woode wood

liner notes for all woode wood records

yeps

this rain song laxs/lawp
sweet sweet it's all goo.....
baby final mix from my city austin sessions, mastered, for the first time, for morsels
i'm mad just july
morning laxs/lawp III
used to be twenty five
sure of leap, but a shorter version
that's so you laxs/lawp II
stupid kids (all sizes)
blue to me old soul
black cloud old soul
old poppa brown my city austin
now real
my darling old soul
you're a beauty laxs/lawp II
lookin' twenty five
letter it's all goo.....
with actual lee
cd & digital downloads xylo records 2022 all songs written by woode wood, copyright bmi 2022 another best of.....definitely the best yet amd the record i am most proudest of.....so far

laxs/lawp iv

love with you
she
up to you
door
hug the river
margie barker
ok, yep
138
short piece
monday
comisery

all songs written by woode wood, copyright bmi 2023

produced by woode wood performed, recorded, mixed & mastered at xylo studios & live at woode's point by woode wood (except where otherwise noted) in austin, texas copyright & registered 2023 xylo records

all musical sounds on laxs/lawp iv by woode wood except where otherwise noted

digital downloads
front cover photograph by jason griego back cover photograph by krista back cover photo by krista on my favorite overcoat that i got from wayne shields in 1979

all dog logos by woode wood album design by woode wood & barry "mad dog" gottlieb watch the music videos all things woode: www.woodewood.com

laxs/lawp iv is a record of live performances taken from the previous 18 years sonically this best captures the laxs/lawp experience

laxs/lawp iv is preceded by laxs/lawp I & II & III and i see no end to these endeavors. being able to hold up a record and say what you are about to hear sounds exactly like this record is a wonderful, successful experiment back cover photo by krista on my favorite overcoat that i got from wayne shields in 1979

i have several old songs that i perform often that hadn't made it onto a laxs/lawp record yet and for this one i wanted to include them and though i'm still striving this is a good snapshot of where i am now

love with you is a live performance at woode's point with greg lowry on melodica in 2012. he nails it she another song that i love and play every day. this take is just across the cap metro rail tracks on san marcos street spur of the moment. after i got it a cat came down onto the street from his apartment above and said he loved it. there are wind issues, but it is live

up to you brand new song

door old song

hug the river old song best so far. julian milo recorded a good version of this in 2006 and i almost used that one, but this new take is better

margie barker is my mothers maiden name and she could put me to sleep in mere moments with a back rub or a head scratch. i don't have trouble sleeping, but this song came about because of that memory. she was still with us when i wrote that and played it for her, way back in at least 2003. even as i write this, i recorded a version last night that has inspired me to take another stab at recording it.....so, you'll have to ask which one made it onto this record

ok,yep new song haven't nailed it yet, but i like this take lawp. you can hear passersby

138 a new instrumental and i record so many of these now spurofthe moment for instagram that i've started just naming them silly things. this ome is a minute thirty eight

short piece was recorded spurofthemoment in a little cubby hole (i liked the vibes) on 3rd street at 4a on a morning ride downtown

monday is an instrumental recorded live at xylo studios with cade gilbreath on mandolin. i met cade roaming in 2022 when i sang him a song on the street. he's a guitar player, a good one and he prefers electric, but i needed a mando player and a few days later i asked him if he'd like to record at xylo and try his luck on one of mine, even though he'd never touched one before. i knew he could play a mandolin if he tried because he's that good on guitar. strings is strings. this was mb not his best performance, but it's our best and it was a monday

comisery a very old song that i hadn't played in over a decade. i wrote it in 1993 and loved it, got a decent take and stored it in the back of my mind. i knew i'd return to it. this take is recorded as soon as i woke up and the headspace i was in lent itself to a good take. i changed the music of the chorus on the spot



laxs/lawp 3 cd & digital downloads xylo records 2022 laxs/lawp 2 cd & digital downloads xylo records 2021 laxs/lawp cd xylo records 2020 morsels cd xylo records 2015 twenty five cd xylo records 2015 real cd xylo records 2014 my city austin cd xylo records 2012 bare CD xylo records 2011 kids (all sizes) CD xylo records 2011 original CD xylo records 2011 actual lee CD xylo records 2010 leap CD xylo records 2009 be CD xylo records 2008 cheap cars & acoustic guitars CD xylo records 2007 old soul CD xylo records 2007 it's all goo..... CD xylo records 2006 just july CD xylo records 2006 the first two five years 2 CD xylo records 2005 whole 'nother life CD xylo records 2004 the first two five years 2004 strange 2004 back east sampler 2001 untitled 2 2001 primitive 1998 9.14.97 1997 lo-fi living 1996 o'sten 1995 zeke's idea 1995 zeke 1994 contains bad english 1993 brothers 1993 all records recorded at xylo studios, unless otherwise noted. and if there is a sound that is not notated, i played it (not necessarily by choice). unless otherwise noted, i have mastered each record with george coyne at parrot tracks studio, from "the first two five years" on. at xylo studios i began recording on a tascam cassette four track and since 1997 i have recorded on a yamaha md8 mini-disc recorder. through "lo-fi living", they were all cassette releases, and since then they have been on cd. as of 2014 and real i am recording with logic on a 27 inch iMac.


"brothers" june 1993 xylo studios

rabbits & turtles
first song
gregory's toes
zimbabwe
chatham
me
brother against brother
nickel
bottlecap blues
cut finger love
walkin' the streets
no mccoys
man woman love
learn 2 slide
i'll b undone
rabbits & turtles (alternate version)

all sounds by grego loboz & woode wood. too many and too invloved to sort out.


"contains bad english" 1993

intro monologue
grego's toes red barn
rabbits & turtles red barn
zimbabwe red barn
river
revelation
sittin' & starin'
2 wheels
friend
in the streets
i'll b undone
zimbabwe
no mccoys
me
rabbits & turtles (alternate version)
learn 2 slide
chatham
brother against brother
mom & pop
bottlecap blues
nickel
first song
before i die
merry xmas
time

all sounds by grego loboz & woode wood. too many and too invloved to sort out.


"zeke" 1994

hooknose
long ass hill
rabbits and turtles
time
margie barker
minor blues
grace
2 fingerif
trees
slinky tod
5 cent
key of c
giants
river
sugar aint as sweet
sixth
brother, sister
comisery
no mccoys
old poppa brown

all sounds by grego loboz and woode wood.
additional voices by mark couvillion, rene bouchard, delyn buckner, mo pair, rene woodward and the crickets of the neighborhood.


"zeke's idea" june 1995 breakfast surreal

a
margie barker
promised land
grace
7
no mccoys

drums victor meyer
bass curtis roberson
ibanez electric guitar, backing vocals grego loboz
strat, lead vocals woode wood


"o'sten" 1995

two
fat man thin
cartoon
hide a left
beamo
stone
adam's apple
instrumental
2 speeds
not war
lts
aint so hazy
pretty penny
instrumental 2
jgdt
day before
thingumbob
swing
instrumental 3
some
fly
bluest day
the way i c it
reverse
strat & me

only time can tell, who played on "os'ten" besides me, and the folks below. and i'm not even sure of what songs they played on.

bass jodi jenkins
electric guitar jerry pinkston


"lo-fi living" 1996

george burns
uru
my ride
satchel 25
spring
life
woode's hymn
wheels
lost dog
it's fun to sit
curb & gutter
east west
wait 4 me
rainy walk
as in a.m.
africa
just
hunt & peck
back home last four track song

i know some other folks helped out on this record, but it's lost in the membranes. around this time jodi was recording with me, so i'm sure she's on this record somewhere.

bass jodi jenkins


"untitled" september 1997

5 years
jicky
different times
moron ink.
if i
voices
42
thinking about it
the earl
dreaming
4:55
fat bottom
driving night
and today
rock's house
cut it 2 the quick
molly brown
free
henri
a reason to smile
here what i say

i know some other folks helped out on this record, but again it's lost in the membranes.

bass jodi jenkins


"primitive" 1998

driving night
5 years
just met
rock's house
jicky
thinking it
laundy
42
some sunk in
route 86
hello
talking cat
be
ramblings
primitive
a reason to smile
green
ifstgac
porn #1
fat bottom
pure joy

i know some other folks helped out on this record, but again it's a broken record.

bass jodi jenkins


"untitled" 2 2001

krista
the girl
dearth
whiskey
you don't
too long
thought

drums and djembe jeff lassiter


"back east sampler" 2001

strange
fifth
i thought
baby
this vain thing
baby 2
mahatma
homogenous
naked bass
stick
this vain thing 2
mahatma 2


"strange" 2004

old poppa brown
sugar
margie barker
good evenin'
bad boy
prey
not kin
strange
when a heart is full
you're a beauty
bar


"the first two five years" 2004

1st best of compilation. the song then five spaces and the record it originally was on. if no record is listed following the song, the song has been recorded for this record.

song     record

not kin     strange
old poppa brown     strange
reality
jicky     primitive
the girl     untitled 2
as in a.m.     lo-fi living
whiskey     untitled 2
you don't     untitled 2
bar     strange
just     lo-fi living
few things
back formerly back home     lo-fi living
too long     untitled 2
pure joy     primitive
porn #1     primitive
mandolin  
it's fun to sit     lo-fi living
woode's hymn     lo-fi living
my ride     lo-fi living
sequence #1
george burns     lo-fi living


"whole "nother life" 2005

you're a beauty
mandolin
words
before
bar
she
five.five
music?
good evenin'
the only show

neil flanz: pedal steel on "bar"
arthur hernandez: bass on "bar"
dave kennel: bass on "good evenin'", "words", "you're a beauty", "mandolin", "before" and "the only show"
evaristo castillo: lead guitar(sg) on "music?" & bass on "music?"
john warren: lead guitar(les paul) on "you're a beauty", "five.five" & "words" & rhythm guitar(les paul) on "words"
cassandra "cassie" boone: backing vocals on "before" & "mandolin"
j. griffis smith: dobro


"the first two five years" 2 2005

"just july" may 2006

baby
duet
say
that dress
i'm mad
that's love
new love
love pt.5
34 sec. romp
bitter little man
love with you

first of all a huge thank you to ari dvorin, dea, luke cutchen, rob bernard, kat rowell, johnny banks, wil rudderick, mandy rowden and brady coleman. without them this record would not surpass "whole 'nother life". fortunately, it does. i already hear everything i would do differently, and i am learning as i go, so really it's all good in this instance. i am still proud as hell of this one. it makes me see that i will one day write and record a great record. but i am smelling petunias, now.

ari dvorin: a silver clarinet on "baby", baritione sax on "say" and "that dress", tenor sax on "love pt. 5" and flute on "that's love", "new love" and "bitter little man".

dea: duets with me on "duet" and sings backing vocals on "baby", "say", "i'm mad", "that's love", "new love", "love pt. 5" and "34 sec. romp".

luke cutchen: strat on "baby", "i'm mad", "love pt. 5", "34 sec. romp".

rob bernard: banjo on "duet" and "bitter little man" and tele on "that dress".

kat rowell: piano on "that dress".

johnny banks: trumpet on "that's love" and "love pt. 5".

wil rudderick: bass on "new love".

mandy rowden: violin on "new love".

brady coleman: backing vocal on "bitter little man".

ari dvorin has his own hot little band "the lowdown" and plays in "tribe 13", cyril neville's band. www.musicalari.com
dea and mandy rowden and kat rowell are singer/songwriters in their own write.
luke cutchen has played with many and enjoys being a guitar phenom.
rob bernard is in one of my favorite bands in town, "the damnations". www.damnations.com
johnny banks was in "the killer bees" for six years and is contemplating his next move.
wil rudderick was in jimmy lafave's band and is a sought after bassist here in town.
brady coleman is in " the melancholy ramblers" and has been acting in tv and film since 1985.


"it's all goo....." october 2006

sweet sweet
so simple
sno-beach
miss ann
letter
strange
you so cool
give this time
just a girl
see
miss ann (reprise)
trail talk hidden track

sweet sweet: luke cutchen, electric guitars; david chenu, alto sax.

so simple: mead turner, mandolin; cathy (kat) rowell, piano; mark casey, percussion; luke, electric guitars; sarah stollak(the fiddler), violin.

sno-beach: mead, mandolin; luke, electric guitars; mike powers, harmonica; the fiddler.

miss ann: luke; mark; fiddler.

letter: luke; mead; mark; fiddler; mike.

strange: mark; luke; mead; kat.

you so cool: fiddler, violin and backing vocals; ari dvorin, tenor and baritone sax; mike; mark; kat.

give this time: ari, tenor; luke.

just a girl: mark, brushes.

see: ari, bari and tenor; luke.

miss ann (reprise): fiddler.

trail talk hidden track

i usually don't explain my songs but i feel the need on this one. think dali. you are walking on the trail and you hear a faint acoustic. it sets the theme. then your hear a solo voice talking, then another and another. loud and soft, fast and slow, high and low. many talking all at once. many conversations. then one by one they trail off.....

trail talk: david, alto and clarinet; mike, acoustic guitar.

all other sounds on the record you can put on my plate.

the generosity of all of these players is truly humbling and i will sing their praises everywhere i go.....

"it's all goo....." was mastered by george coyne at parrot tracks. thanks george. and burned by the sandman. thanks sandman.....


"old soul" march 2007

black cloud
my darling
storebought
a good day
door
blue to me
the other side
love is
did you?
love with you
woo hoo hidden track

the players

cathy rowell piano
karla hamelin cello
david chenu tenor and soprano saxophone
mead turner mandolin, violin
mike powers harmonica, acoustic guitar
mark casey drums, backing vocals
woode wood lead and backing vocals, acoustic guitar, piano, organ, synthesizer, kalimba and drums

started for the first time, in xylo, recording live with real drums. "woo hoo" is the first song. it's the hidden track on "old soul".

george coyne mastered again at parrot tracks. he did a great job. thanks george.....

thanks guys


"cheap cars & acoustic guitars" may 2007

e thing
sweet sweet     it's all goo…..
my darling     old soul
mandolin     whole 'nother life
i'm mad     just july
black cloud     old soul
so simple     it's all goo…..
bitter little man     just july
sno-beach     it's all goo…..
you're a beauty     whole 'nother life
love is     old soul
say     just july
letter     it's all goo…..
blue to me     old soul
go see jack  
a good day     old soul
miss ann (reprise)     it's all goo…..

"cheap cars & acoustic guitars" is my 1st tour compilation record. i released it specifically for the tour. it is made up of, my favorite recordings of songs, from all of my mastered records, up that point. for the liner notes you'll have to visit the other records on this post. thanks.....


"be"

"be" came out last night. this one was the hardest to record yet. i whittled about forty songs down to eleven but it took me twice as long as it usually does to complete the record. i've always been my own harshest critic but i really put my stuff through it this time. i had whole songs done and decided to start over several times. i try to live stress free except for the small amounts i use to motivate myself but these last few weeks have been tough. i'm glad it's over.....

"be" march 2008

rain
funny how that is
hug the river
pretty
pure joy
blue to me
duet
days
you
stream
so much hope

"rain" came about because of the twenty days of rain in a row last year. on one of the last days i took my dv-cam around town and shot water puddles at close range in all sorts of light. specifically the rain drops hitting the puddles. i went home and watched the footage and this song came out. it took maybe fifteen minutes. i love it when that happens. david chenu plays tenor sax, james fidlon plays electric guitar.....

"funny how that is" is a new song. i want to do a whole record of "live" songs and this is the first time i left it the way it is. no overdubs. i think it was the second take. it's not perfect but i like it. james had only heard the song a few times and his slide work is great considering how spontaneous it is.....

"hug the river" has been floating around for over a year. i love the song but i couldn't get a good recording of it. during the "old soul" sessions we recorded what i thought was going to be a great version but it didn't make the cut. again i started fooling around with the mix during these "be" sessions and just two days before final mixdown i hit on a way to make it work for me. i faded in the old mix into a new mix and i think it came out well. karla hamelin plays the awesome cello part along with mead turner's fine mandolin playing. both were layed down during "old soul". even though david chenu was again part of the "be" sessions, he played both the alto and tenor saxophone parts during "old soul". julian milo is my film editing friend. while doing all of our music videos i heard him sing one day and he has a good voice so, as i am want, i asked him to contribute to "be". that's mostly him singing behind me in the chorus. james fidlon is all over this record. he's a great guitar player, who doesn't know it, and i can't tell you how much he helped with this record, but i'll try.....

"pretty" is a very simple song. well all of my songs are simple but i wanted to put a few songs on this record that reflect the way i sound when i am playing solo gigs, which up to now is most of the time. david chenu plays the flute and james fidlon plays electric guitar.....

"pure joy" is a song i put out over ten years ago on "lo-fi living" i believe. that's what i am going to write here next. my discography. i keep telling everyone "be" is my sixteenth record but it may be my seventeenth or fifteenth because honestly i've lost count. i've put out two "best of" records and some ep's along the way and the count got lost in the shuffle. i digress. "pure joy" is the first song i ever recorded that i could hear on the radio. there were good songs before but nothing, that after recording, i felt was good enough. "pure joy" changed all of that. it was the first time i didn't tire of repeated listens and it's held up for over a decade. the production sucks. i hadn't a clue what i was doing and still only have improved slightly. the drums clip and so do some of the guitars but i still love it. i decided to redo it completely and you can be the judge. james fidlon layered electric guitars and david chenu played tenor sax. julian milo sings backup.....

"blue to me" was recorded at arlyn studios by zack miller. zack came up to me at a salt lick gig a few weeks ago and asked me if he could record me for his student project. i asked him if i could sing through a neumann mic and that is what you hear. i think it was my second take. all live, just me and my guitar. i put a version of this song on "old soul" but i knew i would redo it in the future and i still may again.....

"duet" i put out "duet" on "just july" in may of 2006. the story behind the song i posted already, i thought, but i just searched and can't find it. i think it was 2005. i was sitting on the wall at auditorium shores when a couple walked by. i could tell they were probably staying at the townlake hyatt, just because, so i said so and we struck up a conversation. i asked them their background and the story was so good i asked them to start over for my dv-cam. i went home and watched it and the song wrote itself. it's one of my better songs but i've never been happy with that version. rob bernard plays an awesome banjo part and dea is amazing but she had very little time to rehearse and i am so wordy in the song she could never match up to my vocal enough. i put it out even though i wasn't happy with the results. something i didn't do on this record except for "so much hope". it's passable but i will redo it someday. one of my best new songs "bleed" didn't make the cut, just because i could not get a take i liked, to build on. i digress. i was fooling around with the mix of "duet" and decided to redo my vocal to match up to dea's. i didn't know if i could pull it off but it worked and after james and david added their parts, "duet" is a new version i can live with.....

"days" was very difficult. i love the song but i can't play it with any consistency. my tempo lags or i play it too fast or slow or i just don't feel it. "so much hope" is the same way. i play it first thing whenever i'm on the trail but getting a recording of them has been very frustrating. i am happy with this "days" but i will surely redo it at some point.....

"you" is a brand new song. as simple as they come but it flowed out one day and over the last two weeks i have played it, one to one, to a few hundred friends and every time i get such a good response, i decided to put it on "be". when the lyrics come out this plain i tend to not write them down but it was so heartfelt i let it go. david chenu and james fidlon's flute and guitar parts augment the melody just the right amount. if you listen to this and compare it to the arlyn recorded song "blue to me" you can hear the huge difference in production. my little studio, xylo studios, pales in comparison.....

"stream" has everything on it but the you know what. also it's the first song i have co-written with someone. james fidlon basically reconstructed a guitar riff i had come up with so i offered a co-write. it was originally a late night recorded thing over a year ago and i just started a stream of conscious word run. i redid everything and david chenu plays alto sax and julian's voice is in there somewhere. all is drenched in verb.....

"so much hope" it was always my intention to have this song open the record but due to my inability to get a decent base track i moved it to the last song. the fox family(amanda, matt and charlie) have become good friends and supporters and charlie has taken a liking to a few of my songs, so i got the idea to have his voice open this song. matt brought him to xylo and i gave charlie a few words to say but what you hear on the record is all charlie. a total ad lib. naturally it works perfectly. the base track i started with was imbalanced with my voice to my acoustic guitar but i couldn't get a better take and the song was on the fence for a long time and i finally gave up on it. i revisited it just before final mixdown. i piled shit on to try and mask my guitar and although i never got it the way i would have liked i decided to put it on anyway. you would have had to have been there to understand. james fidlon plays acoustic and electric guitars. david chenu plays tenor sax and charlie fox nails his part.....

all songs were written by woode wood except "stream" which was written by james fidlon/woode wood

i mastered again at parrot tracks with george coyne and sandman is putting ink to disc and duping for me.....

to everyone, thank you, thank you, thank you. as usual if i didn't mention it, i played it......


new record

"come on sun" is taking most of my time now, and i am very excited by the results so far. i've played a couple rough mixes of different tunes for a friend here and there and the response is overwhelmingly affirmitive. 0 negatives. i've waited so long(17 years) to get to this point, and i'm really just beginning. because i am finally able to have the instrumentation i want on every song, they are completely fleshed out, to the best of my/our imaginative ability. also i did something this time that is more drastic than i ever have in the past. i scrapped all of the recording i had done up until a few weeks ago and started over because i discovered a new method that has tightened everything up. in the past i would settle, knowing that the song could be more if i just had what i needed. i can't use that excuse/reason anymore and it's just another example why "come on sun" is going to be a leap forward for me. much more to come on this front.....


"leap" november 2009

sure of
5 dollars
so
ever get
eye one
girl
bleed
eye two
torpedos
c'mon sun

sure of

violin ian stewart
electric guitars james fidlon
drums ian walling
baritone saxophone cooper white

5 dollars

baritone saxophone cooper white
electric guitars james fidlon
bass will krause
drums ian walling
piano colton kidd
backing vocals mary dawn kidd

so

acoustic guitar dave gallenberger
acoustic guitar ryan doran
violin ian stewart
drums mark heinrich
bass pat harris

ever get

alto saxophone cooper white
violin ian stewart
bass pat harris

eye one

violin ian stewart
bass pat harris

girl

electric guitars james fidlon
drums ian walling
violin ian stewart
baritone saxophone cooper white

bleed

baritone saxophone cooper white
bass pat harris
drums ian walling
backing vocals mary dawn kidd

eye two

bass pat harris
drums ian walling
baritone saxophone cooper white

torpedos

bass pat harris
violin ian stewart
backing vocals mary dawn kidd

c'mon sun

bass will krause
electric guitars james fidlon
drums ian walling
piano colton kidd
backing vocals mary dawn kidd

on all songs, all other instruments woode wood

all songs written by woode wood copyright 2009


"leap" 2

i began recording "leap" back in 2008 and it was slow going. i've told you how much it is a challenge for me to record. i just don't enjoy the repetitiveness of it nor all of the prep work involved. i like to tune up my instrument and play, whether it be performing or writing, that is what turns me on. that said i was determined to make this 18th record a good one. in the past i have settled for recorded performances that were subpar and i had convinced myself that i wasn't capable of doing better. if you say you hate something long enough it will have a negative impact on what it is you are trying to do. sooner rather than later. just getting myself into the living room/xylo studios to record was a chore. everyone tells me how prolific i am and 17 records, now 18 in 17 years is nothing to balk at, but if you knew the truth i could have put out three times that many. i write pretty constantly, up until this year about 50 songs a year, now i'm on a 35/year pace. i basically start with a 40-50 song list when i start a record and whittle it down to the final 10-12 songs. i'll usually have at least 30 songs recorded before i start to get serious about what is in the running to make the record. i have a goal of eleven songs per record now, and when i get to fifteen it can get tough, but i keep refining my process, and this record was a real leap forward for me in many ways. not least of which, i didn't settle. i'll make many false starts before i actually get my recording flow going and then the final push comes when i set my mastering date. then i am forced to finish and everything goes into high gear. i would finish far fewer records if i didn't do it this way. over the years what little money i've made had gone right back into the music. that has not changed, but last year i started a recording budget and folks chipped in and when i began "leap" i started using it. there have been so many musicians in xylo studios this past year that i'm kind of amazed that we pulled it off. i began the way i always do and like always ran into inertia several times. after one(i thought) good week of sessions in early summer, i stopped and really listened to what we had, and scrapped everything and started over. best thing i've done in 17 years. i broke my process down and built it back up and finally got it right. "leap" aint sliced bread but i know what i'm doing now and the next one will be even better. foundation. solid foundation. you can rec ord a good bass line locked in with a good drum pattern and put farts on top of it and it'll sound good. the trick is getting the good players and i figured that one out as well. i've been on email all day. i'm applying my new strategy to my music videos as well. i was making the same mistakes there too. i can never go back. for "leap" i recorded a bunch of players that didn't measure up. for the first time i just wiped them and kept going til i got more or less what i wanted. when you don't have an enormous budget that takes time. so be it. it was worth the wait.

james fidlon, ian walling, cooper white, ian stewart, pat harris and will krause made this record what it is. they wonderfully fleshed out the songs that passed through me. i don't have a clue where they come from but i love it when they do. ok that takes us up to about july of 2009.

stopping here, more "leap" to come…..


"actual lee" december 2010

girl twang
1962
costume
sad
chocolate dog
degas
elephant eyes
walkaway music
some
d
with

besides the wonderful sounds(thanks again folks) listed below, i made all the rest, and not by choice.

girl twang

telecaster luke cutchen
backing vocals sonja sorensen

1962

telecaster luke cutchen
backing vocals sonja sorensen

costume

telecaster luke cutchen
backing vocals sonja sorensen

sad

telecaster luke cutchen

chocolate dog

telecaster luke cutchen
backing vocals sonja sorensen

degas

backing vocals sonja sorensen

elephant eyes

ibanez as83 electric guitar & backing vocals james fidlon

walkaway music

telecaster luke cutchen

some

telecaster luke cutchen
backing vocals sonja sorensen

d

telecaster luke cutchen

with

backing vocals sonja sorensen


kids (all sizes)

"kids (all sizes)" was compiled from many records. for the liner notes to each track, just search "liner notes" on this blog and find the corresponding record and song.

kids (all sizes) september 2011

song record

chocolate dog     actual lee
molly brown     untitled 1997
green     primitive
so much hope     be
lost dog     lo-fi living
stupid
reverse     o'sten
voices     untitled 1997
a reason to smile     untitled 1997
thinking it     untitled 1997
good evenin'     whole 'nother life

just go back in time and look at each respective record for who plays/sings what.....


original september 2011

for liner notes to "original" see the record notes for each track. just search "liner notes" and then go to the corresponding record and song.

original

song record

sure of     leap
sweet sweet     it's all goo.....
funny how that is     be
blue to me     be
e thing     cheap cars & acoustic guitars
letter     it's all goo.....
rain     be
my darling     old soul
i'm mad     just july
5 dollars     leap
stream     be
black cloud     old soul
duet     be
that's love     just july
so simple     it's all goo.....
degas     actual lee
c'mon sun     leap

the only thing i want to say about "original" is what i've been saying to everyone for the last 5 days. this is, by far, the best record we have done. julian milo sequenced the tracks for me and we really "cherry picked" these songs. we had 19 records to choose from and only went with 17 songs. i love every one of these versions. that's not to say i don't hear all the mistakes, it's that i love them in spite of them. "cheap cars & acoustic guitars" laid the groundwork for this, but this one has legs. i'll do alot better later, but for now, i'm finally happy with a record i did and that's saying alot…..


bare september 2011

something to say
stupid
door
it aint what she says, it's the way that she says
love with you
this rain song
duet
miss ann
piss
old poppa brown
it aint what she says, it's the way that she says it (reprise)

duped a few copies with "strat" instead of "love with you" and some made there way into the hands of the public, but i decided to remix "this rain song" and replace "strat" with "love with you". the mix on "this rain song" was not good and i felt "strat" didn't fit the raw, acoustic vibe of the record. it's raw and bare, but not acoustic. not having bass on most of "bare" was a conscious decision.....

natalie langham backing vocals
james fidlon electric guitar
ian stewart fiddle, mandolin
cooper white baritone saxophone www.cooperwhitemusic.com
will krause bass guitar
ian walling drums
bryan jackson backing vocals
i play all others

"something to say" the whole story of why this song came into existence is on this blog. just search "something to say". nat and i came up with the backing vocals and her experience singing in school really helped. i think she sounds great on this whole record, but this is my favorite cut. as i've said many times, i am learning as i go, and i know what i know, but i have a ton to learn and nat really taught me alot. this is the second record ian stewart has been on. he's a real talent. he played fiddle all over "leap" and this time i asked him to play mandolin as well. he plays both on this song and i believe they really elevate the song.....

"stupid" again, the story of this song is on this blog, but it's under the name of "scoop it". it was always my intention to call it "stupid", but since the city of austin hired me to write and perform it, in conjunction with their "scoop the poop" campaign, i made it an easy get. i think the song turned out fairly well, but i still didn't want to put it on a record. i changed my mind now, because "bare" is a record i made to put whatever i want on. "piss" immediately comes to mind, as an example of the rawness of this record and something that wood never have made any other record. so i'm looking for the tracking sheet for "stupid" and i haven't found it yet. i do know for a fact that james fidlon's awesome, ibanez, electric guitar is what makes this recording so great. james has become a great friend and has graced many of my records. this is one of his finest recordings with me, i think. i will find that sheet.....

"door" i love the song "door" but did not like the recording of it on "old soul". this is another reason i put this record together. to redo some songs i like. this is the third record with "love with you" on it. i know it's silly, but i keep trying. i love the song, obviously. some day i'll get it right. nat sings backup, james played a bunch but i backed him out in the mix, to get the vibe i wanted. ian plays fiddle all over it. not the definitive version yet, but certainly better than "old soul".....

"it aint what she says, it's the way she says it" the original title for this was "it aint what she says, it's the way that she says it". the "that" got lost in translation. no biggie but interesting how things happen. this is the newest song on the record. every day during recording, i wood be on the trail in the morning and i wood work up parts for the songs that we were recording that particular day. i came up with this riff and it just built into a song. it's not earth shattering or anything, but i felt it and it made it on the record. a new version of "hug the river" was the final song on the fence and after spending alot of hours on it, i had to let it go. it just didn't have it. this may be the most involved song on the record. i tried to keep it to a minimum, the amount of overdubs, and this still sounds unfinished, but it was time to stop adding and decide. nat worked alot on this song. many takes. she's a real trooper. ian plays fiddle and during one take i joined in with knee slaps and we were getting off, and i intended to dub in some, but i couldn't get the feel back.....

"love with you" very simple. me and a guitar. starts off good. vocals get harsher as it goes. this song is a real tester for me.....

"this rain song" there's a story behind "this rain song" as well. you know the drill. it's ok, could have been alot better. ian's awesome, mandolin and violin. the chorus is a little disconnected, because at the time, i decided to dub my vocal in later and have nat sing it to the backing track. bryan jackson is a new friend that filled out the chorus for us.....

"duet" me and my yamaha. intended to have a more fleshed out version and ian and nat both spent alot of time recording on a take i just never liked. sometimes i'm on the fence and think i will start to like a take more (this is occurring less and less thankfully) the feel just wasn't there. what they did was great, what i did wasn't, so i scrapped it and recorded this the morning of the mastering, around 5a.....

"miss ann" another song i was dying to re-record. much better than the version on "it's all goo....." but still lacking to me. if you want to hear a song that i really like, that i recorded in this vein, listen to "i'm mad" or "blue to me". both were first takes and both have the feel i know i'm capable of. i don't know if having someone else engineer will solve my recording woes, "i'm mad" was done at xylo studios and "blue to me" was recorded at arlyn studios, but i know it will help. all i can do is continue because i have to record as i produce these new songs. the day i have the money to step away from the board, that will be a great day. james came up with that little lick and i asked him to revisit it often in the song. james is a great player. nat sings backup.....

"piss" "piss" came about one night late when i was drunk and angry. the english say "pissed" for drunk so i figure vitriol is piss. even though production wise no one wood endorse this, i've always liked this piece. it happened organically, spur of the moment, completely improv adlib in one take. the track sheet says 2009 on it and that was when i dubbed in cooper white and will krause. will played bass and coop blew baritone saxophone on "leap". so in 2009 i had this song on one of the discs we were working on and i just let them have a go at it. my take is from at least 5 years earlier, i don't even remember when. it was never intended to be released, but when "bare" came along i revisited and had another listen. but what really got "piss" on "bare" is when i played it for nat. she said i had to put it on "bare" and she was right. it's the epitome of the vibe i was looking for. it's raw, unvarnished and real.....

"old poppa brown" when i moved to austin in 1994 this is the first song that became a standard. a song that we played every day, many times a day. it was the "duet" of that time. i sang a bunch of dif songs today, but i still played "duet" at least 5 times. right now, in this moment in time, "duet" is my "whiskey river". well back then "old poppa brown" was. i only have that long ago recording of it and i always meant to redo it, and probably will again, but this is so far better. that might not sound right, but it's what i meant to say. ian and nat nail their parts and what little mandolin you hear, is me attempting to add some flavor. it feels pretty good.....

"it aint what she says, it's the way she says it" (reprise) just in keeping with the theme of the record, i put this on. i had just over a minute of space on one of the discs, and just for fun i laid this down, to see if i could get all of the lyrics in. the first take i came up short. the second take i made it, just. that's what you hear.....

george coyne mastered again, at parrot tracks. that makes 12 records we have done together. crazy aint it? good job george. also aaron jordan of our local nation has taken over for sandman in duping my records. i think our relationship began with "leap". thanks to y'all and thanks to all of the players. the next record is going to smoke, because it will now be part of the dream, and you know what that means.....


my city austin 2012

baby

talk is cheap

sweet sweet

so simple

duet

blue to me

black cloud

door

old poppa brown

untold look

this rain song

hug the river

my city austin

all songs written by woode wood, BMI copyright 2012

my city austin

produced by ryan young & woode wood recorded, mixed & mastered at suite 2e studio august-november, 2012 by keith hernandez, woode wood & ryan young, except 'blue to me' (live) and the grand piano session, which were both recorded at the good shepherd episcopal church and the hammond c3 organ, accordion & upright piano session at the home of stefano intelisano in austin, texas front cover photograph by jill hunter and back cover photograph by chad wadsworth album design by woode wood & chepo pena manufactured by affordable sound all things woode: www.woodewood.com

baby

julia ward b vox courtney baldwin intro dialogue the smokestack horns shane pitsch trumpet & ponder east tenor sax stefano intelisano grand piano keith hernandez drums ryan young gibson 335, tele, pedal steel, strat, acoustic & bass guitars

talk is cheap

julia ward b vox greg lowry mandolin stefano intelisano hammond c3 organ, grand & upright pianos smokestack horns shane pitsch trumpet & ponder east tenor sax keith hernandez drums ryan young tele, acoustic & bass guitars, banjo

sweet sweet

julia ward b vox stefano intelisano c3 & upright piano keith hernandez drums ryan young 335, tele, strat, acoustic & bass guitars

so simple

julia ward b vox stefano intelisano grand & upright pianos keith hernandez drums ryan young strat, acoustic & bass guitars

duet

julia ward lead & b vox stefano intelisano grand piano, accordion greg lowry mandolin, banjo keith hernandez drums ryan young tele, pedal steel, acoustic & bass guitars

blue to me

stefano intelisano accordion

black cloud

keith hernandez drums ryan young acoustic guitar, keys

door

julia ward b vox ponder east tenor sax stefano intelisano grand piano greg lowry mandolin keith hernandez drums ryan young tele, strat, acoustic & bass guitars

old poppa brown

julia ward b vox courtney baldwin laugh stefano intelisano accordion keith hernandez drums ryan young b vox, strat, acoustic & bass guitars, mandolin

untold look

keith hernandez drums ryan young b. vox, 335, acoustic & bass guitars, keys

this rain song

stefano intelisano c3, grand & upright pianos keith hernandez drums ryan young b. vox, tele, pedal steel, acoustic & bass guitars

hug the river

julia ward b vox stefano intelisano c3 & grand piano keith hernandez drums ryan young tele, acoustic & bass guitars

my city austin

julia ward b vox lucille, william & behr b. vox smokestack horns shane pitsch trumpet & ponder east tenor sax stefano intelisano grand piano keith hernandez drums ryan young b. vox, tele, strat, acoustic & bass guitars

all percussion by ryan young & woode wood. every other sound you hear was created by woode wood

i'm thankful for so much and indebted to so many. read my blog for the whole story, but 'my city austin' started with ryan young's craigslist ad and it just took off from there. we co-produced, collaborated and ry taught me alot and we're just beginning our friendship. his partner at 'suite 2e', keith hernandez also taught me quite a bit and he is a huge part of this record also. both ryan & keith are outstanding musicians and 'my city austin' bears witness to this. this record is a 'perfect storm' and wood not have happened if all of these elements had not come together at this particular place & time. special thanks to julia ward, stefano intelisano, greg lowry, 'the smokestack horns' shane pitsch & ponder east and courtney baldwin. also jake andrews, mike powers, ben dubois, julian milo, jessa peters, anna, jill hunter, chad wadsworth, kelly alder, ez, kira, jack murray, sarah, kelsey, amy, richard, karen, tammy, slim, margie barker, marcy woodall, guy, captain, hester, jack & adam's bike shop, john gould, jules, blondie, red, curly, andrew jackson pope, lark, lisa marques, kids, dogs, marcella, austin, bouldin creek cafe, wayne nagel, harp harpo, rebecca, will wynn, mike martinez, michelle, woodmoor, woode's point, xylo studios, the zilker zephyr, nancy, benny, rock & mike fuller, jess, luke, james, trulie & britta…..


real

now
sno-beach
just because
never a slave
eye four
strange
miss ann
jig
she
you
5:15

all songs written by woode wood, bmi copyright 2014

real

produced by woode wood
performed, recorded & mixed at xylo studios december-april, 2013-2014
by woode wood in south austin, texas
mastered by george coyne & woode wood at parrot tracks

front cover illustration by helena holzschuh 1976 and back cover and inside
photos and illustrations by woode wood
album design by woode wood & chepo pena
manufactured by affordable sound
watch the music videos
all things woode: www.woodewood.com

special thanks to kelly grizzle for the lovely bass & mandolin lines and
to all my friends for the support they continue to provide.

now

oh please little darlin'

come and take us away

to swim the ocean

or just in the bay

chorus

can you hear me?

i am calling you now

covered in salt

out in the day

not much else like it

nothing really


and when the night fall

the lights be proud

i'm sure you've known this

in your own town


the breeze off the sea

can wake you up

it's lovely

it's my cup


one last thing

take it or leave it

let's all sing

and not be stupid

every once in a while i write a song that speaks to me immediately and i know
it will always be in my repertoire. "now" is one of these songs, and it poured out
of my head, and singing it dredges up emotions that are palpable. lyrically and musically it's not complex, but the words are very meaningful to me and singing the melody is a blast. hopefully you will find warmth in them too.

sno-beach

the prettiest girls are on sno-beach
the sweetest long limbs so they can reach
the heartstrings of the boys to teach
them what love is all about

shaved ice tastes like ice cream
the way they serve it serene polystyrene
smiling on the outside not knowing inside
what they can do and they can do, step aside

chorus

if they truly knew the pull they have
war would be a thing of the past
men would be busy making love
not burning down what they built up

location is a plus
proximity the lucky rub
circumstances born into
can knock you down before you are you

"sno-beach", another song i wanted to redo, is off of the record "it's all goo....." and this is a departure from that version. i changed it up a bit and as with every song on "now" it's now a solo acoustic version.

just because

stuck up neighbors are a drag
think they're better than the rest of the tribe
they look down their noses down real far
and yet they're driving daddy's car

what talent do they possess
that causes them to assess they're better than the rest
ignorance is a slippery slope
arrogance can cause the death of hope

chorus

they don't appear to be a greek god
the clothes they wear don't seem to be that mod
they go around judgin covers of books
when deep inside is more telling than looks

just because
life aint what you thought it was
keep your chin up
after all you didn't sign a prenup

give them folks the benefit of the doubt
maybe one day they will turn it around
besides there's a reason for their snobbish air
perhaps they come from a long line of wealthy english heirs

but money's no reason to think you're better than someone else
if that were true this world would be one helluva mess
wait a second, let me wakeup to this reality
treat everyone like they can do something for you.....see

i believe i wrote "just because" around 2006 and i always wanted it on a record and i still may make a
full band version, but i'm happy to finally have this out. it's something we all can relate to.

never a slave

if you're gonna nail the green lights
you gotta face facts early
if you're gonna reach the high heights
you gotta never quit.....surely

aint nothing good ever easy
you can take that with ya to the grave
and if you find what you're meant to be
you'll never be a slave

chorus

you'll never be the same
you'll never be a slave
never the same
never a slave

these are just words on a page
you have to breathe life into them
with little more than hard work every day
the fruit you bear will outlive 'em

think how good that will feel
living life as you see fit
not doing something you'd rather kill
but waking up knowing you found it

eye four

strange

you were always so good to me
getting me red in downtown traffic
balmore's finest looked the other way
until the night you shot the addict

chorus

i was a baseball fan
a summer southern man
sweet potato pecan pies
and very discreet lies

three days in a hole
i ate lots of humble crow
i'll think of something to go with that, don't you know
while i walk around the corner and feel low

you had a streak that was no good
but you never showed it to the neighborhood
i kept on lovin you anyway
until the day you ran away

original version on "back east sampler"
and "it's all goo....."

miss ann

barely a glimpse of light through the trees
wont be long now for night captures me
whoa now miss ann has gone
gone for another one of her long walks

chorus

she was a raging beauty
inside as well as out
from levelland to buda
she had her pick whatever about

i was working for dollars a week
it wasn't sure when i'd eat
i'd begun to play this here guitar
a new home was what i was looking for

late at night on the tv dial
johnny carson had 'em in the aisle
ann richards with her texas drawl
the austin music scene was all she talked

she changed things around these here parts
before she come it was run by a bunch of old farts
ann brought everyone into the mix
and ended all the selective picks.....for a little while anyway

original version on "it's all goo....."

jig

i know of a man that lived long ago
he used to sing at the top of his lungs "if you don't stop now"
"the world is gonna cave in"
"and people will hate each other, more than they actually already do"

if you don't stop now

he and i shared the same first name
i can only hope my heart is half as big as his
he traveled all across our land
singin his songs turnin fear into hope

if you don't stop now

i know of a man that lived long ago
he passed in 1967
his last 15 years he wasn't able to spread his word

if you don't stop now

i know of a man that lived long ago
and i'm not going to forget him

she

way down in a valley
on a dangerous curve
she came into this life
into this world

she wont born scared
you could tell by the cut of her hair
quite the contraire, just for spite
she had a wicked stare

chorus

take her to heart
take care of her.....for me
she has a part
of my fractured heart.....totally

soon as she was old enough to drive
she drove out of there
she had a plan, a mic stand
and a place to crash with some guy

she didn't care she just wanted to be
in the big city
she wasn't like other girls
she had this tell

right from the start she cried
things didn't go well
there were days she didn't see the sun
she'd never been pale

her one saving grace
where she could excel
she didn't look average
at least not sos you could tell

original version on "whole 'nother life"

you

i love you
more than anyone could
it's because of the way
you smile at me

when we walk down the street
i am so happy
prouder than a peacock
could be

chorus

before you came
my heart used to ache
longing for the day
when love would come my way

now that day has come
i no longer feel numb
it's like a lifeline
has been thrown

i'm holding on
with both hands
the only way i'd ever let go
is to get a better grip on the rope

i love you
i love you
i love you

original version on "be"

5:15


twenty five

i have spent more time and effort on this record than any other and it shows, you can hear it. i'm very proud of it. leap was a leap forward, but twenty five is like jumping over the grand canyon. it's all because i took the step forward and began using logic to record with. i knew after all the money i spent on my city austin, collaborating in the recording process, for only the second time for a whole record, and ultimately being dissatisfied with the results, i was ready to tackle an upgrade in my studio so i could vastly improve my recordings and retain complete control. when you have access to everything you need to produce a great sounding album, the only thing that can stand in your way is your own talent and lack of effort. because i was already engaged producing my music videos with final cut pro, the transition to logic from an 8 track mini-disc recorder wasn't as daunting as i imagined it wood be. never the less it's quite a change (so much so i recorded and released real in the interim just so i could get my feet wet) and i will spend the rest of my life learning the program and that's ok. i love it and it has enabled us to really produce a good record. us meaning all of the great players that came together to collaborate on twenty five. those of you that know me well know i never say "great record" to describe one of mine, but i'm singing a new tune this time, though i still can only say it's a good record, i think there's a great song on it. still i'm just scratching the surface, as i like to say, because money will always be an obstacle, case in point, i'd love to have a full choir on "two people" and someday i will. that said i feel about almost all 11 songs the way i feel about my best songs from my earlier records. that is to say the whole record is good and i've never even come close to that before. it's not just the logic, it's also the 23 years i've put into playing, writing, performing, recording, mixing and singing every day, especially over the last few years and the wonderful players who lent their time and energy to this project. my talent is still way below what i dream about, but it keeps improving and that's really my only goal. to be so good my musical peers accept me in their company. of course i want as many folks to hear my songs as possible, but as far as the fame part goes that's an empty vessel. singing a song, one that i wrote, to a pretty girl is and remains the best feeling i've come to know.

a year has passed since real and practically the entire time i've been writing, recording and mixing. that's another first. this time i did alot of the work that george and i usually do when we master, so i'm keeping the overhead down and gaining knowledge at the same time. and as a disclaimer, i've asked george to leave twenty five as is. when we master on march 17, 2015 we will only enhance the sound of the overall record and make each track universal. so don't blame george if you hear an inhale or other foreign freakishness to your listening pleasure. he wants to clean it up, but i won't let him. this will afford me the money to master five records in the next year or so. i've taken out lip smacks, breaths, buttons tapping my guitar and assorted other unwanted sounds, spending a whole day at it. even so when a clam, botched note, blown vocal or other inadvertent noise doesn't take away from the overall musical experience i've left them in. i do want to be as real as possible. i will never use auto tune or any software like it, just some verb, compression and other effects that don't correct the pitch. i hope you like it.

a final note before we get into the actual liner notes for twenty five. after the inception of my blog, woode's words, i posted early and often recounting my experience and enjoying it, but recently the actual doing has gotten so crazy, the recounting has taken a back seat. i look to alleviate some of that neglect here. though xylo studios has done me well and helped me produce umpteen records i always wished i could have a more hands on environment, one that enabled more than frustrated. for years i kept thinkithe building and it's as new and works as good as the day i got it almost ten years ago.

the few bits of travel paraphanelia   wtc, eiffel tower, esb, brattleboro movie ticket stubs and subway tokens from a few decades. some of the stuff and places i care about.

the levi's tag   my favorite brand of pants.

the green ink pen   i used to have about 25 of 'em, but their numbers have dwindled. i used to use this specific one when writing at xylo, and elsewhere if i had one on me. no exaggeration, i've written at least a quarter of my output with this pen. over 250 songs.

the sax, mandolin & picks   just a tie in to the record. the blue pick is my pick of choice and i'm almost out of the original order i made almost ten years ago. new design on the next one.

the boy scout pin   my father was a boy scout master. he taught me alot of things and many i began observing when he had this troop in 1960?

the dog cuff link   wore these alot when i wore a tuxedo shirt to work.

the pterodactyl    love this, but haven't a clue where i got it.

the beads   what's left of a choker necklace i wore when i was seventeen.

the corner of a glued collage    my favorite girl made this for me, it was much bigger, this is all that survives.

the w book mark      no clue where this came from.

the watch       likewise. a few nights ago i sent out a text to a few friends asking for "25" front cover ideas and got 17 back. one was a clock set to 5:25. i figured this was more in keeping with the minute items and it's more cryptic. alot of people are going to be puzzled by this cover because they will not take the time to read this far or read the liner notes at all. i gave an advance listen to a few folks and all response has been very positive, some effusively so.

the dictionary      in 1990 i decided i wanted to get the biggest dictionary i could get. i had to order it and when it came it cost 100 bux. pedaling home in key west on my mt. hood with this 35 pound book was a trip. i've used it ever since and now in the newly designed interior at xylo it has it's own place where it lays open for easy access. i refer to it every day. i love books. just finished chronicles volume 1 by bob, for the fifth time, and today i cracked a 700 (731 exactly) page bio on alexander hamilton by ron chernow. it's a great read already.


 


twenty five

barney fife
used to be
rooster
seminal bliss
funny
am i warm yet?
days
lookin'
traffic
two people
sugar

all songs written by woode wood, bmi copyright 2015

produced by woode wood
performed, recorded & mixed at xylo studios april 2014-march 2015
by woode wood, except where noted, in south austin, texas
mastered by george coyne & woode wood at parrot tracks

all photos and illustrations by woode wood
album design by woode wood & chepo pena
manufactured by affordable sound
watch the music videos
all things woode: www.woodewood.com

kelly grizzle bass guitar
bobby daniel bass guitar & backing vocals
keith hernandez drums
steven lane backing vocals
ryan murphy clarinet, piano
ryan young rhythm electric guitar
cody braun fiddle, mandolin & backing vocals
rob "captain" hayden backing vocals
jennifer lee stuart backing vocals
alex blade silver tenor saxophone & backing vocals
brittany swartz backing vocals

all other sounds by woode wood

barney fife

barney fife is about, and the nickname i gave to, the city of austin parks & rec man that hassled me at woode's point unleashing a tidal wave of affection that resulted in my receiving a letter from his boss stating i can play woode's point til the day i die. the whole story is here on my blog: www.woodewood.com

i wrote the song shortly after the incident and it kept nagging me to record. it's another instance of wanting a choir, maybe not as big as the one i foresaw on two people, so i invited a few friends to join in on the chorus.

kelly grizzle bass guitar
keith hernandez drums
ryan young rhythm guitar
steven lane backing vocals
jennifer lee stuart backing vocals
rob "captain" hayden backing vocals

sugar

sugar is a song i wrote in 1993 or 4 in key west or just after i moved to austin, i could look it up, but…..i recorded it for zeke, my first release here in austin and it was a slow blues then. in keeping with the new path it's reborn here with a new sound. twenty five was originally going to be called sugar and have a title track. the song however continued to be rethought and at one junction it wasn't even going to make the record. after i changed the name i revisited sugar and it took off into it's present form. i'm still not done tweaking it as i write this and although it will be the second song on the record (now last), i can foresee affording a better version down the road. that's the objective, to be able to write, perform and record a song that i woodn't change a note of. i've only accomplished this a few times out of over 300 multi-track recordings and although that's a poor percentage it just means i have so much to look forward to.

we went into the diamond factory and the 2east team of keith and ryan recorded 16 rhythm tracks for this record. kelly on bass and keith on drums with ryan playing a scratch rhythm guitar and i laid down scratch vocals. i then brought the stems to xylo studios and began recording twenty five in earnest. i immediately started changing things and writing new songs. i pulled drum tracks from one song and built a completely new song. of the original 16 i think only 3 stayed intact. the others or parts of the others may make it onto future records. the whole thing was a great learning experience. now i know how to achieve what i want and it's only taken 23 years to get here and it's a starting point. so even though it's my 25th record, it's really my first and someday i'll have an unlimited budget and that in turn will be another first. exciting isn't it? rebirth.

this is one of two songs on the record that i salvaged ryan's guitar track for. when the wall of sound hits his is one of a few guitars crunching ala phil spector.

kelly grizzle bass guitar
keith hernandez drums
ryan young rhythm guitar
alex blade silver tenor saxophone

days

i've always loved days and wanted to finally do it justice and though this is still not the definitive version, it's getting closer. as i write bobby has done two sessions at xylo and his involvement has really lifted the song. cody will be here this week to add some fiddle and possibly mandolin too. keith and kelly anchor the track. cody did add mandolin to his fiddle takes and brittany swartz came to xylo and lent her talents as well.

bobby daniel bass guitar & backing vocals
keith hernandez drums
cody braun mandolin & fiddle
brittany swartz backing vocals

rooster

a couple years ago a friend and i got into a heated discussion about true grit. he loved the new remake better than the old classic. i love the remake as well. jeff and halee
 nailed it, but duke, kim darby, robert duvall, glen campbell (the weakest link, but it fit), dennis hopper, strother martin and a cast of awesome character actors seared that version into my membranes and combine that with nostalgia, 1969 and you got some powerful mojo working. i like rewatching films i love, and some at least every other year. die hard, true grit, casablanca, true romance, wizard of oz, a star is born (with judy), leon the professional, la femme nikita, north by northwest, the apartment, the days of wine and roses, adam's rib, bringing up baby, manhattan, the list goes on an on. so there's the new movie channel and since i mostly watch films and great tv shows on dvd or streaming, when true grit kept repeating on it recently, i found myself watching parts of it over and over. whenever i turned on the telly and it was on i watched. that's how this song was born. it wrote itself at woode's point one afternoon and i really dig it. i was going to, and probably still will, perform it without mentioning the name and see how fast the listener registers the obvious. i did that about 10 years ago with a song i wrote about another character, but that one was much easier. i think our ages had something to do with the debate about the two versions. it's subjective anyway.

kelly grizzle bass guitar
bobby daniel backing vocals
cody braun mandolin, fiddle & backing vocals
brittany swartz backing vocals

am i warm yet?

warm was a hidden track on whole 'nother life that i decided to revisit. after i enhanced it a bit with banjo, mandolin and some synth parts alex blade silver killed it with his tenor sax. still just a thought not a song, but it lent itself nicely to the record.

alex blade silver tenor saxophone

seminal bliss

started this with a keith stem from another song, can't remember which, and built it around it. turned out pretty good. bobby's bass and backing vocals really glued it together. i walk every morning between 2 and 6a and one morning the crickets were especially loud and these lyrics started pouring out.

bobby daniel bass guitar & backing vocals
keith hernandez drums

traffic

in 1992 when i started playing guitar, singing and writing songs i knew i also wanted to learn to play the piano. i took two lessons and began playing scales and wrote a few songs, very minimalist. then i realized that my divided attention wood impede my progress severely on both instruments so i concentrated on the guitar and the piano eventually took a back seat, except for the coloring i played on different songs in the catalog. now after 23 years i've started playing again every day and though this is a mess, it's the first new piano song i've written after all those dormant years. i got frustrated one day not being able to master the chord progression i was playing and i decided to pull a gerard depardieu in green card and pound out some rhythms. after i did a few i hit on one that sounded good, so i punched the red button and did about twenty takes, all very different, but all cacophonous. i saved five and the best one made me think of traffic. so…..after an early morning of accentuating the tune with some key's pads i was at woode's point and i heard a tenor saxophone behind me. after we exchanged greetings i invited him to join me and we proceeded to play music for hours. alex blade silver is studying music in nyc and he visits his girlfriend here in austin from time to time. the next day he came to xylo and blew some impressive horn parts and we've got plans to play some more in a couple weeks when he gets back to town.

alex blade silver tenor saxophone

funny

i wrote funny and two people back to back in two days and they are living up to the standard of my best songs. they may be the best on this record. too early to tell really, but you get a feeling when you keep playing a song. honestly you get to hear only about 25% of the songs i write, so the jury is still out, the rest never leave xylo.

funny is directly lifted from my life. i usually don't divulge stuff like this, outside of the lyric, but i'm feeling especially confident around this record and it's causing me to run my mouth. when i was very young i lucked into a relationship with a young woman that was in the throws of higher education. she enlightened me in so many ways and i'm just now coming to terms with the debt of gratitude i feel towards her. we were madly in love and all that entails, but beyond that is where i really grew. her drawing of me graces the cover of real and she was so talented as an artist. it grieves me to think of talent uncelebrated. we stayed in touch for years after we split up, getting together from time to time and then it ended when i realized i couldn't relate to the stage she was going through. i acted immaturely and i regret the way we parted. anyone that says they have no regrets, well, they're just lying to themselves. life is full of events that reveal (belie popped into my head for this description and i went to my 35 pound dictionary and realized that wood have been false, reveal is the word i should use there) how human we are.

bobby daniel bass guitar
brittany swartz backing vocals

lookin'

i read alot, sometimes a couple books a week. depends on how long the book is and what i have going on, but even on the busiest days i still read a bit. it's how i engage my vocabulary and fill my head. my favorite books i reread over an over. just for the thrill. i try to stop myself reading when my mind wanders. if you don't you can end up reading hundreds of pages all the while thinking about something else. though it's a reason, retention is not the main object of reading for me. i get inspired and have, so many times, read a passage, closed the book and created something directly catalyzed by the passage. the creation may not have a thing to do with the passage, but it was caused by the inspiration. i'm firing on all cylinders now, here in 2015. i'm wallowing in it, not thinking about what will happen tomorrow. i'm finishing up twenty five & morsels, mastering in one week. i've begun gathering artwork which entails a couple video shoots that i will use for music vids and stills for the album covers. some of the best players in austin are on these records and that inspires me.

lookin' is about being inspired. shortly after i started playing guitar i found this chord that was a bitch to finger, but it sounds so good. i still can't grab it in time with any song, unless the bpm are 5 or less. in 1992 i swore i'd use this chord in a song someday. i thought then that i'd play it like any other chord, but this song will have to do for now. simple, but moving.

bobby daniel bass guitar

used to be

this is the best blues tune i've recorded so far, and maybe written, and i've always wanted to record more, but i've had to wait for my facility to catch up to my imaginings.

kelly grizzle bass guitar
keith hernandez drums
alex blade silver tenor saxophone

two people

i sent a text out a few days ago telling friends this was the first great song i have written. if you know me, you know i have never said that. good maybe and i'll say this is a great record while i'm pitching it to someone, but i've never even thought i've achieved greatness in a song. i quickly sent out a follow up text saying written not performed meaning i don't know if this recording is great but the song i think is, though the mid 8 as i call it, fit but i'm sure it could be improved. commas in that last sentence don't have a clue. i was just so happy with the verses on either end i left it thinking the departure and lack of great melody wood be a good contrast. i say it's great because it encompasses my beliefs so well. you don't have to love, but you have to tolerate.

bobby daniel bass guitar
ryan murphy clarinet & piano
brittany swartz backing vocals

many thanks to wayne nagel, george coyne, harold, lisa marques, affordable sound, mike marquadt, alex blade silver, amanda garcia, andrew duplantis, jessa peters, bobby daniel, rob "captain" hayden, chepo, vanadia badillo, diamond factory, 2E studio, parrot tracks, george sledge, jennifer lee stuart, the continental club, john gould, kelly grizzle, marcy, pete minda, southside printing, thomas starr croasdale, webster rhoads lee, zilker zephyr, kara, jason, gabby, jack, keith hernandez, phil's icehouse, player's, steven lane, cody braun, ryan young, ryan murphy and brittany swartz.


morsels

another best of. i keep modifying these compilations adding and subtracting as i see fit. this is the best of all my mastered records, from whole 'nother life on. that said there are many songs on older records that i love, but we have never captured a good recording of, and i will keep trying to get a good recording as long as i draw breath. in fact, just about any song on any record is still game. only some of these, are about as good as i can do, without having a killer band that is fully rehearsed and been on the road for over a year.

sugar     twenty five
baby     final mix from my city austin sessions, mastered, for the first time, for morsels
sure of     leap, but a shorter version
my darling     old soul
sweet sweet     it's all goo…..
i'm mad     just july
now     real
used to be     twenty five
that's love     just july
stupid     kids (all sizes)
blue to me     old soul
torpedos     leap
pretty     be
black cloud     old soul
you     real
old poppa brown     my city austin
barney fife     twenty five

knowing that i wood someday move (and i will) into a house and have more room, thus opening up my recording area. for this record i began the way i always do, but lying in bed one morning in half & half (half asleep half awake, hh as i like to call it) i realized the time had come and i needed to change now. as it was if i wanted to play my drum kit i had to maneuver a few things, as i did if i wanted to play my synth. it dawned on me that i should move everything out of my bedroom except studio gear, pull it all away from the wall slightly for better patching access and arrange it so i could go from piece to piece without any hindrance. once i did this it all started to roll. i chucked most everything i had recorded after real except for the stems we did at diamond factory and began again with a new found enthusiasm. once you unclutter your life good things happen in spades. i always write and during the recording of new records i tend to write more, but this time because of the new found freedom the tail end of twenty five saw me write three new songs that i believe i could not have written before. rooster, funny & two people poured out and the record is so much better because of them.

i've just finished mixing and i have two days to get all the artwork together. the ideas are all thoroughly worked out in my head i just have to execute them. i'm keeping copy to a minimum and going to four panel wallets with an ink on disc cd that will slide into one of the panels. since we're doing two records i need 8 works of art, 10 if you count the ink on the discs, but i'm using my horny dog logo and the respective names of the records on the discs. i'm going to shoot 8 photographs, so i have to design 8 scenarios and then chepo and i will put titles onto the pics and we'll be ready for manufacturing, once the records are mastered. because we also happen to be in sxsw i'm at woode's point from 10 to 5p each day, so i'm burning it at both ends. yesterday i arose at 4a, did my 30 minute walk, internet for an hour maintaining my presence, breakfast, 75 pushups (in one set), reverse crunches, curls and pulls and then organized a shot for the cover of twenty five which when you see it you'll see it took a bit. a quick nap of 45 minutes and then rode my bianchi down to woode's point and played a hundred songs or so over the course of the 7 hours, conversing with hundreds of folks and also playing for the 17 zilker zephyrs that went by twice each time loaded with kids. i probably hopped up and down the limestone a good 50 to a hundred times and let me tell ya this 59 year old body feels it. not for one second am i complaining, i only want to illuminate. to this day, after ten years, there are still people who come up and think they are the only person i interact with all day. it's mind blowing and hilarious how caught up we all are in what we are doing, so much so that we don't observe what's around us. rode home uphill for 5 miles and arrived just before 6p. showered, ate dinner, listened for the two hundredth time to twenty five and then sat down at the mac and tweaked what i heard to make it better, adding "whole people" to the end of two people (it's just barely audible, but it came to me in hh and i knew i had to add it). then i organized another shot for the records, drew up story boards for all eight panels and then sat down to relax and watch "nurse betty," falling asleep in the chair. this morning i got up at 3a and started the whole thing again. it's 8:15p right now and my eye lids are getting heavy, but i've gotten done what i need to along the same lines as last night and by tuesday afternoon all the artwork will be in chepo's hands and i'll be resting looking forward to taking the mastered records to mike at affordable sound to start the manufacturing process. as soon as i complete that it's on to the next two records, kids (too) and eyes. one song is complete and i've already contacted bobby for another session for those records. meanwhile theres' woode's point, and all the other things i haven't even mentioned. life b grand.

i'm now sitting in parrot tracks discussing mastering with george. i'm trying to keep my overhead down and george is straining at the bit i've put in his mouth. he needs to listen to master, but we are putting together a record of songs that he has already mastered, for other records. you see the rub? we're congenially talking about it, but it's still a bone of contention. there are so many options when it comes to recording, mixing and mastering and the big dogs have deeper pockets than i do, so it is what it is. george is a good egg and at the end of this session i'll have twenty five & morsels to send off to manufacturing, once i get the artwork finished. sxsw is still kicking' so i'm waiting for a rainy day for that one.

today was insane. it's still wednesday for a little over an hour. i got up just before 4a, went for a walk, did the net, breakfast, workout and then took stock of what i needed to do to finish twenty five & morsels. the liner notes are done except for what i'm writing now, the 8 photographs i'm using for all the artwork were 3 shy of complete and during hh i finally decided on the cover for morsels. my dog logo made of little red, candy hearts, but on what background. i love wood, but i've already shot the strings on wood so i thought about floors, fabric, bandanas and after a good hour of thought i walked in the xylo room and saw my red epi. that's it, i'll flip it over and form the logo on it's back, all neat and shit for the front cover and then messed up on the back. you'll see, or since you're reading this, you see. by this time it was near 8a and i thought i could get the hearts at walmart on ben white and pick up bananas (i take a banana with me to woode's point now every day, so i can make it through til 5p) and broccoli. i looked in three different spots in walmart and had two emps help and it was a no go. finally got to see the pic in runner's world too. when i came outside the sun was shining, so i booked home, got my gear and drove down to wp and was there 10-6p. craziness it was. played a good 100 songs and met folks from all over the world. the whole time i was thinking about the hearts. i asked for suggestions where to get them and i got plenty. the candy shoppe was one so i called them. nope. should have called everyone. probably could order some online, but i needed them now. went to target, dollar tree, austin gift, then drove to brodie and went to party mix, world market, michaels, all suggestions from the previous places and all dead ends. grabbed some odd shaped red hots as a last resort and ended up with them only. five weeks earlier everyone had red hearts and i was told that over an over. so now it's just after 11p and i'm halfway through birdman and after the walk and net in a few i'll shoot the cover and assemble both record's art and send it off to mike at affordable sound. just imagine the cover of morsels is little red candy hearts. i am. all in all that's about the only thing that didn't turn out the way i wanted on this record. there are clams here and there and another instrument here and there wood have been nice (like lead guitar), but that's the way the pocketbook crumbles so that's real. getting' the logic process down and the next one will be that much better. just imagine hearts.

i'm digging writing liner notes this way. they can get in depth. i'm going to do something now i've never done. describe the cover. i had all these ideas for twenty five's cover, but when it came down to it, i decided to save them for another record and do this, twenty five had become so personal.

the ring   my mother gave that to me when i was 27 in 1983. it was my father's father's ring and the funny thing is, when she gave it to me, we had not established the fact that he too was called woody. it had a stone, but i lost it in my 80's wildness and once i did i put it in a small wooden box that august gave me for my 23rd birthday. it has since become the place where i keep my keepsakes. i just dumped it out and laid this cover out.

the reed   alex didn't use this reed, it's from 2006 and ari played it on just july's baby.

the 1955 nickel   i've got several coins minted in the year i was born, but this is the same one that graces the back cover of whole 'nother life.

the gold locket   i wore earrings in my left ear for years. this was my favorite one. it was a gift from my girl at the time, and friend now, and she has the other one.

the c hohner   i have all keys, but because they cost so much (40 a pop) and i go through them so much, i just keep flush with c's and play those songs in the corresponding key.

the capo   i used to go through capos too and one day i bought this one. it was 65 bux and it looked like it worked good and wood last. it's my xylo capo. it don't leave


kids (too)


ya ya
bounce baby boy
thinkin' it     untitled 1997
reverse     o'sten
molly brown     untitled 1997
jicky     untitled 1997
meow
ing
lullaby
green     primitive
chocolate dog 2

all songs written by woode wood, copyright bmi 2015

produced by woode wood
performed, recorded & mixed at xylo studios april 2015-september 2015
by woode wood, except where noted, in south austin, texas
mastered by george coyne & woode wood at parrot tracks

all illustrations by the kids in lisa marques' class at highland park elementary
a huge thank you to all of these talented young people
front cover by coco
back cover woode wood illustration by kiernan
disc dog logo enhancement illustration by ava love
inside dog logo enhancement illustrations & front covers by ben & ben, coco, griff, caleb, olivia, mira, nathan,
tinsley, harper, emmett, sophia, burch, vinson, annie, ava love, nate, jack, emme, desmond
album design by woode wood & mike marquadt & the kids
manufactured by affordable sound
watch the music videos
all things woode: www.woodewood.com

bobby daniel bass guitar & backing vocals
cody braun fiddle
sam diaz rhythm & lead electric guitar
megan kelly lead & backing vocals
sarah alarcon lead & backing vocals
jake sexton lead electric guitar

all other sounds by woode wood

the second record for kids, all sizes. i did the first kids because moms kept asking me to put one out. i kept telling them i can't and won't write the cow in the barn goes moo. but after a few years i decided to cherry pick the repetitious, catchy stuff from my early records and compile them on a kids record and see how it did. it did well, so this time i cherry picked from that record and added 5 new songs written specifically for kids and wrote the second version of chocolate dog. i played the new ones over a few months for different youngsters all over town and they always dug 'em, so i knew i was on to something.

when i began to write for this record, i told myself i wood relax the normal constraints i put on my pen and allow myself to write anything, regardless of the key or the simplification. it freed me up in such a way that it's spilling over into what i normally write. i'm still going to get deep, but not impede the growth of a song just because it's too simple or too anything. i still write hundreds of songs that don't make it into the public airwaves, so it's not like there's no fail safe and some of the simplest stuff i've ever written turned into songs i perform all the time, because people dig them. blue to me, you, you're a beauty, baby, etc. were all just written without much thought and i never conceived that anyone wood want to hear them, but i've been proven wrong over an over, so now i don't stop myself anymore.

ya ya

mom's a meany

she tell me to take up my toys
then she say eat your vegetables
i don't like it one bit, so in the corner i sit
it's no fun being in trouble like this

ya ya

i gotta clean my room and take out the trash
learn to say thank you and not talk back
if i think about it i got it pretty good
so why is my mojo so full of juju

ya ya

i just realized she loves me so much
she tryin' to show me so i don't need a crutch
i'm gonna change turn over a new leaf
after all she my mom she don't need the grief

mom's a queeny

ya ya

cody braun fiddle
sam diaz rhythm & lead electric guitar
bobby daniel bass guitar & backing vocals
megan kelly lead & backing vocals

bounce baby boy

bounce baby boy 3
bounce
bounce baby boy 3
bounce

bounce baby girl 3
bounce
bounce baby girl 3
bounce

now let it roll, let it roll
let it roll down
now let it roll, let it roll
let it roll down

to your friend 4
to your frien en en en end 4

repeat whole song

bobby daniel bass guitar & backing vocals
cody braun fiddle
sam diaz rhythm & lead electric guitar
megan kelly lead & backing vocals

molly brown

sam diaz lead electric guitar

meow

bobby daniel bass guitar
sarah alarcon lead & backing vocals

ing

i like to run and hide
i like to jump and climb
i know i'm not that tall yet
but when i am i'll be the best

runnin'
hiden'
jumpin'
climbin'

i like to ing yea

i like to throw rocks and sing
do most anything
and when i'm tall i'll hear the call
and i'll be better than them all

i like to ing yea

bobby daniel bass guitar
sarah alarcon backing vocals
jake sexton lead electric guitar


lullaby

now it's time for you to go to sleep
my little contessa with bare feet, tired fella with a catcher's mitt
to dream sweet dreams about things to eat
i know you'll miss me til again we meet, girl, boy
yes i'll read one more story from your picture book
the one where the prince comes with that look, dinosaur dances with captain hook
you don't seem to mind repetition, you thrive on it
it's reassurance, an order, where everything fits

now you're sleeping' under the stars
dreamin' about candy and eskimo bars
time lovely one to go to sleep
my whirling fairie princess with nothing on her feet, ballplayer

bobby daniel bass guitar
sarah alarcon backing vocals

green

megan kelly backing vocals
sam diaz lead electric guitar

chocolate dog 2

megan kelly lead & backing vocals





laxs/lawp
this rain song
the best i've seen
girl twang
sake
now
i'm mad
no regrets
never gave up
call it what u will
so so
with
all songs written by woode wood, copyright bmi 2020
produced by woode wood performed, recorded, mixed & mastered at xylo studios march 2020-october 2020 by woode wood, in south austin, texas copyright & registered 2020 xylo records
all musical sounds on laxs/lawp by woode wood except the amazing harmony vocals on this rain song. they were sung by andy who i met 5 minutes before and have not seen since our duet in 2007 or 8 ? at woode's point
laxs/lawp dedicated to margie barker & george william too many friends, including the angels, to thank in print, without the possibility of leaving someone out, but they all know how much they mean to me, because i am a verbal/verbose human and although i am shy (at this point no one believes that) i'm not so much that i can't express myself when it comes to spreading love two angels in particular though, that i must thank and say how much i appreciate their being in my life, are julian milo & mad dog mad dog, who i've known for 40 years, came back into my life a few years ago when i asked for some help with my site, if memory serves, and he has since become a good friend and an extremely valuable source of wisdom, when it comes to anything with eye tea and with laxs/lawp i needed someone to fill a void and mad dog stepped in and it's been awesome and he did an outstanding job julian milo, who i met over 15 years ago has become a great friend and he still provides guidance in so many ways as he has from the getgo front cover photograph by jason griego back cover photograph credits as follows: ww & eliza by eliza's mom phen, ww & hendrix by michelle ww solo by caleb a desantis stella & ww by michael a harberg disc dog logo and all dog logos by woode wood album design by woode wood & barry "mad dog" gottlieb manufactured by affordable sound watch the music videos all things woode: www.woodewood.com
for the last few years barry mad dog gottlieb has been helping me with everything i do online, i just relate my vision and he makes it become reality, mainly on woodewood.com, but he's gone beyond that and along with julian milo he has become another of my angels. i really couldn't do what i do without the help of these two and i am greatly appreciative. i've known mad dog for over 40 years and julian for over 15. thank you so much my friends. after releasing 3 records in 2015 i took a step back and woodshedded and took a look at how and what i do. i knew i had to get better at everything and i knew i could if i put the work in. after 28 records i knew one thing and that was i wanted to put out only records that i loved every recording on. i can go back and tell you which songs on each record i can listen to and not grimace. with over 300 songs the number is relatively small and i wanted to change that. i don't know how other artists feel about their art, but i like to record and move on and just in the doing i improve, however doing it that way causes many mistakes. so i began a long period where i didn't release anything other than music videos and i got alot better at performing my songs as well as the creation of them. i'm still only scratching the surface, but i began to be able to perform to where i was happy with it and the response grew and that was the fuel needed.
so i knew i wanted to put out 3 more records, a new record record (conch house) of all new songs, a new kids record (kids 3 "free", it's not but that's how a young one said their age one day) and a new best of (yeps), but over the course of 2020 my live performance grew by leaps and bounds. for 16 years, in addition to clubs & venues, i had played evey day except for touring & rain at woode's point, but then in march the plague hit and i did not want to be at woode's point anymore, mainly because i didn't want some 5%er to say i had caused someone to get sick, so i stopped. after 2 days of thinking, and uncertainty, i thought, i know tens of thousands and i bet if i walk down the nearest street with my harmonica and acoustic guitar strapped around my shoulders someone will stop me and ask for a song. i didn't make it a block before someone did and after i performed now, they loved it and were so grateful to see me and witness live music they venmoed me right there on the spot. having a huge epiphany, i walked all over all the nearest neighborhoods, for the next few weeks and every block someone called out my name. i began to understand what times and locations were best and tweaked and refined what i was doing. for 16 years i had, for the most part, been seated when i sang a song and standing when i played riffs for the zilker zephyr and passersby. because i was standing up in this new endeavor/experiment, my playing became bolder and more proficient, and now when i sit my skill set is even more pronounced. this got me to thinking and since it had been 5 years since a release i decided to release a live at woode's point record. one that hopefully wood capture my new growth and the live experience. since i had been woodshedding for so long at xylo studios, i thought a combination of the two wood be cool and that's how laxs/lawp came about. so over the course of spring & summer of 2020 i videotaped old & new songs and did until i got a performance that i was very happy with. then i retraced my steps and cherry picked my fave live music videos from the last 10 years or so and combined those with the new and took the audio and mastered, eq'd & tweaked it and laxs/lawp was born. the first record i've ever put out that i like every recording. that's not to say i can't and won't do better in the near future, but for the most part i don't grimace after listening. and just in the making i discovered a new way and now i have the tools to release one of these every time i want, and document my progress, and the response i'm getting is equal to my own response and that is very gratifying
laxs/lawp is a record of live performances taken from the last ten years or so.....i cherry picked my fave ones from older performances and over the spring summer of 2020 i recorded many attempts at capturing good takes of mostly new & old songs.....sonically this is not the best and there are miscues, but this is easily the best record i have released so far and best captures the laxs/lawp experience also, i included starts & stops, stumbles & flubbed cues, if the take moved me.....no regrets is a complete improv, i sat down with no thought of what to play and that poured out. because it's piano i decided to put it on the record the coolest thing about laxs/lawp is each song is the audio pulled from a video of the performance. it was then mastered and tweaked a bit, but not so much it changed it's live feeling. so for the first time, every song on the record, has a video of the actual performance

laxs/lawp 2 duet that's so you sweet sweet miss ann you're a beauty now out loud old poppa brown two people you lookin' all songs written by woode wood, copyright bmi 2021 produced by woode wood performed, recorded, mixed & mastered at xylo studios & live at woode's point by woode wood in austin, texas copyright & registered 2021 xylo records all musical sounds on laxs/lawp 2 by woode wood except the bass guitar by bobby daniel on duet & the mandolin by ryan young on old poppa brown (live at spider house cafe) laxs/lawp 2 dedicated to margie barker & george william too many friends, including the angels, to thank in print, without the possibility of leaving someone out, but they all know how much they mean to me, because i am a verbal/verbose human and although i am shy (at this point no one believes that) i'm not so much that i can't express myself when it comes to spreading love two angels in particular though, that i must thank and say how much i appreciate their being in my life, are julian milo & mad dog front cover photograph by jason griego back cover photograph by steve lawrence, as i was playing on 3rd street and he was on cesar chavez disc dog logo and all dog logos by woode wood album design by woode wood & barry "mad dog" gottlieb manufactured by affordable sound watch the music videos all things woode: www.woodewood.com laxs/lawp 2 is a record of live performances taken from the last year except old poppa brown which ryan & i performed at spider house cafe in 2013.....over the spring summer of 2021 i recorded many attempts at capturing good takes of mostly new & old songs.....sonically this is not the best as there are miscues, but this is easily the best record i have released so far and best captures the laxs/lawp experience also, i included stops & starts, stumbles & flubbed cues, if the take moved me. some of these songs were especially hard to get a good take of, with that's so you being recorded dozens of times and although it made the cut, on any given day when i perform it to a lovely person, if the red light is not on i nail it the coolest thing about laxs/lawp is each song is the audio pulled from a video of the performance. it was then mastered and tweaked a bit, but not so much it changed it's live feeling. so for the first time, every song on the record, has a video of the actual performance laxs/lawp 2 is preceded by laxs/lawp and there will be a third in this series. for the first time, before i performed i was able to hold up a copy of laxs/lawp and say what you are about to hear sounds exactly like this record. it was an experiment and people responded so well i decided to create laxs/lawp 2 conch house is still going to be my next all original, full band record, i'm just waiting for the world to open up a bit more, so that logistically it will be more fun to make. the beauty is i discovered this avenue to feed my jones



laxs/lawp 2

duet
that's so you
sweet sweet
miss ann
you're a beauty
now
out loud
old poppa brown
two people
you
lookin'

all songs written by woode wood, copyright bmi 2021

produced by woode wood
performed, recorded, mixed & mastered at xylo studios & live at woode's point by woode wood in austin, texas
copyright & registered 2021 xylo records

all musical sounds on laxs/lawp 2 by woode wood except the bass guitar by bobby daniel on duet & the mandolin by ryan young on old poppa brown (live at spider house cafe)

laxs/lawp 2 dedicated to margie barker & george william
too many friends, including the angels, to thank in print, without the possibility of leaving someone out, but they all know how much they mean to me, because i am a verbal/verbose human and although i am shy (at this point no one believes that) i'm not so much that i can't express myself when it comes to spreading love
two angels in particular though, that i must thank and say how much i appreciate their being in my life, are julian milo & mad dog

front cover photograph by jason griego
back cover photograph by steve lawrence, as i was playing on 3rd street and he was on cesar chavez

disc dog logo and all dog logos by woode wood
album design by woode wood & barry "mad dog" gottlieb
manufactured by affordable sound
watch the music videos
all things woode: www.woodewood.com

laxs/lawp 2 is a record of live performances taken from the last year except old poppa brown which ryan & i performed at spider house cafe in 2013.....over the spring summer of 2021 i recorded many attempts at capturing good takes of mostly new & old songs.....sonically this is not the best as there are miscues, but this is easily the best record i have released so far and best captures the laxs/lawp experience

also, i included stops & starts, stumbles & flubbed cues, if the take moved me. some of these songs were especially hard to get a good take of, with that's so you being recorded dozens of times and although it made the cut, on any given day when i perform it to a lovely person, if the red light is not on i nail it

the coolest thing about laxs/lawp is each song is the audio pulled from a video of the performance. it was then mastered and tweaked a bit, but not so much it changed it's live feeling. so for the first time, every song on the record, has a video of the actual performance

laxs/lawp 2 is preceded by laxs/lawp and there will be a third in this series. for the first time, before i performed i was able to hold up a copy of laxs/lawp and say what you are about to hear sounds exactly like this record. it was an experiment and people responded so well i decided to create laxs/lawp 2

conch house is still going to be my next all original, full band record, i'm just waiting for the world to open up a bit more, so that logistically it will be more fun to make. the beauty is i discovered this avenue to feed my jones





laxs/lawp III cd & digital downloads xylo records 2022

laxs/lawp III

u so cool
knew (instrumental)
girl twang
happy
not too far
morning
rain
a little bit longer
knew
7th fret
letter

all songs written by woode wood, copyright bmi 2022

produced by woode wood
performed, recorded, mixed & mastered at xylo studios & live at woode's point by woode wood in austin, texas
copyright & registered 2022 xylo records

all musical sounds on laxs/lawp III by woode wood

front cover photograph by jason griego
back cover photograph of woode wood & blue by ?

disc dog logo and all dog logos by woode wood
album design by woode wood & barry "mad dog" gottlieb
cd manufactured by affordable sound
watch the music videos
all things woode: www.woodewood.com

laxs/lawp III is a record of live performances taken from 2021 & 2022
sonically this best captures the laxs/lawp experience

laxs/lawp III is preceded by laxs/lawp I & II and i see no end to these endeavors. being able to hold up a record and say what you are about to hear sounds exactly like this record is a wonderful, successful experiment