In an album with lots of songs whose themes are variations of "please love me as much as I love you," this isa bit of a departure. It's pure appreciation of love without any expression of fear or doubt. I wrote it for Blair over the course of several years, more than fifteen years ago. I remember many drives between New York and Boston -- Blair's friend, Tall Judy, was still living there -- in which I passed the miles writing this in my head.
Blair didn't like the first iteration, as its message was a little off. I don't remember the lyrics anymore, but I do recall that the message could largely be summed up as "you help me to be a winner; you are my lucky charm." Her criticisms made sense -- the message was not as I had intended. I rewrote it to convey the message that "I am a winner as long as I have you; you are my prize." Neither of those paraphrases is entirely accurate, but they get at the idea. I liked the revised version better. Interestingly, that rewrite is something that likely wouldn't happen today. These days, my songs often get away from me and convey messages that I hadn't intended. But if I like the way a song sounds, I'll keep it even if it doesn;t say what I originally set out to say.
This is not the best-written of my songs, and its structure is a bit odd -- VCVCVBC. But I like it, and that's what matters.
Enjoy.
"Jackpot" Song by: Marc Whinston Lead vocal by Toby Wilson All instruments and backing vocals by Toby Wilson Arranged and Produced by Toby Wilson for Tobias Wilson Music, Ltd.
This song was actually my third attempt to use the title for a song. I don't remember the context, but I heard the phrase "changing rainbows" when I was in high school, and thought it would make a good song title.
My first try was a self-conscious attempt at a rewrite of Paul Simon's "59th Street Bridge Song" (often incorrectly referred to as "Feelin' Groovy." It was pretty awful. I won't cite the lyrics, though I do recall the entire first verse.
The second try was a bit better (low bar). Or, I should say it showed more promise since I never finished it. It was written from the perspective of a man asking a woman for a relationship. It kind of created the metaphor of relationships as rainbows. "You're always changing rainbows. / That's how it seems to be. / So try out the rainbow / That's me." It could have worked, though I am glad I never finished it. The album have plenty of songs that are based on a variation of "please love me (or care about me) as much as I love (or care about) you." It's good to have a different subject.
This, the third try, was just about relaxing with the rain. I have fond memories of rainy days at summer camp, where there wasn't much to do but hang out on the bunk's covered porch and watch the rain. As an adult, one of the things I wish my house had is a covered porch. When it's raining, I think about how nice it would be to just hang out on that porch and read.
This was the first recording that Toby Wilson made for me. I emailed him a lyric sheet with a message that we should talk. He naturally assumed that I needed a melody, and emailed back with some thoughts. So I had to clear up that I had a melody and just needed his services to record. If I had it to do again, I might have gone for a little more twangy guitar instead of the mandolin. But I still love the way it came out.
Enjoy.
"Changing Rainbows" Song by: Marc Whinston Lead vocal by Toby Wilson All instruments and backing vocals by Toby Wilson Arranged and Produced by Toby Wilson for Tobias Wilson Music, Ltd.
Years ago -- I'm gonna guess about fifteen years ago -- I was working late. Waiting for some information from my interlocutor at another company, I started going through piles of paper -- fighting excess paper is a never-ending struggle for me. I came across a picture of someone I had once been close to. She represented a chapter of my life that had closed. It brought back a lot of memories. Some happy. Some -- not so. Overcome with curiosity, I turned to the internet and Googled her name.
A song idea hit me. And I quickly thought of some lyrics:
Do you Google me now and again
Do your fingers hit the keyboard when
Something frees your memories
Do you Google me now and again.
Often I come up with a bit of lyrics or a song idea, I struggle to take it anywhere. In this case, I played with lyrics, coming up with a lot of lines that related a dead romance to the internet and social media. Nothing felt right. And at some point I decided to drop the internet angle in favor of the chorus that I have now:
Do you think of me now and again
Do feelings come flooding back when
Something frees your memories
Do you think of me now and again.
And still I struggled to take it anywhere. I came up with a bridge, but that was it.
At some point I started writing a story song, describing a breakup. But it was too long -- fifteen or so verses describing, in agonizing detail, an old relationship.* That was about the time that I was slowly figuring out the value of brevity in a song. Leave out some details and let the listener use his or her imagination. But I was still struggling to come up with a khop.
One morning, riding the subway to work and listening to music, I got to Billy Ray Cyrus' "Words by Heart" and realized that I was mining the same subject matter -- or similar subject matter at least. And that was when verses started coming to me. I made some progress, but still was uncertain of what we had. I approached a friend, Scott Milner to see if he would work with me on completing it. And he did advance the whole thing a bit. If I recall correctly, he came up with the passage, "Just a funny mood or a time of day / Like wanting a smoke, can't seem to put it away."
I don't remember the exact sequence of events, but I remember spending time with him in a studio in Hamilton Montana (near where he was living at the time), and we eventually had two similar demos. The lyrics were slightly different, and they were in different keys. They were slower than I liked -- Scott and I have different sensibilities. But I thought we had a good song.
A few years later, Eric Goulden (AKA Wreckless Eric) and Amy Rigby were running a kickstarter to fund their next album (which would become A Working Museum), they offered as an incentive, to record a song with a donor. I misunderstood them. That incentive was aimed at working musicians who wanted someone to produce for them. I thought they were offering to record a cover of a song -- for a fan who wanted to hear them perform, say, "House of the Rising Sun." Though they hadn't intended to offer what I thought they had, they were gracious and agreed to record one of the songs I wrote (or cowrote). For some reason I decided on this song that Scott and I had written -- probably because I wanted something faster.
When it came to recording, though, they identified a few things they didn't like about the song. They changed some of the lyrics here and there. I think that their changes were improvements -- for the most part, anyway. But the biggest change they made was the melody for the bridge. What I had written was barely different than the verses. They came up with something very different. And really good. I asked Eric if he and Amy wanted songwriting credits. He answered in the affirmative. And so, I have now co-authored a song with one of my musical idols from my high school years.** For reference, here's a lyric video I made of Eric and Amy's version.
Dig that bass...I'll admit I like their version better than the one on the album I put out. But I don't own the commercial rights to their recording.
Anyway, when it came to recording this, I don't think Toby got the vocals quite right, so I asked him to give Tim Patterson a go at it.
"Do You Think of Me (Now and Again)" Song by: Marc Whinston, Eric Goulden, Scott C. Milner and Amy Rigby Lead vocal by Tim Patterson All instruments and backing vocals by Toby Wilson Arranged and Produced by Toby Wilson for Tobias Wilson Music, Ltd.
*Not that you're asking, but it was fictionalized, with the narrative driven more by a need for rhymes than by actual memories.
**I still have vivid memories of teen youth group trips, playing Wreckless Eric songs on my boombox. His gravelly voice and strong accent elicited puzzlement from my friends, but I loved his music and didn't care that my friends didn't think it was cool. A few years earlier (and a couple thousand miles farther East) and they would have loved him.
Decades ago I spent several summers at Orthodox Jewish sleepaway camps. There, I got to hear a lot of Israeli pop songs from the era. One song that stuck with me was* "K'var Acharei Chatzot" (which means "It's Already After Midnight") a 1968 record by Ilanit. For reference, I'm including a video of Ilanit singing it.
And that was the inspiration for "Midnight Has Come and Gone." The influence is obvious. My title is close to a translation of Ilanit's. and both songs include pleas for another moment. There are certain structural similarities as well -- notably, in both songs the title is the first line of each verse. But Ilanit's song has a certain hopeful quality to it. In my song, the protagonist sounds desperate. I never really figured out the backstory, but it feels that there's some kind of forbidden affair. The line, "Tomorrow is another day and I don't want to go back to pretend," says something about what's going on. Is someone cheating on a spouse? Are two coworkers sneaking around? I honestly don't know.
"Midnight has Come and Gone" Song by: Marc Whinston Lead vocal by Toby Wilson All instruments and backing vocals by Toby Wilson Arranged and Produced by Toby Wilson for Tobias Wilson Music, Ltd.
I don't actually remember where the idea came from. But I do remember walking around the Tucson Botanical Garden with an early version of this in my head. I was trying to write a Western song, thinking about such fare as "Run the Ridges," (by John Stewart) I wanted to wrote a song that told a story about the old West. I don't really remember a lot of those original lyrics. Which is probably just as well.
That was more than ten years ago.
Particularly helpful was the realization that a story song doesn't have to tell the whole story. It can allude to elements without spelling them out. And I think that this strikes a reasonable balance between elements that are spelled out explicitly and those that aren't.
As of a year ago, I was still struggling with some of the lyrics to this, but Keith and Christina Crocker brainstormed with me and helped me get the rest filled in.
I originally wrote this in a major key, but when I approached Toby he suggested that a minor key would work better. He was right.
Tom Patterson's vocals were, I think, perfect for this. I asked Toby if he could find someone who sounded like Kris Kristofferson or Johnny Cash. This was more like Country Dick Montana, which is even better.
Enjoy.
"Bleed Me a River" Song by: Marc Whinston, Christina Zuber Crocker, and Keith J. Crocker Lead vocal by Tim Patterson All instruments and backing vocals by Toby Wilson Arranged and Produced by Toby Wilson for Tobias Wilson Music, Ltd.
In 2012 we were taking a family road trip to California. We stopped at GameStop in Nebraska to buy the kids some more entertainment. The place was staffed by some college kids who seemed kind of bored. As we waited in line to pay, I couldn't help but overhear some of their conversation. One of them complained that he didn't know what to write about for his English paper. "Write about me," replied the young lady who was working with him (and who seemed to be attracted to him), "I like when people write about me." And an idea was born.
The song itself has kind of an odd structure. There's no bridge, and it's V-C-V-C. And the two choruses aren't even the same. I'm not 100% sure why I wrote it that way. It was at least partly due to the fact that I wrote two different choruses, and I liked them both enough that I didn't want to discard either one.
When I wrote this, I was imagining it as being sung by a woman. I think it's the only song I ever wrote with a woman's voice in my mind. Toby, with his array of contacts, had no problem finding a suitable female vocalist. But when he sent me an mp3 with his vocal (which would serve as a guide for the hired female vocalist), I started to have second thoughts about whether it needed a female vocal. But I decided to stick with my vision and go for the female vocal. But then, when I heard Bryony's version I had another idea. I asked Toby if we could experiment and create a duet, seeing as we had a version with his vocal and one with Bryony's. All I had to do was decide which parts would be sung by the man, which by the woman, and which by both. It worked way better than I had hoped.
When I was first sequencing the album, I put this track first because it's one of my favorites and because it's probably the most upbeat song on the disc. But a Eytan Mirsky suggested I move it so as not to open with a duet. Don't use all your powder right away. That made sense, so I moved it to the third spot.
I also included the female-only and male-only versions of the song as bonus (never-before released!) tracks at the end of the album. There were many personal jokes that I was tempted to throw into the project -- fake names in the "special thanks" section...stuff like that. But I decided to treat this project seriously, and so left out all the jokes. Well, almost all the jokes. I did include the four "bonus" tracks at the end, packaging everything to look as if this was a rerelease of an earlier album. Just a small joke. I couldn't resist. Three of those tracks are alternate versions of tracks on the album.
Enjoy.
"Write a Song About Me" Song by: Marc Whinston Lead vocal by Toby Wilson and Bryony Ward All instruments and backing vocals by Toby Wilson Arranged and Produced by Toby Wilson for Tobias Wilson Music, Ltd.
"Un-Grand Canyon" is unique among the songs on the album in two different, but related, ways. The first is that it represents the first time that I wrote a melody for someone else's lyrics. Back when I was in high school, and starting to write songs, I was really only writing lyrics. On the few occasions that a melody got attached to my lyrics, it was because I brought them to a friend and asked for a melody. So, as a personal matter, there was pride in finding myself on the other side. The other is that it's the only song on the album which wasn't really my concept. While I, as the composer of the melody, share the songwriting credit, the fact is that this is Christina's baby. The other songs that include co-writers were my babies. I had the ideas and wrote them mostly by myself. My co-authors contributed words or music, and are therefore credited. But, again, this track is really Christina's song. My only contribution to the lyrics was as an editor. As I discuss below, Christina wrote a poem, and I did some editing to try to shoehorn her words into a song-like format. I note that this is the only track on which the credits list my co-author first -- again, because this one is really my-co-author's conception.
So how did it all come about? Early on in the process of assembling recordings for the album, Christina asked me if I'd be interested in setting any of her poems to music. I said I'd try, but made no promises. Christina shared two lyrics with me, this being one of them. Christina's poems are very different than my songs, which in and of itself increases the variety on the album. "Un-Grand Canyon" is kind of an elegy for New York City, Christina's observations on a city which may have passed its peak. The other lyric she gave me, which I did not work with yet*, is about riding the subway. It's not quite as negative, but there's still a bit of a jaded tone to it.
Christina's lyrics are dense with clever cultural references:
Midnight Cowboy's been fired. Tiffany's breakfast seems tired. Woody's been shamed. Hamilton's no Mame.
This is stuff I could not not have written -- I wish I could have, but that's just not a style that I can do. But I could edit it. Above, I mentioned that Christina gave me poems. I wanted to edit this down into a song without changing the tone -- and I think I succeeded if I do say so myself. Of course, maybe I didn't do as good a job as I think; if you write out the lyrics, you'll see that the scansion is wildly inconsistent. The fact that this worked as well as it did -- and I have heard from a few people that this is the best track on the record** -- is a testament to the skills of Toby Wilson (who arranged and played on the track) and Eytan Mirsky (who generously provided the lead vocal). FWIW, you can hear (and purchase) Eytan's music from (among other places) Bandcamp.
I was still working on this late last summer when most (all? I'm not sure) of the rest of the album had been recorded. Christina and I liked the arrangement that Toby came up with (actually, the second or third, but who's counting), but didn't think his vocal did the song justice. We wanted a singer who sounded like a New Yorker and who could capture the world-weariness necessary for this song. Eytan Mirsky*** agreed to give it a go, and the result was pure magic. As I noted above, this must have been a real challenge because of the odd scansion. I was a bit nervous about how it would come out, but I am really pleased with the results.
"Un-Grand Canyon" Song by: Christina Zuber Crocker and Marc Whinston
Lead vocal by Eytan Mirsky
All instruments and backing vocals by Toby Wilson
Arranged and Produced by Toby Wilson for Tobias Wilson Music, Ltd.
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*maybe next album?
** I don't think it is (sorry, Christina), but I'm biased. ***A little bit of background is in order. Eytan is a New York-based singer-songwriter who has achieved some measure of success writing songs for several indie films such as Happiness, American Splendor, and The Tao of Steve. I've been something of a fan since I first heard his music in the 1990's -- I just love "I Just Wanna Be Your Steve McQueen." I ran into him on the subway about 2½ years ago. My son, Ethan, was embarrassed when we were waiting for a train and I suddenly approached what looked like a random stranger and said "Excuse me sir, are you Eytan Mirsky?" I think Eytan got a kick out of being recognized. We've been friends since.
As threatened, I am devoting a series of Tunesday posts to the songs on my album. Today is the first track, the title track, "Music No One Else Can Hear." If you don't want to hear lots of detail about how the song came to be, feel free to listen to it anyway.
The song has its roots back when I was in high school. At the time I was writing a lot of songs.* They all pretty much sucked. Most of them are long-forgotten, though I remember some titles and some passages. I have no memory of the actual song I wrote back then -- or even if I wrote one or not. But I remember the inspiration. I was hanging out at Tony's**. Actually, I was sitting on the roof of the car parked outside of Tony's. A friend, Melinda, borrowed my walkman.*** She started listening. And then she started dancing. After maybe a minute of that, she gave it back. With a slightly self-conscious laugh she said something about how she'd better stop because she's dancing to music no one else can hear. I don't remember the exact words, but that final phrase struck me as a great song title. And that's how most of my songs began back then -- with a phrase that I thought was catchy. Come to think of it, that's still how I do it a lot of the time. As I noted above, I really don't recall whether I wrote a song to the title back then.
The first version I remember anything about dates back to my grad school days. And it happens to be a pretty direct ancestor of the current song. As my first year at the University of Michigan approached its end, I started dating someone named Anne. But I went home to New York for the summer, while she spent her summer in Detroit. And, while we were apart, I wrote her a song.
I'm not entirely sure how it came together -- whether I decided to write her a song, or whether it came to me. Sitting with my guitar, I started writing to the tune of Air Supply's "All Out of Love." Air Supply's song begins:
I'm lying alone With my head on the phone Thinking of you 'til it hurts. I know you hurt too But what else can we do, Tormented and torn apart?
I wrote:
I'm lying in bed With you in my head Wondering where you are now. Tell me, can it be? Are you thinking of me, Even though I'm not around?
And that was my first verse. I continued with a chorus, At this point I kind of made up a melody as I went along. If I recall correctly, this was the first time I attempted writing my own melody.
Your song is with me, wherever I am, Even when you're not here. And all around me there's music, Music No One Else Can Hear.
I wrote more, but I don't remember any of it. I played the song for Anne when we saw each other again at the end of the summer. I remember sitting on my bed, with my guitar, my leg shaking with nerves because I had never before played a song I wrote -- much less for the girl I had written it for. I don't know -- I'll never know -- if Anne liked the song, but she appreciated the effort.
There have, over the years, been many iterations of the song. One of them even ended up on an album by The Milner Brothers - a result of my playing it for Scott Milner on a camping trip. The current version is in the video above. The first verse is, almost word for word, the first verse and chorus that I sang for Anne almost 35 years ago.
And it's the title track of the album for no better reason than the fact that I think it's a great title for an album.
"Music No One Else Can Hear" Song by: Marc Whinston Lead vocal by Toby Wilson All instruments and backing vocals by Toby Wilson Arranged and Produced by Toby Wilson for Tobias Wilson Music, Ltd.
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*More accurately, I was writing lyrics. I still didn't feel that I could set anything to music.
**Tony's Luncheonette, a small hangout spot next door to the school.
***Unimportant detail: in the walkman was a copy of the Dave Edmunds album, D.E.7th
I hadn't thought about this recording in a while, but it started playing while I was working today.
I am fascinated by songs that sound really cheery while covering really sad or unpleasant topics. And this is a perfect example. Listen to the happy vocals and harmonies, all in service or retelling the story of the Titanic. I particularly like the understatement of the line, "it was sad when that great ship went down."
Fans of Dr. Demento (yes, invoking that name definitely dates me) are likely familiar with "Bulbous Bouffant," a little verbal sketch by The Vestibules that has gotten a lot of play on his show. "BB" has also been featured on at least one Demento-branded compilation.
We were talking about it and I wondered what else The Vestibules did. And I found this little gem, "I Don't Want to Go to Toronto." And I love it, so I figured I'd share it here.
I do note that I listened to some other stuff and came across "Something's Wrong with Gilligan's Island," which is also very entertaining (but not quite as entertaining). I bring this up because I note a very thematic similarity between the two. Both feature a grungy but catchy refrain and hook which is endlessly repeated. Over the refrain, someone shouts a litany of absurdist exclamations that support the title of the song. For example, "Something's Wrong with Gilligan's Island includes (among other things) the assertion that "The boat is no longer called "The Minnow." It's now called "The Daily Special Includes Soiup and a Salad!" I love it. I love both. But I wouldn't want to listen to a whole album of it back to back to back to... Inserted, mixed in with my music collection, it would be perfect.
It's been quite a while since Dr. Feelgood, one of my favorite bands, put out a new studio album of new material. And now the Facebook arguments begin.
I say that because of the band's history. At this point the group has spent more than half of its life without any of the original members who made it famous. They were formed in 1971, but by the mid 1980's, frontman Lee Brilleaux was the sole original member. At that point the band had become Brilleaux and an occasionally changing lineup backing him. That changed when Brilleaux died in 1994.
After Brilleaux died, two of the members got together with another former member, hired a new frontman (Pete Gage, who was subsequently replaced with David Kane) and soldiered on. The group has been much more stable since Brilleaux's death, but albums have been less frequent. There have been three studio albums of new recordings since then: On the Road Again (1996), Chess Masters (2000) and Repeat Prescription (2006)*.
So, on Facebook groups I often see debates about whether, post-Brilleaux, the band's claim to the name is legitimate -- and whether they are worthy of the name. I stay out of those fights -- as I try to stay out of most fights on Facebook. In the case of this fight, the band is, officially, Dr. Feelgood. And they are, from what I can gather -- though I have not seen them perform live, a damn good R&B group.
At any rate, they have a new studio album, Damn Right!, coming out next month. From what I have read, it consists of all new material. Including this gem, "Mary Ann."
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*And it's worth noting that two of these albums were, arguably, gimmick releases. Chess Masters was a collection of songs from the old Chess Records. Repeat Prescription was a collection of new renditions of the band's old material.
"It's a Sick Sick World" (from the 1989 album, Le Beat Group Electrique) is among my favorite Wreckless Eric songs. And here he is, in 1989, performing it. If I'm not mistaken, the other two guys are Andre Barreau (bass) and Catfish Truton (drums) who played on the album. I absolutely love this recording.
Of course, "It's a Sick Sick World" is actually the second song in the video. Before it comes "Tell Me I'm the Only One," which is also from Le Beat Group Electrique. It's a good song, but not as good.
"Un-Grand Canyon" is another in the series of recordings of songs that I wrote or co-wrote, which will appear on the album by "The Marc Whinston Project" (or whatever "group name" I choose to brand it with).
But this is unique. Most of the songs for the project were written only by me. There are also a few songs that are primarily mine, but that have coauthors. For the most part, these involved a little wordsmithing (by others) on a song that was almost completely written by me. I still think of those as "my" songs.
But "Un-Grand Canyon" is different. This is Christina's baby. It started with a poem she wrote, and I tried to turn it into a song. There was some restructuring, and I changed a few words. But the lyrics are hers. I set it to music -- the first time I had ever done that for someone else's words. That was a new challenge, as I really wanted to capture the drear that Christina wrote about.
I think I succeeded, but Toby's arrangement and Eytan Mirsky's vocals did a lot of the heavy lifting.
I am really looking forward to putting this on the upcoming album. I never could have written her lyrics; they are in a style that's alien to me. And the finished product is very different from anything else in the album project. The closest to it is "Five Missing One," but this sounds much better. It also mines a topic that I really haven't approached at all on my own, so in that sense it contributes to variety. Plus, it was my first attempt at setting someone else's words to music. And I am really pleased with the results.
Things like this happen occasionally. I don't know how long I've had this CD in my collection. I have no idea when or how I got it.
Actually, I have one idea. Most likely I got it from freecycle with a bunch of other CDs. I then got the CDs home and went through them all, giving cursory listens to each and deciding quickly which ones were worth keeping. The Captain by Kasey Chambers was one of those that I deemed worth keeping. So I ripped it to my computer, boxed up the physical CD and forgot about it.
But when I work from home I have my computer playing music from my collection on shuffle. When "You Got the Car" came on, I was immediately struck by how much I like it. This is great pop music.
I also, for what it's worth, went to Spotify and addded the track to my "Assorted Stuff" playlist -- which is what I play from my phone when I am not by my computer. For example, when I work in the office, or when I'm driving.
I've loved "Do Anything You Wanna Do," a 1977 single by Eddie and the Hot Rods for a long time now. I have felt that this was a truly underappreciated record. But something hit me just recently.
The anthemic nature, the narrative of escaping from a life of unremitting grunge... This is, thematically very much like Bruce Springsteen's early works.
With that thought in mind, here's a Tunesday post...
Some years ago I made a minor joke and no one laughed. I remember the situation, but that's not important. I don't remember what the joke was. But when no one laughed I mumbled "well, it was funny in my head." And an idea was born.
Years later, I had most of a novelty song written. I ran it by my friends, Christina and Keith Crocker, who helped me put the finishing touches on it.
I have another recording with a slightly different mix. In the one above, you'll note that the final lines are sung by a woman, the wife in the song. In the alternate, those lines are sung as a duet by the husband and the wife. I asked Keith and Christina which they like better. Keith likes this one, Christina prefers the one with the duet at the end. But I went with this one, because I like it better. Sorry, Christina...
Now, if only I can get it to Dr. Demento's ears...
The potato knishes song (by Ratboy Genius) is oddly soothing. And oddly disturbing. In fact, it is possibly the strangest mix of soothing and disturbing that I have ever heard in a song. With the possible exception of "Band on the Run" by Paul McCartney & Wings.
I'm not a huge Fred Haring fan. I have one of his albums, which I picked up somewhere along the line. Probably from freecycle. I must have given it a listen when I got it and decided to keep it. So it's in my collection, and it's been ripped to my computer. But I never had the energy to devote to following him, so I know very little about him.
While I work from home I often have my music collection playing on shuffle. Sometimes that means I'll hear something I don't immediately recognize. And sometimes that's a huge treat as I hear something and think, "Damn, that's really good!"
And that happened today. It had good lyrics, a memorable refrain and a catchy hook. So I had to pause my work to check what it was. I note that that's not a herculean task, but it's lightly more work than you might realize, since I have both my work computer (company property) and my personal computer hooked up to the same monitor, keyboard and mouse so I have to do a little toggling.
Anyway, the song that caught my attention was "There's a Song in My Head" by Fred Haring. This is a really great song. I wish I had written it. I'm gonna have to back up and listen to more of his music with a careful ear.
There is no Wikipedia page for Fred Haring, but he does have a website.
I'm not a huge Fred Haring fan. But maybe I should be.
