Rebel Road Liner Notes

     Rebel Road: that's the story of my life. I've always considered myself something of a musical rebel. Somehow I never seemed to fit the categories people tried to squeeze me into. It just made me want to break out; so that's what I did.
     I guess I never bought into the idea of labeling music and selling it as a product in the first place, even though I knew in many cases that's exactly what was happening. If you look at music as a business or profession, it's always been both advantageous and profitable to follow the latest trends. I know I could have made a lot more money jumping on the endless succession of bandwagons that have come rolling through. It all comes down to this: I'd rather blaze my own trail than follow in the footsteps someone else has left behind. So for better or for worse, I'm on a rebel road.
     Originally, I was going to call this album "Rockin' The Blues". By the way, I still think of myself as making albums rather than CDs. Albums are a collection of musical pictures. Each song is like a snapshot in time that captures a feeling, a memory, or an emotion; and together, they tell a story. So, an album is really a musical book that opens up and unfolds into a living experience.
     Anyway, as I was saying, "Rockin' The Blues" is honest, sincere, and straightforward. It's something real that I've been doing all my life. I knew there would be a song called "Rockin' The Blues" and I wanted my brother, Johnny, to play guitar on it. All this came to pass. Johnny was touring in California and came by the studio one night after his show. Man, he tore it up! It was everything I hoped it would be. I closed my eyes and it took me back to when we were kids.
     As much as I love that song, as time went by and the project began to take shape, it became increasingly clear to me that "Rebel Road" was truer to the spirit of the music that was being created. This is so much a road album. The road winds through it the way it's wound through my life. "Rockin' The Blues" is one stop, but for me the deeper meaning of the road is that no matter how far it goes, it always leads back home, and that's where my heart will ever be.
     My intention in writing these liner notes myself is to give you some idea of who I am and what I'm all about as an artist, as well as to provide some insight into this music and the people who have helped to make it. From start to finish, it has been very much a team effort. I wrote two to the songs myself; all the rest were written with two friends of mine, Curt Cuomo and James Baker.
     Curt is a very talented singer-songwriter-producer, who also plays drums and keyboards. I first met Curt back in 1999 when we collaborated on a ballad called "You Are My Song". He owns the studio where we recorded, and has been writing and co-producing with me from the beginning.
     When we first started talking about the project, Curt told me about James, one of his friends and writing partners, and suggested we try working on it together as a team. One of the things I had mentioned was classic, signature guitar riffs that you can write a song around. James is a guitar player, and that just happens to be one of the things he's great at.
     Each of us is a real songwriter on his own, but together I think we have something really special. We all felt it immediately; it was one of those things that just instantaneously clicked. It's hard to explain: a sort of synergy in which the whole is somehow greater than the sum of its parts. Whatever it is, all I know is it feels good, and it works. There's no way to describe what it's like when ideas seem to flow so effortlessly, a song emerges, and you just know it's right.
     Another integral part of the team is my friend and manager, Jake Hooker. I first met Jake when my wife, Monique, and I moved to California in 1990. Jake was working with Rick Derringer at the time, and we put together the "White Lightnin' " tour. I met Curt through Jake when he was working with Eddie Money.
     Jake used to sing and play guitar himself in a universe long ago and far away back before he got into management. He was one of the writers on the song "I Love Rock 'n' Roll" that Joan Jett recorded. So Jake really understands music from the artist's perspective, which is an excellent and valuable quality to find in a manager.
     I mention all this because it ties in with "Rebel Road". You see, we play a lot of biker shows--the big Buffalo Chip Sturgis rally, the Easy Rider tour, and Jay Leno's Love Ride (one of the biggest biker related charity events in the world). I really love doing the biker shows. "Frankenstein" rocks, "Free Ride" always goes over great, and everybody has a real good time. So I was thinking ... you know, we really ought to have some new songs with that kind of vibe.
     I was talking to Jake about it on the phone one day, and we were kicking around ideas like full throttle, no reverse, freedom, road, highway, and rebel. I suggested road rebel and Jake said, "how about rebel road." There was a brief silence, and I said.
     "Yea, that's better. I really like that. It has a real ring to it. It's a great metaphor with a sense of poetry about it." We told Curt and James about it and everybody got really excited. The rest was easy. The song practically wrote itself.
     I relate this little story because people seem to be so interested in how songs come about, and it illustrates how the simple turn of phrase in a seemingly idle conversation can really get something rolling. As for the concept behind the title, I think bikers and musicians have a good deal in common: a certain defiance and disregard for authority, the status quo, and the powers that be. To me, the idea of the open road is a symbol of freedom, and freedom is what music is all about. It's saying I'm not going to be told who I am, and what I'm supposed to believe. It's about living life on your own terms, and that's what rebel road means to me. I like it because it's not only a biker song, it's my song and my story as well.
     There's one more element that made this song absolutely perfect and solidified in my mind as the title track, and that is a gentleman we all know as Slash. We met at the New Millennium Celebration in 2000 and played together in an all-star band with John Fogerty. It was an amazing event with everyone from Sophia Loren to Mohamed Ali. There was a grand ball afterwards, and we all got to meet the Clintons and hang out with all the stars at the White House. With his top hat, Slash fit right in. Monique and I danced romantically into the new millennium together. It was really something!
     Anyway, as I was saying, Slash is one of my all-time guitar heros, and I don't think there's anybody out there more on a rebel road. When I called him up and asked him to play, and he said yes, that was it! He came in and just killed it. I mean he took the song to a whole new level. Thanks Slash! I'll never forget it. I owe you one.
     There's another aspect of this album I haven't touched on yet. As you may know, I was born and raised in Texas, and believe me when I say--you can't grow up in Texas without a feeling for country music. I could strum chords and sing country songs back as far as I can remember. Strangely enough, this is an influence that has never come out in my music, until now.
I had written a whole set of lyrics to what I thought was a blues song called "On the Horns of a Dilemma". Curt and James took one look at it and said "Wow, what a great country song."
     "What?" I said.
     "This is a great country-rocker." I was amazed to realize, they could be right.
      "If you like that one" I said, "I've got a whole bunch of those layin' around. How 'bout one called The Power of Positive Drinkin'." They just busted out laughing. I came up with literally a dozen of those in only a couple of days, but we decided we'd better quit before it turned into a country album.
     And then, another twist of fate. I knew I wanted some really country-blues style harp on both these songs, and suddenly, inspiration struck. I knew Clint Black! Everybody knows what a great writer, singer and country artist Clint is, but not everybody knows how well he plays the harp. Let me tell you, Clint is the real deal. He doesn't just mess around; he can really play!
     Clint had invited me to play sax on his song "Burn One Down", which was an honor and lots of fun. So I figured, why not ask him? He said yes, and it was another one of those magical, musical moments you dream about. Clint literally blew us all away (no pun intended). It's the truth. It means so much to me that Clint would take the time to come in and play on these songs between shows, just out of friendship and human kindness. Thank you, Clint. God bless, and I hope our paths will cross again sometime soon.
     Another part of the team that's there year round is my band. My guitar player Doug Rappoport (we all call him DougE Rapps) has been with me the longest, over five years now. I am noted for having played with many great guitarists, and believe me, Doug is no exception. He was young and exceptionally talented when he joined the band and has improved steadily year by year, developing into a phenomenal player.
     My tour manager, Dave Lopez, goes back even further. Dave is also a great front-of-house mixer who has been there through thick and thin, keeping it all together.
     I want to thank Mark Meadows (the bass cowboy) who has played bass with us all the time up to half-way through the making of this album. Mark is an amazing player, and I wish him much success and all the best.
     We have a new bass player, Koko Powell, who plays on the last four tracks doing an incredible job. Koko is fantastic both live on stage, and in the studio. He really lays down the groove with great feel and authority, right in the pocket (which I love) plus he can really sing!
     We're in between drummers right now. A ton of world-class drummers played on this album. They will be acknowledged in the credits, and I thank them one and all for a superb job, well done. But here, I want to thank the two main guys (who's playing I love) that were out with us on the road: Chris Frazier (with us for years), and Jimmy Paxson (who did a great job on Texas Tornado).
     There is one more person who contributed immensely to this project, although he didn't enter the picture until near the end. Ross Hogarth mixed nine of the eleven songs, and I've never been happier with any mixes in my life. After the songs are written, the performances are done, and the recording is over, it's all up to the mixer. Mixing is an art, and Ross is a true master. He literally lived this music for the last month, putting in every waking hour. Ross, your artistry, passion, and attention to detail are truly amazing. My deepest and most heartfelt thanks. I hope we will have the opportunity to do it again. There is no one else I would rather work with.
     I'll say goodbye now, but first I want to thank the most important team member of all, the person I love, trust, and respect more than any other, the most valuable player of all time in my heart forever: my wife Monique. She changed my life, showed me the meaning of true love, and made me a better person. Without her, I simply would not be who I am. I love you, Monique.
     Finally, to everyone who hears this music, I want to thank you all for listening. Off and on, it's been happening over two years of my life; we've all had a great time doing it, and hope you will enjoy it as much as we have making it. So, kick back, relax, and have a great trip down "Rebel Road"!

Keep On Rockin',
Edgar and Monique