“Utah Moon” by Michael McGinnis

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Recorded at McCoy Productions in Los Angeles, CA
October, 2017
Producer/Engineer — Russell Wolff, Krazy Pop Studios
Guitar — Olivia Brownlee, Michael McGinnis
Vocals — Olivia Brownlee, Michael McGinnis
Song — Michael McGinnis

A Word on the Songwriter:
I didn’t really know they played music on the radio because music was always being played live in my household, church, and at my parents’ shows. Michael McGinnis has known me since I was a small child, and was consequently one of my earliest musical and songwriting influences (along with my parents, my uncles, Bob Marlowe, and David Covington, among some others). His songs have punctuated pivotal moments in my life, and I recently got to tell him how the song “It’s All Good” got me through one of the toughest years I’ve experienced so far. He’s a phenomenal talent, a deep artist, an interested human, and a bleeding romantic. He will always be young. Catch him for one of his famous birthday shows at the Coffee Gallery in Altadena.

A Word on the Mixologist/Producer:
Russell Wolff talks as fast as he works. A transplant from New York via Nashville, Russell is a speedy comper and a critical listener, makes friends first and cohorts soon after, and rues boredom. Sincere and helpful, happy to go extra miles for the sake of the take and the sake of the song, delighted to make connections and discoveries and to praise what’s great and work on what needs work, I’m happy to have met him through our mutual friend Eric Schwartz and to have placed this annual cover track in his capable, enthusiastic hands. Click the link above to learn more about Krazy Pop Studios.


2017 Annual New England Tour

I’m pleased to announce some dates coming up next week…ob-ne-tour-poster.png

Wednesday, August 23
Wednesday Jam
Naked Oystah Beach Bar & Restaurant, Hull, MA
Doors at 8:00pm, Songs at 9:00pm
All Ages, Pass the Hat

 Friday, August 25
Carriage House Concerts
The Carriage House, Newburyport, MA
Doors/Optional Potluck at 6:00pm, Music at 7:00pm
All Ages, Suggested Donation $20

 Saturday, August 26
House of Papa Ricci & Mama Sue, Seconsett Island, MA
Doors and Food at 4:00pm, Music all night by various artists
All Ages, $30

 Monday, August 28
Fort Point Theatre Channel
Fort Point, Boston, MA
7:30pm Show

Thank you for your support!

Thank you for your support!

“Poor Tom” at Holiver Productions

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Zak St John — Engineer at Holiver Productions, Los Angeles, CA
Gabriel Wheaton — Fiddle

Olivia Brownlee — Vocals, Acoustic Guitar, Song

A Word on the Song:
I was honestly surprised when this song won the popular vote — I wrote it a long time ago (I think I woke up from a dream where I was singing it) and always thought it was a little out there. But according to others, it comes across as timeless, upbeat, and as if it were penned by “Anonymous” 200 years ago.

A Word on the Crew:
I know Gabe through work here in Los Angeles, and a finer, funnier, more affable fiddlin’ fellow I don’t think you’ll ever meet, at least not with red hair. One of the most musically intelligent people I’ve met in a while, Gabe is a consummate improviser, reader, listener, and performer, and has as much classical training as he does practice with his electric loop pedal. He takes direction, has incredibly interesting ideas, and radiates good vibes.

When you enter the garage studio of Zak St John you must first pass through his barrage of adorable guard dogs, two of whom provided the portmanteau of his studio’s name. Draped with hippie blankets, snares, and a couple of remarkable handmade instruments, Holiver is a cozy haven for people who want to get stuff done quickly and with a lot of laughs and innovative solutions. Zak was a laid back gentleman of an engineer, sardonic and swift, and my only regret in the session is that I didn’t use his legendary drumming skills.


“Bad Book” at The Chalet

Will Golden — Co-Producer and Engineer at The Chalet, Los Angeles, CA
Michael Jerome Moore — Drums
Greg McFall — Bass Guitar

Olivia Brownlee — Vocals, Acoustic Guitar, Song

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A Word on the Song:
After writing this song I realized it said much more about me than about the subject. We are obliged to love the moments when our own art—over which we thought we had the control—teaches us where we are failing at being a human, and gives us clues as to how to improve the quality of not just our own lives, but the lives of those with whom we are in community.

A Word on the Team:
I asked Michael Jerome Moore (with whom I’ve had the distinct pleasure of playing live many times courtesy of our mutual friend, Chris Murphy) who he likes to record with, and unhesitatingly he dropped Will Golden’s name. On this blog we’ve already discussed how much we love a relaxed, homey vibe in the studio (without losing the “away from home,” office feel), and The Chalet certainly flies that banner. Instruments of all kinds occupy the three sound rooms on the first floor…and in the loft we find the console, the machines, and the machinist, hair tussled and looking as if he’d already been there for hours developing copy-brain on some other project and was happy to take in a live band doing a live song. Everyone was professional, proud, peaceful, and I felt the song occupied the priority of the few hours we spent there. Both Michael and Greg stayed after the recording to listen down and make sure they were happy with how they’d performed, and Will was incredibly accommodating, quick, and interested while maintaining a sincerely cool, loving, and detached vibe. Great spot/crew.

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“All the Time” with Nostalgia Media

Garrin Hertel — Co-Producer and Engineer at Nostalgia Media Mobile Recording, Spokane, WA
Eugene Jablonski — Standup Bass
Merilee Updike — Clarinet
Matt Henson — Tenor Saxophone
Brendan Cesaratto — Drumkit
Pamela & Scott Brownlee, et al — Gang Vocals
Special thanks to the Rockin’ B Ranch in Liberty Lake, WA, for providing the recording location.

Vocals, Acoustic Guitar, Song — Olivia Brownlee

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A Word on the Song:
My favorite story about this song (and there are a LOT of stories about this song) is the last line of the bridge. Traditionally, the last line of the bridge of a novelty song like this is the MONEY line, and when I first wrote it in 2012 I used a line I knew was a placeholder – it was a little cryptic, it wasn’t very funny, and it was a bit undercontextualized. It wasn’t until 2017 that I was driving down the 101 in the San Fernando Valley and the line that should have been there all along – and which you hear on the recording – charged into my head and almost ran me off the road with laughter. Leonardo da Vinci is credited with saying, “Art is never finished, only abandoned”…I hold with that, and with the fact that you sometimes circle back around to it.

A Word on the Team:
You luck out on the fly sometimes – when I was visiting friends and family in the Spokane area I went to see my good buddies The Hot Club of Spokane, and it occurred to me that it would be a crime to miss this spontaneous opportunity to work with Garrin. Matt and Merilee arranged their parts on the fly, Eugene was observant and I saw him crack a smile several smiles, Brendan showed up song unheard and nailed it, and my parents, GOD BLESS THEM, were about the best sports and hosts a daughter could ask for.


As always, PM me for the contact info of any of the collaborators listed in this blog.

“Anywhere I Be” at Woodworks Recording Studio

Engineer/Co-Producer, WoodWorks Recording Studio, Los Angeles, CA — Brent Woods 
Producer, Accordion — Ken Liebenson
Drums/Percussion — Jeff Sorenson
Violin — Tim Weed
Upright Bass — Freddie Johnson
Vocals, Acoustic Guitar, Song — Olivia Brownlee

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A Word on the Song:
I was living in Boston when I received my invitation to Captain and Clark’s wedding in Leavenworth, WA. On the plane ride over I realized I had not budgeted for a wedding gift for them. So between the flight, the drive, and the stay, I meditated on what I admired about their extraordinary relationship, and presented this song (along with a bottle of Washington State’s finest wheat whiskey from Dry Fly Distillery, of course). Thanks to this couple for fighting fiercely for the inspirational life.

A Word on the Team: 
Working with Brent Woods was one of those unique times when we decided to value the project over the budget. Between the team Ken Liebenson assembled for this number, the song itself, and Brent’s dedication to the best performance from everyone, I think we scored crackerjack. I’m so thankful for everyone’s willingness to stick around and dig out, question, and reconstructtheir artistry on a not-uncomplicated song. Sometimes the performers have worked together before, and sometimes everyone is new to everyone – on this day we had a mix of new and old faces, and everyone worked with interest, good humor, and liveliness. Endless thanks y’all!


As always, PM me for the contact info of any of the collaborators listed in this blog.

“Ode to the Causeless Generation” at Steinhenge

Recorded by Joel Henry Stein at Steinhenge
Mixed by Ted Wulfers at 633 Sound
Drums by Greg Settino
Bass, Guitar, Vocals, and Song by Olivia Brownlee

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A Word on the Engineer: 
Joel and I have worked together in many capacities from music licensing to performing to chicken wrangling, so it was a treat to be in the studio of a friend and cooperate on a project. Since this song Steinhenge has been expanding exponentially and deserves a check-out, as do his many other artistic pursuits: Joel’s Thrilling PhotoJournal

A Word on the Accompanist: 
I’ve had the pleasure of working with Greg now on BOTH coasts, and look forward to many more opportunities to collaborate. His innate groove and the constant undercurrent of good vibes are a treat in any application, but especially musical ones.

A Word on the Mixologist:
(I know what a mixologist really is) I’ve worked with Ted on a previous song, visit that and him here!

As always, PM me for the contact info of any of the collaborators listed in this blog.IMG_1929

“Don’t Move” at Studio P

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A Word on the Producer: My friend Eric Schwartz, I’ll have you know, is a substantial artist in his own right. An excerpt from his bio states, “Schwartz is possibly the only artist in the history of the world to get raves from Gloria Steinem and Hustler Magazine.” A celebrated juxtapositioner, a purveyor of the best muppet energy on the most incendiary of topics with the funkiest of earworms, splayed on the spectrum of sincerity and absurdity…Never was there such an agony of decision between dancing and catching every lyric. Couldn’t be happier/prouder that such a smart performer not only took my song in stride – booking the world-class studio and musicians, and adding keys and background vocals to the track – but also liked my song. For the love of your personal humanity, call on this cat for a house concert. He’ll do it.

A Word on the Studio/Engineer: Will Kennedy and Studio P were a welcome fit for such an intimate song – tucked into a corner of Pacoima, CA that feels more like Los Angeles than Hollywood, I took in flora, food, and folks in a delicious waft of what I consider my home region (I was born and raised in the San Fernando Valley). It’s hard to find studios that are as complete and cozy as Will’s, a great use of tiny space with an isolated drum room and a loo, not so much meant for even the wee ensemble we used for this number but well-planned and executed all the same. A no-nonsense workhorse, capable of telling you when he needs to not be interrupted, capable of telling you when it needs to be done again and when it doesn’t, and an all-around advocate of good work. Call on Will for your project.

A Word on the Band: And if you’re looking for A1, totally pro, one-take wonders, receptive to instruction and hip to protocol, upholding their artistic integrity while being a fully functioning cog in the greater song-machine…Call these dudes:
David Goodstein — Drums
Phil Parlapiano — Accordion



“The High Dark Rise” at Sonic Boom Room

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This Appalachian waltz lent itself to mass amounts of devastating mountain estrogen.

A Word on the Band: Back in November, Sugar in the Gourd, an all-girl string band in LA, asked if I could sub short notice for one of their members, which I did with relish since I so infrequently get to play music with other women. The success of that evening led them to hire me for another date one of their members couldn’t make, and before the evening was over I was inspired to recruit them (don’t you love how recruiting begets recruiting? In LA it seems no one has time to “scope out” a musician—you take a chance on them based on word of mouth reports, and if it works out, take another chance on them to test consistency—everything is relationships! And vetters are always simultaneously being vetted by the vettees!). Much love to the Sugars for being So supportive, wild, and interested! “…you can’t get it out…!”

A Word on the Engineer/Studio: Whenever I’m looking for a studio the first step is to ask the band. “Kevin Jarvis at the Sonic Boom Room in Venice,” was Lisa Salloux’ immediate response. In addition to the Sugar in the Gourd record, Kevin Jarvis also does a lot of post production for some heavy-hitting TV shows, a fact which endeared me to him immediately since that’s the business I grew up around in LA through my father. The Sonic Boom Room is a great place to record – complete with a full drum kit, at least three rooms that can be isolated, and shelves and shelves of various snares (“I’ve gotten rid of a bunch,” Kevin promises). The bathroom was clean and the coffee, tea, and company were delicious. SonicBoomRoom.com will be live starting 2017 March 1. Visit Kevin there and peruse his impressive resume…

Lynn Shipley — standup bass
Lisa Salloux — mandolin and BGVs
Aubrey Richmond — fiddle and BGVs
We all co-produced on this one to some extent.


“Rain in the Desert” at OtherHand Recording

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A Word on the Engineer/Studio: Jeff Kossack loves chilling out to great music—I suppose that’s one of the reasons he’s part of the Tall Men Group, a highly respected local band in which each member is a phenomenal songwriter in his own right. In the studio as in life he’s affable and charming, just as likely to offer you whiskey as water, and a no-nonsense, music-spewing people-connecter. He worked quickly and cheerfully, was hospitable to me and my friend Therese who sometimes accompanies me as my Professional Audience, and brought good and interested ears to my song.

A Word on the Accompanist: I don’t generally support out-of-house accompaniment; as in, I want the musicians with whom I work to be present and engaged and able to see and hear what, when, and where the music is. In lieu of that, though, I’ll take a musician who works hard to get it right, takes instruction, and delivers on a deadline. Thank you Nick Kirgo for working with me sight-unseen!