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Artist Profile

Kevin Odegard

Kevin Odegard

Music by Kevin Odegard

"Kevin Odegard" Wooff Records W4ST, 1971

Produced by Don Kingsley and David Zimmerman

"SILVER LINING" ASI Records, 1975

Produced by David Z Rivkin and David Zimmerman

Artist's Media Player

Silver Lining Cover
  • Silver Lining
  • Country, Rock
  • Kevin Odegard
  • 06/12/2009
  • Silver Lining
Liner Notes: SILVER LINING & The KO Band Recollections by Kevin Odegard, David Z Rivkin, Gary Lopac, Jeff Dayton, Dave Pentecost and Billy Hallquist Kevin One Saturday night late in 1965, just after getting my drivers permit, I explored the country roads around my hometown with Top 40 music blasting from the radio. The DJ played one great song after another: “Mr. Tamborine Man,” by the Byrds from California, “Wild Thing” by the Troggs from England and “Little Latin Lupe Lu” by the Chancellors from Minneapolis. I was still buzzing several weeks after seeing the Beatles live at Metropolitan Stadium. Sometime after dark I approached a lakeside roller rink, where the sign on the marquee read “The Chancellors from Minneapolis.” What luck! I walked inside and made a beeline for the twang of a Fender Stratocaster guitar. David Z Rivkin made it sound like whole a flock of Byrds. He played deliberately, soulfully; the tone he coaxed from his reverberating Showman amp could rip the heart right out of your chest. As I stood there transfixed, my thoughts turned back to a Sunday afternoon earlier when I’d met David’s brother Bobby, trudging down a path at Camp Ajawah where I worked as a counselor. He was toting a sleeping bag with one hand, swatting horseflies with the other, looking a little lost. When I heard his name, I perked up. “Any relation to David Rivkin from the Chancellors?” “He’s my brother,” croaked Bobby and continued along the path. I knew right then I wanted to be his friend. On the path to the beach I pressed my transistor radio close to my ear, straining to hear every word of the incredible new pop song pouring out of the tiny speaker. It was Bob Dylan’s “Like A Rolling Stone.” And now, here I was, hearing “Little Latin Lupe Lu” played live for the first time, up close and personal. I didn’t flinch or move; just stood shivering in the heat, watching the Chancellors rock Barr’s Spectacle Lake Ballroom. Nothing was ever the same for me after that summer. In a few years, David found work in Hollywood, wrote songs with Gram Parsons (a rare Byrd indeed) and returned to Minneapolis as a producer for ASI Records. By early 1975 my career hit a high note when I landed as a sideman on Bob Dylan’s “Blood On The Tracks,” and I was elated to be recording a new album with David as producer. Bobby had set his sights on becoming a drummer like Ringo Starr, and pondered skipping college to realize his dreams. For all of us, life was about to change. David I didn't know I was producing anything; didn't know what the word even meant. I was just covering the bases and trying to make the songs sound good by adding different textures. Kevin baked the cake; I just put the frosting on it. Kevin From his perch in the control room of ASI’s cavernous studio atop a long flight of stairs at 711 West Broadway, David welcomed friends old and new for his first project. Fresh from the Dylan sessions came bassist Billy Peterson. Rock-steady drummer Phil Berdahl held down the rhythm section. A ‘who’s-who’ of Minnesota musicians filled out the roster, and David himself played everything in sight: Electric sitar, high-string guitar, 6 and12-string electric and acoustics guitars and low-string electric lead guitar (listen to his Glen Campbell-ish solo on “Roseport 5:05”). Bobby watched intently, played percussion, and soon came up with a great part and won the drum spot on “Roseport 5:05”. David John Volinkaty just walked into the studio one day and said he'd written a hit song for Jeannie Pruitt [“Satin Sheets”]. Because of my affinity with my late friend Gram Parsons I took an interest. Living in Minnesota, John was an outsider to Nashville. But of course all the best country music people are outsiders. Kevin David’s friendship with John Volinkaty opened the door to John’s songwriting discoveries, John Gareis and Tom Ginkel from New Ulm, Minnesota. On Silver Lining, we sang their “Mary-Go-Round” (with David on harmonies). Another treasure was their epic tale of a wagon train survivor, “Cold Hard Wind,” spoken from the character’s deathbed in San Fransisco’s skid row after the gold rush. It became a staple of our live shows. Gary The KO Band was the happy result of radio airplay and buzz around the release of SILVER LINING in the fall of 1975. Kevin hung on to his job a brakeman on the Chicago Northwestern Railroad after playing guitar on a Bob Dylan record, and under David’s watch the band came together with Bobby Rivkin on drums, myself on bass, Billy Hallquist on guitar and vocals, and Jeff Dayton on lead and steel guitars. Jeff The Minneapolis band I was in for the least amount of time was actually the band that got the most attention, The KO Band. I auditioned for Kevin in early January 1976 at ASI Studios. This was my first meeting with everyone but Billy, who invited me to the audition after we met at one of his gigs. It was an energetic jam session, to say the least. Kevin threw song after song at us and we jumped in fearlessly on them all. Little did I know that would become the trademark of our live shows. It might have been Neil Young’s “Cinnamon Girl” that cinched it…all I know was that before I got out to my car, I had the gig. I also remember how impressed I was with the bass player’s singing (Gary Lopac). Gary I first met Kevin during playbacks at ASI Studio, where I had been working with David and Bobby Rivkin. I was hired on the spot for the touring band. I was there at the beginning and I was there at the end. During the times when I wasn’t working with Kevin, I can see myself popping up as a character in the songs he wrote throughout the 1970’s Most of these songs were written in my van on road trips. Kevin was a mercurial bandleader and an innovative songwriter. His edgy intellect kept those around him off guard. What I found fascinating, others found over-ambitious and demanding. I will say this; it was not a democracy. Determined not to become a lounge act, Kevin was never afraid to challenge convention or bend the rules of pop music, which often placed him at odds with club owners and professional musicians. In staging live jams and odd performances such as Neil Young’s obscure “Lookin’ For A Love” and Ed Bruce’s “Mamas Don’t Let Your Babies Grow Up To Be Cowboys” years before outlaw Waylon Jennings put it on the radio, Kevin forged his own brand of “railroad rock” in deference to his most loyal audience. Our home base was William’s Pub, Uptown in Minneapolis, where owner Bill Wanner encouraged and indulged Kevin’s shenanigans and experiments. Sitting in that audience on any given night were railroaders, Deadheads, folkies, CPA’s, artists of all stripes and one particular kid named Prince Rogers Nelson, who was scouting for a drummer. Jeff I remember a snowy day rehearsal at Kevin’s house when Bruce McCabe taught us Long Black Veil. Then we did a studio photo session with Nancy Bundt, a wonderful woman who had just shot a breathtaking photo assignment in India for National Geographic. Our guitar gear was really cool stuff: Billy played a 60’s blonde Gibson 335 thru a Fender Twin Reverb. Gary had a Hofner Beatle bass and an early 60’s Fender Jazz bass, thru a Dual Showman amp. Kevin’s weapons of choice were a Martin D-28, a Rickenbacker 360-12 and a Fender Tremolux amp. I had a Gibson SG Special from 62 or 63 and an Erickson Steel guitar with a Fender Twin Reverb with JBL’s. What followed was a blur of gigs and jams. Jon Bream from the Star Tribune traveled with us on a road trip to Iowa. It was like a reality show you might see today. Kevin and Gary brought us Bob Marley records and after we learned “No Woman No Cry,” the whole band went to see Marley at Northrop Auditorium. I was never more blown away by an act. It was one of the top 3 “groove experiences” of my life. The KO Band had a wonderfully devoted flock of female fans…the names escape me. At one of the summer pool parties, Kevin launched himself from the roof, past a tree and into the pool…almost. He wore a cast on his right hand for a really long time, which impaired his guitar playing. I can still hear David Rivkin giving Kevin an earful about his stage volume. David might have been the only one of us who had that privilege without repercussions. We also had an enthusiastic jammer in KQRS disc jockey Harlan Saperstein who loved to jump on stage at William’s Pub on tambourine. Harlan was an awesome DJ. Gary “I Don’t Wanna Go” is the only recording we ever did together as the original five KO’s, with Bruce McCabe sitting in on piano. It’s the best thing we ever did together. I often wonder why bands break up just when they’re at their peak. As a band we were a winning team, greater than the sum of its parts. We somehow generated good vibes wherever we were, even when we weren’t getting along. Who knows what we could have done? As Tom Petty says, “The sky was the limit.” We were just arriving, yet we broke up immediately after recording “I Don’t Wanna Go.” Jeff “I Don’t Wanna Go” happened while Kevin had the cast on. That cast became larger than life during a band disagreement at Creation Audio. I really hoped we had a chance with that song. All of us had input on it, and it’s the only recorded piece of studio work we had to show for 10 months together. Gary The first rule of The KO Band was, no rehearsals! After our first rehearsal, we never rehearsed again, and I still maintain we never had to. We had a special magic that was unique beyond all reason. But alas, ‘Life On Mars’ with the KO Band was indeed the rocky road Jon Bream had envisioned, and after less than a year of touring clubs, colleges and bars, we had a band meeting in our manager’s office and decided that Kevin’s freewheeling lifestyle didn’t fit in with the career goals of the other band members, and we summarily fired Kevin Odegard from the KO Band. We played a few dates without Kevin before he regrouped and began recording the songs he had written on tour. Jeff The band that Gary, Bobby and I formed afterwards lasted two months. During our rehearsals at Moon Sound, we started seeing a young writer/singer/musician come around that Chris Moon was writing songs with and recording. Owen Husney (also Kevin’s manager) came by to talk to us one day and Moon pulled him aside to hear the tracks. Before long, Owen had cut demos of his own on the “kid” and in a short time, Prince was signed to Warner Bros., and both Rivkin brothers were in the studio with him. Gary Kevin soon appeared at Williams Pub with a new version of the KO Band, performing the songs he had written on our ‘76 tour for the brakemen, engineers and conductors who came to hear his musical tales of life on the railroad between South St. Paul and Oelwein, Iowa. Kevin and I had a cup of coffee between bands, and somehow agreed we should work together again. I returned to the band for a Steve Martin show, when he was at the top of his form, (one of most memorable gigs in my life) and a KQRS Radio LIVE AT SOUND 80 Concert, which closes this album. I continued playing with Jeff Dayton in Wildwood, eventually switched to drums, moved to Oklahoma City and then to LA, where Kevin was already getting established as an activist for The National Academy of Songwriters. By this time Bobby was in the recording studio with Prince and The Revolution, and Jeff Dayton soon became Glen Campbell’s bandleader. Dave I just remember what a shock it was to arrive in Minneapolis in the winter that year (1977). 20 below zero? Are you kidding me? I was born in Georgia, raised in Virginia, and never had the hairs in my nose freeze up before. My most memorable KO Band gig was opening for Steve Martin -- banjo and arrow-through-the-head days -- and seeing how normal he was afterwards backstage, before he said "Well, I have to go out in the parking lot now" and went out to get zany once more for the college students. Just before I left to return to New York, a friend of the band told me he knew a band from Akron, Ohio who were coming to New York, could they sleep on the floor of my loft there? I said sure. When I got home, Devo was crashing in my house. I thought, "these guys will never make it." Billy I always thought the movie "Almost Famous" was about us, especially the roof-diving scene, which Kevin actually attempted on July 4, 1976. It was an intense deju vu experience for me. I remember a topless fan well; in fact I took her bra home with me and it stayed in a drawer at my folk's house until at least 1984. We held jams and parties, but there were no rehearsals in the KO Band, just like there’s no crying in baseball in the film “A League of Their Own.” I enjoy the songs Kevin has written and identify with the lyrics. Like Gary, I was there, I’ve always respected his talent, and enjoyed the minor celebrity status we experienced. Opening for Jerry Jeff Walker twice. Being a KO. We were at The Cabooze and a fan came up to me as we were leaving and said "I know you. You're Billy Jeff Odegard!" SILVER LINING Produced by David Z. Rivkin all songs by Kevin Odegard except where noted 1. Intro 2. Wine, Women & Song 3. New York to North Dakota 4. Rock 'n Roll Man 5. Mary-Go-Round (J. Gareis, T. Ginkel) 6. Visions of You 7. The Middle 8. .44 9. Roseport 5:05 10. It Ain't You (L. Hayes) 11. Silver Lining (D. Rivkin) 12. Vinnie's Tune BONUS TRACKS Produced by Gary Lopac for Fiftysomethin Productions Ltd Engineers: Steve Wiese, John Heinen, Scott Rivard and Billy Hallquist Mixed and Mastered by John Heinen *Commentary by Gary Lopac I Don’t Wanna Go 2:25 (K. Odegard) Kevin Odegard – vocal, guitar Gary Lopac – bass, vocal Bobby Z Rivkin – drums, percussion Billy Hallquist – guitar, vocal Jeff Dayton – lead guitar, pedal steel guitar Bruce McCabe – piano Recorded at Creation Audio, December 1976 by Steve Wiese Produced and arranged by David Rivkin *Our finest hour as a band, and our last. Life On Mars - 2:17 (K. Odegard) Kevin Odegard – vocal, guitar David Rummelhoff – lead guitar, vocal Bobby Z Rivkin - drums Gregg Kubera – bass Jim Steinworth – keyboards Recorded at Creation Audio, June, 1977 by Steve Wiese *Launches the road metaphor into outer space. Gideon’s Bible – 2:13 (K. Odegard) Kevin Odegard – vocal, guitar David Rummelhoff – lead guitar, vocal Bobby Z Rivkin - drums Gregg Kubera – bass Jim Steinworth – keyboards Recorded at Creation Audio, June, 1977 by Steve Wiese *It’s about moveable faith; sounding the spiritual themes that Kevin began embracing in his twenties. Too Many Nights – 2:30 (K. Odegard) Kevin Odegard – vocal, guitar David Rummelhoff – lead guitar, vocal Bobby Z Rivkin - drums Gregg Kubera – bass Jim Steinworth – Hammond B3 Recorded at Creation Audio, June, 1977 by Steve Wiese *The ‘home’ he sings about here was our band apartment on Goodrich Avenue in St. Paul, where John Dillinger had once hidden out. Glass of Wine - 2:26 (K. Odegard) Kevin Odegard – vocal, guitar Billy Hallquist – vocal, guitar Marc Partridge – lead guitar Bobby Z Rivkin – drums Gregg Kubera – bass, vocals Jim Steinworth – Elka, Hammond B3 Recorded at KO Studio, mixed at Cookhouse - January, 1978 *Bobby’s drums perfectly frame Kevin’s vocal in everything they do together, even when Kevin is throwing one of his rhythmic curveballs. The Other Road – 3:40 (K. Odegard) Kevin Odegard – vocal, guitar Billy Hallquist – vocal, guitar Marc Partridge – lead guitar Bobby Z Rivkin – drums Gregg Kubera – bass, vocals Jim Steinworth – Elka, Hammond B3 Recorded at KO Studio, mixed at Cookhouse - January,1978 *Bobby underplays perfectly on this atmospheric jam, giving wings to Marc’s soaring guitar solo. That Old Guitar – 2:47 (K. Odegard) Kevin Odegard – vocal, guitar Roly Salley – bass Stan Kipper – drums Jeff Harrington – piano Fred Sokolow – lap steel guitar Recorded at KO Studio, 1979 *Glen Campbell recorded with Sinatra and The Beach Boys, then sold his soul for a tv show. Fleeting Thing – 4:00 (K. Odegard) Kevin Odegard – vocal, guitar David Rummelhoff - guitar, vocals Bobby Z Rivkin – drums Gregg Kubera – bass Jeff Harrington – piano, vocals Recorded at Creation Audio by Steve Wiese, 1977 Produced by Jeff Harrington I played this for friends at a party, forgetting that Kevin had written it, realizing that it was perfectly written for the times. Linda Ronstadt could have had a hit with it. Lookin’ For A Blue Sky - 3:48 (K. Odegard) Kevin Odegard – vocal, guitars Roly Salley – bass Marcus Cuff – drums Jason Harlem – background vocals Recorded at KO Studio,1979 Bluegrass Dance – 4:09 (K. Odegard, B. Hallquist) Kevin Odegard – vocal, guitars, keyboard Bobby Z Rivkin – drums Doug Nelson – bass Fred Sokolow and Nick Raths - guitar Recorded at KO Studio, 1979 *It does something goofy to you. Kevin patched a piece of Billy’s “Peaches” into it, capturing the schmaltziness of the disco era with a sense of humor, then stepped back and said “Whew, I’m glad I got that out of my system.” The Middle – 3:45 (K. Odegard) Kevin Odegard – vocal, guitars Jeff Harrington – piano, vocals Gordy Knudtson – drums Dik Hedlund – bass Recorded at Creation Audio by Steve Wiese, 1977 Produced by Jeff Harrington *As much as he wanted to be played on the pop radio stations, Kevin flirted with odd time signatures. The verses are in 7/8. Cold Hard Wind – 4:45 (J. Gareis, T. Ginkel) J. Volinkaty Music, BMI Kevin Odegard – vocal, guitars, keyboards Gary Lopac – vocals Roly Salley – bass Bobby Z Rivkin – drums Nick Raths – guitar Recorded at KO Studio, 1979, completed at John Heinen’s studio, 2009 *A song so big it took 30 years to finish. This was an emotional high; the chorus is so haunting. I really didn’t care about any connection with the audience; I just had to play it every night, to close my eyes and lose myself in the heartbreak harmonies that Billy, Kevin and I conjured. A doomed character, dying from grief itself; it’s both shattering and healing. Introduction by Kevin St. John, KQRS Radio, Minneapolis, Minnesota Oelwein – 2:58 (K. Odegard) Kevin Odegard – vocal, guitar Gary Lopac – vocal, bass Lonnie Knight – lead guitar Joyce Everson - vocal Dave Pentecost - drums Jim Steinworth – keyboards Recorded Live at Sound 80 by Scott Rivard, 1977 *This song always calmed me down when I was nervous. It was our variation on The Beatles’ “Two of Us.’ You just want to do it because it makes you feel good. Silver Lining - 4:00 (D. Rivkin) Irving Music, BMI Kevin Odegard – vocal, guitar Gary Lopac – bass, vocal Lonnie Knight – lead guitar Dave Pentecost – drums Jim Steinworth – Hammond B3, Mellotron Jeff Harrington – piano Recorded Live at Sound 80 by Scott Rivard, 1977 *This was so much of a song; a big song written by a more mature writer (David Rivkin), but I felt fortunate to be able to play it. It represented the times for us. It was our “Long Time Comin’’ or “Woodstock.” It’s a song that goes on forever, whether we’re playing it or not. Special Thanks to Wesley Hayne, who presided over the rodeo that was ASI Records John Heinen www.johnheinen.com Kate Giebink www.gieka.com Christopher Blood www.mcnallysmith.edu Greg Reierson www.rareformmastering.com Noah Bucher www.cineomatic.com ‘Bluegrass Dance” fans contact Adam robi0479@gmail.com www.fiftysomethin.com http://www.facebook.com/people/Kevin-Odegard/551733080 For Jessie and Jenny
  1. Introduction
  2. Wine, Women and Song
  3. New York to North Dakota
  4. Rock 'n Roll Man
  5. Mary-Go-Round
  6. Visions of You
  7. The Middle
  8. .44
  9. Roseport 5:05
  10. It Ain't You
  11. Silver Lining
  12. Vinnie's Tune
  13. I Don't Wanna Go
  14. Life on Mars
  15. Gideon's Bible
  16. Too Many Nights
  17. Glass of Wine
  18. The Other Road
  19. That Old Guitar
  20. Fleeting Thing
  21. Lookin' for a Blue Sky
  22. Bluegrass Dance
  23. The Middle (Take 2)
  24. Cold Hard Wind
  25. Oelwein
  26. Silver Lining
Kevin Odegard Cover
  • Kevin Odegard
  • Folk, Rock
  • Kevin Odegard
  • 07/04/1976
  • Kevin Odegard
Liner Notes: This album was born one sunny day in the summer of 1970 as I ambled along the mall at the University of Minnesota, where I was a sophomore. The year following the “Summer of Love” wasn’t very lovely on campuses across America. The Altamont Rock Concert and Manson Family murders ended the Age of Aquarius with a thud. Rock god Jim Morrison and guitar genius Duane Allman would both be dead within a year. Musically, the times they were a changin’. “The Dream is Over” sang a prophetic, depressed John Lennon on his first solo album “Plastic Ono Band.” Chaos, rebellion and unrest overtook our campus when a group of students managed to shut down the school as part of a nationwide student strike in response to Nixon’s unannounced invasion of Cambodia. Classes had been cancelled in the Spring. Already an apathetic student, I became a sailor without a compass, and by the time summer rolled around I was living as a caretaker in the basement of my fraternity house, in a barroom which I had converted, with the help of blankets and egg cartons, into a makeshift recording studio. My nutritional intake came from a Coke machine in the hallway and a new fast-food restaurant down the street called Arby’s. On a primitive Ampex quarter-track machine, I had proceeded to record my own versions of most of Neil Young’s first Reprise album, along with an odd collection of original songs, some of which appear here. The violence and student protests had quelled for a happy event known in Minneapolis as “Soul Of A City,” a festival of music, arts, street theater and counterculture, right here in my front yard. As I wandered through clouds of incense past the artisan booths, dodging mimes, mystics, tarot readers, astrologers and military recruiters, I was drawn to an area near Coffman Student Union where I heard what sounded like rifle shots cascading through the canyons of classroom buildings. The sound was magnetic, entreating me to cross Washington Avenue to see what it was. As I got closer I saw it was a bandstand, and on it were several scraggly-looking young musicians just about my age scrambling through an amplified, distorted fusion of strange new music. It was harder to follow than my mathematics class, yet was infinitely more intriguing to my ears. I was more attuned at that time to the warm, rich Vanguard recordings of Mississippi John Hurt, played late at night, all night, many a night. “Make Me A Pallet On Your Floor,” “Payday,” “Talking Casey.” It was like Woody Guthrie with emotion, and the finger-picking style was addictive. (I still haven’t shaken it) The beat was implied more than played. Local radio airplay on Mississippi Fred MacDowell’s Capitol recording, “I Do Not Play No Rock ‘n Roll” had drawn me across the river to the West Bank a week earlier to see, and meet MacDowell. playing his riveting, unforgettable one-man show with a beef bone slide guitar, tapping a foot that never quite hit the ground. In retrospect, Fred was the most influential professor I ever had, yet when he was at home in Como, Mississippi he pumped gas for a living at the Stuckey’s Pecan Shop & Texaco Station on the state highway. It never interfered with his stature in my mind. My own life was to follow a similar path once I chose music, but I didn’t know it at the time. On this sunny summer day I was puzzled by what I heard. The beats were fluid, rambling, but not hard to follow. You simply had to listen to become part of this intoxicating music. How did the singer remember where to go next, or what words to sing? Nothing made sense; there was no schlocky pop chorus, no refrain, no structure, and there were no boundaries or limits to what they could do together. Song after song they jammed and hammered away at something unseen, some mysterious source at the heart of things. Soon the crowd around me became invisible, indistinguishable from the members of the band, and then I too disappeared into the sax, the flute, the bass, the guitar, the Fender Rhodes electric piano and yes, that infinite energy behind it all, the drums! When it was over and the band was packing up, I found myself near a tree where the drummer stood wiping his face with a towel. I walked over, offered my hand and met Stanley Kipper for the first time, then retreated to the quiet of my lodgings, intrigued and deeply inspired by what I had just seen. At Thanksgiving dinner that year I met Nancy Bundt, an artist-photographer, who became my soulmate and fellow traveler for the journey ahead. My heart was not into school, especially in the wake of the strike, and my formal education ended then and there with a January hitch-hiking trip to Boston and New York City, where Nancy had friends in the world of yoga and meditation. I brought along my Martin D-28 guitar and played here and there, making up songs along the way as I had with my frat brothers at the University. We were lucky in love, life and business. On our second trip to New York we went to work as music copyists for a small publisher doing the sheet music for George Harrison’s “All Things Must Pass” folio. We lived at 12 Perry Street in Greenwich Village, above both subway lines, and recorded short songs between the noisy trains below. Stephen DeLapp, my friend from a summer, 1969 gig playing the Medora Musical in North Dakota, was attending Yale Divinity School, and our visit to New Haven resulted in an appearance on a local television show, sandwiched between the news and Rat Patrol. A friend in New York City introduced us to her brother, a record company owner, and by May, 1971, we were back in Minnesota, contract in-hand to record an album of my ramblings and musings. How, I wondered, was I going to do this? What could I do with these songs, fragments and ideas to make a record that people would enjoy? I wanted to do something no one else was doing, not a repeat or imitation like I had done with the Neil Young songs in my frat studio. Then I thought of Stanley Kipper, and realized that the sound I wanted to hear on the record and, ultimately, on the radio was the sound I had heard at Soul of A City last summer. I also thought of a very talented fellow I had met through friends at the University, a great piano-player named Greg Anderson. I started there, writing a song with Greg we called “Me & The Blind Man.” We had fun doing that, and he came aboard for the project. I then located Stan, who suggested his bass player Dick Hiebeler, and flautist Larry Ankrum, both an integral part of his rock-jazz-fusion sound. Andy Howe was also playing with Stan by this time, and he came into our little group full of ideas about arrangements and instruments. A multi-instrumentalist, Andy could play anything in front of him, and as Stan notes, he did so on this recording with (mostly) good results. Cheerful, charming and brave, Andy became the bandleader. Producer Don Kasen enlisted David Zimmerman to oversee the recording sessions at Sound 80 Studios in Minneapolis, where I would later work with David’s brother Bob Dylan on “Blood On The Tracks.” Rehearsals ensued, songs were chosen, thrown out, re-tooled, rewritten, trashed, made up on the spot, mixed, edited, spliced and fashioned into this humble, impassioned first album, which came out just before Christmas, 1971. Reviewers heard or imagined the influences, Neil Young and Jefferson Airplane among them, and the album surfaced on regional FM radio with “Trees,” “A Man’s Work” and, mostly, the longest song of the collection, “When I Get Home.” Musically and lyrically, this is an album about a countercultural revolution that redefined a generation’s values and tested its faith. Deep inside the sweet love songs, laments and tentative mantras in this recording, if you listen very hard, you can hear the sounds of war and rebellion hiding in the electricity. By March of 1972, we were playing concert dates to support radio airplay. At the University of Minnesota, we played our first local show at The Whole Coffeehouse in the basement of Coffman Student Union, a hundred yards from where I had met Stan two years earlier. By this time, however, Andy Howe had moved on to another project, and he eventually landed in Hollywood as music director for America’s Sweetheart Debbie Reynolds. Duplicating the sound of the most popular song in performance was a problem without Andy in the band, and when the time came for the big guitar solo in “When I Get Home,” all the king’s horses and all the king’s men couldn’t put Andy back in the band. Stan. a magnificent drummer and loyal friend, became the conscience of our rotating membership, and has held that position through present day with Blood On The Tracks Live. – Kevin Odegard Me and you lookin each other in the eye and finding musical common ground with a sense of " I must have known you from another life and time" brotherhood that goes on today. Besides that we were like trying to push the boundaries of what we knew as musicians and song writers even then....trying to run free and love up the world in the context of the popular song and sheer will power ! love and peace my brother ! Stan Kipper We did meet on the Campus at a show that as I recall... there was some kind of political turmoil going on. We were still in a trance from police on Campus, Viet Nam....The Kennedy's, Martin Luther, I cant remember if it was Soul of the City ....The Marauders were evolving into the first jazz fusion band in the Twin Cities. But we were still firmly set in our Midwestern r&b ways. I thought that we were in front of Coffman Union when we met....You, as I recall appeared at the side of the stage watchin us play...we started talking after the show was over. We hit it off straight away...We made plan to hook up. Dick Heibeler, Andy Howe both Marauders at the time...your music had room for my character as a drummer and rhythm dervish, me and Dick both heard it the room for us....I believed you were looking for a funkier folk sound than what was currently being laid down.....you were righteously fearless with what you had in mind. And your business stuff was ahead of its time. Larry and Dick were in Crow at the time...I had been jamming with them at Denny Craswells house for a couple of years all ready. We knew each other well. This was before we all played together in Colla by a few years ! What a treat it was to hear the album again after all these years. It's hard to believe being old enough to talk in terms of something almost 40 years ago. As each track came up it was instantly familiar, as if all that time hadn't slipped away. I know the songs like I heard them yesterday. The familiarity was more aural than visual in that I could remember the music more than picture studio scenes. Musically, I was reminded of the styles that were our influences (Neil Young, Buffalo Springfield, Dylan*). That album is such a time capsule. You can really hear the era that the album was made. Also, the range from the folksy songs with acoustic guitar, pretty jazzy flute and fluid keyboard runs that had a more arranged sound, to the more rock songs that had more of a jam feel. It is honest, earthy music, recorded as it was played. Unprocessed and unadorned, it's music as it was then, with something to say, to communicate - sound good, feel good music. Some good writing and some good playing. Great fun. Thanks eternally for the wonderful memories. Love to you and yours, Andy Howe LYRICS Forget The Waste Bring it back the dark I mean The village park the country green Before the women change their names Forget the waste, I plead insane Inside the chill of love I wait Before the gate the net was laid It doesn’t work to plan the play Forget the waste, I’ve gone away The radio was loud and free The music you, the singer me Alone at ends if not behind Forget the waste, I love you Copyright 1971 Kevin Odegard Trees When I was young songs were sung by clowns Passing through town Pitching their tents out along the fence Paying rent Travelin’ show, let’s get drunk and go Never said no Climbing trees, watchin’ the show for free Feeling the breeze Now the times have changed and I’m Standing by the trees I used to climb Singing songs, everywhere I go Gospel show Memories of friends and family Climbing trees It wasn’t hard to please us Now there’s only me and Jesus, Of thee I sing, but what does it bring What does it bring? Copyright 1971 Kevin Odegard If Your Heart’s Not In It If your heart’s not in it Babe you’d better throw it away And come back another Did you hear what I say? If your heart’s not in it You know its time to quit Time to slow down a bit And find a better fit When you try to get what you want you’ve gotta play fair Then you find you get what you need, It’s already there… But if your heart’s not in it And you can’t get enough And the goin’ gets a little rough You better call on love You can call on love You can call on love Copyright 1971 Kevin Odegard A Man’s Work A man’s work takes him from his woman A woman’s work takes her from her man A woman and a man should be together If they can… A woman and a man should be together A woman and a man should be like one Reflected love can live forever Love alone is like the sun A man’s work should be to love his woman A woman’s work should be to love her man A woman and a man should be together If they can… Copyright 1971 Kevin Odegard Fathers and Sons Friends take a look at your yard Have you taken good care of things Have you been in your garden today Have you watered your greens? Sons take a look at your life Can you tell me the flowers from the weeds Have you taken a wife Have you got what you need Fathers and sons asking each other why Can’t understand, can’t see eye to eye La la la la la la la la Sons take a look at your life Have you taken good care of things Are the flowers alive Have you planted the seeds? Growing apart, wishing each other well Breaking your heart, trying to break the spell you threw What’s so sad about that now It’s just you, comin’ out of your shell Fathers and sons should be friends Copyright 1971 Kevin Odegard I Am I am what you want me to be What you like about me I am whatever you see I love just to sit here and play And if you don’t want to stay I love you anyway I look like a travler sighs At the smile of the skies I look into your eyes Copyright 1971 Kevin Odegard Me and The Blind Man I finally found a friend the other day Who feels a lot like me and knows what I’m tryin’ to say And he can sure play I can’t speak and he can’t see But we’re lookin’ for love and we both agree That it might be here, that it might be you Are you lookin’ too? Me and the blind man, lookin’ to find a song to give Me and the blind man singin’ a song for love Love is somethin’ to give Love is somethin’ to give Love is somethin’ to give Hey pretty woman over there Please don’t hide behind the chair Let me out or let me in I want to take you home And I don’t care where you’ve been Me and the blind man, lookin’ to find a song to give Me and the blind man singin’ a song for love Love is somethin’ to give Love is somethin’ to give Love is somethin’ to give Copyright 1971 Kevin Odegard and Greg Anderson When I Get Home When I get home I tell you what I’m gonna do When I get home I’m gonna make love to you La la la la la la la la la… When I get cold I wanna be the first to know If ya get lost I got to track you through the snow Copyright 1971 Kevin Odegard Produced by Don Kingsley and David Zimmerman Recorded at SOUND 80 Engineer: Tom Jung MUSICIANS: Kevin Odegard, guitars and vocals Greg Anderson, piano and vocals Andy Howe, guitars Dick Hiebeler, bass Stanley Kipper, drums James Hauck, tambourine Tony Glover, harmonica Max Swanson, flute Larry Ankrum, flute COVER BY NANCY BUNDT www.nancybundt.com For books and music by Kevin Odegard go to: www.fiftysomethin.com www.kevinodegard.com
  1. Krak's Song
  2. Forget the Waste
  3. Trees
  4. If Your Heart's Not in It
  5. A Man's Work
  6. Fathers and Sons
  7. I Am
  8. Me and the Blind Man
  9. When I Get Home
  10. Krak's Song
El Nino Suite Cover
  • El Nino Suite
  • Singer/Songwriter, Singer/Songwriter
  • Kevin Odegard
  • 01/06/2012
  • El Nino Suite
Liner Notes: The El Niño Suite follows the characters and random events that epitomize the tectonic shift from the idealism of the 1960s to the weary cynicism of today.  From the "victims of circumstance" in "Cowboy Outfit" to Marielitos who risk it all for a better life in "Lost at Sea," these ragtag characters and the stories they tell yearn for redemption and second acts.  
  1. Cowboy Outfit
  2. China
  3. Plan B
  4. Forty-Four
  5. El Niño
  6. Lost at Sea