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    Please Yourself

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    If I Could M ake it to Ohio

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    JoEl

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    Peaceful Place

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    Santa Ana

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    It Took a Lifetime

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    Evening in the Everglades

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    Get Out of the Way

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    The Lost Sea

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    Be Gentle With This Body

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    Whatever Happened to America

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    Healing Waters

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    Chief Redbird's Violin

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    Violet Skies

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    Good Man

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    Before the Wind

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    I'll Make You a Drum

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    Climb These Walls

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    Cold Night in Abilene

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Where Dreamers Only Go

Michael On Fire

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Where Dreamers Only Go

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Soundtrack double album from the film, Where Dreamers Only Go"

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    I Don't Mind Growing Older

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    Realize

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    The Wind Still Blows

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    I Think I Came Too Late to the Party

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    Violet Skies

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    I Remember the Angels Cried

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    Shak ' Em On Down

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    Never Let 'Em See You Sweat

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    I Would Give Anuthing

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    No Limits

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    Please Don't Leave

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    Ride On Into Midnight

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    Whatever Happened to America

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    Pagan to the Bone

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    Head in the Clouds

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    I'll Make You a Drum

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    Light of Love

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    Earthdrum

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    Cadillac Ranch

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The Solstice Session

Michael On Fire

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The Solstice Session

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THE SOLSTICE SESSION: On the day and the night of the Summer Solstice (2016), our “group” gathered in the Santa Ynez Valley, at Bear Erickson’s studio, to record what we hoped would become a new Michael On Fire album. By this time, Michael had been performing with these musicians for more than four years, a couple times a year for a couple weeks at a time, at shows in California (Tompeet and Jack also joined him on extended tours across America.) Over the course of that time, Michael had gained a reputation as a highly improvisational artist, and his “California band,” as he affectionately called them, had shown repeatedly that they could go through any door of his choosing, and open new ones as well. Our only real “plan” for the album was – elevated lyrical content. Despite our stated desire to emphasize the lyrics, the first song Michael pulled out was an instrumental piece he composed two days earlier. It was the first song they recorded and the first track on this album. Its’ calm thematic beauty set the tone for what would follow the rest of the night and through the next day. The predominant aim that took over the session, which was embraced by all, was simply – to be true, now; and fully present in the present. The result is a record that is alive and creative. Some people ask – what’s even the point anymore of making “an album” when today’s technology allows you to put out songs whenever you want? The albums give context to the ongoing relationship between the artist and the audience. They help us “locate” the songs and recognize the musicians. We know “Queen Jane Approximately” from Highway 61, “A Day in the Life” from the Sgt. Pepper, and “When Will I Ever Learn” from Avalon Sunset. We know Al Kooper from “Like a Rolling Stone,” Billy Preston from “Get Back,” and Ladysmith Black Mambazo from Graceland. We know these songs and these musicians from those albums. This is the sixth Michael On Fire album in seven years, and his 20th overall. It was recorded with the same musicians in the same studio and the same approach as his last album (Healing Waters) and yet it sounds and feels very different. It is the latest and the next step in the musical journey of an artist of uncommon creativity, vision and commitment.
credits released April 5, 2017

The Solstice Session © 2017 Real Eyes Productions (REP056)

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    River Blue

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    Peaceful Place

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    No One to Kill

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    It Took a Lifetime

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    Goddess of Love

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    Call off the Dogs

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    Evening in the Everglades

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    Santa Ana

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Tracks Along the Way

Michael On Fire

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Tracks Along the Way

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    Get Out of the Way

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    I'll Make You a DFrum

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    Climb These Walls

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    Chief Redbird's Violin

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    Violet Skies

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Healing Waters

Michael On Fire

Not counting special collections or compilations of previously recorded material, this is Michael’s 18th studio album; more than 200 songs that have been recorded and made available commercially. His history and experience in the recording studio is notable and extensive; it includes early work with Hall of Fame Producer Don Davis at Detroit’s United Sound studios; recording his songs at Muscle Shoals with the legendary Swampers rhythm section; Pacific Sound with Joe Vitale; “The Barn” and “The Studio” with Stephen Stills; Devonshire with Stanley Johnston; Studio 55 with Daniel-now-No’a Lazerus; A&M studios courtesy of Jimmy Iovine; and so many great independent studios, musicians, producers and collaborators across the country – people who love music and make music, and know how to record music – in Nashville and L.A., but also in out-of the-way places like Ft. Dodge, Oswego, and many other cities and towns; at the Braushaus, the Silvery Moon, A –Square, Reel Sound, Solid Sound, Harmonie Park, Funky D; Phil Kenzie and the Bunker, Colin Wilson, Chris Kelly, Ced Curtis, Marty Bolin; I could go on and on. I just wanted to give some context so that when Michael says, “This was the best recording session of my entire life,” you’ll understand that – that’s saying something! After contacting the musicians, who for the past three years have performed with Michael on his West Coast dates, and coordinating everyone’s schedule, I booked a week, a month in advance, in Bear’s studio in Buellton, Calif. In that month, Michael wrote a bunch of new songs, seven of which are included here. And because it felt and sounded so good, they recorded 13 other songs, 10 of which no one in the band had ever heard before. It was highly improvisational, with all songs recorded live, in one or two takes, with all the musicians in one room, facing each other, playing simultaneously. Since each of these musicians are multi-instrumentalists and were bursting with creativity and enthusiasm, a couple other ideas and instruments were added, along with background vocals; that’s it. It was a fun, joyous, laughter-filled week; five-and-a-half days, close to 70 hours in the studio. The thing that stands out is how incredibly happy we were to be there and to return there each day. I can honestly say it was one of the most exciting, creative, energized, wonderful weeks of my life. After the session, during a conversation with the poet Dan Gerber, he said – Michael’s an artist, and as such, his job, his business, is to do the work of creating art; what the world makes of it is the world’s business. I recall, during one of the Tales from the Tavern taped interviews, Michael said, “I do this to feel and to heal. Sometimes I pick up my guitar and I hit a chord and go – Oh my God, that just healed my soul.” That is the magic of music. When it is given the opportunity, and when it is expressed and received truly, it has a unique power to affect and inspire and, yes, heal us. I invite you to immerse yourself in these – Healing Waters. RC (June, 2014)

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