I am a musician and songwriter (primarily guitar and mandolin, but with amateur forays into banjo, fiddle, concertina, percussion and keyboard), jammer and jam host, recording engineer, producer, studio mole and occasional performer.
When I perform solo, I'm hank49. When friends accompany me, we're hank49 and Loose Canon. Loose Canon is an ever shifting assembly of fellow musicians including Tom Edwards, Mitch Prevatte, Brian Chaney, Kevin Chaney, Lena and Jason Redding, Bronson Shanahan, Robert Darlington and more.
NEWS
Live versions of 6 originals recorded June28th, 2009 at The Unitarian Universalists of Fallston are posted and available. They are the last six tunes on my playlist. Thanks to Mark Nolder for help on percussion, sax, bowed psaltery and hammered dulcimer. And thanks to Tom Edwards for harp on "That's All". Thanks to John Seay for photography.
Twigs And Seeds
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06/17/09 @ 09:26 PM
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05:60
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Music
description
Live performance of a cover song by Jessie Winchester
Do you play live?
I perform in and around Baltimore Maryland. Recently my favorite venues are the Gordon Center and The Unitarian Universalist Chuch of Fallston. But it once was The Cup coffeehouse in Belair, MD (since changed hands). I also like Huckleberry's in Abingdon, MD.
I usually get pretty good sound and audio recordings when I am in charge of the sound setup. I recorded a show at UU Fallston last December which yielded, after post production and some mastering, several very nice recordings of excellent local performers including Laurie Ballantine and Karen Oliver, as well as Hank49 and Loose Canon (yours truly).
I usually get pretty good sound and audio recordings when I am in charge of the sound setup. I recorded a show at UU Fallston last December which yielded, after post production and some mastering, several very nice recordings of excellent local performers including Laurie Ballantine and Karen Oliver, as well as Hank49 and Loose Canon (yours truly).
How, do you think, does the internet (or mp3) change the music industry?
The internet shows great promise in cutting out or at least minimizing the middle man role, best exemplified by the now waning influence of the record companies.
This allows a closer relationship between artist and listener and can help to assure that artists get nearly all of any money paid for their work. It's been a long time comin'.
If anyone is interested in licensing any of my work, please contact me via email.
This allows a closer relationship between artist and listener and can help to assure that artists get nearly all of any money paid for their work. It's been a long time comin'.
If anyone is interested in licensing any of my work, please contact me via email.
Would you sign a record contract with a major label?
Sure, I'd consider it. Perhaps the day will come when such labels are obsolete but even now as technology continues to change the musical landscape, such contracts still have advantages.
Your influences?
Everyone and everything I have ever heard is an influence one way or the other.
Favorite spot?
Between the toes.
Equipment used:
Martin D15 Mahogony, Guild D50, and Taylor 410CE acoustic guitars. Fender Strat and Telecaster, Gibson ES345 and Guild Starfire II electric guitars. Ovation acoustic bass; Ibanez electric bass. Fender and Rhaphsody and Michael Kelly mandolins; Honor concertina and Palatino fiddle.
Mackie and Yamaha mixing and Tascam recording eq along with Windows PC based recording and editing hardware and software.
ART, Lexicon, Behringer, Fishman, Digitech, Morley, BBE and Yamaha signal processors.
Crown power amp, Yamaha S115V speakers and Stagepass300 portable PA.
Mackie and Yamaha mixing and Tascam recording eq along with Windows PC based recording and editing hardware and software.
ART, Lexicon, Behringer, Fishman, Digitech, Morley, BBE and Yamaha signal processors.
Crown power amp, Yamaha S115V speakers and Stagepass300 portable PA.
Anything else...?
Right hand, left hand, both ears, pineal gland when available, at least one foot, instinct, inspiration, luck, both sides of the brain and my voice, such that it is.
Music
Brand new recording. Alas, still a couple of flubbed guitar figures closer to the end. I'll get it right, I swear. but this is an improvement over the first. This one was recorded on September 21, 2009.
Traditional
Recorded and produced by hank49 at Witcraft Manor, September 2008. Guitars, vocals and bass by hank49 - harps by Robert Darlington.
Another live recording, warts and all. Straight ahead country type folk ballad about a guy and his 'significant other', with just a couple extra chord changes thrown in for 'good measure'. A love song about substance abuse.
Dulcimer, fiddle, madolin....anyone? This one will stay an instrumental.
Drop D e-string and nobody gets hurt.
All tracks MJ Redding. Right now it's four acoustic guitars, one bass and vocal.
Brand new take recorded on March 7th, 2009. A Folk Blues with a 13th feel in the lower register utilizing the key's flatted fifth throughout. The bridge's chord movements are especially interesting.
Rough multitrack concept mix for a Nashville style tearjerker Sunday-go-to-cheatin' song. Updated take from March 8th, 2009.
Man in good mood. Woman in bad mood. Resulting conversation. Glass half-full.
This mix has a nice new harp part contributed by Robert Darlington of Translator - soundclick.com/robertdarlington
A rocker about leaving - leaving a normal life, leaving a lover for another, running away from home like a bored border collie, or bailing out on a belief system finally seen for what it is.
Recorded live August 29th, 2009 at Witcraft Manor. This is a jam session take with Mike Redding, Robert Darlington, Dave Eske, John Seay, Tom Edwards and Bob Bauer as engineer.
For Sashah Alexander Shulgin, Albert Hofmann, and for their spirits. Hats off in the temple, kids!
A casual, yet neo-classical (albeit on steel strings) approach to a new song about my life in Baltimore.
Bluesy, folky, a little jokey. For hometown boy and World Champion Michael Phelps. This take is an updated one, recorded March 6, 2009.
My Seasonal Affective Disorder intersects with radical economic theory. I'm working all the time.
'Great song written and performed by Robert Darlington of Translator(soundclick.com/robertdarlington) recorded/produced by hank49 at Witcraft Manor.
TURN THIS ONE UP! Ah, yes...a theme we can all relate to.The fundamental attraction between the sexes. A recent jam cut, this is a good prototype for how this one should be done. Just a little audio soft-soap opera neo-porn - on the soft side.
This is a cover of a song by Missisippi John Hurt. I'm satisfied. I'm tickled too. I'm old enough to.... Acoustic guitars by Mike Redding and Robert Darlington. Vocals by Robert Darlington. recorded September, 2008 at Witcraft Manor Studios.
Me, a young Finnish Lapphund border collie, a cloud of dust with a hearty 'Hiyo Silver', and another brilliant Autumn to be alive. Also in memory of Blizzard - Dog of the North, our great matriarch Finnie from yesteryear.
For Cuqui - Happy Anniversary!
Another quick home studio 'everything you hear is me' take of my newest song. What's it about?
A bossa nova on steel strings.
Let's get metasphysical, baby.
This was recorded in a Nashville studio largely dedicated to producing quality demos. They did a great job arranging the song for the country genre. Later, I'll post the first rough mockup I did in my humble home studio.
They say you should write from experience....
A Love song, pure and simple, from a very true story. One of my better lyrics, I think.
A love song about the girl next door. All tracks - Mike Redding.
Another Witcraft Manor jam cut, this time from May of 2006 with John Seay, John O'Hara, Bob Darlington and Mike and Lena Redding.
A nice progression with some interesting melodic parts or ideas.
An acoustic fingerstyle instrumental piece inspired by the incomparable landscape of Harper's Ferry, West Virginia.
You tell me? This uses some of the same finger positions as 'Now It's Comin' Back To Me' but in a much more transitory way. Here, especially the bridge, uses lots of open string positions in standard tuning, with some resulting dissonance
A tune I've had for a while. Song and all tracks - Michael J. Redding. Two acoustic tracks, the vocal, a bass, an electric ('71 telecaster), a clumsy conga and a modest concertina solo.
Nothing fancy, just direct - Played on guitar but suitable for piano, upright and a few strings too.
A steel string fingerstyle piece with a classical edge; another instrumental. Believe me, it's best that way.
An interesting progression with a whole lot of movement and, hopefully, meaningful lyrics.
An introspective and nostalgic look back to yesteryear; kinda country. John Hill - vocals; John Grant - MIDI guitar pedal steel sound. Production - John Seay; Recording Engineer - Mike Kruba.
Imagine Keith Richards and Tom Waits stumbled into one, then somehow sober, and in love with you.
Casually done during routine practice, this is a cover song - one of Steve Earle's. What a great songwriter. Thanks, Steve.
This is a great song by Robert Darlington of Translator. I'm uploading it as a cover since it's Bob's tune, but it's not exactly a cover in the traditional sense. This take is from Bob and I jamming at Witcraft Manor on September 27, 2009
Another great tune recently penned by Robert Darlington of Translator. I'm uploading this as a cover since it's Bob's tune, but this track is taken from a recent jam. See below for more info.
Another Witcraft Manor jam with Mike Redding backing Robert Darlington on an acoustic version of his "There Next To Your Heart". Great lyrics, as usual.
A Townes Van Zandt song - another cover from practice. Great songwriter and song.
Another cover from the August 29th attic jam at Witcraft Manor - "Six Days On The Road", with Dave Eske leading the charge.
Another cover, this time of a great song by John Hiatt
Still another live take of this tune. This one is from the Dixie Rain party, recorded live in the my neighbor's living room after we had to hustle inside & re-set up an entire production stage of equipment after being rained on in their back yard.
My first twisted 'vision' of the music a 'catfight' might require.
Recorded live by Witcraft Creative Services and Flying Olive Productions on April 1st, 2006 at the Cup Coffeehouse in Belair, MD. This one's a jump kind of folk romp, based on a true story. 'Best label is 'Insurgent Country' for this one!
Guitar and vocals - hank49 Bowed Psaltery - Mark Nolder
Photos

