Liner Notes
So Long, Sunshine | The Levee Breakers
Released 2-25-25
Track 1: GIMME BACK MY COAT
I believe the pivot point where we went from “blues band” to “band.” Our first run at it was in the Paty Hall basement at UA, an occasional rehearsal spot. Gets the deluxe treatment with Salty Papa on 2nd guitar and Matt’s overdubbed percussion. Ryan tips his hat to Hound Dog Taylor.
Recorded in Memphis ‘98 for So Long, Baby.
Track 2: TROUBLE ON THE LINE
I was really into Magic Sam. Picked up Dave Neill’s 12-string and this riff came out. Sometimes different things come out on a different instrument, then you bring it back home and find you’ve got something. The paradox of a deep blues and enjoying “the finer things in life” in that period. Ryan’s lyrics are the sequel to COAT.
Recorded in Memphis ‘98 for So Long, Baby.
Track 3: SUSPICION BLUES
Started out a slow burner but it was meant to jump. Inspired by Santana’s “Evil Ways,” Ryan’s stops section is a movie script in 8 lines. Might be the most often performed song in LB history.
Recorded in Memphis ‘98 for So Long, Baby.
Track 4: JUST A LITTLE BIT
More Magic Sam love. With a swift kick for the Million Dollar Dance Floor. We took liberties live, a “Low Rider” jam being one (you can hear this on City Stages ‘97).
Recorded in Memphis ‘98 for So Long, Baby.
Track 5: NATURAL BLUES
The Northwoods is on the border of WI / Upper Peninsula of MI. Cut to 4-track at Lee Harrison’s old wood floor house, since leveled in the 2011 tornado. Old LBs in our Southern Gothic element here. Transcendent performance, in the sense that thing couldn’t be done again.
Recorded in Tuscaloosa, ‘97.
Track 6: FOOL’S ADVICE
Jive talkin LBs. Ryan’s answer to James Harman’s “Tall Skinny Mama.” True story involving five characters, but that’s all I’m telling. There are other versions with pop hooks, but this jump blues version — a signature of our early period — gets the job done.
Recorded in Memphis ‘98 for So Long, Baby.
Track 7: BLUE LIGHT BOOGIE
One of Matt’s inimitable countoffs. Billy Gibson did some stellar producing here — barbershop sextet was his idea and adds to the throwback vibe. Like “Suspicion” and “Coat” of the same session, Ralph and I weaved two guitars — his duck taped 335 and my Ye11a Strat.
Recorded in Memphis ‘98 for So Long, Baby.
Track 8: HALE COUNTY RD. #50 (Live on Lee & Wolfe)
These lyrics came to Ryan on drives out to the Hale County wetlands for biology grad work. I wrote riffs & hooks to invoke that dusty road. Brian came with the “flat tire.” This radio performance was mellow, but a nice snapshot of us at the time. Indeed, 𝒀𝒆𝒔𝒕𝒆𝒓𝒅𝒂𝒚 𝒘𝒂𝒔 𝒆𝒂𝒔𝒚…
Recorded in Tuscaloosa at V-91 radio, ‘97.
Track 9: SO LONG, BABY
Started out as a down and dirty E-shuffle but we took it uptown. A groove that could go and go… big and open. Live, Ryan and I would play call & response towards the end, one of my favorite memories of the Old LBs. Great way to close a show.
Recorded in Memphis ‘98 for So Long, Baby.
Track 10: WALKING IN GOLDEN SUNSHINE
From the “So Long” shout chorus fade to the “Sunshine” intro is a fifteen month stretch of Southern highway. Where the early period had an edge, a swagger; the ensuing WIGS period is a road-tested band — tight as you’re gonna get — and our youth had finally shed its skin. We were grown men now.
This number was inspired by a lot of things — Walter Washington’s version of “Superstition” from a Galette’s show, Van Morrison’s “Moondance,” and a lotta Stax. It’s all in there, along with one of Ryan’s most universal lyrics containing a message that’ll live forever.
Recorded in Vestavia Hills, AL. 1999. Walking In Golden Sunshine sessions.
Track 11: HALE COUNTY RD. #50
One of our signature tunes. This version was the apex of an evolution. Bunch of sections, lot of dynamics and tension. A true ensemble effort by us four: Ryan Rob Eric Matt. The hard driving harp solo section comes from a teeth-cutting cover from day one, Little Walter’s “Too Late.” Great capture & mix by Daniel Farris. A track we’re all proud of.
Recorded in Vestavia Hills, AL. 2000. Walking In Golden Sunshine sessions (album track).
Track 12: GIMME BACK MY COAT
The first of our A-minor Trilogy, written for So Long, Baby, but we did it again for WIGS alongside the other two of the suite. Like the preceding track, this is an LB signature. To a lesser extent than Hale it underwent an evolution of its own. Whereas the Memphis recording had a raw edge, this one is polished but also pulses with joy. Mempho had Ralph on 2nd guitar and Matt overlaying percussion, while this cut is straight 4-piece that I went back and laid organ on. Equally proud of the So Long and WIGS period versions.
Recorded in Vestavia Hills, AL. 1999. Walking In Golden Sunshine sessions.
Track 13: SET YOU STRAIGHT
Final piece in the Trilogy. Where COAT was the opening salvo for a new sound, breaking out of our blues boxes… And WIGS was Ryan’s deep universal lyric to an understated groove… STRAIGHT was the logical conclusion of that groove we were mining. Without the lost love world of COAT, or the introspection — just top-of-the-world bravado.
Recorded in Vestavia Hills, AL. 1999. Walking In Golden Sunshine sessions.
Track 14: SEÑOR BLUES
Might’ve been the opening theme to an old Clint Eastwood or John Wayne Western. All we were trying to do was play some Blue Note we loved and flesh out an “After Hours” set. You never know which covers you do will come out well. From the Latin stylings to the storytelling, this Horace Silver standard fit us.
Recorded in Vestavia Hills, AL. 2000. Walking In Golden Sunshine sessions (album track).
Track 15: HEAD CLEANIN’
From that first batch of originals written year one. Underwent many iterations — from box shuffle to jump blues to the Latin thing it became when Matt came on board. To me, the WIGS-period version feels Western, lifted from the same movie as Señor Blues. Be forewarned asking Ryan about this lyric — The Scientist comes out. Cerebral cortex, gyri ridges & sulci grooves… He’s really into her and that’s gonna blow her mind. So here comes the mental floss, ie a good head cleanin’.
Recorded in Vestavia Hills, AL. 1999. Walking In Golden Sunshine sessions.
Track 16: KEEP WHAT I GOT
When there’s organ on an Old LB track, that’s me. Almost always tracked it after 4-piece live tracking. On this one, B.A. Bodiford played guitar and I played organ, and it’s all one live recording. As I’ve mentioned before about covers, it’s about fit. And swamp music was a natural for us.
Recorded in Vestavia Hills, AL. 2000. Walking In Golden Sunshine sessions (album track).
Track 17: WHAT A FOOL
What happens when a bunch of roots lovers channel their inner retro. It happened on So Long, Baby with the Blue Light cover. This time, it’s doo-wop choruses. I got a chance to really indulge in Christmas chords. Was a fun one to create. Lot of good vibes here. And maybe our most accessible original tune.
Recorded in Vestavia Hills, AL. 2000. Walking In Golden Sunshine sessions (album track).
Track 18: YOU’RE GONE
Kind of mirrors Hale from the previous record in its country elements. Lot of melodic playing by Ryan and I, which was the intention for the music. We finished writing it in Salty Papa’s rehearsal space. Logical closer to this collection, as it was the So Long of WIGS.
Recorded in Vestavia Hills, AL. 1999. Walking In Golden Sunshine sessions.