A Second Helping Of Love

Please excuse our absence these past two weeks. Our archivist/Curator, the famously infamous Dave Thomas (aka, davenative) allowed his personal projects to intrude into our airspace. But, the standoff has been rectified, corporal punishment has been applied, and now restitution to all offended parties is being administered, via ear canal.

Journey back with us now, as we remember that innocent yesteryear – 2000 a.d., the year Native began seriously planning an epic album – And Then What.

In addition to all the great new songs we’d been working on, we knew we had a large catalogue of tunes that had slipped through the cracks, and had not made it to our earlier albums.

Going through all the old tapes laying around Marmfington Farm, John Fitzwater, our producer and soul brother, came upon the 1995 recording of today’s offered morsel of musical remuneration – a song of great concision (it is barely 3 minutes long) written by Michael Jaimes.

At the gigs, the song was always used as a breather in our otherwise hard-jamming setlists, and it became a well-loved tune by every one of us.

We had recorded an updated version on the same, original tape sometime in the intervening five years since the first was done. This version was slower, more direct, and even more heartfelt – something that did not seem possible.

Fitz made a fresh mix of it for us to listen to, and it quickly became a priority for the new album. We carried out the assignment of re-recording it with alacrity, but in all honesty, we never matched the easy grace of this version.

So, here you go. The subject is love – and, as you’ll hear, Mike had it by the truckload.

Just Want To Love You (Version 2)

Cornbread Wednesday

And Then, What Else? All I Really Know about All I Really Know

All I can say about the lyrical content of today’s previously unheard offering, submitted for your approval, is that it was written in the tumultuous early days of 2001.

We were broke, and had been fighting, a bit

We’d worked out our respective beefs, though, and grew up quite a lot in the process. The new collaborations took on a renewed sense of exuberance and passion.

Problem is — we were still broke.

Another important thing to remember is where we were, as a country, in that period. No one lives in a fishbowl, and we were becoming more aware of what was going on. The new songs conveyed a hopeful, but concerned point of view, written by a person dealing with the onset of a new era, both economically, and politically.

George W. Bush had just entered the Oval Office and, almost immediately, there were reports of secret meetings with heads of energy industries.

We were not activists on any front, at that point, and we had never taken any political stand, as a group. But, being interested in the environment was a common bond between us, and we all started to get more informed about what was going on, and being set into policy, by a group that seemed to be the beneficiaries of said policy – who got to write it!

Those classified meetings eventually were made public, and we now know that our worst fears were not only met, but it was much worse than anyone could have dreamt — the plans for an Iraq invasion were being drawn.

Even without that knowledge, the portents were deeply unsettling, and it led to many of us becoming much more activist in our personal lives. But, in Mat’s humble hippie head, in the fallow days of 2001, the focus of his lyric was all about coping with daily life, with all these brand new unknowns that lay ahead.

All I Really Know

Cornbread Wednesday

 

Native Deals With It

After 8 years of pretty much glorious escapades, the first year of the new century had ended rather acrimoniously for Native. There were problems between Mat & myself, and looking back after all this time, I can see it objectively, and say that:

1) Mat’s beefs with me were completely legitimate.
2) My beefs with Mat were completely legitimate.
3) The two sets of beef had nothing to do with each other.
4) We were both a couple of big babies, and it damaged morale in the band.

But, we soldiered on into 2001, and somehow Mat & I worked through our differences, and our collaborations started clicking, the band breathed a sigh of relief, and there was great rejoicing.

We kicked off the year with a fresh round of rehearsals to work on all the new material we had, with Fitz at the studio controls – located clear across on the other side of the loft from the live room!

He was still working out the fine points of using the digital recording software – ProTools, and was loving every moment of it, except for the lack of ventilation or oxygen in my room, where the recording console was set up.

Amidst a general air of friviolity in the occasion, Mike suddenly goes bang into the wonderful Grateful Dead song that is this week’s submission for your approval. And, damn if we didn’t jump in and hang on for a perfectly splendid rendition!

As I listen to it, I marvel at how good we were, and *gosh-a-mighty* Mike was just the most talented guy in the world!

Added bonus – It’s kinda good to see how things can go if you work through your struggles.

Surely, we had grown stronger for having learned how to —

Deal

Cornbread Wednesday

And Then What Didn’t Make The Cut – Stone In The Sun

Last week, I mentioned my song, Stone In The Sun, so it seems only fair to elaborate on its tortured history, and ultimate exclusion from the Native Songbook.

I first wrote the song in late 1992, and intended it for our original lead singer, Anthony Ballsley. There is a recording in our vaults from our last rehearsal with Anthony, wherein he gives the song a reading, stops halfway through, and quits the band.

My songs tended to have that kind of effect on folks, and to this day I don’t know why.

Quite understandably, the song lay dormant for several years, but one day, during the preparation for the And Then What album, I gave it a new coat of paint and showed it to Mat Hutt, just moments after he recorded his mellow excursion, as heard in last week’s post. The rest of the band were out in the front room, enjoying herbal tea (i.e., smoking hash).

Mat began playing it, and I soon added some beat. Matt Lyons came in and joined us on bass. But, by the time Mike, Woody & Chris returned, the song had already been dropped – and once again, I had no Earthly clue why – at least this time the lead singer didn’t quit!

Mat & I weren’t getting along any too good at that time, so that maybe might could be a big reason this song, with its obvious potential, was never taken further. We finally did work out our differences, and came together again before the album project concluded, but this catchy little tune, which never did anything to deserve it, remained unjustly banished from the Native catalogue.

(I finally recorded a complete version with my new band The Beatitudes, and you can enjoy it fully here. Be sure to accompany it with herbal tea.)

Today’s submission is an edit of several takes, as Mat stopped and started over as he learned the different passages of the tune. This way you can get a good idea of what a Native version might have sounded like.

Stone In The Sun

Cornbread Wednesday

And Then What? Another Mellow Mat Song!

Anyone who knew Mat Hutt, during his heyday in the Native Epoch (1992-2001), knew that he was a very, very, very mellow dude — except, of course, when he was awake.

Mat was the driving force behind Native, co-founder, lead singer, primary songwriter, front man, bon vivant, party animal, chief weed inspector, and resident alien.

As such, he had the hardest job in the band – the rest of us might be snoozing in the van, but Mat was always wherever the action was, always hanging our fans, friends, and krevelers. His responsibilities were massive, and never-ending – co-ordinating set lists, and band rehearsals, running the shows, and teaching the band the songs.

Today’s morsel of mellow comes from just such a typical week in the Native timeline – sometime in late 2000. We were planning a new album, And Then What, even as we knew our time as a working band was coming to an end – but, never did he flag in his drive and committment. Mat’s creativity kept rolling on!

The tape shows us that Mat was the first one in the practice space, working out the chords to a new tune, as soundman and album co-producer John Fitzwater faffs about with the recording levels.

A short time later, the band (minus Chris Wyckoff, who is in abesentia) delves into a version of the same tune, and we can barely hear it, but Mike Jaimes is working out some very interesting guitar licks, even in this nascent, and singular performance.

Never wouldst we return to this tune, indeed, we also went over another promising song that day – one of my tunes, Stone In The Sun – and similarly left it behind with only one attempt to mark it’s place in annals of man’s greatest achievements.

(An aside: I recorded a version of Stone In The Sun shortly thereafter, with Grasshopper Dave Hamburger on bass, and with great alacrity it was finished this year! You can hear it performed by my band The Beatitudes here .)

Mat had a whole heaping pile of songs to wade through in this frantic period, and this as-yet-unnamed tune is testament to the quality he brought to his songcraft.

And, when he wanted to be – Mat Hutt could be quite mellow.

Mat’s Mellow 2

Cornbread Wednesday

Polishing Diamonds

And Then What was planned as an album, knowing that it would be our last one. We wanted to get all the latest material, developed during Chris Wyckoff‘s reign on keyboards, circa 1997-2000.

But, we also wanted to do a few tracks of songs that had fallen between the cracks, so to speak. As seen in this Nativology series, we left a lot of songs on the cutting room floor.

Good songs, we were thinking, as with today’s entry, which we offer as proof that we were a very good band in the studio -tight, but without rigidness, or semblance of restraint.

Listen to how Mike, knowing he will redub his guitar later, plays around with several musical ideas and motifs, switching like a gadfly from one to the next.

And then there Mat Hutt‘s startling- spine-tingling, powerhouse vocal!

Mat really dug deep when he wrote the song, based on an experience from some year’s hence, but no less painful for time’s passage.

In this passionate take, Mat summons up everything he was feeling when he wrote it, and in the process gives us one of his best-ever performances!

This song would see it’s final form take shape during the sessions at Marmfington Farm in 2005, when Mike would finally redub his guitar, Woody would add his harmony, Chris would add piano, and Dave would roll the doobies!

But, here it is in the rough mix John Fitzwater did the day we recorded it in late 2000.

Diamonds

Cornbread Wednesday

Native gets Down… Really Down!

Being a member of Native is kind of like being from the sixties – if you can’t remember it, you know you were there!

As curator of the vast Native Tape Vault, I am constantly coming up with nice little rarities that I was unaware existed, or had forgotten about. Of course, once I’ve found a rare item, the old brain cells kick in and start pumping out a data stream of zero’s and one’s. Mostly zeros.

But, this much I do know about today’s audio offering —

It was a mix of a song we had demoed twice in 1992, first with Anthony Balsley (our original lead singer). In December of that year, after Anthony left the band, Mat Hutt worked with sound engineer, Rob Smith, to cut new vocals over the same backing track. A remix of this session has already appeared on Volume 1 of this Nativology series.

But, today’s track is different enough that we think it worthy of your precious time and sweaty ears. Here’s why —

As we prepared our album, And Then What, the first thing we did was get really stoned. The second thing we did was review old, unreleased songs that might make the cut. Indeed, two songs included were from those earlier, smoke-enshrouded years – I Am and Tell Me The Truth.

Why this beauty remained unfinished and left to languish in our vault is a mystery. Probably time constraints were a factor.

We had planned a double-cd release, but time ran out in June 2001, and we only had about enough for an album and a half when Mat moved to California. (Later that year, all work to complete the tracks was abandoned in the wake of 9/11.)

But, for a brief moment, this gem was deemed a contender, and this instrumental mix was prepared by John Fitzwater in the waning days of 1998. It needed new Mat Hutt & Woody Wood vocal tracks, some percussion and Chris Wyckoff’s keys, which it never got. What it does have are some amazing and awesome guitar parts by Mike Jaimes and Mat, and it contains a solo that is all angst and guitar fury – Jaimes in all his unfettered 1992 glory, playing his legendary Gibson Mary Ford guitar, with all its toggle switches!

Fitz’s splendid work on the mix (with very limited equipment) shows how good this would have sounded on the record.

So, kick back with a Nutella Daiquiri and enjoy a very rocking and jamming instrumental mix, and one of the few things in our vault with both of our soundmen’s fingerprints on it (other than a certain blow-up doll!).

Down (No Vox, Fitzmix – 1998)

Cornbread Wednesday

And Then What? Mat Gets Mellow!

This week’s goodie from the Native Cookie Jar is a sterling example of what I’ve been saying about this period in our evolution as a band – that we were getting better and better as songwriters (as borne out by the Cookie Jar – which just keeps giving and giving).

Mat Hutt, more than any of us, was always brushing up on his songcrafting skills, which by this time were Mad Songcrafting Skills!!

Case in point – this lovely piece was recorded very quickly by John Fitzwater on our brand-spanking new Protools rig, using a single microphone – and, just as quickly, it was lost in the shuffle of all the great material we were coming up with for the next album.

We had a saying in Native – “I’ll be mellow when I’m dead.”

And Mat, party animal that he was, lived up to that credo as well as any of us. He could work all day, party all night, jam till the cows came home, and still find time to come up with this inexpressively pretty piece of wonderful, evocative, enchantment.

With that, there’s not much else to say – only Mat knows what the vocal melody might have been, or what the title was!!!

Fitz simply called it, rather aptly —

Mat’s Mellow

Cornbread Wednesday

And Then What – Episode 4 – Beat Generation

Nineteen hundreds and ninety-nine ones – add them together and you get one of the craziest years on record —

Massive earthquakes killed tens of thousands in Turkey.

Two sitting presidents (American & Russian) were under impeachment trials.

John F. Kennedy, Jr., Stanley Kubrick, and Joe DiMaggio passed away.

Y2K fears had gripped the world in a paroxysm of fear.

Taylor Swift was born.

It was a crazy year.

For us who were stuck in this thing called The Music Business – we had gone beyond crazyville, and it was scary times indeed – corporate mergers had left Universal with 25% of the marketshare, which was confined to about three musical acts, all of whom were named Britney Spears.

For Native – the dream of a record deal had turned into a reality where we had been judged by the men in suits to have too much variety — we crossed genres, we experimented with new styles, and we failed to follow the dictates of the marketplace. In short, we had evolved into something the corporate heads didn’t want, and we did not want to change – we liked being Native.

So, we followed Prince’s dictate, instead. But, not only did we party like it was 1999, during 1999, we would continue to do so right up until our last gig at Wetlands in late spring 2000. It was an on-going party at Marmfington Farm, night and day, seven days a week, in perpetuity.

Amazingly, whilst partying our selves silly, we also were often sat in our studio, working out new songs. Today’s tune is one I hadn’t finished the lyric for when this rehearsal took place. Perhaps, I was weary of all the bad news, I had regressed back to my college days, and my love of Jack Kerouac, Neal Cassidy, and the San Francisco Beats. Now, I was about to rhyme Ferlinghetti with confetti.

All I know is that during that tumultuous year — having this on a tape to listen to gave us a lot of joy, and it went on to be one of the best tracks on the highly under-rated Native album – And Then What.

(BTW – we know Taylor Swift wasn’t born in 1999, that would make her fourteen, and we all know she’s sixteen!)

Beat Generation

Cornbread Wednesday

And Then What – Episode 3 – Annabelle

Today’s lost Native song comes from an extremely fertile period in our evolution. This was supposed to be the part where we were breaking up, and yet we were writing songs faster and furiouser than ever!

Case in point – if you listen to this amazing song, recorded live at Wetlands, you will be asking a very pertinent question — How, in the name of all that is good and worthy did Native not make an official recording of this great tune????

The answer is rather prosaic – we had more than we could handle. We knew Mat Hutt was moving away, and that would be the end of the band, so we spent six months trying to jam in as many songs into the digital domain as we could – but there just wasn’t enough time!

(And this is why I’ve always maintained that we never really broke up, we just lived too far apart to do any playing!)

As it turned out, working with our Producer, John Fitzwater, we laid down enough tracks to compile an album and a half – and that’s what became And Then What (finally released in 2006), and our EP – December Roses (2012). Both are featured on our Bandcamp site, which you will be whisked to in a blink of an eye when you follow the magic linky thing below —

Annabelle (Wetlands 1-10-99)

Cornbread Wednesday