She's A Diamond was recorded in my studio on Cedar St. In Idyllwild around 1990 with me playing a 12-string acoustic guitar in Open-D tuning and Bill Plummer accompanying me on stand-up bass. At that time Elaine Latimer added some high harmonies and I overdubbed a six-string acoustic. In 2008 I transferred the song from analog tape into my computer and added the rest of the harmonies, a tambourine, and remixed it. The song was inspired by a couple of excellent lady singer/songwriters I have known who have worked as waitresses to support their craft. I think it's beginnings date back to when I was in Hawaii in the mid 1970's and saw a lady named Ginger Johnson perform. I recall that she had a very powerful presence and a beautiful hippie gleam to her eyes. ©1984-2008 by Joey Latimer - All rights reserved I began writing Audrey at my friend Barbara Bevan's place in New York City on her acoustic 12-string in Drop-D tuning. Barbara worked as an administrative assistant at Family Computing Magazine and helped see that I got paid for my work and expenses there. About the time I became friends with her she left the magazine and eventually became a casting director at Comedy Central. Unfortunately, she developed breast cancer and after a long fight she lost her life to the dreaded disease. I made a point of finishing the song and recording it in her honor. The first recording I made of the tune was in around 1985 on my 4-track Teac. I transferred those tracks into my computer in around 2003, cleaned up the song a little, and re-recorded it for my Emerald Green Universe album in 2004. It has been one of my most popular songs on iTunes, so I decided to include it on Inthology. ©1984-2008 by Joey Latimer - All rights reserved In Love is a song that I helped record a demo of back in the early 80's when I worked at Fidelity Studios in Studio City, California. I really dug the tune and in 2003 asked the writers if I could take those tracks, transfer them into my computer, and fashion my own version out of it. In 2004 Larry Vineyard, who played percussion and sang background vocals on the original recording, came to come to my studio and redid some of his parts and added new ones. I fixed a few guitar and bass glitches, re-sang the tune (Dennis Shore sang the demo) and remixed it. ------------------------------ Percussion, Background Vocals: Larry Vineyard Bass: Mark Erwin, Joey Latimer Guitars, Background Vocals: Dennis Shore Guitar OD, Vocals: Joey Latimer ©1983 by Dennis Shore and Mark Erwin (Tinker Tunes ASCAP) - Used with permission Played in Standard tuning, Fine Line came about when I was jamming on two chords I used to play with my old friend Larry Dunlap from a song he wrote called The First Day He Came To Town. At one of our potluck jams I ran the chords past sax player Paul Carman. But, instead of playing them with slow arpegiated finger-picking (like Larry and I used to play them) I played a fast, strumming groove. That seemed to work nicely with the sax, so it became the basis for the intro section. The rest of the song is kind of a Beatle-ish descending pattern with a similarly Beatle-type melody and lyrics based around a fantasy evening with a beautiful woman that I have a strong attraction with. I imagined going out for a fun evening, getting caught in a rain storm, and sleeping together in an old, dilapidated barn somewhere. ©2005-2008 by Joey Latimer - All rights reserved ------------------------------ Congas, Percussion: Mark Simonian Sax, Flute: Paul Carman Guitars, Keyboards, Bass, Percussion, Vocals: Joey Latimer I began writing Califlower in Princeville, Hawaii when I went there on a golfing trip with my friend Gary in 1979. I had worked as a produce guy at a large supermarket in Honolulu and noticed that cauliflower hardly ever sold and often I had to throw it away because people didn't seem to want it. Gary, at the time, was hoping to meet a cute girl on our trip and none of them gave him much attention. One day we were in a gift shop and noticed that Gary in Hawaiian is 'Kali' which also means 'hesitation' or 'wait.' Somehow I made the connection between Gary waiting for a girl and cauliflower waiting to be sold at the market and started singing 'Califlower' over and over. Gary, of course, hated it, but I couldn't get it out of my head and wrote this song in a modified Open-G tuning (GGDGBE) then recorded it in Idyllwild in 2004. ------------------------------ Violin: John King Mandolin: Don Reed Percussion: Larry Vineyard Bass, Guitars, Vocals: Joey Latimer ©1979-2008 by Joey Latimer - All rights reserved ------------------------------ Drums: Larry Vineyard Bass, Guitars, Organ, Vocals: Joey Latimer ------------------------------ Acoustic Bass: Bill Plummer Background Vocals: Elaine Latimer Guitars, Tambourine, Vocals: Joey Latimer The Things You Do is a song about trying to be a good friend to someone who has a hard time being a friend to them self. While I was writing the song I heard that fellow songwriter Elliott Smith had died under unusual circumstances and felt a deep emotion that translated directly into the song. Sometimes people oscillate between wanting friendships and pushing people away when they get too close. To me that is one of the most difficult aspects of true friendship. At some point it is good to stop trying to change self destructive people and let them take personal responsibility for their actions. ------------------------------ Drums, Bass, Organ, Guitars, Vocals: Joey Latimer ©2004-2008 by Joey Latimer - All rights reserved In my senior year of high school I worked for the Lynwood Children's Theater as a tech and set builder. I was always in the wings, or running the lights or sound during shows. Often I'd take my Gibson Blueridge guitar to the theater and play it because the stage and dressing rooms sounded so echoey. During one production, I remember this talented girl who had a very small dancing part, but had to wait for a long time in the wings nervously for her specific entrance time. I found it more entertaining to watch her waiting then to watch what was going on in the show. I had this fantasy of how it would be great if I was the lead male dancer and could hold her up in the air and spin her around like I'd seen done on tv. The only problem was, she was much younger than me (too young to ask out) and I couldn't dance without falling over my own feet. So, I tuned my Gibson up to Open-G tuning (GGDGBD) and this song came out as I played in the dressing room after the show. The lyrics are very simple, but the guitar parts are fairly complex and basically the soundtrack to a dance I envisioned performing in my mind. ------------------------------ Flute: Paul Carman Percussion: Larry Vineyard Bass, Guitars, Vocals: Joey Latimer ©1972-2008 by Joey Latimer - All rights reserved Robin's Birthday came about when I found an old picture of my wife, Robin's 18th birthday. She was with her sister and friends friends in the kitchen and they looked like they were having a very cool time (see picture) at the swim party. Robin is seen holding a glass second from right.Robin's Birthday I had been fiddling around with an instrumental song I'd made up in Open-B tuning when I found the picture. It reminded me that Robin's birthday was coming up and I hadn't thought of what to give her. So, I finished the song, with the picture in front of me, and recorded it. I gave it to Robin for her birthday present in 2007 and the CD had the old picture on it and I called the song Robin's Birthday. Guitar notes: The way I discovered the Open-B tuning was that I came up with the idea to play a C chord in Standard tuning and then tune the strings up to that chord so that when I played the guitar open it was exactly like a fingered C chord. After playing that way for about a week the tuning slipped all the way down to Open-B tuning, but I hadn't realized it until I went to tune up for recording the tune. It was then that I realized that I really liked the tune better in B than C. Accidents can make for extraordinary results. When I went to add the lap steel guitar, playing in B made it a closer match to the standard E-tuning I played that part in. ------------------------------ Acoustic and lap steel guitars: Joey Latimer ©2007-2008 by Joey Latimer - All rights reserved I had a neighbor named Lona who had a brain aneurysm and the doctors told her that she could live her whole life without any problem or she could have an operation that gave her a 90% chance of full recovery to remove the aneurysm. Because she had four kids and wanted to take care of the problem, she chose to have the operation. Unfortunately, she tragically died on the operating room table the week before Christmas. Oddly, a few weeks after her funeral, I had a vivid dream in which she came to me and said, 'I'm going to show you what happened to me and I want you to tell my kids.' It was very freaky. In the dream I experienced being in this hospital bed and people covering up my head, then I was able to leave my (her) body and kind of float around the room looking back at the limp body on the bed see the nurses and doctors cleaning up. Later in the dream I experienced the feeling of being at the funeral and seeing all the people, but not being able to communicate with them. When I woke up, I had this song fully developed in my head and laid it down on my reel to reel. A few weeks later I invited Lona's sons to my place and played them the song and explained what had happened. They looked ghostly and I apologized, but said that I had made a commitment to her to share this experience with them. In 2003, when I was rummaging through old tapes to find early versions of songs for my Emerald Green Universe album, I found this song, but it wouldn't play, so I had to bake the tape to listen. Listening to it made my whole body cringe with the remembrance of how the song came about, but I re-realized the unique qualities and power of the song. So, I re-learned it off of the old tape and re-recorded it. The vocals and guitars are very true to that original performance. ------------------------------ Bass, Guitars, Percussion, Vocals: Joey Latimer ©1981-2008 by Joey Latimer - All rights reserved Aromaraga is an improvised instrumental that we recorded at Cafe' Aroma in Idywild, California on May 15th, 2008. I've played the echo-plex sounding, Drop-D tuning guitar part at gigs over several years. On this particular night, which happened to be my birthday, it seemed particularly magical and we happened to be recording. You can hear people chattering in the background and sometimes even a baby who was sitting right in front of us. Joining Dorojo (Don Reed, Robin Rabens, and myself) were Paul Carman, an alumni of the Frank Zappa Band and Mark Simonian. When we play in this configuration we jokingly call ourselves Dorojomapa. ------------------------------ Lap Steel Guitar: Don Reed Percussion: Mark Simonian Sax: Paul Carman Bass: Robin Rabens Acoustic Guitar: Joey Latimer ©2007-2008 by Joey Latimer - All rights reserved The Rain Is Gonna Fall was written when I lived at a house that looked across at the mountain called Tahquitz Peak, which was named by the Native Americans for an evil spirit that is considered something akin to the God of Earthquakes. When I lived there we had many tremblers shake through the mountains and all hours of day and night. During this time I was going through a divorce and things were a little up in the air, but I took great comfort in looking across the valley at the mountain after a good rain and seeing waterfalls coming down from the peak named after the God of Earthquakes...perhaps cooling him (and my emotions) down. It made me realize that a very important dynamic in life is that rain falls sometimes, but that it heals at the same time. It's also a good idea to avoid the obvious pitfalls of putting oneself right in the middle of a fault line...especially when a big storm is coming in. ------------------------------ Guitars, Bass, Vocals: Joey Latimer ©1995-2008 by Joey Latimer - All rights reserved I wrote The Treasure on my mandolin. Once I came up with the chords I just sang a couple dozen verses that I made up on the spot and through those verses carved out a story. As I made up the verses, I recorded into a cassette machine, then transcribed the verses back into my computer and edited out the ones I didn't want. So, the song came out of the ethers complete and only required that I edit it down. Basically, the song is about how we go outside of ourselves to look for treasures that we think others have discovered, when all along, the real treasure already exists inside of us if we only but discover. ------------------------------ Drums: Rick Schlosser Mandolin: Don Reed Piano: Barnaby Finch Guitars, Bass, Vocals: Joey Latimer ©1995-2008 by Joey Latimer - All rights reserved I wrote Emptiness after going to see HH Dalai Lama in Pasadena, Calfiornia. He spoke about the meaning of 'emptiness' in the Tibetan tradition and the dedication and respect for one's teachers. He basically said that the world we live in and everything we experience is fundamentally 'empty' of any concrete reality and a type of illusion that we are experiencing together. According to Dalai Lama the true nature of mind is 'clear, calm, awareness.' I think that this is a difficult concept for most of us to understand, espcially when we get angry and confused, since those things tend to 'steal' our clear, calm, awareness from us. ------------------------------ Drums: Rick Schlosser Bass, Guitars, Synthesizer, Percussion, Vocals: Joey Latimer ©1997-2008 by Joey Latimer - All rights reserved In the San Jacinto Mountains, where I live, is a river called the San Jacinto River that comes down from 10,800 ft. Mount San Jacinto. It is such a big mountain that there are several forks of the river, including one called the North Fork. One day I took a hike up the North Fork from the highway, headed up towards the peak, with my friend Lee. As we made our way up the river we found incredible riches in plant life and pools. Eventually we stopped and sat for along time above a really nice pool with white water cascading into it. After the hike I went back to my studio and recorded this song (in Drop-D tuning) while listening to a recording I had made previously of a creek. As I played, I imagined that I was back at that place on North Fork and tried to recreated the feeling it gave me being there. ------------------------------ Guitar: Joey Latimer ©1986-2008 by Joey Latimer - All rights reserved When I was in high school I used to work at a movie theater, called 'The Avenue,' helping my friend Tony put up the marquee and clean up after the movies. There was a girl who worked there selling tickets and ushering, named Inge. She was a beautiful blonde German girl who was studying to be a German-English translator. I thought she was the most beautiful girl I had ever seen and dropped whatever I was doing to go to the theater and help Tony. Anyway, she was polite to me when I tried to charm her, but I don't think she really wanted to go out with me and it seemed she would rather do her homework than talk to boys. One thing I learned about playing guitar and songwriting is that I can create my own world in which I do things that might not occur in real life. I started riffing on these chords in Drop-D tuning and made up a story in which I was riding on the night Amtrak train down the coast of California and met Inge at the Santa Barbara station. In my story we hit it off good then fell asleep together in the train car...until we got to San Diego and the conductor abruptly woke us up to tell us, 'Last Stop!' Then I realized I had been dreaming and that Inge was slipping away from me and I most likely would never get to 'be' with her. Oh well. ------------------------------ Flute: Paul Carman Drums: Dave Hitchings Percussion: Mark Simonian Bass, Guitars, Vocals: Joey Latimer ©1981-2008 by Joey Latimer - All rights reserved Hana Side came about when I took a backpacking trip around Maui in the summer of 1975. I camped at Paia with my friend Steve, and then went on to stay at a commune near the Kaulanapueo Church in Huelo. The people there were very hospitable as we camped in our tent up on the cliffs. During the day we would explore around what was then mostly cow pastures and local trails. I remember going to beautiful pools there that emptied into the ocean via large waterfalls. At night we'd visit with some of the folks who had built unique little houses there and play music. I was impressed at how well plants and food grew and how the locals created water catching systems to store water. The only problems with camping on Hana side were the mongooses who would sneak up from the edge of the cliffs and steal food, then run back over the cliff where we couldn't catch up with them, and the centipedes which had a nasty bite (i.e. you wouldn't want to put on your pants with one inside.) ------------------------------ Guitars: Joey Latimer ©1975-2008 by Joey Latimer - All rights reserved Inthology was produced & recorded by Joey Latimer at Big Yellow Sound in Idyllwild, California, except In Love, which was recorded by Larry Elliott & Joey Latimer at Fidelity Studios, Studio City, California & produced by Bill Tinker, Mark Erwin, & Joey Latimer. ------------------------------ Special thanks to Robin, Erin, Cedar, Jackson, Cleo, Warren, Elaine, & the rest of my family, plus the musicians who helped me shape the music. Additional thanks to Ron Daigh, Sandii Castleberry, Don & Grace Reed, Hill Champion, Dave Swanson, Lee Miracle, Keith McCabe, Denise Felton, Richard & Linda Page, Frank Ferro, Fern Valley Steve, Jose' at Arribas, Richard Montono, Jerry Santos, Larry Dunlap, Joe Naspini, Bob Bennett, & Fred Jones, who helped me get started with recording.