Rick Shea

A Week in Winnemucca (Rick Shea BMI) (4:06)
Rick Shea - Acoustic Guitar, Vocals & Background Vocals
Tony Gilkyson - Acoustic Guitar
Chad Watson - Bass
Shawn Nourse - Drums

Rick Shea’s Guitar, Vocals & Background Vocals, Tony Gilkyson’s Guitar and Chad Watson’s Bass recorded at Casa de Calora by Rick Shea
Shawn Nourse’s Drums recorded at Nourse by Northwest by Shawn Nourse

Guardian Angel (Rick Shea BMI) (4:06)
Rick Shea - Acoustic & Electric Guitar, Vocals & Background Vocals
Eleanor Whitmore - Fiddle
Chad Watson - Bass
Shawn Nourse - Drums

Rick Shea’s Guitars, Vocals & Background Vocals and Chad Watson’s Bass recorded at Casa de Calora by Rick Shea
Shawn Nourse’s Drums recorded at Nourse by Northwest by Shawn Nourse
Eleanor Whitmore’s Fiddle recorded at Little Gold by Eleanor Whitmore

An Irishman’s a Laborer at Heart (Rick Shea BMI) (3:31)
Rick Shea - Acoustic Guitar, Vocals & Background Vocals
Tony Gilkyson - Acoustic Guitar
Chad Watson - Bass
Shawn Nourse - Drums

Rick Shea’s Guitar, Vocals & Background Vocals, Tony Gilkyson’s Guitar and Chad Watson’s Bass recorded at Casa de Calora by Rick Shea
Shawn Nourse’s Drums recorded at Nourse by Northwest by Shawn Nourse

Georgia Bride (Rick Shea BMI) (4:30)
Rick Shea - Electric Guitar, Vocals & Background Vocals
Jeff Turmes - Bass guitar & Tenor Saxophone
Dale Daniel - Drums
Danny McGough - Wurlitzer Piano
Skip Edwards - Hammond B3

Rick Shea’s Electric Guitar, Vocals & Background Vocals and Jeff Turmes’ Saxophone recorded at Casa de Calora by Rick Shea
Dale Daniels Drums & Jeff Turmes’ Bass recorded at Sonic Boom Room by Kevin Jarvis
Skip Edwards Hammond B3 recorded at Studio 2
Danny McGough’s Wurlitzer Piano recorded at Evelyn Martin Recording Services

Midnight Shift (Jimmie Ainsworth, Earl Lee) (3:52)
Rick Shea - Acoustic Guitar & Electric Guitar, Vocals
Tony Gilkyson - Electric Guitar
Jeff Turmes - Bass
Dale Daniel - Drums

Rick Shea’s Guitars and Vocals recorded at Casa de Calora by Rick Shea
Dale Daniel’s Drums, Jeff Turmes’ Bass and Tony Gilkyson’s Guitar recorded at Sonic Boom Room by Kevin Jarvis

Maria (Jennie Moyeda, Rick Shea BMI) (2:39)
Rick Shea - Nylon String Guitar & Vocals
Celia Chavez - Vocals
Eleanor Whitmore - Fiddle
Tony Zamora - Guitarrón
Cougar Estrada - Cajon & Maracas
Christina Ortega - Transcription and Translation

Rick Shea’s Guitar & Vocals, Tony Zamora’s Guitarrón and Cougar Estrada’s Percussion recorded at Casa de Calora
Eleanor Whitmore’s Fiddle recorded at Little Gold by Eleanor Whitmore
Celia Chavez’s vocal recorded at Tropical Noise Studios by Celia Chavez and Simon Petty

El Diablo Manda (Rick Shea BMI) (4:30)
Rick Shea - Nylon String Guitar & Vocals
Tony Zamora - Bass
Cougar Estrada - Drums & Percussion
Celia Chavez - Background Vocals
Roberto Rodriguez lll - Accordion

Rick Shea’s Guitar & Vocals recorded at Casa de Calora by Rick Shea
Tony Zamora’s Bass and Cougar Estrada’s Drums & Percussion recorded at Village Tracks Recorders by Jon Crawford
Celia Chavez’ vocals recorded at Tropical Noise Studios by Celia Chavez & Simon Petty
Roberto Rodriguez lll’s Accordion recorded by Vladimir Castellanos in Houston TX

Long Black Veil (Danny Dill, Marijohn Wilkin BMI) (5:02)
Rick Shea - Acoustic Guitar & Electric Guitar, Vocals & Background Vocals
Tony Gilkyson - Electric Guitar
Jeff Turmes - Bass & Baritone Saxophone
Dale Daniel - Drums

Rick Shea’s Guitars & Vocals recorded at Casa de Calora by Rick Shea
Dale Daniel’s Drums, Jeff Turmes’ Bass and Saxophone and Tony Gilkyson’s guitar recorded at Sonic Boom Room by Kevin Jarvis

Delia (Rick Shea BMI) (4:52)
Rick Shea - Acoustic Guitar, Banjo, High Strung Guitar, Vocals & Background Vocals 
Eleanor Whitmore - Fiddle & Bass Fiddle
Cougar Estrada - Cajon
James Cruce - Shaker
Celia Chavez - Background Vocals

Rick Shea’s Guitars, Vocals, Background Vocals, Banjo and Cougar Estrada’s Cajon recorded at Casa de Calora.
Eleanor Whitmore’s Fiddle & Bass Fiddle recorded at Little Gold by Eleanor Whitmore
James Cruce’s Shaker recorded at Paul & Mikes by Paul duGre’

One More Night (Rick Shea, Wyman Reese BMI) (4:00)
Rick Shea - Electric Guitar & Vocals
David Jackson - Bass
James Cruce - Drums

Rick Shea’s Guitar & Vocal recorded at Casa de Calora
David Jackson’s Bass recorded at Jaxteens
James Cruce’s Drums recorded at Paul & Mikes by Paul duGre’

Trailrider (Rick Shea, Wyman Reese BMI) (2:50)
Rick Shea - Acoustic & Electric Guitars
Shawn Nourse - Drums
David Jackson - Bass
Doug Livingston - Pedal Steel

Rick Shea’s Guitars recorded at Casa de Calora.
David Jackson’s Bass recorded at Jaxteens
Doug Livingston Pedal Steel recorded at Doug’s Place
Shawn Nourse’s Drums recorded at Nourse by Northwest by Shawn Nourse

Juniper Tree (Rick Shea) (2:47)
Rick Shea - Vocals
Birds, Dogs and Kids - Internet

Thanks to Paul duGre´ for indispensable help throughout the whole recording process, Jon Crawford for capturing something I was not even sure was a song yet, and to everyone who played and sang and helped bring these songs to life, I appreciate your time and talent more than I could ever say. Thank you. But most importantly thank you to Tres Pescadores for continued friendship and support for more than 20 years and 9 albums, love you guys. 

A WEEK IN WINNEMUCCA
Rick Shea (Ric-O-Shea Music BMI)

LEFTY SANG THE BLUES IN WINNEMUCCA
WATSON CAME ALONG AND PLAYED THE BASS
LORRETTA’S GIRLS WERE THERE
LIKE A BREATH OF COUNTRY AIR
JUST BLEW INTO SOME OLD AND DUSTY PLACE

WE WERE BOOKED THERE FOR A WEEK IN WINNEMUCCA
ROOMS AND MEALS ALL COVERED FOR OUR STAY
I ROLLED UP SOMETIME AFTER DAWN
FROM A SHOW WITH SLEEPY JOHN
AND SET UP THAT NIGHT IN TIME TO START TO PLAY

RUSSELL BROUGHT HIS GUITAR
HE ALWAYS SANG A SONG
THE LOCALS KEPT THEIR DISTANCE
YEA BUT NOT FOR VERY LONG
AT THE MINE SHAFT AFTER HOURS
WE DRANK WITH THEM TILL LIGHT
CAME POURING IN THE WINDOWS
TO CHASE AWAY THE NIGHT

CHORUS

THE FERRY CROSS THE HUMBOLDT
THE DUNES ON 95
THE RAILROAD BROUGHT THE MINERS
ON THAT LONG AND LONESOME RIDE
BY DAY WE HIT THE HOT SPRINGS
IN A PASTURE BY A SLOUGH
BACK IN WINNEMUCCA
JOHNNY CASH WAS PASSIN’ THROUGH

LEFTY SANG THE BLUES IN WINNEMUCCA
WATSON CAME ALONG AND PLAYED THE BASS
LORRETTA’S GIRLS WERE THERE
LIKE A BREATH OF COUNTRY AIR
JUST BLEW INTO SOME OLD AND DUSTY PLACE

THE WASHOE ROAMED THE STEPPES OF WINNEMUCCA
ZEPHYR’S BLEW ACROSS THE ARID PLAIN
BUT TONIGHT WE’LL PLAY GUITARS
IN THIS OLD CASINO BAR
WHILE LEFTY SINGS AND PLAYS THE BLUES AGAIN

GUARDIAN ANGEL 
Rick Shea (Ric-O-Shea Music BMI)

SOME HARD-HEADED KID WILD EYED AND RESTLESS
OUT LOOSE AND RUNNIN’ AROUND
CHASIN’ SOME DREAM OR FOOLISH ADVENTURE
IN AND OUT AND ALL OVER TOWN

DOWN EVERY BACK ROAD AND DIRT ROAD AND ALLEY
BE CAREFUL OF WHAT YOU MIGHT FIND
ONE STEP AHEAD JUST FOR A MOMENT
WITH THE DEVIL NEVER TOO FAR BEHIND

WELL I MUST’VE HAD A GUARDIAN ANGEL
SOMEONE WHO WATCHED OVER ME
WHEN I WAS YOUNG AND WILD IN AND OUT OF TROUBLE
FOOTLOOSE AND FANCY FREE
I TOOK A LOT OF CRAZY CHANCES
I WAS LUCKY THAT I PULLED THROUGH
YEA WELL I MUST HAVE HAD A GUARDIAN ANGEL BABY
AND SHE MUST’VE LOOKED A LOT LIKE YOU

DAUGHTER OF THE STARS, THE SUN AND MOON RISING
THREE SISTERS STANDING ALONE
WITH HER STUBBORN OLD DAD AND HER TOUGH OLD MADRE
LIKE NOTHIN’ I’D EVER KNOWN

SHE WAS THERE IN THE NIGHT
WHEN I NEEDED COMFORT
AND SHE WAS THERE WHEN I STUMBLED BACK HOME
TOUGHER THAN LEATHER BUT SWEET SOFT AND TENDER
AND FAITHFUL RIGHT DOWN TO HER BONES         

CHORUS 2X

AN IRISHMAN’S A LABORER AT HEART
Rick Shea (Ric-O-Shea Music BMI)

MY FATHER WAS A SIMPLE MAN
NEVER ONE TO BOAST
HE PAID NO MIND TO LAVISH THINGS
OR CARED WHO HAD THE MOST
HE WORKED AN HONEST DAY
AND HE GOT AN EARLY START
BECAUSE AN IRISHMAN’S A LABORER AT HEART

THE FIRST OUT ON THE RAILROADS
THE FIRST OUT ON THE LINE
FAMILIES FRIENDS AND LOVERS
ALL SADLY LEFT BEHIND
STEADY IS AS STEADY GOES
EACH DAY FROM DAWN TILL DARK
BECAUSE AN IRISHMAN’S A LABORER AT HEART

A POET AND PHILOSOPHER
HE’LL WORK BEHIND THE PLOW
NOT ONE TO SHOW HIS FEELINGS
OR SPEAK OF THEM OUT LOUD
YOU CAN SEARCH FOR WHAT LIES HIDDEN
BUT YOU’LL FIND NO PLACE TO START
BECAUSE AN IRISHMAN’S A LABORER AT HEART

IN A WORLD OF BROKEN PROMISES
THAT CAN TEAR YOUR SOUL APART
AN IRISHMAN’S A LABORER AT HEART

YES AN IRISHMAN’S A LABORER AT HEART

GEORGIA BRIDE 
Rick Shea (Ric-O-Shea Music BMI)

MOONLIGHT ON THE RIVER                          
BREEZE UP IN THE PINES
RIDIN’ INTO MEMPHIS
WITH MY SWEET ADALINE

I GOT A CUTE LITTLE BUGGY
FLOATS JUST LIKE A DREAM
SMOOTH AS COLEMAN HAWKINS
SWEET AS PEACH ICE CREAM

AIN’T NOTHIN’ FINER THAN A MIDNIGHT RIDE
WITH THE WICHITA PRINCE AND MY GEORGIA BRIDE

LADY OF THE NIGHTS
SUCH A SWEET BOUQUET 
TURNIN’ OFF THE TURNPIKE
DOWN THE WITCHY WHY WAY

PEEKIN’ DOWN THE ALLEY
FROM THE SECOND AVENUE
LOOKIN’ FOR MORPHINE BILL
AND LITTLE COCAINE SUE

AIN’T NOTHIN’ FINER THAN A MIDNIGHT RIDE
WITH THE WICHITA PRINCE AND MY GEORGIA BRIDE

BREEZE OUT ON THE RIVER
MOONLIGHT IN THE PINES
CRUSIN’ BACK FROM MEMPHIS
WITH MY SWEET ADALINE

LIKE JESUS ON THE RIVER
MOSES ON THE MOUNT
THE DUKE AND MARQUESSES
THE EARL AND THE COUNT

MIDNIGHT SHIFT
Jimmie Ainsworth, Earl Lee (Sony ATV BMI)

Well if you see Annie you better give her a lift
Cause Annie's been working on the midnight shift

Well if she acts a little funny, and seems a little strange
Starts spending your money buyin’ you things
Asks if she can use your car
And don’t even say what she wants it for

Brother, you know there ain't no ifs

Cause Annie's been working on the midnight shift

Well if Annie puts her hair up on her head
Paints her lips up bright bright red
Wears that dress that fits real tight
And starts staying out late in the middle of the night

Well brother, you know there ain't no ifs

Cause Annie's been working on the midnight shift

Well early in the morning when the sun comes up
You’re lookin’ at Annie and she’s looks kinda rough
You say hey baby get out of that bed
She says, leave me alone well I'm just about dead

Well brother, you know there ain't no ifs

Cause Annie's been working on the midnight shift

So if you got a good woman who's staying at home
Man you better enjoy it, it might not last long
One of these day’s she might get real tight
And start stayin’ out late in the middle of the night

MARIA
Jennie Moyeda, Rick Shea (Ric-O-Shea Music BMI)

Anda vamos a bailar
Pronto se va empezar
Música alegre

Ponte tu vestido rojo
yo me pongo mi sombrero
y nos vamos muy alegres

Quiero yo bailar contigo
quiero ser más que tu amigo
Ojalá que tu me creas

Yo te quiero mucho, mucho
yo te quiero mucho, mucho
y yo quiero estar contigo

María! 
des de aquello te miré
deja dentro de mi ser
ella tiene que ser mía

Eres tu mi consentida
eres tu toda mi vida
quiero que seas mi, María

Cuando estar contento
tu sonrisa tan arregle 
quiero que seas mi María

Come on let's dance
It's going to start soon
happy music

Put on your red dress
I’ll put on my hat
and we’ll go very happy

I want to dance with you
I want to be more than your friend
I hope you believe me

I love you very, very much
I love you very, very much
and I want to be with you

Maria!
from that moment I looked at you
I said deep inside my being
she has to be mine

You have my darling
You are my whole life
I want you to be my Maria.

When you are happy
your smile is so nice
I want you to be my, Maria

El DIABLO MANDA
Rick Shea (Ric-O-Shea Music BMI)

THE NIGHT GROWS DARK AND A ROOSTER CROWS
SHADOWS LIE WHERE THE DITCH WEED GROWS
BLACK SPIRITS MOVING THROUGH THE NIGHT

WALK SOFTLY WHERE THE LIGHT GROWS DIM
WHISPER A FAMILIAR HYMN
YOU CAN NEVER KNOW WHAT’S HIDING IN THE NIGHT

EL DIABLO MANDA
EL DIABLO MANDA
WICKED MINDS WILL TRY TO HIDE THE TRUTH
EL DIABLO MANDA
EL DIABLO MANDA
WALK CAREFUL WHEN THE DEVIL RULES THE ROOST

FIRES BURNING IN THE NIGHT
SMOKE OBSCURES THE PALE MOONLIGHT
THE PAST IS GONE AND VANISHED IN THE HAZE

MOTHERS CRY WHILE CHILDREN SLEEP
IN HIS ROOM THE PADRE WEEPS
NEIGHBORS GONE AND NO ONE KNOWS THEIR NAMES

EL DIABLO MANDA
EL DIABLO MANDA
DECEITFUL MINDS WILL TRY TO HIDE THE TRUTH
EL DIABLO MANDA
EL DIABLO MANDA
ALL BETS ARE OFF WHEN THE DEVIL RULES THE ROOST

THE ROUGH BEAST ROAMS THE MAD DOGS HOWL
THE PALE KING RIDES OUT ON THE PROWL
THE TIDE IS LOOSED ALL INNOCENCE IS GONE

THE THIEF HE WEARS A RICH MANS CLOTHES
THE CENTERS CRACKED IT CANNOT HOLD
OLD FRIENDSHIPS FALL AND CRUMBLE IN THE SAND

BLACK RIDERS PASS WITH WICKED SCORN
TO CATCH THE WIND AND RIDE THE STORM
BUT WHAT THE MIND OMITS THE HEART CANNOT FORGET

EL DIABLO MANDA
EL DIABLO MANDA
WICKED MINDS THEY TRY TO HIDE THE TRUTH
EL DIABLO MANDA
EL DIABLO MANDA
ALL HOPE IS GONE WHEN THE DEVIL RULES THE ROOST

EL DIABLO MANDA
EL DIABLO MANDA
MALICIOUS MINDS WILL TRY TO HIDE THE TRUTH
EL DIABLO MANDA
EL DIABLO MANDA
ALL HOPE IS GONE WHEN THE DEVIL RULES THE ROOST

LONG BLACK VEIL
Danny Dill, Marijohn Wilkin (Universal Cedarwood BMI)

Ten years ago, on a cold, dark night
There was somebody killed 'neath the town hall light
There were few at the scene, but they all did agree
That the man who ran looked a lot like me

Well the judge said, "Son what is your alibi?
If you were somewhere else, then you won't have to die"
But I spoke not a word, although it meant my life
For I had been in the arms of my best friend's wife

Chorus
She walks these hills in a long black veil
She visits my grave when the night winds wail
Nobody knows, nobody sees
Nobody knows but me

The scaffold was high and eternity near
She stood in the crowd and shed not a tear
Ah but sometimes at night when the cold wind moans
In a long black veil, she cries over my bones

Chorus
She walks these hills in a long black veil
She visits my grave when the night winds wail
Nobody knows, nobody sees
Nobody knows but me

DELIA
Rick Shea (Ric-O-Shea Music BMI)

DELIA WAS THE ONLY ONE                  
THE ONE AND ONLY ONE
WHO SAW THE EMPTINESS INSIDE OF ME

SHE WAS ALWAYS THERE FOR ME
ALWAYS THERE TO CARE FOR ME
I ALWAYS KNEW THE DELIA WAS THE ONE      

MY FATHER NEVER WELCOMED HER
NEVER REALLY TRUSTED HER
MY MOTHER NEVER EVEN SPOKE HER NAME

BUT WE WOULD WALK OUT QUIETLY 
OUT AMONG THE FALLEN LEAVES
AND NEVER NEED TO SPEAK A SINGLE WORD 

CHORUS   

BUT LIQUOR WAS HER CLOSEST FRIEND
THE ONE SHE TURNED TO IN THE END
THE ONE WHO HELD HER CLOSER MORE THAN ME

I WOULD HAVE GIVEN ANYTHING
TO TRY TO HEAL HER BROKEN WINGS
BUT SHE JUST CLOSED HER EYES & TURNED AWAY 

CHORUS

GONE ONE NIGHT IN A POURING RAIN
RIDING ON A LONG BLACK TRAIN
DOWN THE TRACKS TO WHERE I’LL NEVER KNOW

THE RAVENS CALL OUT ENDLESSLY
LEAVING ONLY MEMORIES
OF ALL WE HAD AND ALL THAT’S LEFT BEHIND

ONE MORE NIGHT
Rick Shea, Wyman Reese (Ric-O-Shea Music BMI, Amigos a Go Go BMI)

ONE MORE NIGHT ONE MORE CITY
TOO MANY TOWNS TOO MANY NAMES
ALL THESE MILES AND MILES OF HIGHWAY SIGNS
THESE DAYS ALL SEEM THE SAME

ONE MORE NIGHT OF CHASING RAINBOWS
IT’S THE ONLY LIFE I KNOW
TILL THE CURTAIN FALLS 
I’M ALL ALONE AND THE LIGHTS GO OUT ONCE MORE

THERE’S A NEW MOON THAT SHINES ON ME
AND THE ROAD RUNS ENDLESSLY
AND AS FAR AS I CAN SEE
I’M NO CLOSER TO THAT DREAM

ONE MORE NIGHT OF CHASING RAINBOWS
IT’S THE ONLY LIFE I KNOW
TILL THE CURTAIN FALLS 
I’M ALL ALONE AND THE LIGHTS GO OUT ONCE MORE

THERE’S A NEW MOON THAT SHINES ON ME
AND THE ROAD RUNS ENDLESSLY
AND AS FAR AS I CAN SEE
I’M NO CLOSER TO THAT DREAM

ONE MORE NIGHT OF CHASING RAINBOWS
IT’S THE ONLY LIFE I KNOW
TILL THE CURTAIN FALLS 
I’M ALL ALONE AND THE LIGHTS GO OUT ONCE MORE

TILL THE CURTAIN FALLS 
I’M ALL ALONE AND THE LIGHTS GO OUT ONCE MORE

A Week In Winnemucca

A few years back I took a gig in northern Nevada at a small casino in Winnemucca. It was the sort of gig I usually avoided in my working musician days, not very musically redeeming. But this one seemed ok, good band, we all knew each other, decent money, separate rooms, the meals were covered, the hours weren’t too long and we could play whatever we wanted, no jukebox playlist was expected. So I headed up there after playing a show for ‘Sleepy’ John Sandidge in Santa Cruz and other than my truck blowing a gasket on the way home in the middle of the night in the middle of Nevada it was a good experience. The song pretty much explains itself, other than the line about ‘Loretta’s Girls Were There’ taking a little bigger role in the song than maybe in real life. They were there, Loretta’s twins, Peggy and Patsy. Patsy is married to Philp Russell who was writing songs in Nashville at the time and was good friends with Shawn Jones, whose gig it was. They all came out just to hang but we really didn’t see that much of them. Also Shawn is a lefty but as far as I know no one ever calls him that. 

Guardian Angel

I was kind of a wild kid when I was younger, and maybe for a while after that. I’d read a lot of Jack London, Mark Twain, Jack Kerouac, and at 17, just out of high school, I took off and hitchhiked across the country, just me and my dog Wesley, a little springer spaniel. I was looking for some hippie Xanadu, didn’t find it, but I did meet a lot of interesting and generous folks. Wesley was well behaved and helped getting rides; folks would say they stopped because she looked so cute. I hitched up into Canada and Quebec and in the next few years I hitchhiked across the country twice more and all over Southern California and the west coast. I continued to live kind of wildly in a lot of ways, seasonal and temporary jobs so I could collect unemployment, always looking for any opportunity to play music. By the time my wife Susie and I got together I was playing steady gigs and starting to settle down. We were wild together for a few years but then kids came along, we became a family together and I seemed find what I’d been looking for, thanks to my Guardian Angel. 

An Irishman’s a Laborer at Heart

It’s said that the Irish built New York City and they certainly helped build the railroads. I was thinking about this phrase, ‘An Irishman’s a Laborer at Heart’ and when I started writing the song it all just fell into place like it was there waiting for me. That doesn’t happen very often. Of course I was thinking of my father but also of myself and my two boys, both hard workers. But most of us are, Irish or not, we all work, it gives us meaning and keeps us centered. The picture of the Irish being a quiet sort does fit my dad, my brother, my cousins and a lot of the people I’ve met when I’ve been to Ireland. Niall Williams describes it in his book he wrote with his wife Christine Breen ‘O Come Ye Back To Ireland’. “It’s a strange irony that the very same people who are near-legendary Carousers, dancers, musicians and storytellers are also the most bashful people anywhere in the world”.

Georgia Bride

This song started with the guitar riff, as many do. The lyric for a long time didn’t really have a story. It was just a collection of words and phrases that I liked the sound of, dated sounding language like in ‘True Grit’, the Charles Portis book and Coen Brothers film. At least that’s what I had in mind. Musically it had a Memphis or New Orleans feel and for a while I thought it needed a strong horn arrangement with two horns, like Allen Toussaint. I ran it by a few folks, Jeff Turmes came by a couple times and was trying to give me what he thought I was looking for and at some point, in all those tracks, he played this perfect, laid back tenor sax solo that fit perfectly. It just took me awhile to hear it. Danny McGough and Skip Edwards both shine on the keyboards. 

Midnight Shift

I played a lot in country bars, nightclubs, honky-tonks, truck stop dives, 9 - 2am six or seven nights a week, it was a good education and a way to make sort of a living. Most of those places are gone but I still play a monthly residency in Tarzana out in the west San Fernando Valley at a place called The Maui Sugar Mill Saloon. It’s a good music room but these places are not always the best for quieter acoustic songs and having a decent repertoire of barroom songs can be a good idea. This one has been a favorite of mine for a while, done by Buddy Holly and a few others. This also features the guys who’ve played most of these sort of gigs with me the last few years, Tony Gilkyson on guitar, Jeff Turmes on bass and Dale Daniel on drums, great guys, good friends and really excellent musicians and both Tony and Jeff are tremendous artists and songwriters themselves, I couldn’t be prouder to play music with them. 

Maria

My mother-in-law Jennie wrote this song. She always wrote a lot - poetry, journals, family history - and I’ve recorded a few songs she’s written over the years. She told me this song was for her granddaughter, my niece, Maria. She also talked to me a few times about Maria Felix, the beautiful Mexican film star and singer in the 1940’s and 50’s. She was said to be “the most beautiful face in the history of Mexican cinema” and was said to have had many affairs and romances. Jennie told me that Maria Felix was married to the songwriter Agustín Lara for a time and that after she left him every song he wrote was for her or about her. I had this song for a while and always loved it, but this was a little more complicated than some others. Its up-tempo, it changes keys, I don’t speak Spanish, very little at least, and so it took some work. Many, many thanks to the wonderful Celia Chavez for singing this with me and helping bring this to life, and to everyone who played on it. My wife Susie cries when she hears it, she says her mom would have loved it.