I’m pleased to announce some dates coming up next week…

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
LEMIfest
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
Senses
Fort Point Theatre Channel
Fort Point, Boston, MA
7:30pm Show

Thank you for your support!

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.

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.

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.

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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

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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.

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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!

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I’m very fortunate that my earliest songwriting influences are all people I know personally. That is why each year I’m going to do just one cover, songs I like written by people I love. Last year I did a song my dad wrote. This year’s cover is brought to you by Bob Marlowe, the Man of Glass. And not only did I get to record with Bob, my parents happened to be in town so they jumped on board as well. Between our shenanigans and the warmth and hospitality bestowed by Deborah Marlowe and Pip the Dog, everything conspired in that La Crescenta home to elicit the comfort and peace of a deeply meaningful sliver of song I have heard since I had ears to hear. Finally, add to that the legacy I felt I was continuing with Bob’s music—which along with my mother’s and David Covington’s (one more influence whose song you may soon hear from me) found its way into another politically charged time when all people wanted was to talk about love and redemption and coffee.

Not much to say on the studio, it was literally a closet, we sang to coats and underwear.
Not much to say on the engineer, he’s my dad, he’s invincible.
We all produced at our own discretion and when necessary.
Bob Marlowe played guitar, his favorite Taylor in an open G tuning.
Scott Brownlee played stand up electric bass.
I sang the first verse and then Bob, Pamela Brownlee, and I all sand in three-part harmony the rest of the song.

Bob Marlowe

Scott & Pamela Brownlee

The Salt Company

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Enjoy the music!
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So much thanks to the formidable, world-class, beloved bass player for and collaborator with artists such as Jackson Browne, Stephen Stills, Keb’ Mo’, and Brett Dennen (to name just a few) – Mr Kevin McCormick. Just as watching a master carpenter work is relaxing because you know they won’t cut themselves, watching Kevin McCormick play bass is dreamy and engaging and comfortable – not a note goes by that he doesn’t dig on, automatically giving listeners the room to dig on ’em as well.

When I approached Kevin about this project, I gave him a very rough scratchy voice-memo recording with the A and B parts of the song, and said I’d like to do a choir of vocals with a choir of bass parts, and nothing else. So he took it to his cave for a couple of days and then had me overlay on his creation. It reminded me of gradeschool when I’d draw a few lines and pass it to my friend Jenny, and she’d elaborate on those lines and pass it to our friend Mandy, and this would continue until we had a full-fledged dragon on our hands (and no idea what the teacher was talking about). It was good to collaborate, and opened my mind to the idea of co-writing, of which we may see more in the near future…

In the meantime, please enjoy what Kevin and I (and the Southern California All-Bass Ensemble) co-created – I remarked to him in the process that learning his bass solo in the middle of the tune was making me a better musician…

McCormick’s Pick

Upright Bass

Piccolo Bass

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Through our mutual friend Chris Murphy I was given a little studio time with Pat Flynn (of New Grass Revival) as a producer and guitar accompanist for this month’s single, and I’m so pleased he and our friend Evan Winsor and the steadfast Cartier of Hayloft Studios were so available and so GAME. Live takes can be very tricky, especially with a central mic like we did this time…but the virtue of having a different team for each tune is making things work in all different ways.

Pat Flynn – Producer, Guitar

Hayloft Studios and Josh “Cartier” Cutsinger

Chris Murphy – Mandolin

Evan Winsor – Standup Bass