Tag Archives: Fred Kelly

LIVE 079 • Moment in the Sun & Crossing the Field

“Moment in the Sun” and it’s companion song “Crossing the Field” were recorded as a pair of songs to set the stage for the second half of my “Awake Again” album. Following the dramatic strumming of “Make” that closed the first half of the album, “Moment” & “Field” frame the mellower vibe of the album’s remaining songs. Hope you enjoy.

Recorded with a Taylor 310ce (Elixir Polyweb 80/20 Bronze) and a matched stereo pair of Shure KSM141 microphones in Holualoa, Hawai’i, 4/20/09.

LIVE 083 • Wonderful Tonight (Alternate Take)

Here is an alternate take of my fingerstyle rendition of Eric Clapton’s Wonderful Tonight. Eric wrote the song about his then-wife Pattie Boyd, who had already inspired great songs from Eric and previous husband George Harrison. This song has been the theme to many a high school prom, and its simple yet tasteful melody has held up over the years. In keeping with that, my arrangement here is fairly straight forward: it doesn’t move around the neck very much or have any unusual chord voicings. Hope you enjoy it.

Recorded with a Taylor 412ce LTD (Rosewood/Spruce, with Elixir Nanoweb Phosphor Bronze HD gauge set) and a Neumann TLM 102 microphone in Honolulu, Hawaii 4/27/15.

LIVE 082 • Greasy Strut (Electric Guitar Demo)

Here’s a demo of a song I wrote eons ago called “Greasy Strut.” Probably recorded around 2003-04, featuring a Fender Jimmie Vaughan Stratocaster, possibly also a Peavey T-25. Had forgotten about this one; recently found the song while cleaning out an old hard drive. Not really the kind of music I’m playing these days, but it was fun to hear that harmony part again. Hope you enjoy.

LIVE 064 • Introduction from Awake Again (6/13/09)

This was the introduction to a set of songs I was working on a while back. The working title of the project was “Awake Again”, and the idea was to have a set of songs songs that were connected by mostly shorter and improvisatory ‘transitions’, including both an introduction preceding the set and an outro at the end. I wanted the introduction to convey a sense that you were transitioning into listening mode and set the stage for the music to come. Hope you enjoy.

Recorded with a Taylor 310ce (Elixir Polyweb 80/20 Bronze) and a matched stereo pair of Shure KSM 141 microphones in Holualoa, Hawai’i, 6/13/09.

LIVE 059 • Perfect & Beautiful

One day in the fall of 2012, I sat down to record a set of improvised songs with a Taylor dreadnought acoustic guitar. I improvised five original songs and two versions of Amazing Grace. With only one or two false starts, they were mostly first takes. The set was nothing really mind altering, but it had some cool songs with good vibes – so I considered it a success. It’s not the kind of thing I do often – in fact I haven’t done the exercise since, haven’t played any of the original songs again, and don’t consider it the most incredible thing I’ve ever done. Yet somehow it stands out in my mind as a creative milestone, a memorable event. Sometimes it’s important to break out of the mold with such experiments to reach a new frame of mind, a new level. This was the fourth song in the set, which I dubbed “Perfect & Beautiful.”

Recorded with a Taylor 310 and a Tascam DR-40 in Louisville, Kentucky, 9/29/12.

LIVE 060 • Electric 1 (Demo)

One day in the fall of 2012, I sat down to record a set of improvised songs with a Taylor dreadnought acoustic guitar. I improvised five original songs and two versions of Amazing Grace. With only one or two false starts, they were mostly first takes. The set was nothing really mind altering, but it had some cool songs with good vibes – so I considered it a success. It’s not the kind of thing I do often – in fact I haven’t done the exercise since, haven’t played any of the original songs again, and don’t consider it the most incredible thing I’ve ever done. Yet somehow it stands out in my mind as a creative milestone, a memorable event. Sometimes it’s important to break out of the mold with such experiments to reach a new frame of mind, a new level. This was the fourth song in the set, which I dubbed “Electric 1.”

Recorded with a Taylor 310 and a Tascam DR-40 in Louisville, Kentucky, 9/29/12.

LIVE 066 • Brownsboro Road, Original Fingerstyle Guitar

Today’s song from the vaults, Brownsboro Rd., is one of the earlier fingerstyle songs that I wrote. The recording was made in an attic apartment with the windows open on a warm night and features the sound of crickets in the background. Brownsboro Road was the second track on a project I had called Signs Music Has Changed Your Life. Hope you enjoy.

Recorded in Louisville, KY. Mixed and mastered by Kevin Ratterman.

LIVE 061 • New Day

Here’s a demo of a song I wrote on electric guitar a while back. Then, as now, I played and recorded mostly acoustic fingerstyle tunes. This is one of a relatively few demos I made on electric guitar from that period in time. Hope you enjoy.

Setup is a late 90’s Fender Jimmie Vaughan Stratocaster, through a Keeley tubescreamer (either a TS9 or a TS808) into a 1968 Fender VibroChamp. Recorded in Kailua-Kona, Hawaii on 5/3/06.

LIVE 058 • Raindrops (Original Fingerstyle)

Today’s song from the vaults, Raindrops, starts with the eponymous sound effect of individual raindrops made on the guitar. The rest of the song features recordings I made of light rain and a storm as a backdrop for the song. Raindrops was the closing track on a project I had called Signs Music Has Changed Your Life. Hope you enjoy.

Recorded in Louisville, KY. Mixed and mastered by Kevin Ratterman.

LIVE 056 • Sunday Slack Key (steel string guitar)

I originally wrote Sunday Slack Key as a single string melody, using fretted notes on only one string (and the other strings only open). Playing the melody on only one string is a concept I picked up at a jazz guitar clinic – I seem to remember Tal Farlow or Jim Hall proposing the idea as a means for chord melody – and the idea can be useful when arranging a fingerstyle song. Eventually I added a few fretted notes on some other strings, mostly to fill out the bass, yet the fretted notes of the melody remain mainly on one string. The name for the song came to me on a simple, relaxed Sunday, and seemed appropriate. This version of the song was recorded about five years after I wrote it and reflects a few modifications to earlier incarnations. Hope you enjoy.

Recorded at Goldsmith Studios in October, 2011, with a Taylor 310 (Elixir Polyweb medium gauge set) and a pair of Rode NT-5 microphones.