on the run everyone knows a moving target's more fun n'don't ask whadya say or who do I pay, or is yer ticket good they're gonna throw it away, no way yer gonna be understood. you can cop a feel make it booze or pills and lord you can stick it in yer arm, but if it don't rhyme you got cause for alarm. ya can put em' up and put'm down any which way you please it's a free lunch just watch where you sneeze if yer in the way n' outta line in the sleeze and in the slime well you can go to church transcend the earth and reach for the sublime up and down and all around it's just another farm, magpies and mocking birds are staying away from harm. I'll say it again you can make amends you can let your voice resound æcause when the words don't mean a thing it could be in the sound you can jump and shout dance all about while I whisper the word, fools abound listening to the herd n' ok let us pray deep into the night n' when we get to peace of mind we'll have gotten rid of fright and it's up tight n'outta site we're all comin to the end mama's reachin out she needs you for a friend. but watch out for the taker he walks a lonely street his need is greed n' he'll let you bleed picking up on the heat he's soulless careless cold as ice looking out for number one ain't never nice but he's picking up on the heat. windows of his eyes lead nowhere, he don't care you pay his fare picking up on the heat n'don't be mad if you've been had just pick up on the heat, the beat n' bye bye another day hey buddy can you lend, a few more days and nights to me and some cash for my friends. . .

It began in 1980 on my first walk down Hollywood Boulevard on Halloween night. For a kid that grew up on television and Saturday matinees at the town theater it was an auspicious occasion. Most of the first part came to me that day, but the body flowed like a fountain on a late night Greyhound bus, or train trip to somewhere. I can't remember where I was going or where I was at. I only remember writing as fast as I could, like some kind of crazy dream, and I'll never forget that.
Back in L.A. in 1981, working for Fuzz Samuel, I typed it up on Ken Segal's typewriter (this was even before the days of widespread IBM PCs or maybe even Apples) !! Later in Miami I would jam it at gigs or anywhere they'd let me on stage. By 1984 I was living in Islemorada, FL, the Keys, about mile marker 84. At that time I was tracking songs with Buddy Thornton at Bill Szymczyk's Bayshore 1.5 Studio. I had met Paul Harris while working for Fuzz and hired him myself for the sessions at Bayshore. Paul had been a regular keyboard player for Bill and Pandora Productions, appearing on hits like the Szymczyk produced "The Thrill Is Gone" with B.B. King.
We had finished one tune and were packing up when Paul talked Buddy into cutting the "rap" I had. Paul played the B-3 Hammond but without the Leslie 'cause it was on the blink. I later found out that Booker T played "Green Onions" without a Leslie too. Mark Aguilar was there and since we didn't have a bass player he played the bass on the baby grand piano. My friend "Froggy" DeVries did the percussion and Mark's friend, Jim the traps The following year when I added Fuzzy's bass in New York, we kept the piano in there and the sound of both bass parts creates a solid bottom end. Fuzz also played a rhythm guitar part on his Ovation acoustic / electric, a reggae strum that moved over the bottom brilliantly - merging the two idioms. But if you listen to his bass part you'll hear this same strange mix
I carried those tapes for another two years before I decided it was time to add a lead guitar. Big Joe Fitz at WDST-FM in Woodstock, NY had played it on the air even without the lead obligato. But while staying at that Villa street house with Albert Williams (remember that - see "Ill Never Drive Again" above), there was a guitarist by the name of "Smokin" Ed Hubel. I loved Ed's daily routine. He would rise about noon or so each day and light a cigarette and crack a beer, swing his legs over the side of the bed and pick up his guitar and begin to play. After a few hours of that he would walk down to the corner store for more beer and cigarettes and come back to his bed to play through the early evening. All the while there was a huge floor model television next to, but pointing down the long access of the bed. It was always on, day and night with just a faint sound of white noise, and snow across the entire screen, like some kind of extra-terrestrial metronome. At night Ed would go down to a gig or jam session somewhere in Nashville, usually on Broad Street. Whatever you may see on those Nashville stations about country music, if you survived a gig on Broad Street in '87, you had to have some kind of magic going.
So I took Ed to the Mosley Brother's studio in Berry Hill and let him loose on "Hustler's Lament." Ed played through it one time and then we recorded him in one take. I put my tenor sax on the opening, Mosley mixed it, and we left the studio within the space of one hour. Ed said I didn't have to pay him up-front. I never saw him again, despite having a popular commercial radio station with a Sunday night blues show put out a call for Ed while they played the song. It was Ed's hometown, Kansas City, and I haven't heard from Ed yet. So Ed, if your out there, give me a call and pick up your check. And you know what, you're better than 99% of the so called blues guitarists out there !!

6. Okefenoke 4:25 Denis Farley - Pouring Rain Music BMI

Recorded 5/20/87 Rainbow Recorders on 16th Ave in Nashville, TN. Scott Bagget - Engineer & bass; Albert Williams - acoustic guitar (guild); Denis - vocals, tenor sax.

My old friend molasses was funnin' a wily willow tree
while racing an inchworm and speaking with felicity
she said I could care less 'bout no skeeter fly or flee
or the king, or that bad ol' scaley thing of Okee-feno-o-o-kee

see nothing could keep me from wonderin'
when I'm wanderin' wonderfly
whether nothin's really nothin'
or if nothin is for free
not to mention if nothin'
really nothin' could ever really be

she said you look like you're one step from paradise
and you hear angels smiling and calling your name
yeah you're one step from paradise
and you hear angels smiling and calling your name
but the devil declares very honestly
that he thinks you're to blame

My old friend molasses was funnin' a wily willow tree
while racing an inchworm and speaking with felicity
nothin' could keep me from wonderin'
when I'm wanderin' wonderfly, yeah, yeah

Well yeah, she said, never never, never let, never, never let
wherever you may be, tangled up in some ol' wiley willow tree
never let anything fly, between you and little ol' me
but your smile, between you and little ol' me
between you and little ol' me

Again with Albert at Rainbow Recorders. Dedicated to Walter Brennen and bad man Bond, but only by coincidence. Also to a Southern Belle and Spanish Moss.

7. I'll Never Give Up On You 2:32 - - Denis Farley, Albert Williams, Wayne Osnoe, P.J. Hennigan
Pouring Rain Music BMI, Irish-Indian Music ASCAP

Recorded 5/20/87 Rainbow Recorders on 16th Ave in Nashville, TN. Scott Bagget - Engineer & bass; Albert Williams - acoustic guitar (guild); Denis - vocals.

I quit smokin' I quit drinkin'
I quit runnin' with fools
I quit cheatin' I quit speedin'
I even quit playin' pool
I gave up all the bad things I used to do
I gave up all the things you wanted me to
but I'll never give up on you

I quit stealin' I quit dealin'
I quit landing in jail
I quit cussin' I quit fussin'
I even quit chasin' tale
I gave up all the bad things I used to do
I gave up all the things you wanted me to
but I'll never give up on you

I'll clean up the dishes after I eat
I'll pick up the lid on the toilet seat
I won't throw you words back in your face
I'll even join the human race

II'll start workin' I'll start churchin'
I'll drive your mama around
l'll start bathin' I'll start shavin'
I'll even take you out on the town
I'll do all the things that you want me to
I'll give up all the things I used to do
but I'll never give up on you

This was another product of those writing sessions with Albert Williams and the Villa Street gang. It was a blast to do but is really screaming for a band arrangement. Some day I'm gonna do it but in the heat and haste of '87-89, we just slammed this on to the record without so much as a thought to production values and arrangements. We just had so much fun doing it, that all that other stuff just didn't matter. But one man's fun is another's bane. I sent this tape / LP to the Kerrville folk festival people and got a letter back saying that "it wasn't the kind of thing that they featured on their main stage." Albert and his wife Alice however, played the Kerrville "new folk" show on two occasions. Later, a gospel song Albert and I wrote at the Villa street sessions won a national song competition sponsored by the Veterans Administration. Alice and Albert traveled to Des Moines, Iowa to accept the award and perform the song at the City Civic Center. I still haven't released it, which I guess is kind of crazy. I think the Kerrville people might like it better than our "fun" song. And then, I sent my latest CD to the Slippery Noodle in Indianapolis, and they said it was "little sedate" for their crowd. Dammed if you do, dammed if ya don't ?!?

8. Fiddle Riddle 2:40 Denis Farley - Pouring Rain Music BMI

Recorded 7/85 LIttle Big Horn Studio, New York City; Dave Rimiles - acoustic guitar & violin. Just don't remeber the engineer or the drummer way down in the mix. Denis - vocals. Remixed at Scott Petito's NRS Studio in West Hurley, NY sometime later. Scott also played bass and engineered.

Well give me a cat with a fiddle
a guitar I've got the riddle
n' if that ol' beat's not too lame
I'll be a hard hearted hombre to tame

well I followed her jumping over
like a lucky lazy lonely lover
but that ol' time reel began to shuffle n' deal
said snake eyes your a rock n' roller

so give me a cat with a fiddle
a guitar I've got the riddle
n' if that ol' beat's not too lame
you just might remember my name
we don't aim to feel any pain

well come back baby come back
I'm here high above the plain
and I've been listening that ol' hoot hoot owl
I quit wondern' who's to blame

so give me a cat with a fiddle
a guitar I've got the riddle
n' if that ol' beat's not too lame
we don't aim to feel any pain
a hard hearted hombre to tame

repeat n' vamp

I saw Dave play violin in Miami with the Bobby Rodriguiz Band at the Calle Ocho Festival and hired him to play on a demo of this "swing" tune I was recording on my home tape player. Later in NY I called Dave at his home in New Jersey to come out and try to make a "real" recording of the "Fiddle Riddle." Scott Petito had been with a band called Dry Jack, a kind of out Jazz Band that did very well by Scott. My friend, Ken Segal had also toured with the band as an opening act, doing stand up comedy. I met these guys independently of each other, Ken in Miami in '76 and then low and behold, here I'm running into the very band that my friend had toured with . . . kismet.

9. My Poor Heart 3:01 Denis Farley - Pouring Rain Music BMI

Recorded 8/1/86 Rolling Thunder Mobile Recorder at the Beacon Sloop Club, Beacon, NY; Mike Roam - engineer; Jimmy Eppard - acoustic guitar, background vocals; Denis - vocals, harmonica; Remixed at Natural Sound, Miami, FL with Kevin Hurley on slide guitar; Tom Anthony - engineer.

I'm gonna sit right down in my old rocking chair
gonna keep on rockin' till you say you really care
gonna put my hands together lay back and say my prayers
and I'll keep on rockin' till my poor heart's repaired

Well alright darlin' I needed some shakin' up
but please don't tell me that we're really breakin' up
I'm cryin' out loud I need you're lovin' care
only you babe will make this heart repaired

Please please darlin' don't send me on that highway run
without you babe you know it just ain't no more fun
I'm cryin' out loud I need you're lovin' care
only you babe will make this heart repaired

I'm gonna sit right down in my old rocking chair
gonna keep on rockin' till you say you really care
gonna put my hands together lay back and say my prayers
and I'll keep on rockin'
and I'll keep on rockin'
and I'll keep on rockin' till my that broken heart's repaired

We had just finished recording "Sandy Beach" which appears on my '96 release, "Moodswing Woogie" and the sloopers wanted to get on home after all that hard work, but Jim and I had to get just one more tune on tape before we packed up Mike Roam's Rolling Thunder recorders. So we boogied on down until closing time. Later in Miami I overdubed Kevin's superb slide guitar and it was good to go. A couple of years later in Nashville I had a job as night watchman at a trailer sales lot. All I had to do was sleep in the trailer, and I got paid for it !!! I had some great jobs in Nashville - that town understands !! Anyway, one night I see a tour bus pull in across the street at a supermarket parking lot. It sat there for quite a while until finally curiosity got the better of me and I wandered over to it. Sure enough it was a rendezvous for a band and they were all smokin' n' jokin' around the bus in the parking lot. But up in the bus sitting all alone was a man in black with very dark sun glasses and a small light lit just over his head. He wasn't reading anything, just gazing straight ahead as far as I could tell behind the black panes of his glasses. It was Roy Orbison. Naturally I went to pieces, and had to run back over to the trailer and get a copy of "My Poor Heart" to pitch to him. A star's life is not an easy one ?!?! So one of the guys in the band brought the tape in to Roy and a little while later Roy came out and hung with us in the lot, smokin' and jokin'. Then the rest of the band showed and they jumped on the bus and split . . . just another night at the trailer park in Music City.

10. Broke n' Disgusted 2:53 Denis Farley - Pouring Rain Music BMI

Recorded 12/87 Natural Sound, Miami, FL. Tom Anthony - engineer; Paul Wishengrad - bass; Harry Morgan - acoustic guitar; Denis - vocals.

I'm broke n' disgusted
I can't be trusted this morning
n' sometimes I'm a singer
an ol' church bell ringer won't harm ya
I've been workin' my mind
till I dug out a piece of my soul
and I'm sittin' out this waltz and singing
in the game of chairs we're playin'
'cause I can't hear the music anymore

I take long chances for romance
my pretty girl and a slow dance
n' the beat of her heart close to me
it's why I'm up and out here showin'
I'd like to keep on getting to knowin'
her sweet sigh of ectasy

But I'm broke n' disgusted
I can't be trusted this morning
n' I'm still a part time singer
an ol' church bell ringer won't harm ya
I've been workin' my mind
till I dug out a piece of my soul
it's a little borrowed a little new
like an old fool for the blues
and you can find it at the company store

I ain't much for examples
the good book's shown me samples
but this one I know for sure
if christ is what's christian
you can hold only suspician
for a man of peace that puts a gun in your hand

yeah I'm broke n' disgusted
I can't be trusted this morning
I'm still a part time singer
an ol' church bell ringer won't harm ya
I've been workin' my mind
till I dug out a piece of my soul
it's little yours a little mine

I've been called a rich man n' a poor man
looks like I'm just a hired hand
n' I know there ain't no morality
with two masters for deceiving
you can bet I'll be believing
the one that's letting me be

Yeah I'm broke n' disgusted
n' I can't be trusted this morning

Just another night in Miami - 1987.

11. Dreamin' South 6:12 Denis Farley - Pouring Rain Music BMI

Recorded during the Spring of '84 at DB studio, Bruce Hensel, engineer; Paul Harris - piano; Larry Oaks - The Oberheim System - bass & drums; Denis Farley- vocals.Remixed during the Summer of '84 at Bill Szymczyk's Bayshore 1.5 Studio, Miami, FL. Buddy Thornton - engineer; Denis vocals & tenor sax; Remixed at NRS, West Hurley, NY, Fall/84; Scott Petito - engineer; Jim Eppard - electric guitar; Dennis Menard - electric guitar; Denis Farley - vocals; Remixed at the Ranch, New York City Spring '85 with the unknown engineer; Fuzz Samuel - bass, Moon - trap set. Remixed at the Mosley Bros Berry Hill Studio, TN, May of '87.

I'm dreamin' south I'm dreamin' west
you win you lose you do your best
I'm dreamin south I'm dreamin' west
big apple fadin' flying dutchman's nest

Little bird there she's lookin' at me
I'm in the movies selling poetry
down to earth lady, parking lot payday
got me back into the blues

our heartbeat's ticklin' ol' father time
caressing lips it's a rosy rhyme
singing n' laughin' an ol' time sound
Effingham, St Louis on to Sringfield town

makin' love to Jeanie
how else could it be
when I kissed her goodby
I had no alibi
but these ol' lonesome blues

so I went back dreamin' south dreamin' west
the Ozark hills and a Joplin rest
through Tulsa, Amirillo like a wave on a crest
sunrise in Winslow, Arizona
starting to remember my name
singing gypse lovin' Jeanie (hobo's lonely love song)
and that dreamin' remains

I'm dreamin' south I'm dreamin west
you win you lose you do your best
I'm dreamin' south I'm dreamin west
two days in jail and a hollywood fest

This tape braved rain, sleet, snow and temperatures that should have baked it. The amazing job of Buddy Thornton and then The Mosley Bros to knit the guitar parts together . . . something that is easily done in the random access world, is painstaking tedium in linear editing. This song was written for Jeanie M., a lasting memory, a moment in time.

All songspublished by Pouring Rain Music BMI unless otherwise noted. © 1988 Flat Baroque Records. Produced by Denis Farley. Mastered at Fuller Sound, North Miami Beach, FL. Art Direction - Denis Farley; Cover illustration by Catherine Ann Ryder; Back photos also by Catherine Ann Ryder. Additional graphics and layout by Denis Farley. Special thanks to all the helping hands along the way. Dedicated to the many creditors and shareholders of Pouring Rain Music. CD mastered at Painted Sky Studio, Cambria, CA., Winter 2007, Steve Crimmel - engineer.

Cover Illustration and original back photos by Catherine Ann Ryder. Additional photos from the Pouring Rain/Flat Baroque archives added to the CD release. Graphics and design by Denis Farley.
Produced by Denis Farley for Pouring Rain Music - 1987.

Other Flat Baroque Records by Denis Farley: Biscayne Bay FB841, Moodswing Woogie FB0391-496.


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