The original version of my song called ART appears on the Home record. This version is way groovier with a real drummer, Toby Fairchild, Jay Starling on a beautiful grand piano, and solid upright acoustic bass player Claude Arthur. It was recorded on 4/2/10 at the Birchmere in Alexandria, VA by Louis Gosain, and mastered my Jeff Covert. I love the Birchmere. I have seen many a cool show at this venue as well as the older venue, which was even smaller and more intimate. It’s a sit-down, listening room, which is somewhat of a dying breed in this country- or at least at the places I tend to play. You are actually expected to sit, listen and be quiet while the performers are on stage, while a wait staff brings you food and drink. As a matter of fact, out of all the shows I've seen there, my shows seem to be the chattiest. Last year I even had to talk over people as I attempted to describe a tune before playing it, which I never do, but this is the type of place that lends itself to that type of folk music approach. I had to say, "listen listen listen listen listen” until they stopped talking. I usually blaze to the next tune simply to avoid awkward silences. But, at the Birchmere, it’s almost rude not to talk to the audience. That was last year. Folks were much more behaved this year: still relaxed and chatty like at a sit-down party, but without the drunken, flailing, wine bottle waving, ass-shaking conversationalists in the front row from last year. At a place like the Birchmere, something like that is surreal to say the least. I've had complaints from folks who don't like to sit at my shows. I can respect that. Hell, that's great. But the Birchmere is different, where 500 people are hanging on your every breath. It’s a different energy all together from what I'm used to. They have a big space for dancing, but it’s the sit-down vibe that I'm after in that place. It’s really the only place I play like that. There may be a few theaters with seats that I frequent, but nothing as cool as this. I'm so excited to fill the place that I never seem to care or worry about the chattiness. People buy the tickets and can do what they want. I like it when fun is being had.
The song ART was written on a nylon string guitar that once belonged to a guy of the same name. Art played this guitar at open mics and jam sessions around Fredericksburg. He must of used finger picks, as the divots are deep around the sound hole. When he passed away, his family put this guitar up for sale at Apple Music in Fredericksburg. I bought it and made up this song pretty quickly. The guitar and song are named after its original owner. This guitar never had a case. Back when we traveled around in a motor home, it would sit out and I would pick it up and play it and put it back down. We had a little TV in the upper corner of the RV. Well...We hit a bump and that TV fell on the guitar and put a nice size hole in the body. It looked like Willie Nelson’s guitar. It still plays beautifully and now goes by the name “Willie Art.” It appears on the original studio version. Please enjoy this funky jazz version as performed by "the Added Bonus."
This song is a bonafide hit. People sing along to this. Loudly. I wore out this cassette tape in the mid 90s. I have thought about doing this album in its entirety, bluegrass style. I'm not sure if that will ever happen but it’s a thought.
People ask me, "Why do you release so many covers on theonceaweekfreek?" I like releasing stuff that hasn't been released before. Sure there's tons of stuff I've released on this thing that appears on my records but I've always considered myself a music lover first, musician second and songwriter third. I love playing covers. They make me happy. End of story. Period. I've had an influx of new songs come to me over the past year. I've been playing them regularly at my shows. But I'm saving them to be released on my next studio record. I'm up to 10 new songs and still counting. That record will have to get in line behind the Keller and the Keels follow up to" Grass" called "Thief" due out in early summer, and the "Kids" record due out some time toward the end of the year (If I'm lucky). Until then, please enjoy this bitchin’ cover of Sublime's what I got from the Belly Up in Aspen.
Credits: Gaugh, Floyd (Songwriter); Nowell, Brad (Songwriter); Roberts, Lindon (Songwriter); Wilson, Eric (Songwriter); ERIC WILSON PUBLISHING (Publisher); FLOYD I GAUGH PUBLISHING (Publisher); GASOLINE ALLEY MUSIC (Publisher); HALFPINT MUSIC (Publisher); LOU DOG PUBLISHING (Publisher); MUSIC CORPORATION OF AMERICA (Publisher)
Scarlet Begonias/Fire On The Mountain (aka Scarlet Fire) featuring Jeff Austin and Keith Moseley) is fan favorite at my shows as well as Grateful Dead shows and or any show by any artist who plays it. Sublime, Jimmy Buffet, Dark Star, Furthur, Rat D Dog, Phil and Friends, you name it. Who ever plays it people like it. Myself included. This version was recorded at the Ogden Theater in Denver with Jeff Austin on mando and Keith Moseley on bass. A different but similar version was released on the "Grateful Grass" Rex Benefit download recorded at the Filmore in Denver (I believe in 2006). If you like blue-grass Grateful Dead music, you're going to love Grateful Grass. All proceeds from "Grateful Grass" go directly to the Rex Foundation which was started by the Grateful Dead as an organization that gives grants to non-profits. All proceeds from this particular release will go in my pocket (minus the industry standard royalty rate that will go to Ice Nine.) After all parties are paid (top spin, songwriters, Uncle Sam)I stand to make at least 17 bucks. That's only if this track sells well. If you buy it you will like it. WTF, It’s only a buck. I'm happy to say that even if you don't buy it, you will be able to see it live when Jeff, Keith and I play it at this years DEL FEST in Cumberland, Maryland. See you there.