Millennium Greezy
Cleve tells the whys and hows of the cd cutsdfdfdfdhome
1. Sideman's Party (C. Hattersley)
Vocals: Lissa, Mary, David Roach, Cleve; Drums: Lisa Pankratz; Bass: Michael Pugh; Conga: James Fenner; Percussion: Mike Pankratz; Keys: David Roach; Guitars: Cleve; Violin: Mary
Original tracks recorded at Saturn Sound (sixteen tracks), engineer Ken Avant, in 1986. Lissa added lead and harmony parts at Arlyn Studio, engineer Steve Chadie, in February, 2001. Why do it again? After all, we had this one on our second London album, did it twice for Austin City Limits. Why again? Because it's still there, and I always felt we could do it better. I think we did. Both the keyboard and the guitar breaks were recorded in single takes. As the first song on the album, I think it provides a bridge between the older and newer material. The intro is exactly the same as it was on 'Radio Radials.' From then on, everything on the cut (and the entire record) is different.
2. Jambalaya (H. Williams)
Arr: C. Hattersley Vocals: Cleve, Lissa, Mary, David Roach, Karen and Joe Pena; Drums: Lisa Pankratz; Bass: Michael Pugh; Conga: James Fenner; Percussion: Mike Pankratz; Washboard: Mambo John Treanor; Keys: David Roach; Accordion: Ponty Bone; Guitar: Cleve; Violin: Mary
Original tracks recorded at Saturn Sound, engineer Ken Avant, in 1986. Ponty and Mambo laid their tracks in February, 2001, at Arlyn Studio, engineer, Steve Chadie. Our tribute to the late, great Jay's Lounge, in Opelousas, Louisiana, a place where you could catch a band in the front room and a good cock fight in the back. Believe it or not, we had never heard the Neville Brothers' rendition of this, when we first tracked it.
3. I Stick The Doll (With Burning Pins) (C. Hattersley/D. Roach)
Vocals: Lissa; Drums: Mambo John Treanor; Bass: John Jordan; Keys: David Roach; Guitar: Cleve; Violin: Mary; Kids' Voices: The Blazing Bows (Clare and Hannah Brock, Katy Crowell, Brenna and William Pritchard, Zoe Wolszon, Anna Selby and Carmen Hilbert)
All tracks recorded at Arlyn Studio, engineer Steve Chadie, in March, 2001, except the kids' voices, which were added at Bismeaux Studio, May, 2001, engineer, Chris Burns. I wrote this specifically for Liss, one of the more complex women I've ever known. David helped me find the right groove for it, hence the shared credit. As sweet and caring as she is, Lissa can also be one sassy broad, n'est pas? This was our first work with John and Mambo, who literally blew us all away. We rehearsed one hour, two days before recording, got it on take three. Love the sound of the B-3 on this one. The kids are all students of Mary's (except William, who does endure his sister's lessons).
4. Louie, Louie (R. Berry) Arr: C. Hattersley/D.Roach
Vocals: Cleve, Mary, Lissa, David Roach; Drums: Lisa Pankratz; Bass: Michael Pugh; Keys and Guitar: David Roach; Conga: James Fenner; Violin: Mary
All tracks recorded at Saturn Sound, engineer, Ken Avant, in 1986. I can't remember how we managed to get Lissa's vocals on this one, considering she still lived in New York at the time, but we did. Mary's work here kills me. Talk about sassy broads! For those who know David as the great keyboardist he is, his figure on guitar beat the shit out of mine, so we kept it. Again, anyone who thinks I copped this, I'd never heard the Toots and the Maytals version, before cutting it. I know, I live a cloistered life.
5. It's A Dream, It's A Dream (C. Hattersley)
Vocals: Lissa, Mary, Lisa Pankratz, Susan Otten; Drums: Lisa Pankratz; Conga: James Fenner; Bass: Michael Pugh; Keys: David Roach; Guitar: Cleve; Violin: Mary
Original tracks recorded at Saturn Sound, engineer Ken Avant, in 1986. Lissa added her vocals at Arlyn Studio, engineer Steve Chadie, in February, 2001. This song has been kicking around inside my song bag forever. We even had an arrangement for this in the late seventies, but it never took flight until Lissa took over the lead vocal. Though not in a perfect key for her, she nailed it perfectly with her Marianne Faithful-esque low range.
6. Dr. Wayout (Roky's Song) (C. Hattersley)
Vocals: Cleve, Lissa, Mary, David Roach; Drums: Lisa Pankratz; Percussion: Mike Pankratz; Bass: Michael Pugh; Keys: David Roach; Guitars: Cleve
Original tracks recorded at Music Lane Studio (eight tracks), engineer Lynn Gathright, in 1985. Lisa added cymbal parts and I re-did the guitar break at Bizmeaux Studio, engineer, Chris Burns, in April, 2001. One of my personal favorites, a tribute to Roky Erickson, whom I first met in the sixties, out in California. My friend, Stephen Anander, and I had gone to California, ostensibly to join the 'Thirteenth Floor Elevators,' Stephen as bass player, me as buttboy. When we got there, we found what Texas had done to Roky and the band. The original break didn't capture the sadness in my heart for him. The new one makes me cry every time I hear it.
7. Tomorrow Never Knows (Lennon/McCartney) Arr: M. Hattersley, C. Hattersley, L. Hattersley, D. Roach, J. Jordan, J. Treanor, P. Bone
Vocals: Lissa; Drums and Percussion: Mambo John Treanor; Bass: John Jordan; Keys: David Roach; Accordion: Ponty Bone; Guitar: Cleve; Violins: Mary
All tracks recorded at Bizmeaux Studio, engineer Chris Burns, in April, 2001. Since the day I first heard 'Revolver,' I have wanted to be inside this song. Turns out everyone else felt the same way about it. We tracked this with absolutely no rehearsal, got it on take two. Mary charted all the bird calls and backwards sounds and laid them in over the basics, the next day. Recording it was totally exhilarating. Of course, we used no backwards sounds on it whatsoever.
8. Walk On The Wild Side (L. Reed) Arr: J. Jordan
Vocals: Lissa, Mary; Bass and Percussion: John Jordan; Violin: Mary
Recorded and mixed at Tana Records' Studio, July, 2001, engineer, producer, John Jordan. We were nearly desperate for another cut for Lissa, when John came up with this amazing arrangement for Liss. He delivered it on mastering day, as is, with no time to spare for re-mix. Obviously, it didn't need it. All Jerry Tubb and I had to do was shine it up and match it to the other cuts. Wow! Just try to get Lissa's voice out of your head after this.
9. The Kids Are Always Right (C. Hattersley)
Vocals: Cleve, Lissa, Mary, David Roach; Drums: Lisa Pankratz; Bass: Michael Pugh; Keys: David Roach; Lead Guitar: Vic Egly; Guitar: Cleve; Violin: Mary
Original tracks recorded at Music Lane Studio, engineer Lynn Gathright, in 1985. Mary's tracks were added at Pedernales Studio, engineer Steve Chadie, in March, 2001. Lisa re-did her entire drum track, and Vic laid down his parts at Bismeaux Studio, engineer Chris Burns, in April and May, 2001. This was one of the hardest tracks to recover. An anomaly in the original drum track looked unfixable, but Lisa did a miracle job dubbing in eight new tracks (Chris' efficient punches also helped). We asked Victor in to reprise the style of guitar work he played for us from 1976- 1978. The overall effect is just so....eighties, n'est pas?
10. I Just Like Being A Girl (Music: C. Hattersley; Lyrics: C. Hattersley/L. Hattersley)
Vocals: Lissa; Drums: Mambo John Treanor; Bass: John Jordan; Guitar: Vic Egly; Guitar: Cleve; Violin: Mary
All tracks recorded at Bismeaux Studio, engineer, Chris Burns, in March, 2001. One of several songs I've written for Lissa recently, obsessed as I am with getting her voice on record. A few lyric touch-ups on her part and, voila! Again, one hour of rehearsal, this time three weeks in front of the session. Got it on take three. I asked John to think Ray Brown and Mambo to think Connie Kaye (Modern Jazz Quartet). We used only the overheads to get Mambo's drum sound.
11. (Your Love Is) Priceless (L. Hattersley)
Vocals: Lissa
All tracks recorded at Pedernales Studio, engineer, Steve Chadie, in March, 2001. What have I been saying about putting Lissa's voice on record? This cut kills me, and it's a perfect follow-up to my take on the subject. Who said God's own voice was a man's? John Swenson once reviewed Greezy Wheels as "ahead of their time." Lissa wrote this long before those awful "priceless" credit card commercials hit the air.
12. Punishment Room (C. Hattersley)
Vocals: Cleve, Lissa, Mary, Susan Otten, Karen and Joe Pena; Drums: Lisa Pankratz; Percussion: Mike Pankratz; Conga: James Fenner; Bass: Michael Pugh; Keys: David Roach; Guitar: Cleve; Violins: Mary
Original tracks recorded at Saturn Sound, engineer Ken Avant, in 1986. Lissa added her vocals at Arlyn Studio, engineer Steve Chadie, in February, 2001. Okay, I'm a sick puppy, but this is how I read yin and yang. That crunching sustained guitar sound in the background is actually David on a keyboard. We labeled it 'Linda Blair' on the tracking sheet. Some of my more psychotic friends think this is the best cut on the album. It's definitely the most frightening. Mary's Mom called it "too sexy." Yesss!
13. The Book of Rules (H. Johnson/L. Selvin) Arr: D. Roach
Vocals: Cleve, Lissa, Mary, David Roach; Drums: Lisa Pankratz; Keys: David Roach; Violin: Mary
Original tracks recorded at Music Lane Studio, engineer, Lynn Gathright, in 1985. Lissa added her vocals at Pedernales Studio, engineer Steve Chadie, in March, 2001.
This one's for Michael E. Johnson, a true reggae master. The original was done by the Heptones, one of my all-time favorite reggae acts. I could never understand why this wasn't a huge international hit for them. It did get good airplay on the "This Is Reggae" album series, but I'm hoping more people listen to this and seek out the real thing. I actually like the way I sing it...very unusual for me, and David's work is mind-boggling. I found it a very positive way to end this record. God bless you, Michael.
All songs except 'Walk On The Wild Side' produced by Cleve Hattersley. All songs except 'Walk On The Wild Side' mixed at Arlyn Studios, June, 2001. Engineer: Steve Chadie; Assistant Engineer: Laurie Galbraith.
'Walk On The Wild Side' was recorded and mixed at the Tana Records studio, engineered and produced by John Jordan.
Mastered by Jerry Tubb at Terra Nova, July 2001.
This
record's for Mambo,
except 'The Book of Rules,' which we humbly dedicate to the late, great Michael
E. Johnson.
Super special thanks to Kinky Friedman, John McCall, and Freddie and Lisa Fletcher, without whom this project would have never gotten airborne. Special thanks to Eddie Wilson, SIMS Foundation, Sweet Relief, Musicares, and all the doctors, musicians, fans and friends who've helped Sweet Mary through a most trying time.
Twenty-five
cents from the sale of each record will be donated to the SIMS Foundation and
the Kenneth Threadgill Foundation, to forward a musicians' healthcare network
in Texas.