Here is the ninth and final installment in my Restrung-Resung-Remix-Remaster project (RRRR #9). Since this past September, I have been working with David Benyamin as my guru to learn the ins and outs of sound engineering, or how to mix music. Endorsement: If you ever need something mixed or mastered, work with David—he is excellent. This project gave me the excuse to go back to revisit and revise some old Shanghai’d songs recorded and mixed at Thunderground Sound Studio about a decade ago. The exercise was not nostalgic for me because I could hear all the things, big and small, that drove me crazy over the years. I have learned a lot, so thanks for coming along with me on this adventure in HiFi.
This last pairing re-examines two of my favorite songs: MY REMEDY & COME ALL THIS WAY—the 9th Restrung-Resung-Remixed-Remastered EP pairing. Songs of spirit and the love of spirits. The original versions are more bare bone than skin. But now they are much closer to what I still hear in my head. Both songs are more personal so while there are stories to tell, being from good Nordic stock they are more challenging for me to tell them.
MY REMEDY—I discovered absinthe somewhat late in life. As you might know, absinthe is a spirit made from the holy trinity of botanicals: wormwood, anise, and fennel. Absinthe is an acquired taste; but if one loves the taste of salty black licorice, one can easily fall in love with absinthe. Absinthe was one of the only spirits to have been banned by numerous governments in the early 1900s, and I became even more curious. Why? Why would a lovely spirit nicknamed the “green fairy” be banned from civilized society? People in late 1880s feared that the green spirit in the bottle was a hallucinogen and dangerous. Absinthe was blamed for Van Gogh’s ear-chopping incident, and for filling up the insane asylums in Europe. Absinthe was also blamed for murderous rampages in Switzerland. Pressure from the Temperance Movement in the early 1900s finally led to its widespread ban, including in the USA in 1912. Absinthe remained illegal for some 80 years until a British citizen named George Rowley worked to legalize and reintroduce the spirit into the UK and beyond. In the temperament of an artist and my role as a (mad) scientist, I began studying up on this spirit in theory and practice, which eventually lead to this song, which may or may not have been written while sipping on absinthe. Working with the Jalan Crossland band, this song—as they say on American Bandstand—is a song you can dance too. Shaun Kelley and Andy Phreaner provided the fab rhythm. Jalan’s banjo picking is classic Jalan—unpredictable and spot on. Sometimes you just need some green fairies to help you put your dancing shoes on and go.
COME ALL THIS WAY—This song is my favorite of all the songs I’ve written. I like the song a lot and I love the performances even more so. Sally van Meter’s resonator makes me cry—she plays like Ella sings; Shaun Kelley’s bass hugs you until you feel safe even if you are alone, and Dan Tinker’s harmony vocals breathe compassion for oneself and others. The original version had Dan’s harmonies tucked away, popping up here and there; they are now front and center throughout the entire song. So, if I can ask a favor, have a listen to this one…for me.
Silly Monster Who Likes to Eat Sweets - Art by Frida
JAHA!
credits
released January 16, 2022
All songs by J Shogren
MY REMEDY
Shaun Kelley—bass; Andy Phreaner—drums, vibraslap; Jalan Crossland—banjo; J Shogren—vocals, guitars, misc. Original recordings at Thunderground Sound Studio (Laramie, WY); Dan Tinker, engineer; Original mastering by Jim Wilson. New recordings and remixing at the Stump (Laramie, WY); Remastered by David Benyamin (Paris). Original is on Bird Bones & Muscle (2010), JAHA!#3
COME ALL THIS WAY
Dan Tinker—vocals; Sally van Meter—resonator; Shaun Kelley—bass; J Shogren—vocals, guitar, misc. Original recordings at Thunderground Sound Studio (Laramie, WY); Dan Tinker, engineer; Original mastering by Jim Wilson. New recordings and remixing at the Stump (Laramie, WY); Remastered by David Benyamin (Paris). Original is on American Holly (2008), JAHA!#2
This album speaks to the continuum of African diasporic culture that is central to the vibrant canon of Americana folk music. Bandcamp Album of the Day May 29, 2020
