Just in time for St. Patrick's Day, LUCKY BUCK, Bakersfield-sound-grounded artist, Dr BLT (that's me, an artist normally humble, except for the day he was compared by Buck Owens himself to Johnny Cash), has written and recorded a brand new song about Buck. 

LUCKY BUCK, written in response to somebody on the internet that called the late Buck Owens a clown and attributed all of his success to luck, was released just before the strike of midnight on March 2, 2010 and has leaped to #2 among Dr. BLT's most heavily downloaded songs, stopping short of taking over SKY, WE SALUTE YOU, another Dr BLT song that has posted nearly 200,000 downloads since it's release.

Sample LUCKY BUCK here:

LUCKY BUCK
DR BLT
words and music by Dr BLT copyright 2010
Lucky Buck (lucky audio sample)

        

Why is the choice of either remaining in his prison home, or being released to the Streets of Bakersfield as homeless parolees, a no brainer for an inmate of North Kern State prison awaiting release? 

Punch line: Because it's a choice between Homer Joy. 

        

Greetings from Bakersfield, California!  I'll l let you answer the riddle, and then riddle me this:  Is this an example of good Hee Haw-esque humor, or is it simply a bad Bakersfield Sound "yoke"?  Either way, it's the only way I could handle my boredom on a dreary, cloudy Bakersfield day like today. 

Why did the chicken cross the Streets of Bakersfield? 

Punch line: To put a little "Buck" in his cluck!

        

Bakersfield Sound fans, I've let you down by making you wait too long to enjoy this rare radio clip coming to you compliments of Will Ray's granddaughter, as well as a friend and former student of mine, Sarah Villasenor.  This rare radio clip, podcasted below, is from an approximately 30-year-ago Dub Williams Country Memories show, broadcast out of Bakersfield, California. 

It features Bakersfield Sound pioneer, Dub (who, in addition to being one of the greatest Bakersfield Sound DJs of that era, co-wrote Release Me) sitting around chatting with Bakersfield Sound musicians Will Ray and Bill Woods, who introduce the recording that follows--
a rare recording with Bud Hobbs joining Oscar Wittington, and Jelly Sanders on fiddle, Will Ray on piano, and Buck Owens on lead guitar. 

Grab some popcorn, or whatever suits your fancy, and travel down memory lane with me.  Hit it!

Dub Williams Country Memories

Download | Duration: 00:06:17

        

Rich Redmond: The “Big Green Tractor” interview
Dr BLT
 

I

n the world of music, there are few Big Yellow Taxi’s or Big Green Tractors.  Those types of hits don’t come along for an artist very often in life, unless you happen to be Jason Aldean, the beat he moves and makes music to, or the drummer that moves his music along at lightening speed on his lightening-speed country rockin’ rise to success.  Another thing that doesn't come along very often are interviews with drummers associated with superstar acts, drummers like Rich Redmond, the man I refer to in this song as either "Rockin' Rich Redmond" or, simply…

The Wheels (A Tribute to Rich Redmond)
Words and music by Dr BLT copyright 2009

He’s the wheels that move the tractor
And the man behind the wheel
Who takes a country song
Depicting just how we all feel
And takes it to a level
Where no one’s gone before
And the wheels that move the tractor
Make the drum tracks we adore…

The very first song that I attempted to write was called Six More Rows.  It was about my experience driving on my dad’s tractor as a teen-age boy of 14. Yes, it was about a tractor, but it was a train wreck. I still possess the copy, scribbled on my high school loose leaf in a tiny basement room at Evan Hardy Collegiate in Saskatoon, Saskatchewan.  I keep it because represents, not only my failure, but also my decision to get back on and ride the songwriter’s “tractor.”  That first one was a tough row to plough, but after that, songwriting came easy for me.

So years later, when I came across a song called Big Green Tractor, by country superstar, Jason Aldean, and began hearing it on virtually every country station, everywhere I traveled, it took me back to those days on my dad’s tractor, and those days when I became determined, in metaphorical terms, to “get back on the tractor and ride.”

But who would have guessed that years after I penned that disaster-of-a-song about a tractor ride, the drummer touring with the man who recorded Big Green Tractor would take a break from that touring, and from all of the other activities associated with his life as a stunningly successful musician, for an interview with the guy who penned “Six More Rows.” But the musical world is the very world where dreams come true, so let’s examine the “wheels” behind Jason Aldean, the man riding the Big Green Tractor towards mind-blowing success.    

Dr BLT: Being the busy guy that I am, I usually do my interviews the way Johnny Cash put that Cadillac together in the song, One Piece at a Time, only I don't steal anything. So here's the first piece:

What are you involved with, musically at this time?

Rich Redmond: I am in my 5th year of touring and recording with country rocker Jason Aldean.

Dr. BLT: Well, you get in the middle of more action than that. So, what’s a humble guy like you doing with a superstar like Jason Aldean?

Rich Redmond: We are having a blast as usual. Jason is on fire! We've been extra busy lately. We've been on the tour that never ends. Jason had a multi week #1 called 'She's Country' that has kept us booked.

Dr. BLT: I love that song, and I could understand why such a song could keep a person, and a band booked.  What else has been going on in your busy life?

Rich Redmond: First of all, there was the CMT Awards Show performance with special guest Keith Urban.  Second, there was a 'Crossroads' Show on CMT with Aldean, and pop icon, Bryan Adams.

Meanwhile, in the middle of all of that, Big Green Tractor shot like a bullet into the Top 10 and becoming the #1 ring tone in the world.

Dr. BLT: Yes, and what an awesome song that is.  I really should have that as my own ring tone.  Now, what about this music festival coming up on CMA? 

Rich Redmond: Well, I believe you’re referring to the CMA Music Festival Performance.  That’s coming up very soon and will be aired on ABC.

Dr. BLT: Great, we’ll look forward to that, and I understand that Jason’s songs are popping up all over the charts. 

Rich Redmond:  That’s right.  As a matter of fact, the 'Wide Open' record has become a #1 indie record (across all genres) on The Billboard charts.

Dr BLT: Wow. That’s awesome. And I understand that you’ve also been doing some other stuff on television. 

Rich Redmond:  That’s right, we recently performed on Jimmy Kimmel and The Tonight Show With Conan O Brian.

On top of that, has been release of the 'Club Remix' of 'She's Country' which my partners and I produced. First week sales on Itunes have been very good.

Dr. BLT: Whoa, you guys have really taken the country by storm (pun intended).  And what’s this I hear about a number of you getting together to form a production company?

Rich Redmond:  That’s true.  My partners in crime (Tully Kennedy, Kurt Allison, David Fanning) have a production company called New Voice Entertainment. Here are some links to the acts we are working with:

http://www.facebook.com/l/;www.myspace.com/newvoiceentertainment
http://www.facebook.com/l/;www.myspace.com/finesse
http://www.facebook.com/l/;www.myspace.com/davidfanning
http://www.facebook.com/l/;www.myspace.com/natalieannmusic 

Dr. BLT: So you’re not only doing lots of exciting stuff with Jason, you’re also teaming up with lots of other artists.

Rich Redmond: That’s right, Dr. BLT, I do tons of recording in Nashville for various other artists and publishers. Recent artists include Amy Dalley, Doc Walker, The Stellas, Steel Magnolia, Courtney Dickinson, Jalayne Tradler, Julie Forrester, Dave Bradley...

Dr. BLT: Well, I must say, that’s quite an impressive list. And I understand you’ve also done a lot to help other drummers learn and perfect their own drum skills.  

Rich Redmond: That’s right. I have a clinic called The Drummer's CRASH Course For Success that I perform at music stores, high schools and colleges.

It focuses on the musical, mental and business skills necessary for success in the music business.

Dr. BLT: Hmmm, and I thought I was a busy guy.  Now that’s a lot to have on your plate at one time.  What a wild ride!  Now, how did all of this begin for you, Rich?  How did you get started in music?

Rich Redmond: I started studying the drums at age 8. I was beating on everything in the house and my Dad asked if I had any interest in playing the drums. I said 'yes' and immediately started taking lessons. My passion for percussion inspired me to play in a million bands and to pursue my Master's Degree in Music Education and Percussion, which I received from The University of North Texas.

Dr. BLT: That’s so cool, you’re not only an incredibly successful drummer--you’re also a scholar.  So tell me, Rich, what are some of your musical influences?

Rich Redmond: I fell in love with bands like The Police, Van Halen and John Mellencamp when I was younger. I've studied many of the world's greatest drummers by LISTENING tons and even transcribing and playing to their recordings.

It's all invaluable stuff. I find inspiration in the best and worst music and musicians!! You can learn from everyone. Remember the old

adage: 'Good composers borrow but great composers steal.' So true.

Dr BLT: Do you have any personal experiences that have shaped your or influenced you as artist?

Rich Redmond: I always knew that practice makes perfect, so I jumped on that train at a young age. There is a theory that is becoming more and more accepted that it takes 10,000 hours of dedicated practice to make someone any expert at anything. I agree totally. I never counted the hours I practiced, but I'm sure it's very close. My dad took me to see Buddy Rich and Carmine Appice (at separate shows) and I knew that this was something I wanted to do. I always had very encouraging teachers and I always tried to play with musicians that were more experienced so I could grow as a player.

Dr. BLT: And let’s talk for a moment about geography, what did moving to Nashville do for you, and for your career?

Rich Redmond: Moving to Nashville helped refine my ability to truly understand song forms and the art of shaping songs.

But in terms of my influences, I must also include your own geographical region, as I was shaped both Buck Owens and Merle Haggard.

Also, now that we’re on the subject of geography, I've noticed that all my musician friends who were raised in New York or Los Angeles got connected in the industry at a very young age. It sure does help to be networking in a healthy music scene as you learn your craft.

Dr. BLT: And were did it all begin to take off for you?

Rich Redmond: I started playing in Connecticut, and then moved to El Paso, Texas. I eventually made a name for myself in the Dallas music scene and then had to start over again when I moved to Nashville. It was humbling and challenging. I'm always up for a good challenge. My career has been a slow burn...baby steps all the way, but I've never missed a meal and I spend everyday doing what I love! Nashville has been great to me, despite its southern conservative spirit. I'm working on expanding my circles to the LA music scene. LA is a city of ambition and restless energy, and it inspires me.

Dr. BLT: Well, Bakersfield’s own Penny Marie is also gradually becoming more connected over there in Nashville, so I’m sure she will come across an experience, similar in some ways to that of your own.

Now, let me get back to putting on my psychologist hat, and we’ll approach the old nature/nurture debate.

In your opinion, were you born with a good sense of rhythm, is it something you learned through practice, or is it a little of both?

Rich Redmond: Controlling rhythm and developing one's 'internal clock' can be developed with practice, but it sure does help to have a natural instinct for it. Rhythm is in my blood. I just took the right steps to develop and nurture it. I sought out the right information and I made it second nature through repeated practice. Learning the rudiments, learning to read music, learning four way coordination and then learning to speak the many dialects of musical styles are all important and necessary skills.

Dr BLT: That makes a lot of sense, from my own perspective.  Now, here's a psychological question for you.
 
Being a part of such a successful act that has risen to such great heights in such a short time, do you ever get overwhelmed by it, or is the sudden success something you've adapted to and grown comfortable with?

Rich Redmond: I think about it all of the time from a position of gratitude. I feel as though I have been a massive success for years because I get to play the drums everyday for a living. I would say less than 0.1% of people that play music get to do it at the level that I do. I achieved that goal through persistence, determination and tenacity.

I had a dream as a young man and I went after it with my heart and soul. It's a risky proposition, but failure was never an option for me. When you have that kind of a mind set, you can't fail.

Dr BLT: And how did you end up meeting Jason?

Rich Redmond: I met Jason in 2000 and played with him on and off until we cut a record in 2004. After that, it's been non stop touring, recording and television appearances.

It actually happens faster for many artists, but Jason has done it the right way...the slow and steady climb. That's what you want to have in this business, a slow climb.

Dr. BLT: I’ll have to tell that to some of my friends like Hank Ray, Rockwell, Alyssa Kaess, and Brian Benson. While I’m at it, I should also probably remind myself of the same thing. I agree that it’s very important to take that slow, steady approach.  

Rich Redmond: It feels very natural to me because this is what I do. It's like wearing an old pair of Chuck Taylor's because this is the vision I have always had for me life that I held so dearly in my mind's eye.

If I wasn't doing it with Jason, I would be doing it with someone else. I'm sure I'll be doing it with someone else after Jason. Everyone needs a good drummer. Ha!

Dr BLT: Absolutely, I don’t know what I’d do myself without my, Pat Frase. 

Now, if you don’t mind, Rich, let’s get back to the Bakersfield sound.  To what extent, if any, has the Bakersfield sound, involving Buck Owens, Merle Haggard and others influenced your music, your attitude, or your motivation?

Rich Redmond: The first thing I did when I moved to Nashville was go to the used record store and purchase greatest hits packages from all of country's greatest artists. Remember, I was coming from rock, pop, fusion and jazz. All musical forms have a dialect and you have to be able to speak that language. I did my homework and learned the Merle, Buck, Waylon and Willie catalog.

I'm a self motivated individual, so I put the time in to learn the things I need to learn to breed success. Traditional country music was not my first love, but I learned to see the beauty in it. I've played with Gene Watson, Earl Thomas Conley, Pam Tillis, Marty Stuart and many other traditionalists, so I can play the role to a tee. It's very satisfying to be bringing my multi cultural rock n' roll influences to contemporary country radio and literally help impact a change on Music Row. It's powerful stuff.

Dr BLT: Those are some great artists, and some of those very artists that you’ve mentioned and studied still get airplay, thanks to shows like Bakersfield and Beyond on KWMR out of Marin County.  

Now, Merle Haggard recently suffered from lung cancer. They seem to have gotten all of it, but he took a break just before the surgery, and recently had to take a break again from his current tour due to health problems. Do you have anything you'd like to pass on to him in the way of wishes for his health?

Rich Redmond: I wish him the best for a speedy recovery. I assume he will quit smoking if he hasn't already.

Dr. BLT: Yes, as a matter of fact, I recently read that he did just that.

Rich Redmond:  Great. My mother is a 23 year survivor of cancer, so I know about that struggle. He'll most likely, make a triumphant return.

The main thing we have to remember is that the word 'disease' can be thought of as 'dis' 'ease'. It comes from not taking care of ourselves mentally, physically and spiritually. Striving for balance in those three areas is challenging but necessary.

Dr. BLT: I couldn’t agree more.  And I agree, that Merle is one that most likely will bounce back in a big way. Over here in Kern County, we can never get enough Merle.  One of the things I like about his songs is that he shares lots of his memories, and his songs bring up memories in those who listen to his songs as well.

Merle Haggard once said in Sing Me Back Home, "…make my old memories come alive." To what extent does music make memories come alive for you?

Rich Redmond: I take lots of pictures and do lots of journalizing, because I know the things I am doing, the people that I meet and the places that I visit are all special. Some people never make it out of their small town and I get paid to travel the world. It's a special gift. I'm going to want to remember all of these things, so I do lots of archiving.

Dr BLT: Well, that nearly wraps up our interview. Do you have any final words of advice for musicians who are struggling to gain even a fraction of the success you seem to have attained?

Rich Redmond: I do.  I tell people to remember the 'The Three P's": Playing, People Skills and Personality. In this business your playing has to be exceptional, but more importantly, the way you interact with people is paramount. No one wants to be around negative people. I try to always stay on the positive side of the street.

Artists, producers and bands all want to work with someone that really wants to be there and who brings positive energy to the table. To play the drums everyday, I have had to create a large network of people that champion what I do. That's the only way to create consistent revenue streams for yourself.

So get out and start shaking lots of hands. Make fans! Stay focused, set goals and keep practicing. Be sure to have great gear, be on time, be professional, stay sober, and focused. Pay attention to your grooming and imaging as well. It all works together to create a 'professional image'. Don't be afraid to promote yourself, Always have a demo reel and business cards. Get out there and make it happen. You don't want to be a member of the 'would, shoulda, coulda' club!

Thank you!

Dr. BLT: You’re welcome, and thank you, Rich, very much for taking a break from all of that, taking a moment to climb off of that Big Green Tractor to do this interview!

Rich Redmond On The Web:

Follow RICH REDMOND on Twitter.
http://www.facebook.com/l/;www.twitter.com/richredmond

Rich is the touring and recording drummer with country superstar JASON ALDEAN and a staple of the Nashville recording scene.

Be the first to hear about tour dates, recording sessions, production projects, backstage antics and tales of the road!
Please send Rich your email address if you would like to receive Rich Redmond NEWSLETTERS!
Also look for Rich on Myspace, Youtube, Flickr!, Digital Rodeo and Linkedin!

Other Redmond Web Links:
http://www.facebook.com/l/;www.merchmonkey.com
 
(Purchase Official Redmond Merchandise!)
http://www.facebook.com/l/;www.myspace.com/richredmond

http://www.facebook.com/l/;www.myspace.com/sessionrich1
http://www.facebook.com/richredmond1
http://www.facebook.com/l/;www.youtube.com/richredmond
http://www.facebook.com/l/;www.richredmond.com
http://www.facebook.com/l/;www.myspace.com/111kingsentertainment
http://www.facebook.com/l/;www.myspace.com/newvoiceentertainment
http://www.facebook.com/l/;www.digitalrodeo.com/richgrooveboyredm
 
 
 

        

A great big Bakersfield Sound Underground GOOD DAY to you and yours!   It's February 18th and it's a big day at BSU.  There was a midnight release.  It was the Kick-ass Country Kick-off, in which Housewife Blues, the first track from, Kick-ass Country (ass, as in donkey) a brand new Dr BLT CD, was released.  The entire CD will eventually be available, in both digital and hard copy formats, but is being digitally released ,one song at a time.

Kick-ass Country/Housewife Blues

That was, to borrow from a song title of mine, Nu History.  More "nu history" will be created tonight on the beloved show, Bakersfield and Beyond, beginning at 6:40 pm tonight and streamable here:

Bakersfield and Beyond




Now for the news about the old history meeting the nu:  It's a brand new fictional interview series, and since it's officially BLACK (COUNTRY MUSIC) HISTORY MONTH here at BSU, a phenom of my own creation, the first interviewee will be Deford Bailey.  WIthout further ado, let me introduce Deford and our fictional interview: 

Dr BLT: Greetings from 2010!  How are you today, Deford?

Deford Bailey: I'm doing great, I don't know how you managed to reach me from there in the future, but I'm sure technology is quite advanced way up there in 2010. 

Dr. BLT: That's right.  The big secret is that I've discovered how to travel in time, which is a phenomenon that's even ahead of my time, but possible through the power of imagination.  I want to start this interview by saying what a distinct honor it is to interview you today.  You don't know this, but this is Black (Country Music) History month at my blog, Bakersfield Sound Underground, and you've been selected because you've had a profound impact on, not only the Bakersfield Sound, but also upon country music in general, and upon your African-American contemporaries---artists such as Ray Charles, Charley Pride and Darius Rucker, to name a few.  

Deford Bailey: Well, I'm not sure what a blog is, but I'm so happy that you picked a month to recognize us colored folk.  That's mighty honorable of you, Dr. BLT.  I'm quite familiar with Ray Charles...Charley Pride too, although I hadn't heard of that third fellow, Mr. Rucker that you mentioned.

Dr. BLT: Well, Darius Rucker's rise to country fame is quite a recent phenomenon, happening only over the past few years.  Before that, he was the frontman in a popular pop act from that rose to ascendency in the early to mid nineties.  That was after your time.  But each of these artist owe a great deal to you, who paved the way for them in so many ways.  Now I'm not saying that discrimination has been completely irradicated, but it was even more apparent, and blatant back in your day, wasn't it?

Deford Bailey:  That's right.  I was dismissed from the Grand Old Opry, even though I was the first solo star to perform on that show.  Of course the show was first called Barn Dance, and then the name was changed to Grand Ole Opry by the announcer, George D. Hay.  They said it was because I wouldn't learn any new songs.  I had good reason for taking that stand.  It was complicated, having to do with publishing rights, but some of my fans suspected that the decision to kick me off of the Opry had to do with racial prejudice.  I can't be sure, but I tried to give them the benefit of the doubt.  I enjoyed the time I was on the Opry and was grateful for that time. 

Dr.  BLT: Didn't they know you as the Harmonica Wizard? 

Deford Bailey: Yep, that's what they called me after they heard Pan-American Blues. 

Dr. BLT: You know, I just released a song called Housewife Blues, and if I can get my mp3-to-vinyl-time-travel-recording and delivery device to work I'm going to send you a copy.   I noticed that a lot of your songs had the word "blues" in the title.   In addition to Pan American Blues, you came out with Hesitation Blues, also in 1927, your breakout year.  Then, in 1928, you came out with Dixie Flyer Blues, Lost John Blues and Cow Cow Blues...

Deford Bailey: I did and I was proud of those.  Don't forget that in 1928, I also recorded and released Alcoholic Blues.  I used to say that music is like a disease, either you got it or you don't.  The same could be said for the blues.  If music is a disease, it's caused by the blues, and I felt the blues, deep in my heart and deep in my soul.  A lot of folks did, for various reasons, and I'm sure they still do.  Music let's them let out the blues. 

I missed the mother I never really remember possessing.  She died when I was just a year old.   That was 1900.  I understand you're a psychologist, and that was the year Freud came out with The Interpretation of Dreams.  I've had lots of dreams of my mother, and I could almost picture her face in those dreams.  Johnny Cash's music took a dark turn after he lost his brother.  Mine took a blue turn after I lost my mother.   Don't get me wrong, my aunt and uncle did a fine job of raising her, but there's something about losing a mother that eats away at a person. 

Dr. BLT: I'm sorry for that loss.  I also understand that you faced another major trial as a youngster.  You contracted polio at age 3.

Deford Bailey: That's right.  I guess that explains why I ended up reaching a grand height of 4 feet, 10 inches. 

Dr. BLT: Well, that didn't stop you from being a big man when it came to your influence on country music.

Deford Bailey: Well thank you, that's mighty kind of you.  But it was really by accident that I even had the opportunity to make a difference.  Well, accident, and a little of the right planning on my part.  One of the best decisions I made in my life was moving to Nashville in 1918.  Then fate stepped in, or luck, or whatever you want to call it, maybe it was God.  I wandered in to Dad's Auto Parts in 1925.  The owner just happened to be Fred "Pop" Exum.  He was going to launch a radio show on WDAD, a station that was very popular back in them days.  This other cat that was on the show, Dr. Humprey Bate brought me to WSM's Barn Dance, the show that would change it's name to the Grand Old Opry, and the rest was history.  I landed that gig, and before too long, I was touring with some of the stars I never, in my wildest dreams, thought I'd be touring with---Roy Acuff, Bill Monroe, fellow Opry star Uncle Dave Macon, to name a few. 

Dr.  BLT: Yes, those were some pretty glorious years for you.  Didn't you also do a great immitation of train sounds?  I think Johnny Cash may have been influenced by that side of you. 

Deford Bailey: Well, I was kind of like a microphone.  I would pick up noises all around me, and I was drawn to the noise of the train.  Some of my most famous songs were actually incorporating the imitations of trains that I perfected over the years.  You hear that in both Pan-American Blues and in Dixie Flyer Blues. 

Dr. BLT: Well, you probably would make the beat-boxers of today green with envy.

Deford Bailey: The what?

Dr. BLT: Beat-boxers, then create different noises with their mouths and their bodies.  Your auditory cortex must be well developed and students in both my Neuropsychology of Learning Class and in my Cognitive Psychology class would undoubtedly appreciate this gift of yours.

As far as beat boxing is concerned, it's a relatively new phenomenon, at least in its present form, that wasn't around much back in your day.  If it was, there wasn't a name for it.  It seems that you may have been one of the originals who pioneered what is now known as beat boxing.

Well, the red light on my time-travel-machine is blinking, indicating that we're almost out of time.  I just wanted to wrap this up with an announcement that will be news to you, and it's great news.  In 2005, you were inducted into the Country Music Hall of Fame.  Congratulations.  The Grand Opry, incidently, is still going on, thanks, in a great part, to your legacy. 

Deford Bailey:  Wow, you're causing me to tear up a bit.  I finally gave up on music as a profession and opened a shoeshine parlor.  It's good to know that I finally earned a place in music history.

Dr. BLT: Not only a place, but a grand and glorious place!  You are among the very greatest of the pioneers of country music.  Thank you. 

Deford Bailey: My pleasure, and say hi to Mike and Amanda from the Bakersfield and Beyond radio show if you would.

Dr. BLT: Mike and Amanda, how did you hear about them?

Deford Bailey: Well, that's my little secret!  Have a wonderful day!

        

        

"allegedly" Dave Howe

The rumors allegedly began to spread at around midnight on 2/3/10 on facebook and twitter.  It wasn't long before there was suspicion that the rumors had spread to the point of being out of control.  The alleged rumors concerned the alleged prospect of a brand new, digital, downloadable duet version of a Dr BLTune called Homeless Valentine aka Streetheart Serenade, to be sold be release here on Thursday, February 4th, 2010 to raise money for victims of the earthquake in Haiti through the Red Cross:

Dr BLT's official home page

AS IT TURNS OUT, THE ALLEGED RUMORS WERE TRUE:  The proof is contained in this rare audio sample:


Homeless Valentine (Streetheart Serenade) duet
Dr BLT and Dave Howe
words and music by Dr BLT copyright 2010

Homeless Valentine

 

This is a homeless valentine

 

A card with eyes too sad to cry

 

Let me whisper in your ear

 

You have nothin’ left to fear

 

 

You’re cold and livin’ in the street

 

You’ve got no shoes upon your feet

 

This poem and prayer is just for you

 

A Valentine to get you through

 

 

Chorus:

 

This one’s for the street hearts

 

Penniless and forlorn

 

Lookin’ for some shelter

 

Shelter from the storm

 

This one’s for the street hearts

 

Street hearts who have no home

 

Let us show them love

 

So they won’t have to be alone

 

 

This is a homeless valentine

 

A card with eyes too sad to cry

 

                                                              A song with chords too sad to strike

 

A tunnel with a distant light

 

(chorus)

 

Chorus #2

 

This one’s for you too

 

With abundance with you

 

Share a little treasure

 

With a heart that’s true

 

(instrumental bridge)

 

 

Make them the apple of your eye

 

Give them a shoulder

 

For to cry

 

Give them a shelter from the storm

 

Give them a valentine that’s warm

 

 

And when their nighttime

 

Feels just like a lifetime

 

It won’t last forever

 

The sun will soon arrive

 

 

Yes, when your nighttime

 

Feels just like a lifetime

 

We’ll be there by your side

 

With this homeless valentine

 

 

 

 

 

 

 

 

        

Hi, I'm Dr BLT and I'm here to inform friends, family and fans that I'll bedoing a 30-minute set of original songs at the Element Lounge at 1927 KStreet between 19th and 20th Streets in Bakersfield on Saturday,January 23 from 8-8:30 pm.

This song will likely be among them. I'm planning to record a multi-artist version featuring Patricia Mikel and Dave Howe to raise money for victims of the Haiti earthquake.

Dr bLT
words and music by Dr BLT © 2010

        

The Adventures of Oil Dale: Wedding plans down the drain, with the brains

* single-song soundtrack to the following short story
It Only Hurts when I Cry
Dr BLT copyright 1996, 2010

It Only Hurts When I Cry 

It was a foggy, groggy Saturday morning, January 16. 

Oil Dale was sitting on his fiancé  Ellie’s couch watching pre-taped episodes of My Redneck Wedding to get ideas for their own wedding set for February 30, 2010.  They were of course, assuming that such a date existed.  Ellie, rather roughly, yanked Oil Dale’s old, over-sized 1980s set of headphones off his head, grabbed his cassette player and smashed it on the floor.

 

“What the hell are you listening too?  You’re supposed to be paying attention.  Don’t you care about our wedding?” she screamed in that distinct, all-to-familiar edgy tone Dale had become accustomed to over the nearly two weeks that had been together. 

 

“What did you do that for? That’s Dr BLT’s song about Dr. Martin Luther King, Jr.,, the one called It Only Hurts When I Cry.  You get the day off just like I do, don’t you appreciate the significance of that day?” he replied in a gradually increasingly confident tone. 

 

“How can you get the day off when you don’t have a job, Dale?” Ellie had cooled off a little, and though her tone remained harsh, it was decidedly less shrill.  “And besides, don’t you know what town you’re in?  You could get beat up for listening to that.”

 

“I plan to take the day off by letting the garbage sit an extra day.  What do you mean don’t I know what town I’m in?  I ain’t stupid, but you are obviously ignorant.  Times have changed.  African-Americans now walk down the streets of Oildale with their heads held high. Why they frequently enter Trout’s without fear, even participate in Karaoke Night without as much as a cold stare aimed at them.  You’re the prejudice one now, stereotyping Oildale folks with your overly developed occipital lobe.”  Dale seemed almost cocky and smug this time around.   Ellie walked to the kitchen and grabbed a frying pan.  Then she put it down slowly.

 

She had entertained the thought of striking him but then hesitated, remembering that this was the behavior of a crack head and her, now two-week, clean and sober time had been earned by the sweat of her brow, and with every ounce of determination inside of her.  

 

She took a deep breath, let it out slowly, then replied, “The occipital lobe is involved in bilateral and contralateral vision, Dale, haven’t you been paying attention in Dr. BLT’s class?  If you’re going to put me down, at least have your knowledge about the brain physiologically correct.  Stereotypes are based on primitive emotional reactions, relatively un-modulated by higher-order brain centers.  They stem, no pun intended, from the limbic system, involving the regulation of pleasure and pain.  So go ahead, say I have an overly developed limbic system, or hypothalamus, which governs emotional behavior such as anger and sexual activity.  But don’t say I have an overly developed occipital lobe. That would only help me to see things more clearly.”  Ellie now joined Dale on the couch, gently stroking his hat-matted hair.  I just want you to use your head when you speak, she said, half-jokingly, but none-the-less condescendingly. 

 

 

“Ain’t nothin’ inferior about emotion.  It Only Hurts When I Cry is obviously centered on emotion, but Dr BLT is no dummy and the song is not designed for idiots.  It is intelligently written and it has historic as well as cultural value.  Haven’t you ever heard of emotional intelligence?  It’s not just for troglodytes you know.   What good is a brain if you can only think, not feel?  How much compassion would you have for your fellow Oildale neighbors?”  Dale felt quite good for defending himself. 

 

Ellie pulled back, and had a hard time concealing her frustration and dismay.  “What would you know about emotional intelligence, or intelligence of any kind for that matter?

The reason you can never seem to make rational decisions and the reason you are always seeking instant gratification is that your brain, especially your prefrontal cortex, is always numb from alcohol.  As such, it can’t possibly perform its ability to slow down your need for instant gratification, to introduce rational thoughts, is impaired.  How rational is it, after all to believe in space cowboys? Ellie added.

 

“What?  What the heck are you talking about?”  Dale shifted sheepishly in his chair.

 

“You know exactly what I’m talking about,” she replied with marked frustration.

You even going to submit a copy of your cover of Dr BLT’s song If You Want to Be the Next Buck Owens to the radio show, Bakersfield and Beyond, but stopped, thinking that so-called sighting was a sign that the contest, and the contestants were would-be victims of some sort of alien cowboy conspiracy or something.” 

 

“If you’re referring to that so-called sighting, involving the two so-called alien-carpenters-dressed-as-antediluvian-cowboys hitchhiking on the freeway exit off Buck Owens Blvd. I always thought that was a joke.  I didn’t believe it for a moment,” Dale replied with ersatz dismay. 

 

“Okay, that’s it! I’ve had enough of your lies and prevarications, Dale!” 

 

Ellie stormed out of the door.  Dale sat helplessly on the edge of the couch with his head in his hands.  This time he did not run after her and beg for her return.  It was a break from his typical alcohol-fueled ritual.  This time, he had been sober for over 4 hours, and his prefrontal cortex was in rare form.  He wouldn’t stay rational for very long, but in his life, any moment of clear thinking was a godsend, not only for Oil Dale, but for everybody who had any sort of relationship with him.