Reflections on Blue Horses LP, thirty years on
When the 1,000 records were delivered on a bright sunny day to my tenement apartment on Henry Street, I triumphantly carried them up the five flights, while the LP played on my stereo.
The Blue Horses album was recorded in 1989, a time when music was all that I lived for. One year earlier, Nervous Records in England had suggested I record a master on "Handful of Girls" after I had sent them a demo for publishing consideration. After recording that song and few more, I decided I would press my own album, something to hold and listen to in my old age, but more importantly, something that would convince some music biz big-wig to sign me up and give me the shot I knew I deserved.
The recording were done over a year's time at the three NYC studios (16-track and then bumped up to 24) and produced and mixed by my ex-Treble Boy bandmate, Bob Giammarco. Every bit of the recording was a labor of love and a joy, but the most memorable session was the live recording of "Guitar Man" featuring the mind-boggling Telecaster playing of the late, great Paul Skelton.
When the 1,000 records were delivered on a bright sunny day to my tenement apartment on Henry Street, I triumphantly carried them up the five flights, while the LP played on my stereo. With the mailing lists from several friends who had put out their own records, I mailed out the LPs along with a SASE questionnaire and resume to reviewers, college radio, attorneys, friends and family. The response I received was amazing. The reviewer from Billboard liked the cover, gave it a spin and then declared it "An outstanding collection of pop-oriented country rock tunes." CountryMusic called it "One of the season's out-of-left-field surprises." I got some distribution in U.S. and Japan, and radio play in Belgium and the U.S. After fifteen years of playing bars and clubs from Brooklyn to Chad, this was the most positive feedback I ever received.
A year later, I recorded three tracks produced by Richard X. Heyman ("I Wouldn't Have The Heart," "The Next Time Love Comes Around" and "If I Didn't Have You." A few months after that I cut "Dead Men's Clothes" and "Nothing Ain't Right." Althought Blue Horses did not get me signed (I handed a disinterested Clive Davis a copy in an elevator; he blew it) it remains one of my proudest accomplishments. Presented here with the extra tracks, I hope it gives you as much joy as it still does for me.