So this song was written first when I was nineteen. I was dating this girl, and when I say dating, you need to imagine a Sunday afternoon church social in eighteenth century New England. Girls wear dress from their toes to the neck line and any contact they had was when passing a dish at the dinner table surrounded by nine adults. Which would be all the parents and a couple extras in case the boy was captured by the dark spirit and compelled to jump the table and dance with full body contact. Which would no doubt have caused immaculate conception.

Ok maybe I’m exaggerating. She wasn’t a prude, she was a lady, totally.

Back to my story.
So, she let me drag around after her for a few months and I guess she realized I wasn’t trying to join the seminary and become Jesus so she started drifting away. Which made me work harder to impress her for about a week. Finally I got the picture and allowed my heart to break, cause I really liked this girl. This has been a long time mind you, but I think I didn’t have a girlfriend for a few months. I normally always had a girlfriend of one kind or another. That sounds weird, “one kind or another” but when you’re in college you make all kinds of friends for all kinds of reasons. I sadly don’t have any of them left accept the dear sweet man who married my sister Rebecca and my sisters Rebecca and Fairlight themselves whom I was lucky enough to get to go to college with. Honesty I wouldn’t have gotten to college without my sisters. In, though, or out.

Ok back to the story.
So this girl barely noticed me and I felt like I needed to make some kind of splash breaking up with her. But she wasn’t paying me enough attention to even make a scene and break up so I wrote this song which I’m not sure she ever heard. This song has kind of a self pitying loser tone with an uptempo beat. A thing I learned from Dwight Yoakam and Pete Anderson. People will listen to the saddest song you’ve ever written if you can get the beats per minute over 120. Listen to “Guitars and Cadillac’s.”

So that’s the story. “Hey! Over here in the corner going out the window! Can you see me? Ok, then. Goodbye.”

Back to the future. As I was looking at songs to put on this cd my wife asked me to think about this one. And I didnt like it very much. Seemed ridiculously juvenile. Hmm, wonder why. Maybe because it was written by a juvenile.

But my friend Troy Martin (Baby’s Gotten Good at Goodbye) helped me bring it up to date and it’s a fun little romp with a great band sound. Some of the best players in the world are on here. This song needed more than I could do by myself.

Look these guys up on
Glen Duncan on fiddle, Mike Rojas on piano, Robby Turner on a steel guitar, Mark Dreyer on the telecaster. That’s me on the rhythm playing the boom chicka boom guitar. Wayne killings on the drums, and Kevin Swine Grantt on bass. I stood there staring at Glen Duncan until Mark Dreyer said, “Are you paying for fiddle lessons or recording a song. Come on, get out of there and leave him alone.” Truly an amazing session. I remember when Mike Rojas and Glen Duncan got their mics fixed and Mark turned the sound on they started warming up with the break section from Ricky Skaggs “Country Boy,” a song Rojas had played on thirty five years previously. Magic