1. Take It Easy
2. Make Me Believe
3. Just Being Friends
4. It's Our Love
5. Light Unto The World
7. Living Without You
8. Jail Cell Door
9. High Rise
10. Stay With Me
One day, in my younger years as a training consultant, I finished teaching a workshop in Yakima, Washington with a fellow consultant, Bob Keller. As I retired to my hotel room and was visiting and chatting with him I began reciting my dream of one day recording music that my wife Melinda and I had written. Bob listened to what I had to say, but didn't say anything until a week later, when he came before me and said he would like to help make my dream come true. At the moment we became a work in progress.
A year later, and into auditioning my fourth band of musicians, I began to doubt I would find the right people to record with. As I sat watching a pool game at a local bar, a lady next to me was talking about her brother Pete Depoe, a former drummer of the band Redbone. I asked her to invite him to our band rehearsal at the Seattle Cornish School of Music, Dance and Drama. To my surprise he showed up.
One minute into my song, "Take It Easy," I knew Pete was the man I was looking for because of the diamonds he created by his drumming. I dissolved the band following the rehearsal and proceeded to talk to Pete about my album project, which he wanted to be a part of. He said he had a friend in LA by the name of Tony Bellamy, another Redbone member who might be interested in playing lead guitar on the album. Pete talked him into accepting a round trip ticket and needless to say, when Tony heard my music he decided to stay.
As Tony, Pete and I were going down highway 99 we stopped at a restaurant/bar for some coffee. As we were sitting there Tony heard awesome keyboard playing and singing coming from the bar. He went in, introduced himself to the keyboard player and discovered Kenny Day. Kenny joined the project, in part of his awe of Tony and Pete as members of Redbone, but also because he became a believer in the music.
Kenny knew a bass player in Puyallup, Washington, who he contacted and brought in his friend, Tag Henning.
We now had our rhythm section, eventually beginning to lay tracks at the studios of Hamilton, Holden and Roberts, and the Music Farm. While at the Farm, Kenny heard of a new 24-track state-of-the-art studio being built in Redmond. We paid a visit and met John Frechette, the owner of Pacific West Recorders. Because we were one of the early acts to sign up for studio time he gave us a recording deal that I'm sure he regretted, because this album took a year to record at an hourly price he agreed to.
Another musician I recruited was Jim Pepper, a world renowned sax player I had befriended in Juneau, Alaska. I called him in Portland and he said if I bought him a round trip train ticket he would join me. When Jim came into the studio to record he was a two-take-artist, improvising all his parts on the spot. Jim played so beautiful I could have easily featured just his sax on the songs he played.
I eventually brought in many other session musicians to dub into the mix, as indicated in my song credits of the CD. Every one of these musicians and singers were the best I could find in the Seattle and Tacoma area at the time.
Bob Keller eventually became my manager and business partner, helping to establish a subchapter S corporation to raise money for the album. While he was the financial, management and project planning genius, Melinda (my wife) and I worked with him as a team in bringing together all the resources to make this venture a reality. Bob was the most honest, intelligent and humble person I ever had the privilege of being close to. He is a special man I will always honor.
The following people financially supported the album allowing me to finish this dream. Each of them will forever hold a special place in my heart in appreciation for their support.
Lotus Pasternak, my wife's Mom; Elizabeth Martin, my Mom; Bob Keller, my Manager, and Mamie Davis, my Aunt.
I also want to acknowledge my wife's Grandmother, May McCleod Pitt, who wrote a poem called, "Gypsy Blood," that I used a line from in my song, "Take It Easy"..."For I have known the luring call that the wind and waves have sung, but duty chained my Gypsy heart, when my old dreams were young."
Last, I dedicate this album to Dee Kee On Kaw Woo (Tlingit for, Heavenly Father), for giving me the talent to sing, play music and write songs. May all glory be to YOU.
-Archie James Cavanaugh