The American War CD


Rogues On The Way
$12.95 includes shipping and handling

The Musicians:

John "JB" Babich (keyboards, drums, conga)
JB  worked the controls for both this CD and The American War. He is my close collaborator and studio co-conspirator. He has impeccable ears, taste and ability. In a project like this, a person like JB is the glue.

Jeff "Stick" Davis (electric bass)
Stick was on Journey Proud and every recording I've done in Nashville since. When you find the best, you "stick" with the best.

Leon Frost (mandolin, percussion)
"Uncle" Leon is from an old Southwest Virginia family. He lives in Galax, VA and is steeped in bluegrass and old time music. He also enjoys a great reputation as a percussionist and producer in all the studios in his part of the world, appearing on rock, gospel and pop records. We've been good friends and pickin' buddies for over 35 years.

Mike Snelling (acoustic bass)
Mike is a stand out and stalwart of the North Florida bluegrass and "new" grass scene. He is in huge demand in a variety of musical vehicles, and I was lucky to get him to fit my sessions in. A great cat and a great player.

Missippy James (electric guitar)
James was on my first studio effort in the mid 1980's, and I've been a fan of his ever since. When I figured out how I wanted certain tracks to sound, it was easy to imagine James playing the licks. He came in and made my dreams come true, but that is standard operating procedure for him.

Larry Bullock (Pedal steel guitar)
Larry hails from Camilla, GA and is a consummate player. I love the ideas he came up with and I enjoyed working with him.

Wayne DeWeil (electric bass, 6 & 9)
Wayne's an old friend and a seriously "hardest working man in show business". He came in and delivered the goods like the pro he is.

Mimi Hearn and Lori Kline (harmony vocals).
If you get the CD, you'll see I dedicate it to my great friend and fellow musician  Mimi Hearn. She and I once had a duo advertised as "Gram Parsons and Emmylou Harris Meet Motown". Lori was a wonderful addition to the record, a great spot on singer. One take, done, see ya!

Track By Track

  1. Something 'Bout A Woman (Reid - Russell) - When I opened up for The Guess Who in Mobile, Dale Russell was their lead guitarist. We later hooked up in Nashville and had a good time writing. Dale is currently back in his native Canada sponsoring songwriting programs in the public schools. I'm honored to say John Lee Hooker was a friend. Once an interviewer asked him to define the blues. John said, "it's something 'bout a man, something 'bout a woman, something 'bout a woman and a a man."

  2. Livin' In The South (Andrews - Reid) - John "Blue" Andrews was a local football star, a Marine, a veteran of several tours of duty and Purple Hearts in Vietnam, a self-described "Zen Christian", a PHD of education, sailor, poet, philosopher, songwriter, performer and as courageous an individual as you've ever met, living with considerable pain and ailments until his noble heart gave out at age 56. He only co-wrote one song in his life. This is it.

  3. Ridin' Down Life's Highway (Reid) - I was married for 22 years, and I've been engaged a couple of times since the divorce. I know a thing or two about relationships.

  4. Work Ya To The Bone (Reid - Singleton) - What's the cliche? No gravestone ever said, "I wish I'd spent more time at the office?" I think I'll put on mine, "Just passing through."

  5. Why Do They Call It A Heartbreak (Reid) - A sad song. Inspired by the death of someone near and dear, not the sea changes of love, although it applies.

  6. I Didn't Check In (Reid - Graham) - I was buried in the studio with Steve Singleton one cold November day in Nashville. We'd been at it for eight hours and could see another four hour shift coming up to tweak and mix and so on. My wife had a day off that day, and we'd planned a home cooked supper and some quality time, shall we say. I called and gave her the heads up, and as I hung up the phone, said to the crowd in the control room, "That's the key to a successful marraige, boys, always check in." One of our session singers said, "Man,one time I didn't check in and my baby checked out." We all looked at each other. Are you gonna write that...?

  7. Everybody's Dancing (Reid - Singleton) - Written with the above mentioned Steve Singleton. He's been in the biz all his life, as Mom Marge Singleton was a country star of the early 1960's, and Dad Shelby bought Sun Records from Sam Phillips. Like John Blue, he seldom collaborates but I love what we've done.

  8. Lyin' (Yancey - Hogan - Singleton) - Written by Rick Yancey, Dan Hogan and another Singleton, Don, all longtime  Memphis guys. I managed GYG in Nashville in 2003-4 and Lyin'  was part of their reptoire. Like Uncle Joe's TV on Journey Proud, my thinking was, if I never make another album, I want this song on this one.

  9. I Don't Know This Country (Reid) - I'm not clear as to why it is a good idea to blend all kinds of cultures and music in the name of diversity. What's termed as "country" these days coming out of Nashville is a mishmash of tepid rock and roll, gratuitous novelty songs, and just plain old shallow pop music. I like the Merles of country music - Haggard, Travis, Watson, for starters. I like Buck Owens, I like Rodney Crowell and Johnny Cash. I like Dolly Parton and Little Jimmy Dickens and Waylon Jennings. These cats are all over the map, but they're still COUNTRY.

  10. A Million Reasons (Reid - McCune) - Pat McCune is a world class finger picker, a fine scion of Ireland, and like me, knows a thing or two about relationships and multiple engagements. This song arose from a long night of examining "something 'bout a woman and a man". Apparently there's a pattern here: this is the only song he's ever co-written.

  11. Waycross, GA (Reid) - I wrote this for the Frank Brown Songwriters Festival in 1989. I'd just begun to play at the Flora-Bama, and they generously invited me to the festival that fall. I figured I better write a batch of new songs, and this one was the best.

  12. Lay Your Weapons Down (Moore - Reid) - This song has its origins in the Vietnam era. The first version was written in 1971. Both George Moore and I had draft lottery numbers that could have been called, and we were very much on the front lines of all the street politics, anti-war protests and Free Yale University movements of early 1970's New Haven, CT. In those days, the music was part of the political, and all was geared towards ending the war. We updated the song, but the war stuff is still the same, all over the world. Take it from an expert, William Tecumseh Sherman; "War is cruelty. You cannot refine it."


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 D r e w R e i d , I n c .