Michael Hughes
I worked as a musician for about ten years after I finished my BA in English lit, which didn't sound nearly as interesting at the time as playing music. After an enjoyable but wasted youth of bands, solo & studio work, ten thousand nights in clubs & lots of touring, three albums with David Mallett, and a few years as a music journalist and free lance editor, I saw the writing on the wall. I said goodbye to all that & began teaching high school English & started building my project studio.
I've been recording stuff for a while now--people in the community, friends and students of mine. Some of the music up on my page was recorded on an earlier system (a Roland VS-1680), and some was recorded on my current system. As much as anything else, I'm interested in the art & science of making good sounding recordings.
I do original stuff and arrangements of music from a variety of sources. I'm trying to get at an emotional vibe and that elusive buzz with each recording, a core that I hope comes through in the sound of the instruments & the way I play. I've also recorded with some wonderful singers, too.
Most recently I've been playing & recording with a variety of different bands--The Anti-Depressants, The String Band From Hell, and a bunch of local geezers known as The Suck Tones. We like country blues, string-band band music, Hawaiian stuff, Western Swing, jazz and other less-definable sounds. Basically, we'll try anything, and with varying degrees of success, haha! These guys won't win any beauty contests, but at least they show up and sometimes they're in tune.
I've been recording stuff for a while now--people in the community, friends and students of mine. Some of the music up on my page was recorded on an earlier system (a Roland VS-1680), and some was recorded on my current system. As much as anything else, I'm interested in the art & science of making good sounding recordings.
I do original stuff and arrangements of music from a variety of sources. I'm trying to get at an emotional vibe and that elusive buzz with each recording, a core that I hope comes through in the sound of the instruments & the way I play. I've also recorded with some wonderful singers, too.
Most recently I've been playing & recording with a variety of different bands--The Anti-Depressants, The String Band From Hell, and a bunch of local geezers known as The Suck Tones. We like country blues, string-band band music, Hawaiian stuff, Western Swing, jazz and other less-definable sounds. Basically, we'll try anything, and with varying degrees of success, haha! These guys won't win any beauty contests, but at least they show up and sometimes they're in tune.
Your influences?
Just about everything I've ever heard--rock, pop & some of the great contemporary post-punk stuff, machine music, jazz, early music, Baroque music, 20th/21th century classical, contemporary acoustic-based music, soul, Motown, R&B, New Orleans music, songwriters, all of the great guitar players, American roots-oriented stuff, early country, African & Middle Eastern musics, and, always, country blues.
Learning to play different instruments has also shaped my sensibility. Taking up the mandolin, for example, led me to bluegrass, string band music, turn-of-the-century mandolin orchestras, and Celtic, Italian and Russian music.
Learning to play different instruments has also shaped my sensibility. Taking up the mandolin, for example, led me to bluegrass, string band music, turn-of-the-century mandolin orchestras, and Celtic, Italian and Russian music.
Favorite spot?
Working in my garden in the early spring or in my studio at 3 a.m.
Equipment used:
My basic setup: Digi 002 & a G5 with Waves. Great River & a Milllennia for preamps along with a collection of good mics. Instruments I play on these recordings include: a Moreira classical guitar, Fender & Parker Fly electrics & Martin steel-string guitars; a 5-string Shector electric bass and a mid-50s Kay stand-up bass; a 1938 EH-150 Gibson lap steel guitar, a 1953 Gibson Ultratone 7-string lap steel, a Remington table steel, a National steel guitar, and an Exel "frypan" 8-string lap steel; an old Martin ukelele, a 1920s era Gibson A-1 mandolin modified with a fifth course, & an octave mandolin; a mid-'80s Dobro, a Bart Reiter open-back banjo; a djembe and various percussion instruments; and a Fantom X8 sequencer for keys, drum programming & other sounds.
Anything else...?
What's so funny 'bout peace, love and understanding?
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Music
Sarah Radovich, vocals; National steel, guitar, bass by yrs truly; Jeff Learman, piano; Chris Houle, drums; mixed by Bruce Valeriani of Blue Bear Sound, Ottawa; mastered by John Scrip of Massive Mastering.
An early Sunday morning improvisation, with the sweet old dog asleep in the next room. Dobro solo--trying out a C6/Am7 tuning & I think I really like it.
Based on the memory of some recordings of guitar music from Zaire. Another one inspired by Ezra. Two 'rhythm' tracks from a table steel in C6 tuning, lead from an old Gibson lap steel; acoustic guitar, bass and percussion. The Suck Tones here.
The String Band from Hell just finished up a year-long gig in Dis, which is why my clothes smell like sulfer. Banjo, mandolin, djembe, fiddlesticks, stand-up bass, acoustic guitar, lap steel & vocal stylings. Note: Play this one very, very loud.
Maybe you know the feeling? You thought you had something, and then it's going, going, and one day it's just gone, man. And, of course, that look on your face...The Anti-Depressants on lap steel, guitar, strings & stand-up bass.
One of those beautiful traditional American songs pulled up from the well by Bascom Lamar Lunsford in North Carolina in the 1920s. The Suck Tones here as a southern old time string band. This one's for Lou, Grant & Michel, the railroad men.
My take on Silent Night by Franz Gruber, who composed it on Christmas Eve, 1818, in the schoolhouse of Arnsdorf, Austria. Two steel-string guitars in 'Nashville tuning,' National steel guitar, acoustic bass--The Snowplow String Band. Thanks, Franz!
The Snowplow String Band here with a little seasonal country waltz around the subject of dreams. This began life as an instrumental, but just a few days later it grew some lyrics. Acoustic guitar, stand-up bass, mandolin, piano and lap steel.
An instrumental from The Suck Tones inspired by the soundtrack of Sponge Bob and a question from Ezra. Remington 8-string table steel, mandolin, ukelele, acoustic guitar, electric bass & brushes on the djembe.
A slack-key tune, trying to get at that aloha feeling, and Lord knows it's elusive sometimes. Slack-key steel-string (DGDGBD), National steel guitar in the same tuning, octave mandolin and my old blonde Kay stand-up bass.
A brilliant song by Tori Amos. Katrina Freedman, vocals; yrs truly guitars & fretless electric bass. Recorded with permission.
A shameless tribute to the late Israel Kamakawiwa Ole. Shane McMahon, vocal; yrs truly, guitar & octave mandolin. That's Shane in the pic.
A little nocturnal piece from The String Band From Hell. Steel-string guitar, mandolin & octave mandolin. We've gotta returm to this one & make it sound like a guitar and mandolin orchestra...
We wanted this to feel like the last waltz at a summer night's contradance at the Liberty grange. A song for my mother. The Suck Tones on National steel, octave mandolin, guitar, bass & piano.
From the Silver Lining project. Jen Hinkley & Silver Lining vocals; John Neal, organ; Jeff Learman, Rhodes; yrs truly guitars, bass, Dobro. Used by permission of Mr. Joe Zawinul. One of the best summer songs.
A traditional dance tune done on mandolin & guitar.
A poem by Alfred, Lord Tennyson, perhaps the greatest short death poem written in English. He liked to include it as the final poem in his anthologies. See lyrics for the poem. Katrina Freedman, vocal; Kim Blais, accordion; yrs truly guitars, bass, k
My guitar arrangement of the piano composition by Abdullah Ibrahim. For Stephany--such a long night, and such a big mountain. Classical & steel-string guitars, electric bass.
An impromptu recording of the Laura Veirs song. Michelle Morgan sang, & I played the guitars. There's just something about this one...
One of two versions I've heard of this beautiful Turlough O'Carolan composition. Guitar & mandolin; this is a practice recording made for a mandolin orchestra I started a few years ago.
A swing song done originally by Connee Boswell of the Boswell Sisters. Christina Thibault, vocal; yrs truly on guitars & bass. Recorded with permission.

