March '08
Just now mastering the new stuff. pretty cool. what
with the busy schedules of kneebody and myself, we're
completing the disc in about two weeks work time and
10 months space. Everybody brought the A stuff and
killed. It's difficult to put into words what that
means to me, though that difficulty obviously wont
stop me from over-trying. I like to think the fellows
knew I wanted them to be themselves, at least as much
as the material would allow. What I mean is, they have
an uncanny ability to play music less sophisticated
than their own, but not play down to it. Their full
investment and commitment were never in question. and
they rock. Shane did the horn arrangements, Ben coming
up with the part under Shane's solo on the slow blues.
Ben also did the parts on "Sea" and the beautiful solo
on the fade. The Melodicas..yes. Adam doing the duel
on "Time" and Ben on "Girl on" and the head on "Taken
my". amazing. Adam ,of course, did the overture and
underture, and came in tirelessly distinguishing every
tune he played on, which was every one. What he did on
the banjo solo in "taken" and the second solo section
on "Heart" are some of my favorite spots. I flatter
myself to imply I learned a great deal from hanging
around these cats. Kaveh came in and played bass a
couple of times on "Yesterdays" when i messed up the
first version by playing so out of tune on three
overdubs even pro tools couldn't save it. He's one of
a kind on that thing, just what the tune needed. Greg
Leisz came in for a late afternoon lunch date and hit
"Hollyhocks" and "Yesterdays" with that giant down
pillow of a steel guitar he carries in his head. All
crap aside, he's on my list, permanently.Nate played
all the drums and perc. and bass on everything else,
and engineered, mixed, mastered and produced. I told
him I wanted to make it clear  to anyone who gives a
shit that we agreed on every thing that came up, so we
should call it co-production. Neither of us really
cares, but it seemed significant at the time that it
be known there was none of that pushy, petulant
artist-producer junk on anything. Everyone contributed
mightily to each song and to each other's performance,
kind of a love-in kind of deal. and for cheap.If
you've heard Kneebody(and if you haven't, you should,
soon), you can relate to how I was a bit hesitant to
embrace the idea of my throwing in with these cats.
Picture Carlos Santana and Wayne Shorter, oh, you can.
well, same deal in my head. But, if Santana had played
with Kneebody, his record would have been better. No
knock on Wayne, but this is a band, and they know what
it takes to make another's songs the best they can be
while getting in on the fun.I suck, they're great,
that's why I hesitated, that's what Im saying. I still
suck, but, you know, I sound pretty good if you squint
your ears and go soft focus on the deal, and take it
as a whole. I'm not the straw that stirs the drink, im
the crappy old spice cologne machine in the men's room
of the bar in which the straw stirs the drink. itunes
in April, I promise.

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June 2007
jakob mason knapp- new release in
5-07 handsome, loud, and popular, takes after.......
hmmm. maggie and jason and gavin welcome the new boss.
congratulations. i went to 14 songs for christina
carabini, will play and sing through the summer on
that disc, and it sounds pretty good, richard bredice
producing and playing and doing a bang-up. i also got
to play guitar on about 5 things for pal shazar's
record she did out here , and played a show at the
mint, she and i, it was fun. her stuff is good. wrote
a song with steve and beth wood for a greg
macgillivray film and saw it at the premiere and
performed and it sounded good, steve recorded it with
a choir in new orleans for which the film was devised,
an exellent cause. speaking of wood, ive started
recording my  new batch in highland park at nate woods
house with some of his cats in kneebody, and it's alot
of fun for me, but for those young fools it must look
like grandpa doing the watusi in front of the tv to
soul train re-runs. tough. let me have my fun. should
wind up at summer's end. will post.
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1968-signed by Mike Curb and Robert Fitzpatrick to Sidewalk Records as The Second Time, a local Costa Mesa band who had recorded a track for “Wild in the Streets.”  We were living in Pat Quilter’s amp factory (undying gratitude Pat), and I was replacing their unfortunate guitarist (who became busy building that other type of record for a minute).  We recorded two tracks for an album which never saw the light (I remember now, we played the first Orange Coast College on the alternate stage by the snow-cone concession and during our rendition of “In a Wave” I though I heard Eric Burdon’s voice calling to me in an epiphanous moment of enlightenment.  It was, in fact, Eric Burden screaming in now familiar behind the music croak of his, “Get off the stage, we’re going to blow you off the stage” I would have preferred on the stage, but I guess he’s shy being English and all…

1971- Joined up with Honk, Steve Wood, Tris Imboden and Don Whaley, three of the best from our class of 66-67 Costa Mesa, Newport, Laguna days.  We begin recording at Criterion music in Hollywood.  Early genius fails to be recognized, probably because of it’s a clever disguise as ambitious underdeveloped harmonic chaos.  Greg Macgillvary produces a new type of surf film (Five Summer Stories) and we write the music.  1972- The movie goes on to be the anchor of Honk’s reputation as a surf band, despite further evidence to indicate otherwise.  I think this is clearly the band’s most popular album, and it’s also the freest.  1973-Honk puppet album, 20^th Century Records.  Band members Beth Fitchet and Craig Buhler having joined make this the first actual vocal oriented studio effort, although many alternate tracks were recorded before after this album finally was formed.  A re-release of this as CD includes some of those recordings.  The Bob Gardner cover authenticates his status as the creator of claymation, as the music documents ours as the earliest purveyor of claymation.  1974-Honk, Epic records…Really, after recording tons of stuff, this was the group’s most evolved effort.  Subsequent touring behind the eclectic moniker led to a most ignominious denouncement at the CBS convention whereby Aerosmith got our purported promotion money.  Aerosmith who?  1976-Funky Kings Arista Jack Tempchin told me last week that he saw a quote by Clive that we were among his biggest regrets,  “Well, Avril is still young yet, give it time.”  Good band, good songs, wild recording stuff which I’ll save for the book.  With the hiring of Val Garay to re-mix (that had a different meaning then), The Kings began a second record in ’77 after touring and business snafus had divided the group Mike Finnigan, Bob Glaub, Rick Jager and Greg Leisz were on board for the tracking while Jack, Jules and I finished it with Henry Lewy.  Unbelievable results, with my friend Mark Turnbull telling me, “I have no idea what it sounds like yet, but the titles I’ve heard are ‘Murderous Rain,’ ‘Blue Wine’ and ‘Girl From Outer Space.’”  As of this date, unreleased, but keep your shirt on, I’ve got a few ideas…Starting about 1980—Various session calls including writing and recording with Kenny Loggins on his “Keep the Fire” record which spawned another movie association with which I’ve been blessed, “Caddyshack.”  Coincidentally, the film followed me through my PGA years 1993-1998 (teaching), disrupting many a lesson with, “You’re not THAT Richard Stekol..are you?!”  A great experience with my friend Katy Moffatt and Steve Berlin (with whom I worked on David Baerwald’s record) on her solo record playing with Greg Leisz and Frank Cotinola and the great Keith Srozier. Big boss man was outstanding in my memory. The early 80s stayed interesting due to the re-hookup with Jules Shear and two fine album projects and tour.  We did “Watchdog” about ’82 and joined Joan Armatreading for about 6 weeks.  Alan Deremo on bass and the late David Beebe from the Polar Bears on drums.  Then, a trek to a church in Woodstock for the Great puzzle with Tony Levin, Beebe, and my new friends Steuart Smith, Richard Smith and Joy Askew.  A great time by me, and a great record.  That was, what ’83-’84?  My family and I moved to Woodstock shortly thereafter, recording tons of stuff

with the Seclusions who had come out on their own dime to live in a one room loft in Soho.  Sounds glamorous now that the neighborhood is called Soho.  Four guys in a room, Dave flying in by helicopter between Paul Anka shows bringing supplies and cheer.  Best band in the city that summer.  About 1986, came back to CA, did three Jack Tempchin records, one with Greg and myself called, “Highway 101 Live,” and one with the Seclusions, and with some of us produced by Steve Wood at Val Gary’s old studio.  Is that convoluted enough for you?  After that, in no particular order, I produced “Peace Like a River” and “Clouds of Heaven,” two of the best works I’ve been a part of Honk genius Craig Buhler, my high school chum, featuring the Seclusions and our very talented Rick Tatum and Karin Benson on vocals, and Karen Hammack on piano.  I got to horse around on a Bob Hare record produced by Honk bassist Will Brady, and was pleased to hear his version of one of my tunes, “My Old Pals” on his record “Boxworks.”  I suspect we’re time traveling through the ‘90s now—I sang on one of Beth Wood’s records, “Silos,” one of Candye Kaynes records with Rosemary Butler for Val (again) and a couple of tunes from my friends the Missles of October on their record, “Hope.”  I recently produced a record at my studio for Dan Yablonka which featured that guy Greg Leisz, and recorded and wrote some stuff for Mihana’s first and soon to be released second record.

12/17/06
The new century found me releasing three solo albums, see elsewhere, and, as usual hatching big plans.  A jazz record is in the can, as is a song record with words and everything. I’m sure I’ve overlooked some projects, I’ll update as needed.
Well, the records came out as promised if not as planned,  and I produced a new craig buhler record "Capistrano Sessions", came out great. Craig wrote, arranged and played a bunch of tunes and all the boys were forthcoming with their Very fine lead runs and groovy beats. Writing 11 tunes for a Christina Carabini record to be finished early 07, she sings good. Kind of a  drums, acoustic guitar, acoustic bass deal, but with some snap. Getting protools rig any day now, its being built, along with my dread. After the usual learning 90 degree angle, Im gonna do some mark turnbull recordings on it, thatll make it worth while.Recently re-hooked up with a friend, now at Disney, Fred Mollin. Hes going to help perpetuate the Stek nation, some song placement, maybe a rec. deal..oh boy, gigs, whatever. Thanks   more soon