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The assorted songs on Time and Place certainly run the emotional gamut, initially starting out positive and optimistic and ending up fairly somber, with plenty of stops to visit our musical roots in between. Actually, if you listen to the Beatles' Sgt. Pepper (if you'll pardon the comparison), it travels a similar road; it starts off in a upbeat manner, and ends up with A Day In The Life, which one would be hard-pressed to refer to as upbeat. All of my favorite albums usually take you on such a journey, so I guess it's in our blood. Here's the personnel:
[Note: If, for some reason, the individual embedded MP3 player controls below each song don't appear or work correctly in your particular browser, you can still click on any song title to hear a soundbite with the QuickTime player.] |
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1. Don’t Turn Away
When I first wrote Don't Turn Away and recorded the demo version, I noticed that the loud birds chirping outside were audible at the very beginning of the song intro. I decided then and there that any album that this song might someday appear on would start with the sound of birds opening it, and lo, these many years later I kept my promise... |
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2. You’re Dangerous
This song is based on a guitar riff I wrote in 1966; even though White Light on the Patron Saints' 1969 Fohhoh Bohob LP was the first song that I ever completed, this was the first "snippet" I ever wrote, and was to be used in a song I was going to call Sinking Fast. Thankfully, that little ditty never saw the light of day, but I incorporated the phrase into the lyrics of You're Dangerous anyway. In keeping with the mid-sixties feel, this song is sort of a tribute to early Stones, from roughly the Rolling Stones Now!/Everybody Needs Somebody To Love period, with a little Thirteenth Floor Elevators, Kinks, Beatles and Yardbirds' Smokestack Lightning thrown in for good measure. +Special Bonus: You’re Dangerous 1966 Demo Riff
Here's the original low-fi recording I made of the "You're Dangerous" riff way back in '66. I believe it was the first time I had recorded with my fabulous Hagstrom III/Kent amp combo (with it's really cool tremelo). Rhythm guitar on this clip is being played by original Patron Saint, Frank Stapleton. The Time And Place CD version ends almost exactly the same way this clip does. |
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3. She Loves To Be In Love
What self-respecting Byrds freaks wouldn't want to write a song that pays tribute to them? This is ours, and perceptive fans will see all sorts of references, both musically and lyrically, to the Byrds during their early days. To this day, one of my favorite sounds in the world is that of an electric 12-string. Well, I guess if you've followed our music over the years, that's fairly obvious by now... |
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4. Good Friday
An old chestnut from the Patron Saint/Garrison days, performed live a lot, but never recorded in the studio. We decided to remedy that with a newly-recorded version. This song was written for a girl I liked at the time, so her last name is cleverly hidden in the lyrics, for all you sleuths out there. That's drummer Jeff Alfaro's infamous maniacal laugh at the end of the song. |
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5. What In The World
This one has a fairly heavy Moody Blues influence, which is fairly evident in the use of Mellotron and a red Historic '63 Gibson ES-335 guitar not unlike Justin Hayward's. In keeping with the Moodies' sensibilities, What In The World is a commentary about the hideous state of our planet. |
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6. Fly Away
One of the two songs (In The Mourning, below, is the other) originally recorded for The Latimer Sessions back in 1971, and revisited by us as "mature adults," as it were. This was actually written when Jon Tuttle left the band back then, so it's fitting that it appears on Time And Place. |
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7. In The Mourning
Another Latimer Sessions song that has seen a number of incarnations over the past 35 years, both with The Patron Saints and Garrison. This new version really comes closest to what I heard in my head when I penned In The Mourning many moons ago. In case you're wondering about the gruesome subject matter of the song, it was inspired by a screening of the movie Dawn Of The Dead, which I think explains everything. (If you'd like to hear a comparison of four different versions of In The Mourning from the first demo in 1970 until the latest version on the Patron Saints' new CD, Time and Place, click here.) |
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8. You Have No Heart
Back in tribute mode, this time to one of my all-time favorites, the Yardbirds. Again, plenty of musical and lyrical quotes for the initiated to discover. I used to sing all the Keith Relf parts on Yardbird songs back in the early days of the Saints, and I'm at it again here. |
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 Jon Tuttle, 1967, with his original red Hofner 173ii, the same one he used on Fohhoh Bohob. |
9. Home
Act three of Time and Place begins with a song that's always been a Jon Tuttle favorite of mine, but remained unknown until now. The basis of this recording is a stereo demo Jon recorded back in 1971-72 or so, which sat anonymously on an analog tape in my collection for all this time. It's just Jon on 12-string and piano, doubling his vocal. When the Saints decided to record a new album, I knew that this was the song of Jon's that had to be on it. Inspired by the way the Beatles had completed John Lennon's Free As A Bird and Real Love, Home got the same treatment. The original recording was noisy, sibilant and needed pitch correction, all of which was painstakingly corrected and cleaned up. To that, we added bass, drums, tambourine, additional vocals, another acoustic 12-string, and an electric six-string guitar, which was not only an almost exact copy of the red Hofner 173ii Jon used on Fohhoh Bohob, but actually had the exact bridge pickup from his original in the bridge position on this "new" guitar, making the link back in time complete. I did my best to produce the final mix in a way the Jon, who passed away in 1994, would have approved of, and which would have, hopefully, felt right at home as an extra song on Bohob. I hope we succeeded, Jon... |
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10. When You Met Your Maker
I'm not sure how to explain this song other than to say that it was an unexpected reaction to my best friend Dan Brown's unexpected passing in 2004. I guess that the lesson here is that you never know on to what path grief is going to take you. To that end... |
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11. Time and Place
...Time and Place, which ends the album, is somewhat similar in nature. This was my reaction to my good friend Kathy Elting's fatal car accident back in 1985, and the two songs obviously go together as a pair. Roy Ellingsen's emotional guitar solo is exactly what I had in mind for the final section. The katydids at the end of the song were from a recording I made years ago at my childhood home, and cap off the early spring to late summer motif of the album. |
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