Regarding any and all music files posted here – I own the recording rights to all of them, I own all the rights to my originals, I acquired the mechanical rights to some of the tunes that I did not write and, admittedly, I did not acquire any rights to others that I did not write.  If any rights holder objects to a rendition of their tune being posted in my blog I will delete it.  Otherwise, any and all ‘fair use’ consideration or leniency is very much appreciated.

Earbuds recommended.  If the streaming jams, wait a moment or refresh the page.

Originals / Demos:

This simple tune is in remembrance of my beautiful mother. When she died, almost instantly I became hyper-aware of so many things about her that I was essentially oblivious to before. Primarily, how absolutely wonderful she was, especially how loving, caring, compassionate, generous, and considerate she was. Maybe I should call this simple tune ‘Didn’t Know ‘Til It Was Gone’.

I’m sorry and I regret that I did not more fully appreciate my mother’s wonderful nature more so when I had that opportunity. Aspiring to not be so stupid and foolish, I now strive to appreciate others, as well as everything really, to the extent that I can in the here and now.

Covers / Demos:

Comedy:

Audio Engineer / Producer:

Although I dabbled with 4-track reel to reel tape machines earlier in my life, it was in January of 2006 that I began to formally educate myself in the recording arts at City College of San Francisco (and elsewhere) and, little by little, I became very proficient and active in tracking and overdubbing, editing, mixing, mastering, and producing.  At the end of 2014 I largely stepped away from this activity due to the wear and tear from the “night life” and health issues.  As an audio engineer, my forte is/was live sound with simultaneous multitrack recording and all the steps in-between to the final product of a commercial / marketable CD or tracks for streaming.

For any audio engineers that may be interested, it is not recording a live show, it’s a recording session that takes place in a live environment.  And, good microphones with good placement and direct connections, high quality preamps and A/D converters (where the rubber meets the road); and, subsequently, it’s mostly editing, and it’s not so much mixing as it is blending — to achieve high quality results.

Uni Ukelele and Meredith:

On the evening of April 14, 2011, at the [now defunct] 50 Mason Social House in San Francisco, I did most of the sound work and [in general agreement] made a multi-track recording of “Uni Ukelele and Meredith” and produced a CD.  I gave two copies to Meredith [Axelrod] – one for Uni – for them to use as they may please.  To the best of my memory, that show was the only time I ever met and had any communication with Uni (Heather Marie Ellison).  Unfortunately, one day in 2012, Meredith and I had a petty quarrel and never spoke to each other again.

In the meantime, I have listened to those recordings many times and I love Ms. Ellison’s songs. To me, the lyrics (and the music) are clever, authentic, insightful, and delightful.  And, most notably, Ms. Ellison’s singing (delivery) is very heartfelt.  Furthermore, Uni and Meredith’s singing and musical capabilities and sensibilities work wonderfully well together and, quite simply, I just love listening to them.

However, essentially no one else has ever heard these live recordings of the “Uni Ukelele and Meredith” show at 50 Mason Social House.  In November 2024, I did an internet search for “Uni Ukelele” in an effort to contact her and discuss making these recordings available for listening on my blog – and, I found her current website at astronauticecreamband.com and from there I found her Spotify page here.

Via email to her current website, I reached out to Ms. Ellison but I have not heard from her.  Consequently, I am making a unilateral decision to make my production of the April 14, 2011 “Uni Ukelele and Meredith” show at 50 Mason Social House live recording available for listening on my blog BECAUSE Uni and Meredith’s performance (and the songs, of course) are too beautiful and wonderful to not be heard.  Obviously, I will do as Ms. Ellison wishes for me to do with respect to these recordings if and when I hear from her. And, to be clear and certain, I have the utmost respect for Ms. Ellison and her music.

Uni Ukelele (R) and Meredith (L) – Live at 50 Mason Social House (April 14, 2011)

Austin Texas:

Although I lived in the San Francisco Bay Area for the majority of my life, from August 2011 through December 2014 I spent about half my time in Austin for the sole purpose of applying my audio engineering and musical skills in a deep musical environment. That is, with respect to music activity, San Francisco did not have as much to offer me as Austin did.

Anyway, I eventually found myself primarily at the Elephant Room where I met Michael Mordecai and ended up doing a lot of work as a sound and recording engineer (for the live music).  Stemming from that, I ended up working closely with (now defunct) ‘Beto and the Fairlanes’ (aka: ‘Beto y los Fairlanes’) which was a vehicle fueled by the compositions of Robert ‘Beto’ Skiles.

In the fall of 2012 (end of August to the beginning of October), Beto and the Fairlanes embarked on a 35-day tour in and around Austin Texas as a celebration of their 35th anniversary. Playing somewhere every day – inclusive of shows at Guero’s Taco Bar, Ruta Maya, South Austin Museum of Popular Culture,, La Cabana, Antone’s, Continental Club, Reunion Grille, Rattle Inn, Elephant Room, Iguana Grill, and Threadgill’s. This tour was called the 35 DAZE tour and I was recruited to provide sound and record the performances.

During the 35 DAZE tour I recorded fifteen of the shows which I subsequently edited, mixed, and [ultimately] mastered (i.e. produced). A sampler CD of those recordings entitled 35 DAZE – Beto and the Fairlanes in the Live Music Capital of the World – Austin Texas – Limited Quality Edition was released at Beto and the Fairlanes 36th anniversary show on September 15, 2013 at One World Theatre in Austin, TX.  I also designed the cover.

Here be the tunes:

Arturo Garza:

In Loving Memory of Arturo “Turo” Lomas Garza (September 12, 1950 – May 2, 2016), as well as Henry Gonzales (August 6, 1950 – February 29, 2016) and Scott Laningham (October 20, 1959 – May 8, 2021).

Turo was one of very very few people that I have met in my life that was clearly full of life, love, compassion, and consideration.  He possessed a never ending imagination, creativity, industriousness, and enthusiasm for music, film/video, art, social issues, politics, ambrosia and nectar – the list goes on.  Most of all, he was a very positive, inspiring, truthful, honest, open, loving, and caring person.

I am very blessed and happy to have known Turo, as a friend and as a musical collaborator, which I will always cherish.

As much as Beto was the genius of Beto and the Fairlanes, Turo was the heart and soul.

Fly Whooper Fly – Tribute to the Whooper – recorded, edited, mixed, mastered, and produced by The Cowboy:

Jon Blondell:

Jon Blondell Trio Live at the Elephant Room (October 9, 2012)

Recording Engineer – The Cowboy / Mix and Mastering Engineer – Mark Sarisky (1959 – February 12, 2021 look here and here).

Jon Blondell – Bass, but Jon mostly plays trombone otherwise / Carter Arrington III – Guitar / David Sierra – Drums

Jim Trimmier:

Jim Trimmier Live House Party Recording (June 28, 2014) for Jim’s press kit. Tenor Sax – Jim Trimmier / Congas, Percussion – Laura Mordecai / Bass and Piano – I don’t remember and I apparently lost whatever notes I had / Recorded, edited, mixed, and mastered by The Cowboy.