- Artist: Eileen Hemphill-Haley
- Format: CD
- Release Date:3/29/2005
The Eileen Hemphill-Haley Band is the combined efforts of songwriter, singer, and guitarist Eileen Hemphill-Haley; lap-slide (aka 'dobro') player Michael Proctor; bassist Ron Sharp; and drummer Brandon Schwab. We like to call our style 'acoustic grange rock and Americana.' Although the sound is quite contemporary, it is also clearly rooted in traditional American folk, rock and blues, and reflects or individual and combined experiences in music. Please check out our debut CD, 'Dog Tracks.' Our vision for the CD was to create a studio recording that successfully captured our live sound. There are no overdubs or extra parts, just the four of us doing our thing. It turned out just the way we planned. ====== Song insights for 'Dog Tracks' NEXT TIME These are words of encouragement for someone reeling from a botched relationship -- again. The message is don't fret! Use everything you learned this time to get it right next time. AWAY WITH THE NIGHT This is a story about two kind but lonely people who immediately recognize each other as kindred spirits. Happily they find the comfort they need without ever having to explain a thing. MY OWN WORST ENEMY This is a lament by someone who always manages to get in the way of her own happiness, even though she's perfectly aware that she's doing it. Although this isn't autobiographical, I did borrow the name 'Sister Rose,' my first grade teacher. CECEILIA This is a conversation between a teenage version of myself and St. Ceceilia, the patron saint of music (I penned this when I was 16). The song also includes references ('when the touch tones makes the right connection,' for example) to my pal Karen Chase, who besides being a great and loving friend all these years also had the unique role in my life of introducing me to the music of Joni Mitchell. Karen was amazed to learn that I, a fledgling guitarist and songwriter in 1975, had never heard Joni Mitchell's songs. She insisted that I take a few of her Joni albums home and check them out. When I reluctantly returned the albums a few weeks later, my concept of song crafting and choice of musical style were changed forever. OUR HOUSE BURNED DOWN My friend and colleague, Brandon Schwab, calls this my 'most under-interpreted song.' What I have observed is that people who have experienced long-term relationships that came to sudden and abrupt endings tend to get this song right away. For others the literal interpretation seems to work better, I which case it's simply a sad story of a different kind. KATIE'S LEAVING TOWN This is a story about a bunch of friends at college enjoying the freedom those days can bring. Then one day one of them announces she's moving on in pursuit of a career, and to everyone else it suddenly feels like the party is over. And even though they all wish her well and want her to be happy, they also know it's a portent of things to come. MIRA This is a story about two sisters. One of the sisters has been taking care of the old family farm. The other sister left years before, but now she's come back and she's decided it's time to talk her sister into selling the old place and using the money to 'get on with her life' as she sees it. But as is often the case, it turns out that the person who thinks she knows all the answers is actually the one who has the most to learn. SHOW SOME MERCY This is a gentle coaxing for someone who is too self critical, and never feels like what she does is good enough. There's nothing like seeking perfection, when the damn thing doesn't exist. WOULD ANYTHING BE THE SAME A little love song that asks: If I didn't have you in my life, would everything else in the world flip around and be opposite, too? I wrote the song a number of years ago without intentional political references, but since the elections of 2004 the lines 'would left become right?' and 'would red become blue?' have taken on new meanings for me. UP ALL NIGHT Sometimes a fling with someone who is absolutely wrong for you can be fun while it lasts. In this story the protagonist fully acknowledges the relationship is basically a disaster, but she's just not willing to give it up. Not quite yet.