THE POSSUM TROT ORCHESTRA -- HARBOR ROAD -- Southern Can CDs SCCD 2227 -- December 2006
Including the track THE HOUSE THAT WE CAN'T BUY, as heard on NPR's ALL SONGS CONSIDERED/OPEN MIC, April 11, 2007. www.npr.org/programs/asc/
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The first thing to recommend HARBOR ROAD is its warm sound, a nice mesh of acoustic guitars, mandolins, electric guitar, bass (upright and electric) and drums. Often, another element is added, like an accordion on the title track and lap steel on TENNESSEE UNBOUND. Between the clarity of each instrument in the mix and Possum Trot Orchestra's loose performance style, the music breathes and simply sounds good. Susie Suraci and John Minton handle most of the vocals, and while neither would be described as a typical "good" singer, both bring an unassuming air to their lyrics (I think of their vocal approach as deriving from the Dylan-Neil Young school). Their voices, together and separately, also blend well with the instrumental arrangements. Suraci and Minton have also written most of the material, and have a talent for inserting politics into human stories (THE HOUSE THAT WE CAN'T BUY and BILLY). I suppose that you could also call Possum Trot Orchestra a jam band, thanks to its laid-back vibe, even though this band never jams much. But genres, in the end, never tell you whether a band or album is any good. . . . Possum Trot Orchestra's warm sound, vocal combo, and lyrical flair offer an enjoyable, down-to-earth recording that should appeal to both roots and rock fans.
Ronald Lankford, Jr.
SING OUT! Summer 2007
8 OUT OF 10. Subtle and delicate American roots at its finest. . . . After their outstanding 2005 self-titled debut I was eagerly anticipating The Possum Trot Orchestra's latest offering. Not only does it not disappoint, but they've stretched out and expanded their template while retaining all the things that made their last album so great.... The Possum Trots are quiet and delicate players, very much less-is-more people, blending traditional folk and roots styles better than almost anyone. They demonstrate to perfection that it's not necessary to blast out a wall of sound to get your point across. Theirs is thoughtful music, music that repays repeated listens, music that is informed by but not in thrall to the tradition, [with songs that] have the timeless feel of classics like "Long Black Veil." . . . A superb and rewarding listen.
Jeremy Searle
AMERICANA-UK, Liverpool, England, February 2007. www.americana-uk.com
This album contains fourteen tracks--or should I say gems? . . . I'm still dazzled by the original stuff The Possums have to offer. . . . Arranged in old ways or even sounding kind of poppy, sung and played impeccably. . . . HEART LIKE RAILROAD STEEL (that title and that electric slide guitar!) and BUCKEYSTOWN (with catchy chorus and upbeat interplay between 5-string banjo and mandolin) are absolutely gorgeous duets. ED (about a couple in New Orleans the night hurricane Katrina struck, not knowing that the levees broke) and BILLY (about a Korean War veteran: "And when they roll them laundry carts / He thinks they're Chinese howitzers," true story?) bring tears to my eyes. . . . The lyrics are featured in the booklet, smart addition, especially for us Europeans, who like to study the subjects! . . . O.K., one more word from me: RECOMMENDED!!
Johanna J. Bodde
INSURGENT COUNTRY, Marburg, Germany, January 2007
www.insurgentcountry.net
Many of the songs deal literally or metaphorically with the state of the union, but never in a heavy-handed or awkward way. The songs on HARBOR ROAD are short stories, often cinematic in scope, tackling weighty topics like disaster relief, veterans affairs, corporate takeover of radio airwaves, the rising cost of housing, Nashville's star-making machinery and more. But like folk troubadours from Woody Guthrie to Bob Dylan to Billy Bragg, the Possums balance the matters of the world with politics of the heart--and songs like TENNESSEE UNBOUND, WINTERLIGHT, APPETITE, and the gorgeous album closer, WONDERFUL, deal with love and loss in a mature, daring way. . . . HARBOR ROAD is [the Possums'] best [album] yet, and stands tattered shoulder to tattered shoulder with recent Americana releases by the likes of John Prine, Shawn Colvin, Nanci Griffith and Neil Young.
Matt Kelley
WHATZUP: HEARTLAND ARTS & ENTERTAINMENT, Columbia City, Indiana, January 4, 2007
www.whatzup.com
HARBOR ROAD is the second album by this outstanding Fort Wayne, Indiana-based four-piece band, a vehicle for the literate (non-collaborative) songwriting of members John Minton and Susie Suraci. (The other members are multi-instrumentalist Rob Suraci and mandolinist Dave Kartholl.) The Possum Trot Orchestra, which defines itself as a modern folk outfit, fashions its personality out of tradition-inspired ideas set in pop and rock structures. . . . This is early 20th-century stringband music for the early 21st century. . . . Susie Suraci's songs are more poppish than Minton's--you could say they validate the otherwise ordinarily abused practice of country-pop-- though their respective styles mesh amazingly well. As an academic folklorist and scholar of traditional music, Minton composes material that takes off from venerable themes and characters--striking workers, wounded soldiers, rambling hobos, would-be victims matching wits with the devil--and peppers it with folksong-derived quotes ("heart like railroad steel," "doney gal," "the girl I left behind"). Yet the results don't come across as an effort to recreate the sounds of old tunes (not, of course, that there's anything wrong with that). The melodies are not obviously adapted from folk templates but assume their own unique shape. Minton sings all of this in a voice that is sometimes gruff, sometimes whispery, always unpolished in an endearing sort of way. . . . The more conventionally pretty singer, Suraci handles vocals on her own well-crafted songs, set to flowing melodies carrying intelligent, sometimes fierce lyrics. Those lyrics are often focused on social and political issues--the Katrina catastrophe, domestic violence, manipulation of media by the control freaks of the current regime--but do so without a self-destructing self-righteous tone. . . . It's a nice touch, too, that the band gives us a fairly straightforward performance (with vocal by Rob Suraci) of Blind Lemon Jefferson's great BAD LUCK BLUES. In almost everything it does, PTO is boldly lighting into new territory, but it's refreshing to know that, every once in a while, it is not afraid to return to the old homestead.
Jerome Clark
Rambles.NET: A CULTURAL ARTS MAGAZINE, 7 April 2007
www.rambles.net
Whatever faults the Possum Trot Orchestra may have on HARBOR ROAD, songwriting isn't one of them. Susie Suraci and John Minton spent the time between the release of their fine self-titled 2005 album and the recording of this one to hone their craft and it shows. Each supplies a fistful of tracks, some of them downright gems. . . . The band itself, with the first album far behind them and the addition of mandolin player Dave Kartholl, progresses as well. Kartholl's mandolin is at times apt and at others key to the progress. Suraci and Minton are their usual professional grade on their instruments. Rob Suraci, however, is leaps and strides beyond his last effort. His work on Blind Lemon Jefferson's BAD LUCK BLUES and Susie's APPETITE makes you wonder why he is limited so much to bass and drums on most of the album, but when you play alongside Minton, well… In the end, the progress each has made has given the band a boost in credibility as a band. They are definitely coming into their own. . . . The first time through this, I thought, okay, they've done it again. A solid effort. Repeated hearings, though, have me convinced that this is the jumping off point for bigger things. Today, Fort Wayne, tomorrow...? Allow me a pre-emptive strike here. This band shouldn't even think about splitting up for at least three more albums, maybe more. As good as they are individually on this album, I believe that they reach a synergy as a band that they might not ever capture solo. Now that I've said it, let me put the rumor to rest. They are not splitting up. Fact is, they have only just begun.
Frank Gutch, Jr.
THE FOLK AND ACOUSTIC MUSIC EXCHANGE
www.acousticmusic.com
On HARBOR ROAD, Minton's savvy historicism and the Suracis' pop acumen have met somewhere in the middle--and that place, for lack of a better designation, is the early '70s. The Possum Trot Orchestra is starting to exhibit the same shambling deliciousness and talent for musical stew-making as The Band.
Steve Penhollow
FORT WAYNE JOURNAL-GAZETTE, Sunday, December 17, 2006
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The Possum Trot Orchestra is an American roots music ensemble from Fort Wayne, Indiana consisting of SUSIE SURACI {sir-RAH-chee} (vocals, guitar & keyboards), JOHN MINTON (vocals, guitar, banjo, accordion & lap steel), ROB SURACI (vocals, bass, guitar, piano, harmonica & drums & percussion), and DAVE KARTHOLL (mandolin). Picking up from last year's critically acclaimed THE POSSUM TROT ORCHESTRA (Southern Can CDs SCCD 2225, 2005--also available from CDBaby), HARBOR ROAD features thirteen new originals from Susie and John, plus Rob's take on one of Blind Lemon Jefferson's classic country blues. Stylistically, the tracks range across the American tradition, from folk, country and roots-rock to bluegrass and blues. Alongside traditional topics and arrangements (BILLY, THE DEVIL AT THE CARD PARTY, BAD LUCK BLUES, BUCKEYSTOWN), the Possums also explore contemporary roots trends, tackling current events and issues (HARBOR ROAD, THE HOUSE THAT WE CAN'T BUY, ED, THE CONTENT OF YOUR NEWS) and, of course, that mother-of-all-song-subjects--L-O-V-E--good, bad and broken-hearted (HEART LIKE RAILROAD STEEL, KNOXVILLE, APPETITE, TENNESSEE UNBOUND, WINTERLIGHT, WONDERFUL). Hey--when all else fails, try playing Possum!
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THE POSSUM TROT ORCHESTRA
SUSIE SURACI
JOHN MINTON
ROB SURACI
DAVE KARTHOLL
HARBOR ROAD
John Minton • Monkey Knuckles Music/ASCAP
John • vocal • acoustic guitar • accordion
Susie • vocals • acoustic guitar
Rob • vocal • electric guitars • electric bass • drums
Dave • mandolin
Blackbirds in the night • racing home to roost in the dying light
Things are looking dim • talks broke down again • they're calling for a strike
Down on Harbor Road . . .
There ain't no looking up • the owners and the union they're just all the same
There ain't no honest cop • ain't a politician with a decent name
Down on Harbor Road . . .
The boats are steering in • dark so slowly stealing all along the shore
The coats are wearing thin • the paint is peeling from the houses and the stores
Down on Harbor Road . . .
THE HOUSE THAT WE CAN’T BUY
Susie Suraci • Slim Dot Music/ASCAP
Susie • vocals • acoustic guitars
Rob • upright bass • drums
John • acoustic 6• & •12• string guitars
Dave • mandolin
I see a red maple tree in a green front yard
A big flower bed where I’d work real hard
A wreath on the door that would welcome you
To the house that we can’t buy
There’s a nice living room with a fireplace
Windows all around and lots of space.
Everything is tidy and just like new
In the house that we can’t buy . . .
We’re both working jobs • we’re trying to save
But the postman always brings another bill to pay
When the average Joe can’t afford to buy
The American Dream seems like one big lie
So here’s the dingy little flat on a noisy street
That we rent to put a roof over our family
How I wish that we could put that money toward the price
Of the house that we can't buy . . .
ED
Susie Suraci • Rob Suraci • Slim Dot Music/ASCAP • High Lake Music/ASCAP
Susie • vocals • acoustic guitar
Rob • vocals • electric guitars * • electric bass • drums
John • acoustic guitar • accordion • 5• string banjo
Dave • mandolin
The networks said this one would be at least a 4
So we hammered up the plywood and we headed to the store
Bought enough provisions so we wouldn’t have to go
‘Cause this is all we have you see • and this is all we know
Ed • the streets are full of water
So do you think we oughta get up now and leave?
Ed • I wouldn’t wait till later
It looks like the whole neighborhood is welcoming the sea
We huddled in the darkness and listened to the roar
We thought we’d lost the roof one time but it lasted through the storm
And in the early morning we peeked out at the debris
We thought we had escaped the worst • we thought it was a 3
Ed • our yard is full of water
So do you think we oughta get up now and leave?
Ed • I wouldn’t wait much later
It looks like the whole neighborhood is welcoming the sea
There was barely time to grab the baby and the dog
After trying to comprehend the water swirling in the hall
No time to have a last look ‘round the only home we knew
We were busy pulling down the attic stairs we’d hardly used
Ed • our house is full of water
Right up to the French Quarter • water’s all I see
Ed • what did we hesitate for?
It looks like the whole neighborhood is welcoming the sea
Ed • our house is full of water
Right up to the French Quarter • water’s all I see
Ed • the helicopter’s coming
I see it coming and I will be strong
And though we’re left with nothing • it breaks my heart to leave
I'm coming back to where I belong
Oh don’t you know • it breaks my heart to leave
BILLY
John Minton • Monkey Knuckles Music/ASCAP
John • vocal • acoustic guitar • 5• string banjo
Susie • vocals
Rob • electric bass • tambourine • kick drum • cabasa
Dave • mandolin
Last night it come a big storm and over on the east wing
Billy started hollering and jumping up and down
The nurse could not convince him that he wasn't back at Inchon
Incoming antipersonnel shells dropping all around
He's born up some holler a piece outside of Hazard
And he never had a nickel he could rub against a nail
The only thing he ever won was that goddamn draft lottery
Got him a trip to Korea and like to froze his tail
Well there's some boys go to college and there's some boys go to jail
Billy went to Korea and like to froze his tail
He come back to that slag hill covered by the GI Bill
And lost hisself near forty year down in some company mine
But shellshock and dementia make a wicked old age pension
Now he's still got his Purple Heart but only half a mind
And there's this one East Indian • he swears she's North Korean
And the medicine she's passing out is brainwash for the Reds
And when they roll them laundry carts he thinks they're Chinese howitzers
And hides on the linoleum up underneath the bed
He's so mixed up in the head that they almost wish him dead
When he's down on the linoleum up underneath the bed
Them hookers down in Seoul • they couldn't talk Kentucky
But time of day they'd find a way to pacify your mind
And sometimes when he's half insane • he'll still call this one whore's name
Though he can't recognize his third wife nearly half the time
While at the VFW Hall the boys are playing dominoes
The last time they saw Billy they could tell he's slipping bad
He went fast once Bobby passed with that pneumoconiosis
That's the one thing ain't hit Billy like old Bobby and their dad
It's no lie he's had it bad • all the hard luck that he's had
Least he ain't got the black lung like his brother and their dad
Last night it come a big storm and the east wing was so quiet
That the night nurse went to check on him to see is he OK
But time finally accomplished what Korea left half•finished
They said it was a blessing when old Billy passed away
And some people never think about the stupid things they say
And they said it was a blessing when daddy passed away
THE CONTENT OF YOUR NEWS
Susie Suraci • Slim Dot Music/ASCAP
Susie • vocals • acoustic guitar
Rob • electric 12• string guitars * • electric bass • drums • acoustic guitar
John • acoustic 12• string guitar • electric guitars
Not long ago my radio was a source of heart and soul
Maverick DJs programmed the airwaves
Now they just play what they’re told.
So I turn the dial today in real frustration
‘Cause I cannot get a single FM station to play me something new
Objective news with two points of view
The Fairness Doctrine guaranteed
Then Reagan said That concept is dead • let our guiding light be greed
So I turn the dial today in desperation
But I cannot get a single network station to tell me something true
This used to be the land of the free and no one could own the air
The FCC betrayed you and me when the corporate muscles bared
Now a handful of the mega•corporations
Shape the views and attitudes of this whole nation
As they pull the wool over the land of sheep
Do you hear a cry of protest? Not a bleat
‘Cause they’ve got the market sewn up nice and tight
They have bought control and now they’ve got the right to choose
The content of your news . . .
THE DEVIL AT THE CARD PARTY
John Minton • Monkey Knuckles Music/ASCAP
John • vocal • acoustic guitar • 5• string banjo
Rob • vocal • upright bass • drums • tambourine • electric guitar
Dave • mandolin
Susie • vocal
The wind was blowing from the west
The night was full of rain
The black face of December pressed
Against the windowpane
Four of us were sitting 'round
A•playing at the cards
When a gust came whipping down . . .
And blew the door ajar
In steps a little man
The first of him we'd seen
Wearing a frock coat and
A cap of forest green
He says You've saved a seat for me
So don't look too surprised
Dealing out a deck of cards
All set with living eyes . . .
Our host he was a Deacon
A pillar of the town
He bolted out the door and dared
The stranger run him down
While to my left a wealthy man
Always game to play
Folded up a good hand
When the Red Queen winked his way . . .
But Jonah was a scoundrel
A drinker of bad gin
He took an oath to gamble all
He swore to cuss and sin
So Jonah put his marker down
And threw a pair of eights
The stranger drew the hanging man
And filled an inside straight . . .
You can dig your grave with the Ace of Spades
But a Full House buries Three•of•a•Kind
The Joker's awful wild but he will not be denied
For a fool lands face forward every time
Jonah snuck up in his sleeve
And pulled a crooked Jack
Raised the bet by half a stone
And dropped it on the stack
But as he did the lights blew out
Fire filled the air
Leaving just a bloody tooth
On top of Jonah's chair . . .
You cannot watch your back with a One•Eyed Jack
But a pocket watches all it can hide
The King of Hearts lies dead with a big knife in his head
But they said it was mostly suicide
My song is almost at an end
The moral ain't so long
When cutting cards with strangers friend
You'd best keep right from wrong . . .
BAD LUCK BLUES
Blind Lemon Jefferson • Public Domain • Arranged & adapted by Rob Suraci
Rob • vocal • acoustic guitar • piano • drums • guitar case
John • tenor banjo
I wanna go home but I ain't got sufficient clothes • doggone my bad luck soul
I wanna go home but I ain't got sufficient clothes • I mean sufficient • talking about clothes
Well I wanna go home but I ain't got sufficient clothes
I bet my money • and I lost it • Lord it's so • doggone my bad luck soul
Mmmmm • lost it ain't it so? • I mean lost it • speaking about so now
I'll never bet on a deuce•trey•queen no more
Mama I can't gamble • Son why don't you quit trying? • doggone my bad luck soul
Mmmmm why don't you quit trying? • Why don't you quit • I mean trying?
That joker stole off with that long-haired brown of mine
Sugar you catch the Katy • I'll catch the Santa Fe • doggone my bad luck soul
Sugar you catch • you catch the Katy and I'll • I'll catch the Santa Fe • I mean the Santy • singing about Fe
Honey when you get in to Denver • pretty mama look around for me
The woman I love's about five feet from the ground • doggone my bad luck soul
Hey • five feet from the ground • five feet from the • I mean ground
She's a tailor•made woman • she ain't no hand•me•down
I ain't seen my sugar in three long weeks today • doggone my bad luck soul
Seen my sugar in three long weeks today • three long weeks to • I mean day
It been so long • seems like my heart's gonna break
Gonna run 'cross town • catch that southbound Santa Fe • doggone my bad luck soul
Mmmmm • Lord that Santa Fe • I'm mean the Santy • singing about Fe
Be on my way to what they call loving Tennessee
HEART LIKE RAILROAD STEEL
John Minton • Monkey Knuckles Music/ASCAP
John • vocal • acoustic guitars • electric slide guitar
Susie • vocals • acoustic guitar • keyboard †
Rob • electric bass • drums
Look way down that track
You see me going I ain't coming back
All you are to me is just a used•to•be
Hoist your window high
You can watch as I roll on by
All your crying won't do no good not like it used to could
You got a heart like railroad steel
Doney gal • what did you ever feel for me?
In that breastbone as hard as a rock of stone
The longest train on that line
Couldn't haul this heart of mine
It's all the same with you just like you always do
Ain't no use to moan
The more you cry the further I'm gone
It's all the same with me just like it used•to•be
You got a heart like railroad steel . . .
KNOXVILLE
Susie Suraci • Slim Dot Music/ASCAP
Susie • vocals • acoustic guitar • organ †
John • electric guitars • acoustic guitar • electric slide guitar • 5• string banjo
Rob • electric bass • drums
I see you've made your mind up
You're taking your guitar
You're taking off this Friday to go down to Nashville and be a star
Your papa thinks you're crazy
But mama says you're fine
She gave you forty dollars just to get you to the Tennessee line
Oh to get you to the Tennessee line
Oh! Tennessee! Oh! Tennessee! Get you to the Tennessee line . . .
You only made it far as Knoxville
Before the engine died
No sooner popped the hood up when a lady pulled along upside.
She said • I see you’re having trouble
Well honey hop right in
I got a brother with a tow truck but first I’ll take you for a little spin
Oh I'll take you for a little spin.
Hey! Chevrolet! Hey! Chevrolet! Chevy says jump right in . . .
He wasn't sure where she was going
He only knew where he had been
But he liked the look of her machine
She said she kept her engine clean
He never made it out of Knoxville
He never stood a chance
She drove him crazy in the Chevy • jump•starting a big romance
And now he only plays on Fridays
Down at the corner bar
It ain't the Opry down in Nashville but the locals treat him like a star.
Oh the locals treat him like a star.
Hey! Tennessee! Hey! Tennessee! The kid should really be a star . . .
APPETITE
Susie Suraci • Slim Dot Music/ASCAP
Susie • vocal • acoustic guitar
Rob • vocal • electric slide guitar * • electric guitar * • upright bass • drums
Dave • mandolin
John • acoustic guitar
You told me that there was no other
You told me that your heart was true
And I believed you like a lover
And I was cheated like a fool
So you don’t mind if I forget you
Cause you’re down the road without a care
Hunting the next one who will let you
Drive her to ruin and despair
Your phone was ringing all the morning
The calls kept coming through the night
Always a new girl looking for you
With the same old appetite . . .
We know this wasn’t the first time
You did a good woman wrong
But I swear this will be the last time
I get knocked down by a hit and run
TENNESSEE UNBOUND
John Minton • Monkey Knuckles Music/ASCAP
John • vocal • acoustic guitar • lap steel
Susie • vocal • acoustic guitar
Rob • electric bass • drums
Dave • mandolin
And so I left old Tennessee
Being Ponchatoula bound
And though my footsteps followed me
They seemed to fall without a sound
I hitched from Franklin to the Gulf
It being all about a girl
Who clipped my wings and pitched me off
And so I fell on this old world
Dropping like a stone
Cut clean to the bone
And yet I find
My thoughts inclined
My heart confined
To the girl I left behind
Like the fool who walked to Hell and back
With the Devil in a sack
The sun goes tracking east to west
With the morning star behind
And though you may retrace your steps
You never can redeem lost time
Running like a watch
Marking every notch
And yet I find
My thoughts inclined
My heart confined
To the girl I left behind
Like the fool who walked to Hell and back
With the Devil in a sack
That's how I left old Tennessee
Thinking myself unbound
For though my footsteps followed me
They seemed to fall without a sound
BUCKEYSTOWN
Susie Suraci • Slim Dot Music/ASCAP
Susie • vocals • acoustic guitar
Rob • vocal • electric bass • harmonica • drums
John • acoustic guitar • 5• string banjo
Dave • mandolin
Word sure does get around in Buckeystown
I wanna move away from here
‘Cause I’m tired of sneaking ‘round in Buckeystown
Where everybody knows your name
And everybody’s got your game
And a person has to be insane to want to stay
Seems like we always run into Mary
This time she caught us holding hands
She’s gonna tell our good friend Larry
Then they’ll tell everybody we know
And that’s how rumors come and go
When your little romance is the only show in town
Word sure does get around in Buckeystown . . .
Seems like we always run into Brad
I swear there must be more than one
Now he’s gonna mention us to Dale and Eileen
And they’re gonna spill it to Jill
Oh you bet your bottom dollar they will
And Jill is gonna tell it to Al and he’ll tell Dave
So why don’t we steal away from Buckeystown?
Load your daddy’s Coup Deville
And drive it down this doggone hill
And keep it rolling till we reach the Eastern Shore?
'Cause I’m tired of sneaking ‘round in Buckeystown . . .
WINTERLIGHT
John Minton • Monkey Knuckles Music/ASCAP
John • vocal • acoustic guitar • accordion
Susie • vocal • acoustic guitar
Rob • electric bass • drums • conga • bongos • cabasa • shaker
Dave • mandolin
The winterlight today
Could only whisper through the gray
Talking 'bout last night • my oh my winterlight
I was waiting on the mail
And wishing you were here
Sometimes that winterlight is so clear
The woods and fields are froze
Sideroads are closed
But what it's like where you are who knows
The lakes are cold and white
Moonlight and ice
That winterlight is awful bright tonight
I was wishing you would call
Kind of hoping you would write
That winterlight is all around tonight
WONDERFUL
Susie Suraci • Slim Dot Music/ASCAP
Susie • vocals • acoustic guitars
Rob • electric bass • upright bass • drums
John • acoustic guitars • electric slide guitars • accordion • 5• string banjo
Dave • mandolin
Don’t waste today • that would be tragic
Come out and play • come see the magic
We don’t have nine lives
So it would be wise
To open your eyes and see what is wonderful
Don’t spend the night in heartache and sadness
Things'll be all right • fretting is madness
We don’t have the years
Just to waste them in tears
So open your ears and hear what is wonderful . . .
So now count your blessings not your woes my dear
If you need someone to help • I’m already here
Oh now count your blessings not your woes my dear
And if you need someone to love • I’m already here
So don’t feel alone • when I’m right beside you
You’re not on your own when you decide to
Make a new start
Just do your part
Oh open up your heart and feel what is wonderful . . .
RECORDED JULY • OCTOBER 2006 AT TEMPEL RECORDING STUDIO • FORT WAYNE • INDIANA
RECORDED • MIXED & MASTERED BY TOM TEMPEL
EXCEPT
* RECORDED BY ROB AT THE LAKE
† RECORDED BY SUSIE AT UPPER BLUE STUDIO
PHOTOS BY LEWIS WICKES HINE • BOSTON & MOBILE BAY • 1909 • 1911
ART DIRECTION BY JOHN MINTON & MATT KELLEY
DESIGN BY ONE LUCKY GUITAR • INC
POSSUM FRONT OFFICE • LINDA MINTON
PRODUCED BY JOHN MINTON
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