PAXTONROB THE SONGS REMEMBER
After tripin' to Mayo Clinic; LOCKING DOWN for over a year; getting both Covid-19 shots; working for AFSCME; finishing winter projects; and giving the music studio a facelift--
THE FOCUS FOR THE NEXT 36 MONTHS WILL BE :
1. returning to pre-Pandemic normality;
2. taking pent-up family jaunts to the unknown;
3. answering long-deferred phone messages;
4. resuming music/video production/promotion;
5. releasing a string of singles on CD Baby;
6. re-envisioning this web site for more visits;
7. playing out and songwriting.
The Songs Remember EXTENDED VERSION
"The Songs Remember EXTENDED VERSION" is for physical and digital distribution. The album and individual tracks are available for download on this website, iTunes, and other CD Baby partners worldwide. PaxtonRob albums and singles are also available on "HearNow" at https://paxtonrob.hearnow.com.
BEST LISTENING WITH QUALITY EAR BUDS/HEADPHONES
AND NOT YOUR LAPTOP SPEAKERS --
TO LISTEN SAFELY --SET YOUR CPU VOLUME NO HIGHER THAN 32
The Songs Remember DIGITAL
The Songs Remember
WHAT'S GOING ON HERE?
We are showcasing original music and videos intended to preserve in memory historically important people, events, and circumstances based in truth. All songs on this site were written or co-written by Ron Patrick, Tallahassee, Florida. Music tracks are available for download on this website, iTunes, and other CD Baby partners worldwide. PaxtonRob albums and singles are also available on "HearNow" at https://paxtonrob.hearnow.com.
The following is a brief 1 minute YouTube video introduction to "PaxtonRob The Songs Remember" as originally launched in 2017 on YouTube; references to tabs are those on the YouTube site.
BEST LISTENING WITH QUALITY EAR BUDS/HEADPHONES
AND NOT YOUR LAPTOP SPEAKERS--
TO LISTEN SAFELY-- SET YOUR CPU VOLUME NO HIGHER THAN 32
“PaxtonRob The Songs Remember" is a songwriter brand existing on Youtube, Facebook, Google, CD Baby and Bandzoogle.
You may be reading this to learn what PaxtonRob values:
- The Conceptual Truth - for everything humankind forgets, the songs remember;
- Song Creation - sometimes information compels a story to be told; injustice yearns for truth; something wants to be uncovered; something is undeniable; something is unthinkable; something needs remembering;
- Modern "Song Forms" - the standard drop-down menu of present-day genres tells the story: NOW is the best of times;
- All Musical Genres - for their power to relate to life's experiences;
- Staying Within My "Raising" as a Songwriter - means believing in the words of Harlan Howard, “A song is just three chords and the truth.”
PaxtonRob is an independent songwriter available for working solo or in listening rooms with other songwriters.
State of the Union 2020 - A Thing Called Hate
"Yeah, you take all the credit, Puto... but you never... you never... take the blame."~PaxtonRob
"I am no longer accepting the things I cannot change. I am changing the things I cannot accept." ~ Dr. Angela Davis
What can be said, now... after Impeachment of the One holding the highest elected public office in the land; the One who received 3 million fewer votes than His opponent; the One who had a doggedly consistent 42% favorability rating; the One who was temorarily vaulted to a place above the law where none other... in America... has ever dwelled?
He don't live here anymore.
We The People, 2020
Pre-order The Songs Remember Vol 2
The Songs Remember Vol 2
The Songs Remember Vol 2 will be a 14 song CD (including 2 licensed cover songs). Eight songs have already been recorded; the other six songs have been written but not yet recorded. The target release date is sometime in 2022.
TRACKS: Boyfriend/ If Love Was/ Tatoos and Scars/ Mary Ann Sent Me/ Bar Room/ Been There Done That (Know The Difference) That's What Christmas Means To Me-PaxtonRob guitar solo Version Poison The Wild Mountain Thyme/ Clear Blue Eyes/ Cowboy-Studio Version/ Do You Remember Me/ Mayflower/ W.M.D. - State of the Union 2008/ Rainy Monday Something About You
Bonus Materials may include one free track and background information on the songs.
Expected release: November 30, 2022
Easy to Learn to Be Green
This is a music event designed for raising environmental awareness. The songwriters are Craig Reeder, Bill Peterson, George Gray, Ron Patrick presenting original material in a listening room format hosted by RethinkEnergy, Florida, and held at the United Church in Tallahassee. This video clip is one of Ron remembering the many ways of "being green".
Blue Mountain Song
This bluegrass video remembers the Great Depression when many chose "last resort" measures of "hopping" the southbound freight cars in hopes of finding jobs to send money back home to their families.
Birth of The American Hobo
The "Southbound" train image in the Blue Mountain Song video shows men wearing top hats, vests under their jackets, watches on chains, and their best business shoes. Research tells us they were bankers, lawyers, and merchants who "hopped" the freights going south looking for jobs during the Depression Era of the 1930's. They were termed "hobos", but without the stigma of our present times. The large numbers of Hobos riding the freight cars during that desperate time, and afterward, gave political rise to The National Hobo's Association.
"HEY, I SUPPORT THE TROOPS, IT'S YOU GOT IT WRONG,
AND EVERYTHING IS ALLRIGHT!"
"WMD State of the Union 2008" is not intended as criticism or blame, despite the unavoidable obvious. It is a painful reminder and caution of how easily war can become protracted with unexpected consequences after being started with the best of intentions. In the case of the Iraq War, there was real concern caused by seeing the actual use of poison gas against innocent Iraqie men, women and children... in the streets of Bagdad... by the brutal dictator Saddam Hussein. And markers were laid down by faulty intel that Hussein was building up a nuclear capability. Didn't pan out.
The events in this song are true. I lived through those years very upset because of excuses and made up shit: the first talking point was "The war was launched to find nuclear WMD," which didn't pan out; then the talking point was "Well, we did it for democracy." I chronicled those years from memory, with some later fact checking, and completed the song in 2008.
I take no pride in protesting for the sake of protesting; but this was something else. That part about the oranges is in there because I was upset and needed some kinda relief! Even that failed me! But the American people didn't. And neither did the troops. Wish I could say that for the civilian leadership at the time.
Remembering Gamble Rogers
The Florida Folk Festival is the grand-daddy of Florida folk festivals. It was home to Gamble Rogers who left prematurely attempting to save a drowning swimmer caught in a rip tide at Flagler Beach. This song was living in the Old Slave Market downtown St. Augustine. I just happened to rest there in the cool for a while.
LISTENING IN SOPCHOPPY
The songwriter said:
"Well, I got this new song here, but I have just this one verse; and I don't have the chorus; and I DON'T have the bridge!" --Rick Ott.
My partner, Morty Beckman, and I played at a "listening room" event in Sopchoppy, the Music Capitol of Florida, where a savvy and motivated audience attended. It was a totally FUN night! Presenting original material were Rick Ott, Kim Thomas, Ron Patrick, and Morty Beckman. You will probably notice in the video that the event lighting was dimmed for ambience, so please... turn off the lights in your room for better viewing.
BEST LISTENING WITH QUALITY EAR BUDS/HEADPHONES
AND NOT YOUR LAPTOP SPEAKERS --
TO LISTEN SAFELY --SET YOUR CPU VOLUME NO HIGHER THAN 32
ABOUT LISTENING ROOMS
My partner, Morty Beckman, and I founded the "Original" Tallahassee Songwriters Listening Room in 2012. "Listening rooms" have always been major outlets for songwriters, pro's and unpublished alike. The concept goes back to before the early days of Bob Dylan, and they existed in all the major music hubs: Nashville, New York, LA. Miami maybe? I don't know.
You won't find a more fun format anywhere than "listening rooms" for songwriters and savvy audiences. We had such rooms in Tallahassee and surrounding areas in Florida before the Coronavirus Pandemic of 2020, most of them practicing the "Shhhhh" factor taken from the world-famous Bluebird Cafe in Nashville, Tennessee where almost every night new songs get heard and new deals get made. http://www.bluebirdcafe.com
THE BLUEBIRD CAFE NASHVILLE, TENNESSEE
SONGS FROM THE ATTIC
Attics are places filled with forgotten stuff: cabinets full of yesteryear's stitch and fold; old photographs; old recordings; old memories; old footlockers full of more old stuff.
MAYFLOWER--A true story of a small town in Arkansas,POP 2000
DO YOU REMEMBER ME--True events remembered and love shared
MOCKINGBIRD LOVE--A love story inspired by a conversation with a bird
WIDE OPEN--How my dog thinks
RAINY MONDAY BLUE--Totally made up bits and pieces
MARY ANN SENT ME--One of the best "wreakage" love songs ever written
YOUR OLD FLAME--An unfinished work remembering Jende
Songs included on this website were recorded in either "LIVE" music venues or in professional recording studios. When engaged in studio recording, "Work for Hire" agreements were employed administered by Greater Big Bend Music, BMI (GBBM). These agreements include scheduled compensatory rates that apply to contributing studio musicians and vocalists.
In LIVE music venues, where "Work for Hire" agreements are impractical, musicians may voluntarily contribute spontaneous and unrehearsed content. Such content may significantly enhance the LIVE performance of another musician. GBBM is commited to ensuring compensatory fairness if LIVE performances enter a commercial stream via physical or digital media. GBBM will meet this commitment by following the rate structures for musicians existing in our "Work for Hire" agreements, or by otherwise negotiating rate structures.
A word about Royalties: going forward our goal is to earn royalties over time. GBBM is commtted to the fair compensatory sharing of royalties with those who have created the music.
"THERE AIN'T NO MONEY IN IT!"
PaxtonRob has been involved in music and songwriting for many years, one way or another, without ever asking the question, "Why do this"?
"There ain't no money in it," says Tom T Hall. Yet PaxtonRob has received enough life-time royalty earnings to pay for three trips to Starbucks! And for 20 years he was the coordinator (under his legal name, Ron Patrick) of a local chapter of the Nashville Songwriters Association International. There were perks, and tons of memories ... and revelations. But there weren't no money in it.
PaxtonRob (under his legal name) has written and co-written hundreds of songs, recorded a few, and played some of his songs at music festivals and local music venues for years. Some of his recordings sound a bit like a band. That's because he uses "Work for Hire" agreements to hire studio musicians/vocalists to spruce up his "vanilla" guitar/vocals.
There was no real money in any of this... but Ron held interesting and responsible day-jobs that he loved. And he still doesn't have an answer to the question, "Why do this"? He only knows that he cannot... NOT do this.
Ron has wrapped it up like this, in his own words, "Maybe it IS the craft after all. I love the craft of songwriting; it works well to preserve the memory of something in song. Doesn't matter what that 'something' is ... as long as the 'idea' is worth remembering and worth the time to construct a song that remembers. After 50 years of writing songs, this makes sense to me now more than ever: Not only do the songs remember, sometimes a song lets you know exactly what it wants to remember. This is a blessing all songwriters have experienced: 'That song just fell in my lap,' or 'That song just wrote itself.' It is for that song, that muse, I always keep a note pad near for some 3 am wake-up call."
I almost didn't post this section. I thought it presumptuous to do so. Sure, I have written some songs, played some festivals and other events, got paid a little, gotten some songs in the door at CD Baby. But I never made the same commitment others have made to reach the next level. So who cares about MY influences, I thought. Then my wife said to me "Even a nobody is everything to somebody."
Marie Eileen, for always being in the room; for everlasting happiness; for life-long love; for unfailing honesty.
Kevin Welch, Wimberly, Texas, for the "walk-around" critique in your front-yard; when I die I'm coming to your front porch, Brother, just like you said, and not to Vince Dooley's house.
Dustin Welch, Wimberly, Texas, for "Word Truths" and the many insights.
Savannah Welch, Nashville, Tennessee, for the memory of her reply to my overture at The Blue Bird Songwriters in the Round, "He sure is good, isn't he." "That's my Dad," she said.
The Blue Bird Cafe, Nashville, Tennessee... songwriters Mecca.
Ed Walters, Folksinger, Athens, Georgia, for teaching me to fingerpick Dylan's "Don't Think Twice."
Hit songwriter Paul Craft, for sharing "I just try and write a song somebody won't get up and walk out on."
Rick NesSmith, Jacksonville, Florida and Staff Writer at Tree, Nashville, for unexpectedly showing up at 11pm at the Ramada Inn lobby after the NSAI meeting, "Man, you need a co-writer on 'Mary Ann Sent Me'."
Hit songwriters Robin Branda and Paul Harbin, Tallahassee, Florida, who let me in to make it an undeserving 3-way on "What You Answer Too".
Kira Rosen, Tallahassee, Florida, for singing and the Christmas benefit gigs. And Zoom.
Fred "Butch" Burns, Tallahassee, Florida who turned many of my 4 lines into something finished and grand.
Mare Wakefield and Nomad, Nashville, Tennessee, for being our treasured "extended family".
Tallahassee Local Chapter of the Nashville Songwriters Association International, based in Nashville, Tennessee, as chapter founder and coordinator for 20 years spent helping others, and being helped by others, along our songwriting pathways. A major highlight for the chapter was all NSAI members performing original songs in a monthly series of "Songwriter Showcases" hosted for 18 months by The Paradigm Lounge, downtown Tallahassee.
The Tallahassee Song Salon-six seats kick-started by Grant Peeples with Danny Goddard, George Gray, Ric Edmiston, Mike Strivelli, and Ron Patrick to critique new songs, snippits of songs, choruses, verses, song ideas, etc. with multiple "who's who" guests including Kelly Goddard, Paul Harbin, Mimi Hearn, Eddie McFarland, Kenyon Roberts (and others that slip the mind).
"Bar Room" The truth about Bar Room: BANNED! The song is a beautiful but BANNED "therapy write." My child. Yes! BANNED... from Google Ads... for "promoting alchoholism!" Really! Bar. Room. Is. THE. Face. Of. Raw. Human. Pain. I'm dealing with it... it's mine to deal, now ain't it. And if it helps another... just one... to know that such things of the past don't stay so horrid... then so be it!
Professor Rohn You see, "Professor" Rohn (my 92 yr old out-of-control dear ol' fav Uncle), slipped into my studio and slipped Bar Room in here for myself and anyone else... to realize...to know... the pain of...eviseration by progenetic blood, experience, or other detriments void of love, reason, compassion, and tolerence... will pass. Note: This is the original "raw" version of Bar Room... a time way before now. The slicker version is accessible back in the section "The Songs Remember" on this website.
Morty Beckman, last but not least my "Partner in Crime". Morty birthed the idea of "The ORIGINAL Songwriters' Listening Room" in Tallahassee. This resulted in two years of regularly scheduled listening room events at selected "partner" venues in Tallahassee. We always featured two accomplished songwriters to participate with the two of us, and among the four we presented 32 original songs in a two hour listening room event. Some of these events are available for watching on YouTube at The Songwriters Listening Room site. This was a milestone time in my life, and I am certain Morty would agree. So ... thanks so much, Partner! It's still a blast!
SEE YOU DOWN THE ROAD..............
Then there are the people I never met but who enriched my appreciation and understanding of the deeper power of music beyond the bounds of entertainment and commercialism:
Tom T Hall
Emmy Lou Harris
.... tips of the iceberg.
Mixing my own stuff is a new thing for me, and it requires from me significant hours spent listening to multitudes of mixes. I never realized this at the outset. I have been mixing for 3 or 4 years, and totally love playing in that sandbox! I guess all things have a somewhat consistantly applied process, right?
My own process for mixing and assessing mixes is, yes, "fluid", shall I say. I don't use "referencing" per say, but rely on some kind of sound template in my head (I don't mix other people's stuff). I use a variety of listening devices including headphones, ear buds, studio speakers, and car speakers that include:
- A set of cheap HyperX gaming headphones with built-in volume control but no enhancements
- A set of Symphonized ear buds with no volume control but with nice bass enhancement
- A set of Sennheiser HD 559 Pro Mixing headphones (my personal mixing/listening favorite for purity of dynamics, range, and overall sound quality)
- A set of M-Audio studio speakers
- A JB Sound car audio system
I generally start mixing using the Sennheiser headphones and the set of M-Audio studio speakers. "Tweaks" are always needed, so I go back over the mix, then relisten in the Sennheisers, adding listens in the cheap gaming headphones and the ear buds... and a day later the Sennheisers again ... for double-checking. "Tweaks" may follow again. But if I think no tweaks are needed, I am a happy camper and proceed to the M-Audios. But, as usual half the time, I must go re-hunting for happiness in some wayward frequency (and if perceived necessary, by restarting deep with gain-staging and the buses). This entire process sort of "builds in" downtime to repair ear fatigue.
When I am "perceiving" happiness after re-hunting the process, I listen with the M-Audio speakers again; there might be more "tweaks" and "refinements" until the sound I want to hear seems isolated somewhere between the Sennheisers and the ear buds; that is to say, the sound quality of both will be pretty much the same, but I want better and more finished sound quality and dynamics from the Sennheiser listen. Strange. I know. Don't try this at home!
If this mix holds up in the M-Audio studio speakers, I burn a CD, take a hike for two days, then listen through a vintage Bose radio and then the car radio JB system. Generally, that will about do it, unless something like the tinnitus flares up and messes with my head, showing me to be out of my league and needing to seek thera... um... help. "Angelina's Down in Mexico" is a case in point. I think I was mixing to the horns and lost the percussion. I was stumped and handed it off to the CD Baby mastering guru who fixed it. I am happy now!