Garrick Davis

This track is pure rock 'n roll and a celebration of gratitude. The sparkling keyboards bring a playful levity to this track as a counterpoint to the heavy guitars, fat bass and slammin' drums. The fadeout is like  'finger painting" with the keys and voices - very playful and purely spontaneous.  I loved that moment, sharing creative freedom with my son...

Inspired by the end of a relationship.  Looking at why it came to end and taking responsibility for my part in it's demise. Looking for something captures the fury of angst, disappointment coming to terms with "what is" in order to move on.

Sotchiatta is a character anyone would aspire to be. I taught myself to play and didn't have a mentor or champion in the business. Instead my mentors were Hendrix, Page, Towsend, Clapton, McLaughlin, Beck and so many more. Basically Sotchiatta the character is secure with who he is, takes care of business, does what he loves, takes care of his family and has true friends!

In the song I go to him to ask for his advice about what I should do with my musical gift because I seek change and a better life. I create a rather caribbean flavor with Zach's keys sounding very much like steel drums in the bridge section. I played harmonica on this track and blew my ass of doing so! The opening chuckle happened during the session when Zach was engineering and I was getting better with each take which just made me laugh. I hadn't played the harp since I was 14. The laughter throughout the middle to end was assisted by DeBraun Thomas as he is probably the only person I could have enlisted for such a task! Thanks DeBraun! 

This track came to be as a result of an attempt to depict what it is like inside my music-cluttered mind. Rhythm and melody has been a constant companion to most of my every thought, cadence of walking and situation since I was a child. 

The basic session was recorded in Mike Losey's (adult guitar student) living room. I set up 2 mics and we jammed acoustic guitars for over 10 minutes. I pulled the juiciest section of 2 minutes and forty-four seconds and everything was finished by the end of the day. Mike mostly played harmonics and accents while I kept it simple. Dr. Losey then added the sexy chanting in french. A couple hours later a former guitar student, DeBraun Thomas, came to my home as I was listening back to the fresh session and I asked him to add some guitar and bluesy 'wailing' free form vocals. I added two acoustic and one electric guitar tracks for depth as well as bass for rhythm and depth. One of my favorite bands of the '70's was "Hot Tuna" with the great Jack Casady on bass. I tried to play as he would have with the deep tone and lead-like runs. 

Peace of My Mind was mostly inspired by the great Blues "originator" Son House and his "John the Revelator" upon watching a YouTube video of Son House performing the song live on TV in the '60's. I love the rawness of his performance, especially the clapping. It reminded me of my first musical experiences as a preschool-aged child. Had to do it!

"I Give You Trouble" addresses regret and guilt felt by disappointing someone you love. The rhythm of the song is deeply influenced by Wes Montgomery's lush instrumental "Bumpin On Sunset" that I was immediately haunted by upon first hearing the song when I was about 8 years old and never heard the recording again until I was in my thirties. "Bumpin" was one of very few non-original songs in constant rotation in my mental juke box!    

"Trouble" is the first track I created and 'completed' on the MacBook that made me realize I could actually make a full-length album! "Trouble" is also the only track on EYS that I kept the programmed drum track instead of replacing it with the work of the 'real deal' drummer Grant Slam; Not because it was better than what he could do but because I actually liked the performance and never mind the fact that it was one of two tracks that were finished and safely stored before I experienced catastrophic hard drive failure in which I lost so much other work. "Trouble" is also one of two tracks from this project completely created on Garageband(Mac) software.

I spent 3+ weeks fixing and honing the drums, channeling both Carter Beauford(it didn't hurt to try) and Buddy Miles. The guitar and keyboard (Zach) interplay during the intro was not planned-Zach laid his tracks down and filled in the gaps between my riffs. Zach's performance was essential to creating the depth of emotion I was looking for as a producer. I also began to realize the scope of his budding talent. The outro/fade was made barroom powerful with the piano supporting my wailing vocal and wah-wah guitar blazing!

BTW- The BB King-like vocal at the end of the song was performed in my bathroom with a funky little Sony stereo mic. I recorded many early project guitar tracks with it as well, including "Embrace Love & Change. I didn't use a preamp at the time because I didn't know about their purpose until I went to Gelb, my local music store, shopping for a better mic. I kept this final track because I trusted there was magic in the making of it.

2 months of pure focus got a great thing going! Enjoy...

This song is a celebration of learning a great lesson! It is about understanding that love has many faces and that seeking possession of it can be costly. I sought the light instead of perpetuating the dark in the form of forgiveness casting away jealousy and wishing pain for a woman shared many years and beautiful experiences with. It's about letting go of the past and moving forward knowing love doesn't just die because of certain circumstances. Everything changes. Always.

This has been perhaps the most difficult track to finish because the recording of manydifferent instruments was so complex. Many, many guitars and vocals to create a beautiful companion to the liberating theme. Grant Slam's original drum performance was lost in the hard drive debacle as well as many guitar tracks. Nevertheless, it didn't kill me...just made me stronger! The background vocals came as a result of "just trying things" like reversing the phrase "Let it flow, it's what you need". The sustained "love" and "change" in the bridge and end were so pure and cleansing I felt as if I should make them sound like waterfalls of cascading emotion.

A powerful theme of love, forgiveness on a featherbed of guitars, vocals, piano, drums and percussion= nourishment for the heart AND ears!  

Zach created his "Interlude" in response to my request that he add something for the in-between tracks I asked the other musicians to make while in session and the "tape" is still rolling. Originally Zach played a Dave Matthews melody during a session months before. I heard him playing the melody to what is now "Zach's Interlude and upon asking him what it was he said he didn't know. Voila! 

This is a short and beautiful track that walks us directly in to the title track and centerpiece of the album "Expose Your Self". He played with such emotion and a wisdom beyond his years of experience. But I attribute this to the fact he does what he does because he lets go...and lets the universe handle his direction. 

Thank you for sharing some of what goes on in "your" mind, Zach!

The creation of this song and track was incredibly empowering, to say the least! As I was building the instrumental tracks I felt a spiritual nod and connection to all of the great artists that influenced my desire to write and record music. I felt my sensitivity going back to my first musical experiences of listening to "Peter and The Wolf" and the wonderment of hearing the instruments of a symphony orchestra, strings, horns(especially the french horns). Drama. I imagined what Hendrix must have felt upon a listenback to his masterpiece "1983: A Merman Should I Turn To Be" from Electric Ladyland or The Beatles of '67 and '68.

Most importantly, I felt this song and it's ultimately 55 or so tracks pulled together, identified and celebrated the demons that haunted me throughout most of my life, and let me face them. I realized there is victory in my happiness of being 'here', creating something positive for someone else to connect with and be all the better for it! My life situation to this point has never required me to let go of my gift. I am perpetually energized by my "luck". I finally felt the philosphy and message of the phrase "love thy self" as a bedrock to lift me and possibly some segment of society up out of the ashes of confused direction and lethargy. I felt like Ebenezer Scrooge and the revelations he discovered through his "dream visitors"! 

The music wrote itself. Every verse in this song is like walking in to a different room in a large and beautiful house. A unique "instrumental guide" walks the listener through each room and hands you to the next transition whether it be electric or acoustic guitar, piano or cello. Grant performed masterfully on the drums leaving space where needed and propelling the rhythm with emotion-laden fills that create a sure pace to the experience. No other drummer in the world could have done better. Cello Joe's presence throughout adds such an organic texture especially in the solo section which was originally only string synth preceding the slide guitar crescendo. Wow! Zach performed elegantly and seems to come along for the entire 'tour' as if he knows there is something fascinating to learn on the journey, much like Roy Bittan(E-Street Band) would have if given a similar assignment. It took me 3 days to lay down the bass parts and 2 weeks to write the lyrics I worked on daily. After nearly 2 years of creating and tweaking I proudly present this monumental musical and philosophical effort to you! 

I hope the effort was worth it as "Expose Your Self" is meant to help bolster ones own sense of identity as a means to contribute our best selves to a society ever-hungry and starving for individual meaning leading to the betterment of society as whole...best done one person at a time and from within. One brick at a time.

In the speed of a year I rose from a dismal situation to waking up on June 1st with my son at home and a strong new love in my life. That morning as I sat on my steps at about 9am on a Sunday, I felt overcome by a wave of gratitude for having the good fortune of having people that I cared deeply for around me. Gratitude is the key word here.

When I began recording the songs for the album I would take the results of my latest progress to my father, Ernest. He was a drummer in the Swing Band Era of the '40's, influenced by the best trap players of those times Belson, Krupa and Rich. I always brought headphones so he could really hear what was going on and, of course being true to himself, he was always tapping and slapping his hands on his lap in time with the music. I decided that it was time to record his hands within the project and that this will be a fantastic addition to the song AND project. He agreed and we "trade 8's" on the full version of "Happy June" with my dad going first. Finally, the world has the opportunity to witness his talent I experienced on steering wheels as he drove as other makeshift instruments he could beat on throughout my childhood. My mother Marie, who is an operatic soprano, is now on all three of my album projects having graced 3 tracks on E.Y.S.. There is no question where I got 'it' from. Furthermore I have no question as to who allowed me to feel safe and nurture my talent for music making!

I am forever grateful! 

Originally this track was to have lyrics but something didn't seem right by covering the emotional content of Zach's 'lyrical' piano performance. This is one of those perfect moments that, since he didn't really know the song too well, he just followed the chart and embellished in 3 takes. 

The result is that chose not to write lyrics except for the bridge...not yet anyway!

Add to that Grant Slam's solid, juicy drumming, Julia's explosive percussion(especially in the fade out), Cello Joe's cello play with harmonics and bold rhythm, I believe the acoustic guitar framework and jazz phrasing are all this track had room for, save the chunky electric guitar, of course! As I crafted the bass track, I felt compelled to create something that a true bassist would find an intriguing guideline if they were to play this with me live.  

BTW- The title "Grey Sky" is in reference to not letting things like excuses be an obstacle to your pursuing the day or your dreams. Get out of bed and get to what you need to do whether the sky is sunny or cloudy. An attitude of gratitude is in play here! Capice?   

Purely driven by sexuality and a great rhythm, "Walkin'" is the first time I wrote of this theme "that makes the world go 'round" and dedicated it to Zsuzsanna in honor of our "connection". 

This song is a mother----er to play live! The ending was a surprise though. During the session I asked Grant to go crazy at the end, like Mitch Mitchell(Hendrix' drummer) and we'll fade it out which he did. When I began building acoustic guitar tracks I just kept playing after after he finished, creating a whole new section of psychedelic possibilities. Zach laid his electric piano track down and followed with a dramatic string synth. It was like we were all in the same room together. I added the "scary" synth in the final 'out' section and all of a sudden it sounded like sex. Julia's congas. AJ's masterful funky bass...

YOU WANT TO SEE THIS LIVE! Satisfaction GUARANTEED! Have a smoke when we're 'finished'! haha!

This is the instrumental version of the title track of "Expose Your Self".  It belongs on the album because it truly stands on its own. One of the most intriguing things about this track is that I feel it truly created 'itself' as a dangling carrot of sorts, to help me focus on making the most grand musical statement I possibly can. It is literally my first symphonic piece.

In the lyric version, every verse is like walking in to a different room. In this instrumental version this is the case too but the instruments stand out more, filling the space where vocals would be as I created this mix just before I wrote the lyrics. When i was a very young child I decided and told everyone that I am going to be a symphony conductor when I grow up. With this track I feel I am fulfilling this.

We recorded the initial tracks of electric guitars, drums, synth strings, vocals and harmony vocals on Garageband. Before I began working with Grant on drums I had worked up a synth drum version(real time) that took over two weeks to complete. I was trying to think like Carter Beauford(DMB) but it still didn't have the feeling that was desired. When Grant did his magic everything shifted. The organic nature of this track beckoned to be nurtured. He performed with brilliance, power and sensitivity. He is the consummate musician and patient as hell. He has never failed to amaze me and get the job done beyond expectations. I still hadn't written any lyrics yet. But I created synth strings, built more guitar tracks including the wild slide part that evokes a celebration of reaching the promised land of a creative freedom I had never experienced until now. Zach's piano playing is simply beautiful, magical and works as a gentle but knowledgeable guide through this vast sonic soundscape Jimi Hendrix himself may have loved to explore with me(maybe he did!).

That I begin the song with my acoustic and Zach finishes it with his old-soul flourish of piano notes creates a exciting feeling of destiny that propelled my energy throughout the project as a whole. Cello Joe(Chang) added his immense talent on cello to this track. He laid down four tracks which I edited down to one. What a thrill! I finally wrote lyrics that took over two weeks to complete. In creating vocal harmonies I recruited my mother Marie who, at the grand age of 79, is still able to hit angelic high notes from which, combined with my voice to created an almost surreal choir the embellish the crescendo outro of what was turning out to be 'the grand statement' of my recording career.

Disaster struck as I was putting the finishing touches on what was to become lost through hard drive failure. This is a whole other story and will be told at a later date. Needless to say we lost many vital tracks that became corrupt. I was able to salvage the synth strings, some rhythm guitars, melodic guitars, some of the original lead vocal, the full harmony vocals, slide guitar, and piano only. We re-recorded the drums, acoustics, lead vocals, bass. I then began transferring files into Pro Tools in January 2009. What you hear now in this instrumental is a year in the making beginning May 2008 and completed September 2009. Enjoy!

These are wind chimes that hang on both sides of the porch at my former guitar student DeBraun Thomas mom's house. One of my favorite things about arriving there over the 5 years I worked with him was hearing those chimes on a windy day.

I knew I had to have this sound for the album. To record "Bell Wind" I went direct into Garageband with my little Sony stereo mic and moved the chimes myself, though there was a slight breeze at the moment. I really loved the effect of the wind blowing with such a low rumble and the chimes with a slight delay which expanded their sound. It is the perfect way to end the album.