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Americanarama: Conversations with Dave Barnes and Mark Olson

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A Conversation With Dave Barnes

Mike Ragogna: Hey Dave.

Dave Barnes: (singing) I believe the children are our future.

MR: (laughs) Speaking of children being our future...

DB: Look at that segue (laughs).

MR: Wow, it's as if we had it planned (ahem). One of your songs, "10,000 Children," was performed recently on Idol Gives Back. You want to tell us a little about that?

DB: Yeah, it was so funny, we got the heads-up about a week before because it's such a big machine that things happen really quickly. They called and said they were going to use the song, and we had kind of heard some whispers in the wind, but we got the confirmation about the week before. So it was just a crazy cool moment watching Morgan Freeman and Randy from the show talking as the song was playing and I just thought, "this is really, really cool." It's so rare to see a song that you've written for a reason actually be used for that reason. It was really cool.

MR: And your family must have gone out of their minds when they saw it, right?

DB: Oh yeah, I think people finally thought, "You know what? He may be able to make something out of this stuff, that Dave."

MR: That was from the Me And You And The World album, right?

DB: Yes.

MR: And that also had the single "Until You" right?

DB: It did, that's exactly right.

MR: Razor & Tie has been your home for the last three records. What's the story behind that?

DB: Well, Beka Callaway, who is my A&R person there, used to live in Nashville and has been a big supporter of what I do. We had wanted to work together for quite a while, so finally, when she landed there, she said, "This is a great label for you." She called and they came down to a show to check it out and it's been great. They are so easy to create music for because they really give me freedom to do what I do. I've really enjoyed that, and they've been kind enough to link arms with me as I do this.

MR: Let's get the story behind how you ended up on All My Children singing one of your songs from What You Want, What You Get, "God Gave Me You."

DB: Well, Razor and Tie kind of had a brainstorming session, and they've really been so supportive of that song and had a real vision for it. What they said was, "We'd love for this song to be in some weddings. We'd love to see it on TV." And someone at the label brought up that it seemed like there are a lot of weddings on soap operas. So they just reached out to some of the people at those shows and, oddly enough, they sort of caught a good position.

We then flew out and we taped for two days. One of the days was just me playing in front of a black backdrop, but the second day we were actually on set and I had a line, which was kind of big time. I was really, genuinely blown away by how much fun it was because I didn't know if it was going to be people that were way too cool for school and I was going to be the scrub, or if it was going to be a really cool time, and it really was. The actors were so cool.

MR: For the readers who haven't seen it, what was the scene like?

DB: It was during a wedding, so Jake and Amanda on the show are renewing their vows and he's been surprising her throughout the episode with little gifts before the wedding. After the wedding, I'm kind of his last surprise, so I'm there and I just completely blow her mind, basically, because she is such a big fan.

MR: Was it one episode, or did they spread this out between two episodes.

DB: Well, me speaking was one episode, that was just one. But they had sort of a montage of the song and me singing for another.

MR: Where do they film this thing? New York?

DB: They just moved to California, it was in Studio City.

MR: Now, I interviewed Jonny Lang a few of weeks ago for HuffPost, and he's such a stand-up guy, one of my favorite interviews. And lo and behold, on Dave Barnes' What We Want, What We Get, we see "What I Need," a duet with Jonny Lang. Coincidence? I think not...

DB: Well, Jonny wouldn't stop calling me, he just wanted to be on my record. He's really belligerent that way. (laughs)

MR: You just can't keep him out of room with a microphone, huh?

DB: That's right, that's right. (laughs)

MR: Man, he's such a great guy, I feel icky about our kidding about him like this. Say something nice, quick...

DB: No, it was really, really cool. He and I did a tour together in 2008 and after that became buddies. He's been in and out of town since then writing for his new record, so we ended up hanging a good bit the last time he was here which was last summer. So we were recording the record and I called up and said, "Dude, do you think there's anyway you can sing on this song?" So after paying him five-and-a-half million dollars and mowing his yard for a month-and-a-half, he decided he would come and sing. It was such an amazing moment, I was just freaking out the entire time.

MR: Another interesting HuffPost intersection here. Seems you went on tour with Hanson on the Walk Around The World Tour. I also interviewed Taylor Hanson a few of weeks ago, and the new Hanson album is another of my favorites of the year. How did that tour come about and how did it go?

DB: I think they have the same booking that I do, so it somehow got intersected that way. And we have a lot of mutual friends, so they were so much fun to tour with. You don't know how much you're going to see them, being the closing act because they can be so busy doing a million things, but we actually got a lot of good hang time with them and they're so easy going. There was none of that, "Hey man, we're about to go on, we need you to leave." They were super cool and it was a really good lesson on how to care for your fans well. They just do a really good job of engaging their crowd and their fans and their supporters, so there was a lot to learn from them there.

MR: I was at a Hanson concert a few years ago when working on a compilation for Universal, and I remember being impressed with how the brothers interacted with their fans, and I saw casual things that revealed how genuinely close they were.

DB: Oh yeah. They're the real deal. I think that's what I like so much about them, and they're so talented, they deserve so much more attention than they've gotten because they really are that good.

MR: Enough about Hanson, let's chat some more about Jonny Lang. No, I've been following your last few albums, and I've really enjoyed this last one. One of my favorite songs on here is "Someone's Somebody." I really love what you set up with that, and I love how you juxtapose the words at the end of the chorus, it's a really clever song.

DB: Well, you know, Nashville is such a young town. I've got so many friends that are single and, at the same time, kind of ready to find their husband or wife and settle down. So, I kind of wrote that as encouragement for them because I have conversations with people who are just holding out to make sure it's the right person. I've also listened to way too much Chaka Khan and Earth, Wind and Fire, and that's what happens, you know? That's the song that pops out of that. It's actually one of my favorites. I love the songs that are sort of a tip of the hat to a specific time in music.

MR: Your album visits a lot of musical territories, yet it's still a cohesive Dave Barnes record. Are you conscious of that as you're creating?

DB: I don't know. I hope it's working, and it's definitely encouraging to hear you say that it is. The thing is, my favorite guys, and my favorite kind of music during the Elton John, Billy Joel, Steely Dan era where artists could have "The Boy In The Bubble" on one album and then have "Late In The Evening" on another record. I just love that because I think, at that time, people really loved quality. Function wasn't king.

So, you really gave the artist space to create, and the feeling was, "Hey man, if you think you can pull it off, then do it." I mean, gosh, Billy Joel other than Paul Simon, is the shining example. How do you pull off "Tell Her About It" next to "Goodnight Saigon" next to "We Didn't Start The Fire"? But it's just that he's good, and the songs especially were good. Five seconds into the song, as long as it's good, nobody cares that he just went from doo-wop to a contemplative Vietnam song. People were saying, "Look, if you can do it, do it."

Not that I'm saying I'm in the same league as Billy Joel, but I think that's the headspace I occupy. I really want to do that, I want to write some songs that, genre-wise, can bend a little bit because, hopefully, they're written well enough that you don't see the seams, you don't see the stitching. It's all continuous.

MR: Paul Simon and Billy Joel, nice, a couple of my all-time favorites. It's very rare that anybody's at the same caliber as any of those artists, but on the other hand, I definitely think Dave Barnes' music is at least in the same building.

DB: That's a huge compliment. It's just sad to me because I don't think artists get to try that anymore. I think there would be a lot of people doing that if labels or whoever is in the way would let them. It's like they say, "Hey, this band is known for this, so we need another record like that." Maybe the artist has been listening to a lot of jazz and is writing different kinds of songs, but that doesn't matter because it's not what makes money. And look, you've got to pay the bills, but I think at the same time, it's just a different season in the world. And I don't know if the chicken comes before the egg in the sense that "we made it that way so the listeners are used to it," or "the listeners said we don't want that anymore." I just don't know how it works.

MR: I don't think the listeners said, "We don't want it anymore." I think what might have happened is that, as we reached the end of the seventies, things became more genre-fied. A reggae artist was just a reggae artist, a disco artist was just a disco artist, and they really didn't do too much crossing over. And "artistic" artists who reigned for a long time--like Joni Mitchell, Paul Simon and others--just ran their radio course.

DB: It's so sad to me, it's something that really breaks my heart because that would have been fun to be around for.

MR: Who are you listening to lately?

DB: Lately, it's been a few different people. There's a band in Nashville, speaking of great music, called The Silver Seas, and they're kind of like the class before a bunch of us now in Nashville. Some singer-songwriters that formed a supergroup, and they've all been in Josh Rouse's band. About every two or three years, they release a record and this latest one, Chateau Revenge, is just so good. It's kind of like ELO meets Fleetwood Mac, the really great stuff from back in the day, you know? I haven't stopped listening to it, it's really good.

MR: That brings up the burning question of just who are you hob-nobbing with in Nashville?

DB: You know, these days, I'm mowing my yard a lot when I'm home. It's me and my yard gnomes, which, sadly, isn't the name of a cool Indie band. One of my best bud's, a guy named Thad Cockrell, is a monster talent. He just co-wrote Jessie Baylin's new record with her. It just seems anywhere you go in this town, you can hobnob just eating somewhere. You can look over and you see Jack White on the next stool.

MR: It seems like Nashville used to be more Nashville-centric, it was a smallish community years ago when I lived there. Then, it became a second home for so many L.A. And New York artists, so many that now, it's this huge music town whose expansion was a bit surprising.

DB: It's crazy. I think people are finally getting it. I think people come to visit, or spend some time here recording and they go, "Wait, why am I not living here?" It's got great weather--right now it's in the nineties which is kind of ridiculous--but it's a community. It's the most tightly knit, supportive group of people I've ever been around, there's no jockeying for position. Nashville seems, in my opinion, to recruit very secure, creative people, and it just seems to breed more encouragement and kindness. So, people get here ready to hear things like, "That guitar sucks," but it's the opposite. I've always said about Nashville, "You get here and you're either intimidated or inspired." People that get intimidated usually don't last, and the people that get inspired, do. And then those people contribute to the community and it becomes this beautiful, cyclical machine that continues to churn out inspiring, creative, kind people.

MR: As you know, there's also a big Christian market in Nashville too. And "God Gave Me You" is a Christian hit right now, right?

DB: It is, I guess. I've never had a hit. A hit, to me, gets played by more than two radios at a time in the same city. (laughs)

MR: (laughs) I hear it's bigger than that. I hear it's doing really well on the charts. But let's get back to your new album. One of my favorite songs is "You Do The Same For Me." It's a really great ballad, and in the tradition of Nashville songwriting, you have to have that killer ballad. But you also have to have something that a lot of other people can record, and this seems to be that song.

DB: That's a really good question because, honestly, it's one of those songs on the record that I still get the most nervous about, not because I don't like it, I really like it. But I think, because it's an acoustic ballad, it's got a little bit of a neo-country tinge with the dobro. It's a little bit of a risk, which I always love, and I love to put on records. It's the one, when it plays, that I love to listen to. But I'm always thinking, "Man, I hope people are listening to that song," because it clocks in at a little under five minutes, which is a long ballad.

But I love it, I love the sentiment of it, and I think the lyrics are great, so it's really good to hear you say that. And you know what's funny? One of my friends that lives in Atlanta that I really respect told me, "You know, Dave, this is a song that I could listen to over and over off this record." Those kinds of things are always good to hear.

MR: What's the story behind it?

DB: It's a song to a dear friend of mine that's trying to encourage him and tell him how I feel, so it's a song that comes from the heart. Of all the songs on the record, I think it might be the most heartfelt. It's really good to hear you say that.

MR: Any time, I love that track, and this is really a fine record. What's the immediate future for Dave Barnes?

DB: Well, this is fun news. We just got confirmed that I'm doing a Christmas record in July, so I'm really excited about that, it should be super fun and we're actually starting on that in a couple of weeks, so that will be out this December. That's the big news, and then just kind of playing shows, and--you're going to love this--I'm doing some comedy shows this month, which I've never done outside of Nashville, so that will be something new. A few fun things going on, you know?

MR: Do you have any strong opinions on something in the news?

DB: Man, you know, the thing that was hard was just the lack of press for the Nashville flood. That was a pretty frustrating thing for a while. I wasn't here for that, but sadly, it was at the same time as the gulf oil spill and it was a tragedy. There were deaths in the double-digits, and they estimated, I think, right at one billion dollars of damage to the city. It just gets frustrating because you really wish that people would cover it more. And they did, Anderson Cooper ended up coming down here and Sixty Minutes did a tease on it which was great. But I think all of us in the band were wondering why it wasn't getting more attention when so much damage had been done.

MR: Did your property suffer any damage?

DB: We were okay, thank goodness. We had a little water down in our basement, but it's concrete, so we were okay. Thankfully, we were able to get out of it pretty much unscathed, which I was very grateful for because I had numerous friends that had really bad damage and a couple that actually had to move. It was just bad, man. It was bad news.

Tracks:
1. Little Lies
2. God Gave Me You
3. What I Need - with Jonny Lang
4. What We Want, What We Get
5. Chameleon
6. Someone's Somebody
7. Something To Build Upon
8. Look So Easy
9. You Do The Same For Me
10. My Love, My Enemy
11. Amen

(Transcribed by Ryan Gaffney)

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A Conversation With Mark Olson

Mike Ragogna: I've been enjoying "Little Bird Of Freedom" from your new album Many Colored Kite. Tell me a little about that song and the guest artist on that track?

Mark Olson: "Little Bird Of Freedom" is a song about the things we start out in life, and what we hope to do and hope to become. What happens to us when those things don't work out for us, and how we adjust ourselves and keep going is the basic morality tale of the song. I worked it up on an electric guitar, but I messed around with it quite a bit over the course of a year.

We toured a bunch, like three hundred shows, and I would come off the road and keep messing around with little ideas and little songs, things I thought I would work-up live because I'd been playing live a lot. And I'd been playing with this Norwegian woman who plays the Djembe and the harmonium and sings, so we thought on this song, we would try to have a guest singer.

I met Jolie Holland about eight years ago, somebody gave me her number and I called her up and she said, "Come on over!" We walked around San Francisco talking about music, and we played some songs together. She was just a natural person to ask. I admired her singing and her songwriting and it all worked out, so that's the end result that you hear in "Little Bird Of Freedom."

MR: Who was the Norwegian woman that you referred to?

MO: Her name is Ingunn (Ringvold), and she's been playing with me now for about three years. She played on the Mark and Gary album, Ready For The Flood. I met her and she just has a lot of natural musical ability, so she can play a lot of instruments and she can find a nice spot to sit in when singing on a song, and she's just got a lot of positive energy, she's been a really positive force in all the touring I've done. I've toured all over America many, many times over the last couple of decades, and when you tour with someone who has never been there before and you can show them things, it's just kind of interesting. Things like a Waffle House become a little more exciting.

MR: And you get to see Americans through their perspective, right?

MO: Exactly, that's really interesting. I enjoy her company and she's a great musician.

MR: That's great. Let's talk about "King Snake." That seems to be one of the more fun songs on the album, can you tell us a little bit about that?

MO: Well, a lot of my songs are about things that happen right before my eyes and later on, I'll write a song about it when something else has happened. I put two things together, usually a physical thing and a spiritual thing, and I try to make a song about it. In this case, there was a snake that was trying to get into a birds nest and I kicked it down. It was a big snake, about six feet long, and it got really pissed at me but eventually, I got it out into the yard and off it went. King snakes are good snakes because they don't do anyone any harm, but we were just trying to avoid the scene of watching the bird get eaten right then and there. So, I just used that basic event for a number of the lines in the song, then I got to thinking about how snakes represent something to people, and I got to thinking about roads because I travel so much. Sometimes, when you travel a lot, it's like you're on these roads that have always been there, and now they're building new roads in new directions and some of the places they're going were never really meant to have roads, so I tried to put that all together.

MR: You mentioned that you travel a lot. It seems a couple of the songs on the record, "Little Bird Of Freedom," and even the title track, "Many Colored Kite," were written in Oslo, right?

MO: Well, "Little Bird Of Freedom" was written more in America, but definitely "Many Colored Kite" was written in Oslo. I have a dulcimer and I went out into the park because when I make records, I try to book demo sessions for a couple hundred dollars, I'll book a studio or somebody's house for a day or two and I'll try to get together some new songs. It's kind of a fun, exciting thing I like to do. I guess some people like to go camping or white water rafting, but I like to book a session. Maybe I'll have a couple of ideas, but once it's booked, then I have to write some songs. So, that's what happened, I had booked a session and I went out into the park and I started working on that song, and there was a stranger milling around. For some reason, when you play the dulcimer, it seems to attract people--they've never seen it before or heard it before. So, over he comes, and the song kind of took place with him asking me questions. And as I was half-paying attention trying to answer his questions, I just came up with the chord progression. Throughout the course of the day, I just kept at it, and I basically had the song then.

MR: It's really interesting when you go to another country because of its culture and what you're witnessing geographically. It's like a different kind of creativity occurs in U.S. artists when they go abroad.

MO: It's more than that. When you go to a different country, you've got to get your head going, man. It's a lot of stuff, everything you're comfortable with gets yanked away from you, so I've really learned a lot. I still live in America, but because Inguun's from Norway, I spend quite a bit of time over there. And I've definitely seen that, because of the language and the culture being different, I've had to learn how to navigate. Even though I've done tour managing for many, many years, living in a different country for a period of time, you learn how to get from one place to another. And that's not just traveling, that's in the direction of your life, basically. It kind of focuses on what you're going to do personally. I don't want to be in a place where I don't know anyone unless I'm really focused on doing something there. I like to be at home around people I know and care about when I'm not doing too much because then I can enjoy their company.

MR: Earlier you were almost talking about a spiritual side to your songs. "Your Life Beside Us" seems to have that theme running through it. What's going on in that song?

MO: I grew up in Minnesota, and I had some people that were in the Catholic church, I had a priest in Africa in my family. So, I've always been aware of talk and ideas my whole life on spiritual subject; basically, it's always been a part of my life. That song is talking about someone in your life that has talked to you about meaning. I don't really think of cars and homes and things like this. It's nice to have them, obviously, but there are a lot more meaningful things in life. And if you can somehow find a way to experience those things, that's kind of the struggle, isn't it? Those are the kinds of things that drive me. I learned that when I was young, so that's sort of what that song's about.

MR: Also, there's-I guess you referred to it as your miracle song- "Morning Dove"?

MO: That had to do with making it back. We did three hundred shows in various countries, under various situations. And through all the years, I started to think about The Creekdippers, and we did hundreds of shows and traveled. There was a lot of people, a lot of situations, and everybody made it home safe. There are times when you go out and involve people in your life and things happen. You can get into some real "tight spots" as they say. And we were able to keep going, and everyone got home healthy and safe, and I wanted to write a song about that, that I was really glad that that happened.

MR: Now, I'm talking to you from Iowa and, as I understand, you know a little something about it. In fact, you know about a certain park in Henry County, Iowa. Do you want to talk a little about that?

MO: Well, I have these books on gem and mineral collections and I have a rock saw with which I cut rocks and polish them in my spare time. I haven't had any spare time in about three years so it's been about that long since I turned on the rock saw, but I'll turn it on again someday, and I know that there are geodes near Fairfield, Iowa because I saw it in a book and I tend to memorize these books when I open them up. The other thing--if people are interested in this sort of thing, in the Midwest--there are a lot of streams and a lot of rivers, and they have sand bars. So if you walk down the streams and look around in the sand bars, that's where you really find the stuff because the river washes it over. I've done that in Nebraska and Kansas, and people think of gem and mineral collecting as being in the desert. But in the Midwest, you can find agates and things like that in these sand bars.

MR: Is this a hobby?

MO: Yeah, it's a hobby. It's something I enjoy to do. I just love to go out to walk around and look for stuff.

MR: Nice. Now, let's go over your history a little bit. You mentioned you haven't had much spare time the last couple of years as you've been working on your solo albums. Before that--I think most of our readers might know this--you, sir, were a founding member of The Jayhawks with Gary Louris, right?

MO: Yes.

MR: Can you go over the history?

MO: Yeah, it was in Minneapolis in the early to mid-eighties. We all hooked-up by knowing each other hanging out in rock bars, listening to bands. Marc Perlman and Norm Rogers were the two other originals with Gary and I, and they had a practice space, so we'd go up there and we'd practice three times a week.

We got our first gigs on Monday nights and Sunday nights in the rocks bars, and that didn't go that great right away, so we ended up going over to the blues bars on the west bank of Minneapolis. We worked our way up to Friday and Saturday nights, it took a couple of years of rehearsing and playing, but we worked our way up there. Then we made our first record, we had a manager that funded that and printed up two hundred copies. We still made records then, it was one of the last years they just made records.

We put that record out and then we got on a little label in Minneapolis, Twin Tone, and from there, we got onto a bigger label, American Records, and we have all just kept playing music for most of our lives from then. The first five, six, seven years, we all had regular jobs and, basically, just played around Minneapolis and Iowa. We had a sound man from Iowa, so we went down there a few times, and Wisconsin and Chicago. After the first record, we got to New York and L.A., and then, as the years went by, we were able to go to Europe, and it's been really good. It was just an example of sticking at something, basically.

MR: And not only sticking at something, but you had a major influence, and almost created a new genre if you want to call it that.

MO: It was there for the picking, though. Punk rock was going on and it just seemed to me--and to other people in other places at the same time--that "Hmm, these acoustic guitars sure sound good. These country records sure sound good. Let's try to play this." Because everything seemed so loud and...I don't want to use the word violent...but the music was violent at one point in the nineties. It was intense. I just enjoyed a different style of music, so I wanted to try to learn how to play it.

MR: For our readers, the genre called Americana or "roots" music was championed by groups like The Jayhawks, Uncle Tupelo, Wilco, Son Volt, and many others. Although these are very different sounding acts, had a renaissance. Many singer-songwriters and acoustic groups who followed credit The Jayhawks as being one of their major influences.

MO: Well, yeah. But there were a lot of people involved, and the time was right. The one thing I will say is that it's never really gone over the top, as far as a public perception or a consumer buying power in this kind of music. To me, it's still music that attracts people that want to play music. That's something about it that I've noticed, at least, I guess I have an inside look on the thing. You have some fans in most cities around the world and most of them play guitar too. (laughs)

MR: (laughs) Yeah, it does seem to be a rite of passage. Speaking of that, let's go into The Creekdippers. What's the genesis of that?

MO: Basically, I'd kind of reached a point where I'd had enough of the full scale rock thing, and I wanted to bring it back down to playing folk music with Victoria Williams and Mike Russell, a friend of mine from Minneapolis. We made seven records in seven years, put out all our own records, toured all over Europe and America quite a bit, and played in all kinds of situations. We had a force of nature in the band with Victoria Williams.

MR: Yes. And Victoria's Incredible.

MO: Well she doesn't play by the rules. And most of the rules are that you learn the song, then you go out and perform it. She doesn't do that, she'll make them up. So, she has kind of a jazz sort of thing, and it was really sort of an adventure for myself and Mike and anyone who was in the group. Each night, every show was completely different. Some of them were fantastic, and some of them didn't work at all. But we really learned how to listen as we were going along, and it was exciting. It wasn't a really mass-publicized group, but it's something I enjoyed doing with my time and my life.

MR: Yeah, and Victoria, like you said, is really a force of nature. I loved that when she was recording and performing with The Williams Brothers, people thought they were related.

MO: They sounded great together. I wish they would have recorded more because they sounded really good together.

MR: Before we go back to your solo material I wanted to touch on the Mark Olson/Gary Louris Ready For The Flood album. You talked about the tour a little bit earlier, but when you guys reunited for that, I imagine it was pretty fraternal.

MO: Yeah, I had a great time with Gary. For me, in the last years of the band, we didn't communicate that much. And this time, when we went out by ourselves and Ingunn was there too, we just had a really good time together. We played all sorts of different places; we went to Australia together and really enjoyed that. It was really different, we played every day, and I just really enjoyed playing with him again. One thing maybe people don't know is that we were in a band that was basically a rock band, but we wrote all the songs together on acoustic guitars. So, it was fun to go out and do that, just to play the acoustic guitars, and I really learned a lot. I learned a lot about singing harmony and playing guitar, which I always do when I play with Gary. It's just a top-notch situation.

MR: Alright, back to your new solo album. I was listening to "No Time To Live Without Her," and that had Vashti Bunyan on it, right?

MO: Yes. Beau, the engineer/producer had worked with Devandra Banhart, had her number, and I think he had recorded Vashti at some point. He brought it up and sent her an email, and she said she was into it. So, that was done the modern way, over the computer. It was sent to England, and she just sent back five vocal tracks layered on top of each other, and we just stuck it on and it sounded good.

MR: Ah, recording over the Internet.

MO: It was fun to send it off to her. We didn't do that very much, we only did it a couple of times because I think you can go overboard on that. We basically just made the record with the people who were there.

Tracks:
1. Little Bird of Freedom - with Jolie Holland
2. Morning Dove
3. Many Colored Kite
4. Bluebell Song
5. Beehive
6. No Time To Live Without Her - with Vashti Bunyan
7. Your Life Beside Us
8. Scholastica
9. Kingsnake
10. Wind and Rain
11. More Hours
Bonus Tracks:
12. Trouble's Back
13. Keith Don't Go
14. Just a Little

(Transcribed by Ryan Gaffney)

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You're so vain, you prob'ly think this song is about you. Or Mike Ragogna's 2.0, broadcasting and streaming on Wednesdays at 1pm CT and the following Tuesday at 8am CT on KRUU-FM, the Midwest's only solar-powered radio station: http://www.kruufm.com/

NEXT TUESDAY MORNING'S GUEST: DAVE BARNES
NEXT WEDNESDAY AFTERNOON'S GUEST: JIMMY WEBB