Notes on the songs...
[from the original album liner notes]





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Cripple Creek
Traditional, arranged by Leo Kottke. "This could also be called OLD BLUE or STRING OF PEARLS. I used to call it TURTLE HILLS." Leo - acoustic 12-string guitar.
[from the original album liner notes]

John [Fahey] wanted to produce. I owed him another record, so I said, "Well, let's produce me..." And we moved to Capitol. Denny Bruce, who was our manager at the time, shopped that deal and off we went. Denny set up the players and the studio for the first record, but the label threw out half of what was given to them and sent me down to Nashville to replace that.
We went to Wayne Moss' garage, which was called Cinderella Sound. Wayne is the bass player on most of these tracks. Half of the stuff from Mudlark was from The Sound Factory in L.A.
    "Cripple Creek" is just kind of a central tune to me. I just rerecorded it on this new record, in a slightly different form. "Cripple Creek" was D-tuning, also way down . That is where a 12-string should be, as far as I am concerned. I don't like them up to pitch.
    When I was in standard tuning on the 12-string, it almost depended on what month you found me in. I would pitch the guitar depending on how dead the strings were. When they were new, I would be up higher. My low E was never above a C, and it was quite often a B-flat. When I went for a G-tuning, I was going down from B-flat a whole step. I was way down there.
[from Anthology liner notes]

Eight Miles High
Leo - 12-string guitar and vocal, Roy Estrada -bass, Paul Lagos - drums.
[from the original album liner notes]

This is an arrangement that a band called Page Three did. That band was made up of two guitars and a harmonica, and the main guy was Al Gaylor. I recorded [a lot] of the tune at his lair called "Tiny Island." This version of "Eight Miles High" is very close to Al's arrangement of [it].
    At one time, we had spent hours and hours together, because we roomed together back then -- he and his wife -- in a house on 4th street in Minneapolis. We spent a lot of time listening to "Eight Miles High." It's my favorite Byrds tune. There's a [Peter] Seeger influence -- not just because I covered a couple of his songs. He's in there. Seeger just comes up through that Byrds stuff.
[from Anthology liner notes] Done in Standard tuning.

June Bug
"There are billions upon billlions of june bugs, but none of them can fly, which used to make me wonder how so many survive. They run into anything put in front of them or just all by themselves land on their backs. But they survive because they usually do all this on a porch with people sitting on it and someone will always get up and turn them over." Leo - bottleneck National steel guitar, Larry Taylor - bass, Paul "Fast Food" Lagos - drums
[from the original album liner notes] Played in Open G.

The Ice Miner
"The railroad used to mine ice out of Big Lake in Big Lake, Minnesota. I have to think the mineral must have been driven around until it melted at which time the train would return and get more ice - while guys mining ice for the last twenty years just kept whacking away." Leo - 6-string acoustic guitar.
[from the original album liner notes] Played in Open G.

Bumblebee
Leo - 12-string acoustic guitar and vocal, Kenneth Buttry - drums and percussion, John Harris - piano


I heard this somewhere about two years ago, and I remember thinking, "Boy, I like that." Like a lot of those early records' vocals, I would now change the lyric, but that was a lot of fun.
    Among other people there at Cinderella Sound, I was playing with [drummer] Kenny Buttrey. I was a Buttrey fan. I loved what he did with "Blonde on Blonde" and he was a great resource on that record.  He was really a lot of fun to play with.
    We did The Sound Factory stuff with Putter and Paul Lagos first, and it was a real interesting thing to see the difference between what happens in L.A. and what happens in Nashville. It was a whole other experience, and he was really a lot of fun to play with.
    At Capitol they wanted vocals, and they wanted a rhythm section. I thought that the vocals were unnecessary. The rhythm section was something that I wanted to try, but if I was really going to make any more of these records, my interest was never to record any more vocals.|
    When I started playing at the Scholar, and the few gigs I had here and there before that, all I did was sing. The audience that I had in the Twin Cities was entirely built on my singing. The guitar just happened to take off.
    The first thing that got my playing going and moved me from just stumbling around to actually being able to float around a little bit, was learning Peter Seeger's "Living In the Country" off a live album called "The Bitter and the Sweet." That blew my stack. Everything I did vocally was defined by what the guitar was doing behind it. So the vocals were kind of an excuse for playing the guitar. I loved to sing, but it was a different kind of singing then. I was a real shouter. You know it [Kottke's singing style at the time] has nothing to do with what I heard; it had to do with how I could support my voice. It wouldn't work for me unless I was way up on top and just going for everything I was worth.
I don't know what made that guitar happen. I got closer and closer into it, and I just knew that the tunes were possible. [John Fahey had a lot to do with it. I sent off a tape of about four tunes to him, and he like the instrumentals. John liked what I was doing, and that was the first real response from anyone else that played guitar. [from Anthology liner notes]

Stealing
Leo - 6-string acoustic guitar.
[from the original album liner notes] Played in Standard tuning.

Monkey Lust
"Peachfuzz stared from the bathroom and said 'What's going on?'" Leo - bottleneck Nation steel guitar, Larry Taylor - bass, Paul Lagos - drums, Juke Box Phantom - guest vocalist extraordinaire

Poor Boy
Leo - bottleneck National steel guitar, Pat "Putter" Smith - bass, Jeffrey Kaplan - piano.
[from the original album liner notes] Played in Open D.

Lullaby
"In the original LADY MARGARET her corpse (this is really poverty) returns to tickle her lover who is asleep on his honeymoon. Good for her." Leo - bottleneck National steel guitar and vocal, Larry Taylor - bass, Paul Lagos - drums

Machine No. 2
"This is solo on the Takoma album." Leo - 12-string bottleneck, Larry Taylor - bass, Paul Lagos - drums.
[from the original album liner notes] Played in Open G.

Hear the Wind Howl
Leo - 12-string bottleneck, Pat Smith - bass, Jeffrey Kaplan - piano, Paul Lagos -drums.
[from the original album liner notes] Played in Open C.

Bouree
J.S. Bach - arranged by Leo Kottke) "Some ancient Italian composer, just before he died, wrote a work calling for two days in the outdoors with a few orchestras. The finale called for bells to be hung from the clouds and rung by the angels." Leo - 6-string acoustic guitar

This was one of the first piece I tried to read. I had been able to read the bass clef for years as a trombone player, but I couldn't read guitar music. Guitar is written on the treble clef, and everything is crammed in. So I decided that I would read piano music instead. At least I would know where the bass clef was going. I read "Bourée" from the piano score that I found, and I screwed it up. I left out a couple things. It was a big favorite for a long time, and people wanted to hear it. It really hit a nerve, and I played it a lot live.
[from Anthology liner notes] Played in Standard tuning.

Room 8
"Room 8 was the Los Angeles Elysian Heights Elementary School cat which the kids buried under the sidewalk with a bunch of poems in the cement. It was better than seeing another hamburger stand." Leo - 12-string acoustic guitar.
[from the original album liner notes] Played in A minor tuning - EACgce.

Standing in My Shoes
Leo - 12-string acoustic guitar and vocal, Wayne Moss - bass, Kenneth Buttrey - drums and cowbell, John Harris - piano.
[from the original album liner notes] Played in Open C.

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