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Handwedge From the Trap

by Walter Ehresman

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1.
Saying No to the Question Unasked (©1999 Walter Ehresman) [chorus] Don't want adventure; Don't want adventure; You don't want adventure, saying "no" to the question unasked. There's too many choices in the world today-- don't want to look up to the left or the right; I got no time for the different or the new, I gotta gather up the family and protect them from the voices in the night; [break] Oooooh, something's grabbin' hold of me; Oooooh, something's got a'hold of my toe; Oooooh, baby, there's a stranger knockin' at my door, tryin' to tell me things that I don't want to know. I don't like to call it "conservatism"; Don't like to call it anything at all; There's a portion of my brain that I don't want infected with the sound of the tree in the forest, ooooh baby did it fall? [break] [chorus
2.
Kismet? (cante hondo) (© 1998 Walter Ehresman)
3.
I Know How The Anarchist Feels (© 1997 Walter Ehresman) Crouched down in the shadows, fedora pinched narrow, a bulge in the waistcoat concealed; The flappers are flapping, the cops they are napping, while the Hearsts and the Fords are off making the deals; Constructed in basements, one bulb and a squint, where the fear and the anger congeal; The blast and the dust may not change things that much, but I know how the anarchist feels. In old China they said "if you raise up your head from the rut that now passes as real-- in that violent Zen moment your vision can reach to the truth that's so hard to reveal." So you search for a catalyst, something so big that the shock won't let anyone kneel; But the rank and the file misinterpret your smile, and I know how the anarchist feels. And those who are with you may feel that it's true 'til the Golden Goose pecks at their heel; Once richer and fatter, they'll pull up the ladder and vote for the gentry next year; Well, it's naked self-interest, it's leaving the ship first while women and children they squeal; When the system is broken, can chaos be chosen? I know how the anarchist feels. [mandolin solo] When the power's entrenched, and you choke on the stench of the vipers who act so genteel; And an army of one can't get anything done if he lacks that financial appeal; And your screams of outrage are not heard on the stage as you twitch on the catherine wheel; And the backroom to-do is not open to you, now you know how the anarchist feels.
4.
Asleep at the Switch of Life (© 1998 Walter Ehresman) Stolen days, and wasted nights-- one day, there will be no more. People sleepwalking from place to place-- the gift to them is one they do not earn. We’re the only creature walkin’ ‘round with the power, so how come you never use your head? Imagination is bread on the table, so how come you never break your bread? [chorus #1] Asleep at the switch of life (my family), asleep at the switch of life; Asleep at the switch of life (my father), asleep at the switch of life. I see you every day, driving in the city-- don’t you know you’re going to kill someone? There is a vision that transcends the space around you-- yet you scream to keep those blinders on. Strange things are happening just around the corner, so how come you don’t look past your toes? Fantastic creatures dance ‘round inside your blindspot-- you just say “That’s just the way things go.” [chorus #2] Asleep at the switch of life (my brother), asleep at the switch of life; Asleep at the switch of life (my sister), asleep at the switch of life. I see you every day, staring down the tunnel-- praying that you don’t see nothing new; When you are old and your memories circle ‘round you-- sad to say, you’ll find they’re all too few. [chorus #3] Asleep at the switch of life (my good friend), asleep at the switch of life; Asleep at the switch of life (my good friend), asleep at the switch of life.
5.
I've Been In This Line (© 1998 Walter Ehresman) My toenails have grown through the tips of my shoes; My back is getting bent and my teeth are loose. I couldn't even utter a sound, and my smell could knock a bird down-- I've been in this line for so long. I think I had some friends once upon a time; My wife and dog done left poor me behind. I'd find a way to shoot off a flare, if I thought there's anybody who'd care-- I've been in this line for so long. Goin' (goin' goin') where the water tastes like wine-- a dream I had standing here just the other day. Waitin', hopin', prayin' that my life won't end this way, but if I leave right now, it'll all have been a waste of time. I guess I ought to give them just an hour or two-- "you see that guy up there, you know I think he moved!" This place has the reek of a tomb, and my armpits are growing mushrooms-- I've been in this line, I've been in this line, I've been in this goddamn line for so long! (ugggh)
6.
Shadow of a Love (© 1997 Walter Ehresman) He keeps it in that special place, 'cause he can't bear to see her face; He opens it up anyway, At least 100 times a day, and all the years that brought him here just fall away when she appears; He folds it back up, turns away, he's got a few more miles today to go-- it's just the shadow of a love we'll never know. It's hard when you feel things so strong, but every time you speak it's wrong-- the words they tangle up inside, you've got to show what you must hide; and she rode that string as best she could, much longer than he thought she would, and in the end, when things went bad, she raged about what they might've had, but no-- it's just the shadow of a love we'll never know. [chorus] He's remembering a feeling that for most of us will never come at all; Just four aces in the dealin'; so if you get that hand... you better take it all. He checks into a cheap motel; The dingy sheets, the musty smell; The snow it flickers on the screen-- white noise drowning silent screams, and he thinks about a thing so rare; He turns to look but she's not there. He pulls the picture out again, it's faded now, but not to him--it glows; It's just the shadow of a love we'll never know.
7.
Khamsin 12:07
Khamsin (© 1997 Walter Ehresman)
8.
Ain't No Use 05:58
Ain’t No Use (©1997 Walter Ehresman) Frozen in my tracks, but was I going anywhere? Can’t put a foot forward, can’t work up the bile to care. Energy drained from me, can’t remember when I was strong. My edge is sinking deeper--ain’t no use in goin’ on. I feel just like a boxer--hears the countin’ through the haze; He’s got just enough snap left to know that he’s sure seen better days. You look into the mists of time to find the reasons for what you’ve done; Would I know ‘em if I saw ‘em?; Ain’t no use in goin’ on. I want to find those people who, in my life, I’ve wronged; But, then again, I know it would add too many verses to this song. If I could, I’d give my reasons--ask them if it seems I’ve grown; But they sure don’t owe no answers; Ain’t no use in goin’ on. My history, it crowds me, and I can’t escape the scenes. I’d like to talk about redemption, but I don’t know what it means. When you know there’s no “Hereafter,” and that when you’re gone, you’re gone-- who in this world can forgive you?; Ain’t no use in goin’ on. I feel I’ve got some more to say, but I cannot lift my hand; Don’t know if the path would change if I tried to make a stand. Is the good fight good enough when the battles can’t be won? It’s a tougher sell these days; Ain’t no use in goin’ on.
9.
Things Never Done (© 1989 Walter Ehresman) I can tell you every single thing I do not want to be, and I can look into your eyes and see the things I want to see; But the space between us multiplies as I stand on and stare, and I see the webs of kindness dissipate into the air, and the words are there, the thoughts are sung, it still does not apply to the rare moments in time I find to look one in the eye; It’s an old cliche’, a tired song, that I’ve been hurt before, but the newest is the deepest, disillusion is the score. I am wrong again. The last thing I would try to say is that I have the right to dictate in the slightest way the way you spend the night; But I can’t help thinking that we come from the same point of view-- reactionary insecurity, I call out to you..... [chorus] No presumption; No intrusion; No interaction; No collusion; No emotion; No infusion; No discussion; No union; Just reality. Propriety just seems to be a method to despair; As I try to do the right thing, what I want just isn’t there. As I look into your eyes and revel in your golden hair, the last thing that I see is image fade into the air.
10.
My Little Spleen #1 (...and they don't even blink) (© 1996 Walter Ehresman) It's not as if bad people haven't done bad things before. Human history is nothing if not rife with examples of the famous Brian Gysin quote--"man is a bad animal." It's just that, these days, the negative action is compounded by what may be an even greater transgression associated with the mental state of the actor....and it is the latter, the "mens rea" of the perpetrator, which seems to signal an acceleration toward the end. Anyone who comes into contact with the ambitious, the political, has certainly experienced the empty black shark-eyes that look placidly, unblinkingly on as the blade slips in. A moment of pathos is as unlikely--indeed, as impossible--as an erection on the Rev. Donald Wildmon. There are two sins here: the amoral act itself, and the refusal to acknowledge it, even in those most up-close, surveillance-free moments when the screwer is alone--in an elevator or empty room--with the screwee. Which is worse? Consider: the act itself is easy to judge--amoral conduct is as pure as it is prevalent. These creatures can't help themselves--the self-serving act is instinctual, and can be recognized not only by the detestably selfish nature of the thing done but also by the utter lack of deliberation that precedes it. That these acts arise from the animal hind-brain leaves the higher functions free to scan beyond the activity at hand for general data which might be helpful during the next foray. Analyzed as animal behavior, these traits are easy to understand on some levels, and are easy to deal with (in a karmic sense) as one deals with a rogue crocodile too close to the village. Of course, this is a slander to the animal kingdom--they have the very real excuse of not being sentient. What of the absence of acknowledgment? Should this be considered worse than the loathsome act itself? Is it that the creature will not acknowledge, or that he cannot? Ultimately, does that distinction matter? Perhaps the answer lies in the concept of humanity....what does it mean to be human? Surely self-awareness is part of that definition...and isn't part of consciousness understanding the nature of your actions and motivations? And what of pathos....empathy.... mercy...at the very least, the ability to conceive of what other people must feel in response to various situations, including those you put them in? Can anyone be said to be truly "human" who finds these ideas alien and irrelevant to their course? As strange as it sounds, the killer who acknowledges the act to the victim in that final moment is somehow more potentially redeemable than the one who refuses that last minor gesture of respect to the dying man. Because man is a bad animal, who at best will always struggle against acting in naked self-interest, the selfish acts of man can never be eliminated (absent a wholesale lemming-leap into the sea)....the best we can do on that front is to create and maintain an environment that fosters ethical behavior and a sense of community. Hopefully, in such a society, conduct will ultimately be self-policing--when someone's Yin overcomes his Yang, he will feel out of tune with the world...understanding his act and its consequences by its jarring juxtaposition with everything else in the environment, the bad actor will see what he's done as a stain on the fabric of his community and feel compelled to rectify it so as to improve his own surroundings and in turn his own life. At the very least, he will be likely to understand what he has done and the ripples it has caused. We have hope in this.... But what of the more recent phenomenon of the apparent lack of awareness in the perpetrator of the nature of the bad act itself?....the refusal to acknowledge it?....is it endemic to the species? It must not be, given that we're still here. Can we tolerate this trait?....should we? Perhaps it should be viewed as one of those evolutionary deadends that would lead to extinction if it became the norm. Certainly it should not be viewed as it is today--as a sign of the successful man, to be envied, emulated, and celebrated (in a marginally-subliminal way) in commercial mass-manipulation. This path allows for no hope....and it is a symptom of the most dire sort. It's much like Area 51....where the MPs and the Generals and the goddamn Secretary of Defense will stand right next to you on the hill overlooking Groom Dry Lake, stare you right in the face and say "that doesn't exist." And they don't even blink....and if you take a picture of it, you're charged with treason and hustled away to a converted missile silo in some bleak, flat, soul-charred wasteland in the Dakotas where experimental psychoactive drugs are fed through tubes violating every natural and newly-created orifice in your body to see how malleable your reactions can be made without it being too obvious and/or affecting your willingness to be a pliable, unquestioning consumer. Of course, you can buy very attractive (if grainy) photos of Area 51 from the Russians at a "going-out-of-business" sale and be OK. Why didn't they just put this place under the Rockies in Colorado Springs where all the other federal vivisectionist forbidden zones are? Putting it out in plain view in the middle of the Nevada desert is like giving Jesse Helms a bottle of Old Crow, a lounge chair, and a high-powered rifle on a grassy knoll overlooking Henry Waxman. What was the military thinking? I think we've got a good tort here--THE DOCTRINE OF ATTRACTIVE NUISANCE. This is what you're sued under when you have a dog in your backyard that is so hideously vicious and dangerous-looking that the neighborhood kids can't help but scale the 20ft fence you erected for just such an occasion. But I digress. Some might be tempted to label this new breed of men as simply "urban predators." I mean, surely we're familiar with the general concept. We know the reality of ill-intent on the streets, and--thanks to Mr. Bush and his Willie Horton ads (funded through truck-sized loopholes in federal campaign spending laws)--we've been told who "those" people are. But this would be a dangerous mischaracterization. The acts of ordinary criminals can be understood on an intellectual level, and make a certain sense in our "cause-and-effect" analyses--these actions usually rise up from the despairing breeding grounds of poverty, abuse, discrimination, and...above all...abject hopelessness. This is not to say that these are excuses. They are merely reasons. But, being explainable, they can be addressed. The genesis of the "upscale urban predator" (see the nearest person with political aspirations) is a much more muddled affair. We can certainly identify some of the factors, most of which fall into the general category of "image is everything"...touted by Agassi before karma balded him. These include: the progressive adoption of form over substance (a process which has been inestimably abetted by the media as a means of feeding itself); the pervasive corruption at all levels of American government; the idolatry of power, at the expense of a moral and aesthetic evaluation of actual achievement; the utter absence of justice in our legal system; a self-perpetuating bigotry and sense of entitlement in the boardrooms and blue-blood breeding enclaves of this county; and the evisceration of higher education, sacrificing the character-building exposure to "liberal arts" for an ultra-narrow fast-track through the spiritual wastelands of business degrees and MBAs. Mix all this into the known psychological effects on too many rats in a box, and you're living the Life of Riley (god help you...and us). We know these causes are in there somewhere, but we certainly don't know the whole recipe. It must be a synergistic effect, operating at a level we do not yet understand. If we could see, as a country, a clear link between the causes and the monsters that are the end result--I would like to think we would rise up as one and do a mop-up on the bastards, while making sure that no more are spawned. But we don't know why....not entirely...but we do know that these creatures are wrong....that they are an abomination...that at one level, even your murderer owes you an acknowledgment of your death as he kills you....that somehow, the blankness is more abhorrent than the intent. In the acknowledgment, there is a kernel of empathy....where there is empathy, there is hope.
11.
My Little Spleen #2 (the downward spiral of meaning) (© 1996 Walter Ehresman) You know, it's tough to express yourself these days. It seems that every possible word, term, and phrase is so loaded with explosive meaning and the attendant social, political, and psychological consequences that you can never fully communicate even a marginally-complex idea without fumbling through your internal Rolodex of implications...without following each path on the labyrinthine flow chart of political correctness and soundbyte potential...without deriving the minutiae of reference...without being caught in the downward spiral of meaning.... To the onlooker, this reactive trip 'round the self-policing loop is certainly less than impressive. Despite this image concern, it is so desperately crucial these days to be properly understood--or, more to the point, to not be misunderstood--that one can scarcely afford not to run the traps. The choice becomes one of intermittent paralysis versus being tagged with a prominent searing brand in the middle of your forehead, labeling you as some hideous social leper in a manner easily discernable to passers-by in this "Era of the 30 Second Trial".... Because you will be judged, make no mistake; and in this decaying society where the crises caused by gross overpopulation and general lack of conscience are truly not solvable until those fundamental problems are remedied, and shameless political pandering to a dying world's fears dresses up the usual scapegoats daily as an outlet for our rage and helplessness, you can hardly blame a justifiably-frightened and horrified populace from eying each potential human encounter with the same fear and loathing as a Kurdish refugee forced to look for a night's shelter in a minefield. You should be afraid of the next guy, for Christ's sake--I mean, you'd be a fool not to play the percentages, and the odds are clear and getting clearer....."Danger, Will Robinson".... It is not only an act of mortal self-preservation that drives us to the desperate need not to be misunderstood......As the so-called "fringes" of society move with increasing speed toward the middle (so that "mainstream" is more an island than any majority), and even the most heinous acts previously reserved for terrorists "over there" are now committed almost routinely by our own yahoo contingency, it is central to a sense of self-worth that you not be perceived as one of "them" (plug in your own fear here). This brings up the dichotomy of internal versus external focus: on the one hand, "internal" focus is bad--constituting selfishness, narcissism, and ultimately amorality; on the other hand, formulating your sense of self-worth through introspection (held up against a morality derived from the appropriate sources in literature, philosophy, and the common-sense aspects of conscience) is the only healthy approach; external focus, in terms of deriving one's self-image, is extremely self-defeating--for the individual and ultimately for the society itself (sidebar here into envy, greed, coveting thy neighbor's ass, religion in general and other mob mentalities)--while external focus in terms of considering people and things besides yourself when acting and forming a world view is certainly integral to any lifestyle that will ultimately sustain this species. Ah, perception. "Us and Them" goes a long way past the Dark Side of the Moon....It is interesting to note the howling frenzy Americans were working up when Arabs were assumed to have blown up Oklahoma. Before we could get righteously good and lathered, however, a truth more hideous than the act itself reared its ugly mirrored head. We done it to ourselves. The collective poison that was set to spew forth in unprecedented streams from this land toward those decidedly-dusky heathens who have the bad form to live atop the world's power juice and consistently want market value for it without assimilating the cultures of those who buy it was denied its cathartic venting and instead stayed just below the skin to fester and rot. It was as though we couldn't bear the thought of turning the same kind of hatred we have for "them" onto one of "us"--that such a thing would be more damaging to the American psyche than the act of terrorism itself. I have not recently been as ashamed and frightened as I was when I realized that the people of this country were going to use the bombing as a catalyst for knee-jerk debate on “the insidious creep of the federal government.” Where was the condemnation?....where was the outrage and the coming together to root out this cancer in the lymph nodes of this country?....Rather than spending our energies on turning over rocks and shining the light of day on our domestic Hesbolas and turning them to ash in the withering glare of that scrutiny, we took the lowest possible road. Within days, these impotent, paranoid, misanthropic wastes of carbon who couldn't count the toes on their own feet were elevated to the same glorious heights in the media pantheon usually reserved for the endless supply of mutants paraded through the daytime talkshows. Was the media afraid to condemn these men because such a stance could somehow be interpreted as a stand against "property rights", "block grants to the states", or some other Republican smokescreens so treasured by the one or two corporations that now own all the world's media outlets? Was the average citizen afraid to speak out because of fear for his own safety, since he hasn't really felt safe even in his own home in years? Have we all collectively become so numb, stupid, and hopeless that the soundbytes we have been so relentlessly fed by the powers that be are the only context we have left into which to plug new information? If so, we will surely die with that shallow warm feeling that comes from not breaking ranks with the mob....If not, we can try to tell those around us, one at a time, that there are no easy answers...that the world is not bi-polar and that there are shades between all possible answers....that these things need to be viewed with the forebrain rather than the medulla.... but be careful how you say it...beware the downward spiral of meaning.....

about

(click on any song title to get more information on that song, and to download it individually)

This is the 6th solo album from Walter Ehresman, founder/leader/multi-instrumentalist for the Austin band Snipe Hunt (with albums also available on this website), and it's probably his most contemplative solo effort to date. Once you get past the exuberant, raw rock and roll of the opening track, things quiet down considerably. The world music and roots elements come more to the fore, with two electronically and lyrically dangerous spoken work pieces at the end to mix things up a little. As is usually the case, Ehresman handles all the vocals and plays all the instruments himself (except for a guest drummer on "Ain't No Use"), along with the production of the album.

Track #1, "Saying No To the Question Unasked," was written after an experience Ehresman had one Monday morning at his day job. "As I was walking across the parking lot towards the building," Ehresman says, "a guy pulled up in his soccer mom white minivan (complete with Bob Dole for President bumpersticker), slowly emerged, and started shuffling in to work with his head down and shaking side to side, saying "no, no, no, no...." to no one in particular. Ehresman continues: "Not that I'm that fired up about going to work on Monday mornings either, but this seemed like something more fundamental than that......a deep fear and loathing (to borrow a phrase.......) for any new experience that the day might bring.......I had already been noticing this trend in the population at large, along with a commensurate drop-off in creativity and/or appreciation of the same, and the song came together from all this." The unusual combination of dirty electric guitar, fretless bass, electric mandolin, piano, and electronic percussion pads creates a riotous and decidedly rocking opener for the album. The song is a staple of the Snipe Hunt live set list, where some say it's what Lou Reed would sound like if forced to play mandolin at gunpoint (or would that be "needlepoint".....?).

Track #2, "Kismet? (cante hondo)," is an unusual instrumental track with influences from several different styles, none of which had shown much prevalence in Ehresman's previous work. After an abrupt ascending chord from the MIDI guitar, the song takes off in a dynamic Spanish guitar direction with nylon string guitar and 8-string electric bass featured, backed up by fretless bass, electric guitar, and steel string acoustic guitar. The fretless bass provides the link into an extended classical guitar-type section, with layer upon layer of nylon string guitar parts added to construct a very stately and formal atmosphere. This segues into an acoustic flamenco-like section, which itself leads into an outro that restates the theme of the intro. A very unexpected song from Ehresman, displaying a wide range of emotions and moods. It was inspired, he says, by a flight of fancy regarding a beautiful girl he saw (but never spoke to) in a small airport in Colorado.

Track #3, "I Know How the Anarchist Feels," was written in 1997. According to Ehresman, "at various times in my life I've seen references, in books, movies and plays, to the so-called "mad bombers" of the early 20th century.....They are often portrayed as a caricature of a swarthy Eastern European, in a trench coat with a cartoon-like spherical bomb (complete with burning fuse), skulking around dirty alleys in big cities with fedora down low......muttering about 'revolution.'........I sought to look deeper into what could motivate these men who inspired the cartoon image, some of whom presumably had families and friends whom they loved and led what appeared to be normal lives.......It would seem that a motivation could have been the wide-spread corruption in the various level of government in America at the time, with the mega-rich robber barons (Hearst, Ford, Rockefeller, Carnegie, etc.) enjoying unimaginable wealth, privilege and influence that was as far away from the lives of ordinary citizens as we are from Mars." The deep corruption that Ehresman sees in power systems in the world today created a link in the lyrics to that time. "Of course, I do not and have never advocated the use of terrorism for any purpose.....That was never at issue in writing the song.....Rather, it was my effort to understand the psychological state that could bring men to that point of action......The powerlessness of living in a seemingly-unassailable corrupt system maybe brought them to a tortured mindset where morals and ethics became twisted in ways so eloquently described in Dostoevski's Crime and Punishment......The song explores how anyone could be drawn to the concept called 'anarchy.'....I don't live in that mindset myself and never will, but I think I can understand how it could happen, and I think that understanding is valuable in trying to prevent future violent acts while also attempting to reform today's world."

The song's instrumentation has a certain timeless quality to it, with acoustic guitar, mandolin and 6-string banjo backed up rhythmically by a tuba part. The final verse is worth quoting here:

"When the power's entrenched and you choke on the stench of the vipers who act so genteel/and an army of one can't get anything done if he lacks that financial appeal/and your screams of outrage are not heard on the stage as you twitch on the catherine wheel/and the backroom toodoo is not open to you, now you know how the anarchist feels."

Track #4, "Asleep at the Switch of Life," is another of Ehresman's worldbeat songs. Influenced by the guitar traditions of East Africa, the song is a gentle call to the listener to wake up his perceptions, both in his immediate space and in the world at large. Such a life, the song hopes, would then be both more rewarding and less selfishly-oriented. Two electric guitar parts, one flatpicked and one fingerpicked, interweave throughout the song as a talking drum provides the rhythmic low tones along with subtle African percussion and MIDI guitar kalimba and bass parts. Ehresman provides his own African choir via use of a vocal processor.

Track #5, "I've Been In This Line," is a funny little ditty, done in an "old-timey" string band style, about life and death waiting in long damn lines. We've all been there......

Track #6, "Shadow of a Love," is a tear-jerker ballad with lyrics that should cause this song to be covered by major artists from a variety of genres (something I bet you never thought you'd hear about an Ehresman song....). 6 and 12-string acoustic guitars mix with bass and string parts to provide a sympathetic setting for this song of regret and lost love. "This was not written about any relationship of my own," Ehresman says. "This is another of the many songs that I dreamed, believe it or not.....I'll just wake up in the middle of the night with the lyrics and melody in my head, and I've got to get myself to get out of the damn bed, grab the guitar, and write it down before I forget it. Since I can't read or write music, I've then got to record it in the next few days or the song will just fade away. I've forgotten many songs that way." Be sure to check out the fine remake of this song on the 2002 Snipe Hunt album, "I Saw the Future (But the Damn Train Hit Me Just the Same)," where the vocals and vocal arrangement by Vic Ramirez really make the song shine (album available on this website).

Track #7, Khamsin, seeks to create a timeless Arabic dirge, with the narrative character calling for an apocalypse to sweep away the sins of the world so that the effort at human sentience can start over again. "Khamsin" literally translates in Arabic to "50," but the term is used in that language to refer to a mythic great wind that is said to blow in from the desert every 50 years, washing away the evils of Man. A wide variety of percussion instruments (including a Brazilian surdo drum) are used to create a very primal rhythm, with acoustic guitar providing the drones. The call of the muezzin can be heard in the background of the bazaar, along with the sound of the wind on the sands. The song is not in any way affiliated with Islam, but rather incorporates folkloric themes from that region of the world.

Track #8, "Ain't No Use," is the only song on the album to include a musician other than Ehresman. Donald "Shark" Smith, whom Ehresman played with in his first band back in 1979 in San Antonio, plays trap kit here with the subtlety he's known for. Though bleak in its tone and subject matter, this is probably one of Ehresman's most effective songs. The acoustic fingerpicked and flatpicked guitars work well with the hide-and-seek mandolin, and the understated electric fretless bass part sounds very much like a doghouse bass. World-weariness drips from Ehresman's vocals, enhanced by a vintage reverb sound.

Track #9, "Things Never Done," is a remake of a song Ehresman wrote and recorded for his '90 solo release "In the Path of the Cat Chasers." Walt always wanted to do the song more justice sonically, which is achieved here through the digital recording (this was the first piece recorded following his purchase of a digital multi-track recorder). Lyrically, the song laments the downside of being a gentleman in matters of the heart when encountering women who seem to want to be treated badly, though never questioning the necessity of taking that high road at all times.

BONUS TRACKS:
Tracks #10 and #11 are something new for Ehresman--spoken word pieces. Having been exposed to the recordings of William S. Burroughs, the influence can be strongly felt on these tracks. According to Ehresman, "the text for these rants was written in a very stream-of-consciousness way.......these are very much creations of the moment, and I resisted the temptation to refine them later on.....What you hear is what came out in one session each at the computer." In each case, the narration is done through a vocal processor, so that on one track Ehresman sounds female, and on the other track like a small child. The musical backing tracks use a variety of instruments, from bongos and theremin on one track to the Yahama electronic drum kit (left temporarily over at Ehresman's studio by ex-Snipe drummer Tom Corwin) on the other. That kit is highly unusual, allowing the bass part to be played with the kick drum, the piano part with the cymbals, and a sequencer to be started and stopped with the floor tom, all in one real-time performance in the studio. These two pieces were originally released in '97 on an Ehresman cassette release called "The Rants." Ehresman has since written several more rants, and has long-term plans to release an updated version of "The Rants" with several more "My Little Spleens" on it.

The hidden track is vile and inappropriate and should not be listened to by anyone. Ehresman's claims that it was just his way of coping with all the women obsessed with Andrea Bocelli does not excuse anything.

Though many serious and "darker" themes are explored on this release, there is humor here too. Overall, the impression is one of great thought being given to the lyrical content, and great care and experimentation given to the music.

All the songs were recorded digitally, and were digitally remastered by Bad Kurtis D at Million Dollar Sound in Austin in '03.
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Local Flavor, 1999: "Most of Walter's music ends up somewhere between Pink Floyd and Frank Zappa....this, however, is largely a songwriter recording. Richly textured lyrics shine with brilliance right through the dark, bleak, frustrated observations and social commentary......'I Know How the Anarchist Feels' positively aches! And, since Walter never does just one thing at a time, some of that toooo groovy worldbeat/experimental mostly instrumental stuff is here, too......(the CD) ends with two segments of Walter's long and fascinating spoken- word rants......There seems to be no way to adequately describe Walter's recordings in just a few words...But if the people in Hollywood who place music in movies ever learn of the marvelous compositions of Walter Ehresman, I won't need to wrestle with my dictionary any more."

credits

released January 1, 1999

Produced by Walter Ehresman at Snipe Bog Studios, Austin, Texas.
Mastered by Kurtis Machler at Million Dollar Sound, Austin.
Original artwork by Casey Shaw.

p. 1999 Walter Ehresman. Snipe Bog Records.

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Walter Ehresman San Miguel De Allende, Mexico

Called "the quintessential Austin DIY artist" by famed local disc jockey Charlie Martin , Walter Ehresman was an eccentric presence in the Austin music scene from the '80s until his 2015 move to Mexico. A prolific songwriter, multi-instrumentalist and recording artist...and a restless musical spirit, always looking for something new, expressed with fearlessly honest, socially-conscious lyrics. ... more

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