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Gone to Richard's & Thanks for Stoppin' - Bye

Reaching well back into The Steward’s song archive, Gone to Richards and Thanks for Stoppin’ – Bye actually are from the original cassette tape recordings personally given to select bowlers and restaurant staff back then. The one and only remaining tape known to exist was thought lost or destroyed for many years, and when found at the studio recently, it posed a technical challenge but was deemed workable, so the SE consortium took on the task of bringing these songs back to life in time for this observance. We decided it would be wrong to start a new production; instead, we worked with those rough demos and low quality (slow-speed!) analog recordings, and in doing so, maintained the sound and feel of those times, but added some instruments and voices, made improvements and clarifications, and took full advantage of the many upgrades in music technology since then. We’re proud to make these available now, and hope our lissners, especially local ones – or anybody who ever had a date, ate a great meal, took a cocktail or rolled a big marble at Richard’s Tri-County – might enjoy them. If you do, let us know.

 

PERSONNEL: On the original recordings, that’s Billy Kelley on piano and T. M. Shorter did the sax and the horn arrangements on 'Gone to…'. The Steward performed most of the other parts and multi-tracked them together. Heard or involved on the reworked productions were SE regulars Fingers Arachnid (piano), Ludwig Von Slingerland (drums), Thaler N. Shorter (reprising his solo sax & horn arrangements), plus Dawn Busz-Rider and Trombone Lefty (making up the horn section), Morey Polfuss, (she’s the recording engineer responsible for the ‘rainbow sounds’ as well as the final mix), The Steward (bass, guitars, vocals, solid pocket hit strike), and of course at the end of Side A, there’s Richard Updike himself in his only known recorded interview.       

 

Call Me Tornado

After the millennial shift, longtime fan and friend S.J.Giffen authored and offered a poem for our consideration, knowing that most of us here were Zorro fans as kids (even though we were too young to understand why everyone was named Don.) Its particular charm was that it gave a first ‘person’ voice to the big black horse, Z’s heroic four-legged companion and an integral part of their missions of justice and mercy. Suzy and I collaborated to create song lyrics from the poem, and Call Me Tornado (Tor-NAH-doh) was born. A demo was made, but it immediately went into archives since other projects took precedent. Recent renewed attention to justice and mercy seemed to call this big, beautiful black entity forward once again – and squarely onto the director’s desk. The piece received the TLC production it deserved, and we’re proud to offer it to you. As usual, it sounds nothing like any of our previous pieces. Music by yours truly and the SE consortium players, lyrics by Steve and Suzy Steward, with love to Walt Diz and Johnston Mac.

Gran Caballo

Knowing that many engaged in the ag and farm profession play music in the tractor cab or outbuilding, we wanted to present a horse of a different color, and Gran Caballo (Grahn Cah-BAHL-yoh) or Big Horse is that. The 100% instrumental has some elements of …Tornado and adds other instruments, most notably that big, twangy, one-note guitar. We send this out to: the equestrian, the horse lover, the trainer and the wrangler – the roper, the rider, the reiner, the mustanger – for all cowboys and cowgirls at rodeo or on the open range, for all those fascinated by a big horse. Ride on.

Here's to a Soldier of the King

Not long after the ...Tornado demo was made, Suzy and I went cross-country training: Coast Starlight, Superchief, Empire Builder, Surfliner, etc. via Amtrak first class, and one of our stops while playing on the lovely left coast was to attend late actor Guy Williams’ Hollywood Walk of Fame STAR ceremony, August 2, 2001. A famous hotel hosted the event, and a gala reception party followed for Williams’ fans, friends and family plus many of the actors that appeared on the popular and highly acclaimed Zorro TV show – and when in tinsel town, celebrations go into the wee hours. Here is the live, off-the-cuff, one-time-only performance lifted from the mono cassette tape as Steve “The Steward” and his $39 El Cheapo guitar entertain an intimate gathering just around midnight at the Hollywood Roosevelt, conducting a singalong with Sgt. Garcia’s wine drinking song first heard in the episode “Zorro’s Ride Into Terror”.

 

Heard (beside Steve & Suzy) are many Zorro aficionados, some well known and famous in their own right. Among them were Wendell Vega, (Don Diego’s cousin?), with his sharp fencing energy and perfectly rendered “I-yi-yi-YI!” – and that clear, operatic-quality singing voice is Mary Sheeran (who quite easily aces out The Steward here to win the Henry Calvin Big Powerful Voice Award ). Were it not for these folks' enthusiasm, (and great prompting!), we never would have propped up this archival oldie for ya. (And, hey, if you were there, drop us a line!) ‘Kazoo Girl’ remains uncredited. At the time, I wanted to tell her what to do with that kazoo, [I would’ve gladly placed it there for her!], but now, years afterward, her audio presence invokes a comedy bit worth arguably more than the admission fee – which was, of course, free.

 

NOTE that this is a STEWARDSONGS exclusive. Since this particular track is not an SE original but a ‘cover’ of the song written by Gil George and Joe Dubin, it is NOT being sold or made available for download or streaming. It is here and on SoundCloud only for the private, non-commercial enjoyment of our fans, friends and lissning audience.

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CHEF'S SERVING SUGGESTION: Regular patrons of this humble audio eatery should initially (or at some time) hear all three of these pieces consecutively, and in the order the players are arranged: 1. Gran Caballo 2. Call Me Tornado 3. Here's to a Soldier... This modest musical snack will cost no more than about 14 minutes. Bon appetite. [OPTIONAL: Consume wine or libation of choice at least one-half hour before combining ingredients.

Universal Crossings

Releases from 2019 included “Crossing Across” [instrumental] and “Across a Universe”.

My brother shuffled off this mortal coil unexpectedly in the summer of 2018. His daughter, (my niece), had already established a timeline for her impending wedding, so I felt compelled to write music for the occasion in a style that he would have liked.

The wedding version of “Across a Universe” was played at the reception, with special lyrics for Shawna and Joe. This second version has significant additional instrumentation and new lyrics dedicated to my Susan Joan. 

The instrumental version Crossing Across was freed up from lyric constraints, allowing for more emotional expression. “Crossing Across” is in loving memory of Gale Albert Steward, a.k.a. ham radio's K3ND, a Zeppelin and Floyd fan, car guy, race fan, Dodge trucker, lefty bass player and devout 4-speaker audiophile. In that SPIRIT, both of these pieces are meant to be played LOUD.

 

Keep Wakan, yes indeed

"Wakan" is a 5-minute 20-second indie rocker employing various American Native instruments (and also those indigenous to other countries) not traditionally but in a rock setting with guitar, bass, drums and musical saw. Wakan (pronounced wah-kahn) honors that Lakota word for sacred, spiritually big and powerful. Part of the bigger 'Wakan Tanka', which is usually translated to ‘The Great Spirit’, but an alternate is sometimes offered: The Great Mystery. Closer.

This is the SE single version, a remake of the R,D,W album cut. Cameo appearance by bass singer Big Lurch Hooper. Instrumentation includes musical saw by specialist Mr. E. S. Carpenter, and native flute by the versatile Dawn Busz-Rider. Sings-Two-Bears handled native drums, rattles, heavy tomtoms, etc., (and obviously had a pretty great time doing it all; he and the studio had been collecting these for years, and he managed to use every one somewhere in the production at least once!) Multiple basses, but the main bass used was a Coral Jazz 5-fret , a.k.a. ‘SSLIDER’ [the first prototype] with 5 frets, otherwise fretless, designed, built and played by the Director.

 

Few Words from the Bass Commander...[very few*]

“Postwar Jump” and “March No More”  were released in April 2018. We consider these a mated pair, in some hybrid JAZZ genre. (We'll let others figure that out.)

"Postwar Jump" is a quick (2 minutes, 14 seconds!) modern /‘40s jazz number paying homage to the horn arrangements of the vintage Big Bands, while possibly furthering the contemporary philosophy. The piece is described by percussionist and in-house self-appointed name-giver Sings Two Bears as: 'Trombone Lefty with Dook Ellingtun and The Steward .'

"March No More" is nearly 6 minutes of 'roughly-charted' funk/jazz/rock studio jam, and has been described as: 'Herby Handcock Meets Blud, Swet & Phish' . Heroes are where you find them - and come in all shapes and sizes, ages and genders, colors and nationalities. Therefore, "March No More" is dedicated to: James V. Forrestal, Milton William Cooper, Dwight D. Eisenhower, James Penniston, Maria Orsic, Danal Meza, JFK, Ghost Army (23rd Hqtr. Sp. Troops) and all others who have offered themselves unselfishly in service and who will, for whatever reason, march no more.

Composition, horn arrangements and '67 Fender bass action by The Steward.   * Both pieces are 99% instrumental - and those instrumentalists include Trombone Lefty, Toots Headstrong, and Lovecchio Armitage on brass, saxman Thaler N. Shorter, the lovely Dawn Busz-Rider on woodwinds, Billy Kelley on piano (March..."), and percussion by Ludwig Von Slingerland and Sings Two Bears.

                        Those FRACKIN' Songs...!

Here is another mated pair of songs, this time in the country genre.

Guest vocalist Ernest J. Silverback gives a patina’d sterling performance as the old man who made the wrong decisions for all the right reasons in “Frackin’ Fool” (a.k.a “The Old Frackin’ Fool”), a cautionary tale ballad on a contemporary subject. (The description from Two Bears is: 'Mister Carpenter sawing wood with the Oak Ridge Boyz and Texx Ritter's Hay Baler.' ) An interviewer once asked what he thought of his newfound audience. He replied, “Ya gotta love these kids. They’ve learned that everything is connected." Then he added quietly, "They know we are ALL stewards of this place."  (But so who is E. J. Silverback? See Q&A.)


Up-tempo “Frackin’ Hoedown”, (a.k.a “Another Frackin’ Hoedown”), brings The ECLECTRIC Music Players together for a barn thumping follow-up to the old man ballad. Under Steward’s direction, veteran instrumentalists Floren deKichen (fiddle) and Mr. E. S. Carpenter (musical saw) team up with new blood as well as old friends from Steve’s 2010 album Ridin’, Drivin’, Wakan... . Within the devilishly angelic ECLECTRIC CHORUS, the voices of Serena Ann Green Eagle and the lovely Floral Clustah are joined by recent standout inductees Li'l Maxie Ripnit on the high end, and the one and only Big Lurch Hooper on the bottom. Also we must mention that the SE ensemble is joined here in the person of Chubbie Pickens on banjo, (and you'll be hearing more of Chubbie's work in the future). Describing ...Hoedown, Sings Two Bears says: 'Sounds like Earl Skruggs' cousin and The Oak Ridge Boyz - and Girlz - all pissed in the barn.'

For strictly artistic reasons, we offer a combined edition available at our distributution sites (and on SoundCloud) where the material is presented as it was originally written, produced, and was intended to be heard. The label loses money on it, but a promise is a promise. “Frackin’ Fool Frackin’ Hoedown” is true to the author’s vision, and a good $ value. This is the 'Storyteller’s Special', and it works the way it was supposed to. Running time, both songs together, about 8 1/2 minutes. If you invest the time to listen, please stay for the end.

NOTE! It would appear that one or both of these songs have ruffled a few feathers: for example, see the entry on Q & A page from 'Deereman66'.

                               Something like Blues

The solo performance of "Pennsy Train Blues" is unique output from this musicians' consortium. It was an impromptu ad lib studio creation by a very tired artist in the wee hours, a one-shot deal. With one microphone, a few lyric ideas and a white Hendrix Strat, it can be generally blamed on the 2 picture postcards of bluesman Elmore James' six-string guitar (with signature four strings) sent from the Rock & Roll Hall of Fame in Cleveland. Recorded entirely as is in one pass, no editing, no overdubs. It is what it was. In-house wise-guy Sings Two Bears bet the director he didn't have the guts to publish it. He loses.

Meant as a toast to the great old bluesmen, it is also dedicated to the Pennsy RR, the Lehigh Valley RR, Milwaukee Road, NYCental, Erie Lackawanna, and Amtrak and their excellent sleeping car attendants Kartoon Kioshi and the Lovely Grace, and especially to that girl Suzy in the yellow dress. [Album art in PHOTO/ART GALLERY]


                         Reworking The Clone

A guitar-laden 3-minute rock instrumental from deep space with asteroidal Spike Jones treatment done with damn good reason: THE CLONE NEEDS SOME WORK! This version is significantly up-tweaked compared to its first release in 2010. Says S.T.B.: "Hey Zeus, it's our junk DNA - yet to be recognized!"

PERSONNEL:  The Steward - composer, arranger, bass; Paul Johnson - guitars; Fingers Arachnid - Hammond organ; Billy Kelley - drums; Ludwig Von Slingerland - percussion; Thaler N. Shorter - tenor and soprano sax; Lovecchio Armitage - trumpet; Toots Headstrong - assorted brass; Trombone Lefty on that instrument; Sings Two Bears - extra audio effects; barkage - Clay Pooch (a red-nosed yellow lab); Engineered by hotstuff Ms. Moréy Polfuss; Mixed and mastered by south-of-the-border expert Manual 'Two-Hands' Realtime

           "Ridin', Drivin', Wakan..." had a long gestation period.

The first 2 tracks were recorded on half-inch reel-to-reel tape in the early '80s.


The  R, D, W… song collection took years to complete, and producing each piece was a process similar to sculpting.

“Michelangelo supposedly said that he saw the figure within each piece of rock, and all he had to do was remove the extra bits of stone around it to reveal it. Music is a not a tangible medium as such, but there are similarities, including the care and time it takes, and the patience required to complete a work. I could hear what each finished piece was supposed to sound like. I just kept chipping away at that block of silent rock until the sound took the right shape."
"That was a hard-fought-for record also because the out-dated analog equipment was constantly breaking down. Every artist has some recorded history like this before they hit a main road. RDW was mine.”   ~SHS

 
The trip...      ...includes a view from the Pacific Parlour Car  >>>

<<<  Tracklist:

1. Reworking the Clone [guitar-riff instrumental rock]

2. Do Ya Wanna Drive? [bass-driven rock]

3. Taking You Along [light rock]

4. A Ride on the Coast Starlight [smooth jazz rock]

5. Goin’ Good [light rock]

6. Drivin Johnny B./ Proud Highway [vintage-derived rock & jam]

7. Time Is Now [left-handed gospel rock]

8. Wakan [Lakota spiritual rock]

Pullman Car - Music Producer

Independently produced at the WildBIRD Studio for SKY CAMO Records


Reviews & descriptions OF THE "R,D,W..." album SONGS:

~1. REWORKING THE CLONE is a guitar-laden instrumental with some Spike Jones treatment from deep space, and with good reason. The clone needs some work... (This album cut is the original or first version. It was reworked and issued as a single by STEWARDS ECLECTRIC in Aug. 2017.)

~2. Vintage motorheads, that's an unmuzzled '79 Dodge Lil Red Express truck driving thru DO YA WANNA DRIVE? This is a car guy tune that rocks and makes bears in Pennsylvania go crazy. It definitely rocks, if that's your thing - and could also be an occupational theme for chauffeurs, NASCAR drivers, and soccer Moms.

 ~3. TAKING YOU ALONG flashes the light on John Lennon, Jimi Hendrix, Glenn & Jeanne Steward, and Terra Shan – this planet. We’re all riding along together.  

~4 & 5. A mated pair of train travel tunes with all the bells and whistles: A RIDE ON THE COAST STARLIGHT blows some horn and gets jazzed out on the left edge. GOIN' GOOD rocks the riders thru the turnouts and on to the welded rail. (Authentic Amtrak train sounds were recorded live by SHS and are credited in the liner notes.) Dedicated to lovers and railfans, and all but a couple Amtrak sleeping car attendants, especially: Grace [California Zephyr], Kioshi [Coast Starlight], and Dan [Empire Builder].  

~6. The combined DRIVIN' JOHNNY B. and imbedded instrumental jam PROUD HIGHWAY make this the so-called ‘eleven-minute extravaganza'. A remembrance of playing vintage rock and roll behind Chuck Berry, Bo Diddley, Ronnie Spectre, the Coasters, and others.  

~7. Someone called TIME IS NOW a 'left-handed gospel protest' song. More like a demand to stop the cover-ups. The truth IS around here somewhere, so keep your scotch glass handy just in case it appears in this lifetime. (Or in case it doesn't.)  

~8. The song WAKAN, (pronounced wah-kahn), centers on the Lakota (Native American) word meaning big, sacred, spiritually powerful. Part of the bigger 'Wakan Tanka', which is usually translated to The Great Spirit, but an alternate is sometimes offered: The Great Mystery. That's closer. (This album cut is the original or first version. It was re-recorded and released as a STEWARDS ECLECTRIC single in June 2018.)

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Run the player(s) on the home page. Should you wish to purchase this now old 2010 FGB album (physical CD or download) or the any of the more-recent digital singles (download only), use the link buttons provided on the home page or search "Stewards Eclectric" for the singles; "Steve Steward" or "Farmhouse Garage Band" for the old album. Many thanks for your support!

~ Have you thanked a 'SPHERE BEING' today? ~