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Dalton Bentley & Chas Thomas | Out of Time

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United States - Texas

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Rock: Adult Contemporary Rock: Classic Rock Moods: Type: Lyrical
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Out of Time

by Dalton Bentley & Chas Thomas

New 2010 rock with a unique sound evolving from the music the artists played in various rock bands in the 60s and 70s. The tracks have a live performance excitement and the instrumentation and lyrics evoke mood, rhythm and thought in the listener.
Genre: Rock: Adult Contemporary
Release Date: 

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  Song Share Time Download
1. Bye Bye Woman
4:19 $0.99
2. Another Sleepless Night
3:38 $0.99
3. Requiem for Zad
3:31 $0.99
4. No One Knows
4:21 $0.99
5. Last Martini
2:17 $0.99
6. Migraine Hammer
3:19 $0.99
7. On the Road Again
1:47 $0.99
8. She Was Everywhere
4:38 $0.99
9. Shattered Apple Pie
2:21 $0.99
10. You're the Only One
2:44 $0.99
11. Blind Man's Vision
3:50 $0.99
12. Cajun Dream
3:11 $0.99
13. Forever Man
4:09 $0.99
14. Head Banging Blues
3:04 $0.99
15. It'll Take More Years
3:52 $0.99
Downloads are available as MP3-320 files.


Album Notes
When musicians talk about being “tight,” they mean that the music flows naturally during performances, taking whatever course it will and uniting and harmonizing the individual creativity of the players as if they are following a chart, a musical composition already written. Chas Thomas and Dalton Bentley have always been “tight.”

Back in the early 70s quite often after Chas and Dalton finished a gig, they would go to someone's house in the company of band members and folks who followed them from the night club venue, and jam until the sun came up the next morning.

Working upon that musical synchronicity which they always shared, Chas and Dalton now forge their way ahead into new work, lyrics and melodies not heretofore experienced, bringing with them the musical landscape and spiritual heritage of the 60s and 70s and telling lyrical stories relevant today.

Dalton and Chas engineered and operate their own recording studio, using a Behringer 1222FX mixer to provide analog to a Tascam US-122 USB analog-digital PC interface, running Cubase LE 24 track digital recording software on the PC. Mastering was done using several different software packages, using Audacity sound editor to compress and limit the enhanced (brought up overall level as well as sculpted via eq/exciter the sound they were looking for) mix output from another module. A Behringer A500 reference amplifier driving Behringer Truth B2031P linear nearfield monitors was used in final mix and mastering evaluation. Standard CD burning software was used to burn the audio CD from which CD Baby produced the mp3 versions.

Track notes:

Bye Bye Woman:
Dalton wrote an early version of Bye Bye Woman back in 1973 or so, after losing a girl he was madly in love with while away in 1972 in New Mexico and Colorado on tour with a rock and roll band (Blackmoor). Chas and Dalton worked over the song 2007-2009, trying different guitar and vocal arrangements, until reaching the present sound. Chas’ lady, Cora, suggested a saxophone would be nice on the lead break, so they tried that and decided it worked pretty well. On Bye Bye Woman, Dalton sings the lead vocal, with Chas providing harmony. Dalton and Chas both play electric guitar, a 1955 Les Paul (Chas’ pride and joy). Dalton laid down the acoustic rhythm initial track and bass guitar (Jay Turser Precision knockoff). Chas played all electronic drum tracks. Dalton simulated the saxophone using a MIDI keyboard controlling the synthesizer in the Simmons SD7K electronic drum set.

Another Sleepless Night:
In April 2008 Dalton and Chas began to expand the palette of compositional possibilities by looking at music theory. An interesting pentatonic progression evolved and some potent lyrics emerged as Chas and Dalton created the melody and applied meter and narrative cohesion to thoughts Chas Cora had been discussing recently. Dalton took the first lead ride, playing the 1955 Les Paul. Chas sang the primary lead vocal, with Dalton countering with a couple of low register vocal responses. Chas added a second lead guitar, played acoustic guitar (Jay Turser J45 knockoff), shakers, bass guitar (JT Precision) and electronic drums. Dalton added an electric piano accompaniment.

Requiem for Zad:
Chas and Dalton wrote the lyrics and music for Requiem for Zad January 2009. Zad was a legendary presence back during the 70’s when they were playing live rock. A woman who was close to them writes:

Zad, beautiful Zad. It was 1974 and I was living the music with Chas and Dalton and the Wheat Band. Zad seemed to be around a lot, one of the many eccentrics who were around the band back then. He never said much, typically just commenting with hostility, “Whatever,” whenever he was spoken to. Though small, he was a vicious fighter and was known to have bitten people on occasion. After Wheat broke up, we lost touch with Zad. We heard rumors later that he had fallen on hard times and had frozen to death while sleeping on a roof during the winter.

On Zad, Chas played electric guitar (Turser Blue Bird knockoff), electronic drums, and added a harmony vocal part. Dalton played electric slide guitar on the ’55 Les Paul, bass guitar, sang the lead vocal and added some percussion accents on the toms.

No One Knows:
In 2002 Dalton had written a poem, The Desert Wind. Chas and Dalton worked over the poem in May of 2009, producing the lyrics and music for No One Knows (Where It Goes). The discerning listener will find many interesting allusions in the lyrics. Chas: Lead vocal, shakers, electronic drums, lead guitar. Dalton: lead guitar, bass guitar, acoustic guitar rhythm on a 1974 Martin D-12 strung 6. Vaya refrain: Everybody nearby.

Last Martini:
Dalton and Chas had kicked around thoughts about what it was like growing up a few miles away from a SAC Air Force base (Biggs AFB) with nuclear bombers (B-52’s) during the 1960's (at the time Chas and Dalton were living less than a mile away from each other, but would not meet for another ten years). Generations who came along after that period know little of the preparations that were made then, the fallout shelters dug in the backyards, the school drills (duck and cover), the canned goods and water stored in the home along with weapons and plans made for post nuclear apocalypse. On the Beach (1959 movie based on the Nevil Shute novel), Fail Safe (1964 movie); these were the themes alive in the conscious and subconscious life of many of those who grew up in those times when there was a possibility that their lives, their world, could end any day in atomic hell fire. Working with their memories of those times, Dalton and Chas sat down September 2009 and wrote and recorded Last Martini.

Chas Thomas: Lead vocal, electronic drums, electric guitar, shakers. Dalton Bentley: Acoustic guitar, lead guitar (’55 Les Paul with Marshall Amplifier distortion simulation), bass, some percussive accents on drums.

Migraine Hammer:
Dalton and Chas hadn't been in the studio for a few weeks. When they returned July 11, 2009, Chas had some lyric scraps he had collected in the interim, including a comment Dalton had made once regarding "pieces of a migraine still hammered in his head.” Dalton glanced over some music scales and began to jot down chords from a pentatonic minor scale in C. He and Chas then began to weave a coherent tale of sorts, filtering and rephrasing with meter in mind as melody emerged, the lyric scraps. They then worked with the scale chosen initially (occasionally feeling chording not strictly within that base structure), using the cycle of fifths/thirds to move the core of the composition a couple of times.

Chas: Acoustic and electric guitar, and second lead break (Turser Blue Bird knockoff) vocal bridge, shakers, electronic drums. Dalton: primary lead electric guitar on Jay Turser Strat knockoff, bass guitar, lead vocal.

On the Road Again:
Dalton had written an early version of On the Road Again back in 1973 or so, when he was still literally on the road much of the time touring with various rock and roll bands playing night clubs in Texas, New Mexico and Colorado (Willy Nelson released his own On the Road Again in 1980). Recalling just the basic melody and a portion of the lyrics, he and Chas recomposed the song July 18, 2009, with Chas contributing new lyrics and improving the arrangement of the song. Chas and Dalton recorded the new version immediately.

Chas: Electric guitar, harmony vocals, shakers. Dalton: lead electric guitar (Turser Strat knockoff), bass guitar, lead vocal, djembe drum percussion, Martin D-12 (strung 6) acoustic guitar.

She Was Everywhere:
Dalton woke one night with the thought in his mind, "he was so lost, he was everywhere." Dalton adapted his 2003 poem, Fallen Angel, to provide lyrics inspired by that original thought. Chas and Dalton wrote the music for the song together.

Chas plays electronic drums, electric bass, electric lead guitar (Turser Blue Bird knockoff) and sings harmony. Dalton sings lead vocal, plays electric lead guitar (1955 Les Paul with delay) and acoustic guitar rhythm on a Martin D-12 (strung 6).

Shattered Apple Pie:
Friday the 13th, March 2009, Chas placed several pages of lyric fragments on a music stand. Dalton looked through them and stopped on a couplet with the words, "I thought she was my girl." Dalton immediately played the G, C, F chord run and sang those words to the melody that emerged naturally and Chas dived in---the usual (but always gratifying) synergy resulting in the composition and recording of Shattered Apple Pie March 21, 2009. The shattered apple pie metaphor had its root in an actual plate of pie and an incident at a diner, but that story will not be told here (grin). It was pointed out to Dalton by a lady friend that the phrase “shattered apple pie” could connote memories of broken American dreams, dating back to the more innocent times of Bye Bye Miss American Pie. That is the neat thing about art---like the wind or the spirit no one really knows where it originates or where it will end.

Chas: Acoustic guitar, electric guitar, bass guitar, shakers, vocals. Dalton: Acoustic guitar, electric guitar, djembe drum, high hat simulation (tambourine played with drum sticks), vocals.

You're The Only One:
Chas had written lyrics and music for this song some time back. Dalton contributed a few new chords and a country western production model to highlight the great melody and vocal work by Chas.

Chas: Acoustic guitar, lead and harmony vocals, electronic drums, lead guitar. Dalton: emulated steel guitar (using volume pedal and Strat knockoff), bass guitar.

Blind Man's Vision:
A lady friend of Dalton had written some thoughts to him about life in America (and love as a refuge) during the economic disaster of 2008 and 2009. Dalton and Chas worked over those lines and composed Blind Man's Vision.

Chas: Acoustic guitar, electric guitar, shakers, electronic drums, lead vocal. Dalton: Acoustic guitar, electric guitar, bass guitar, additional drums, electronic organ.

Cajun Dream:
Cora wrote down her memory of a dream and gave it to Chas. Chas and Dalton sculpted those words for narrative cohesion and to conform to the meter and melody that they developed April 25, 2009 when they created Cajun Dream.

Chas: Electric guitar, lead vocal, chorus, electronic drums. Dalton: one vocal refrain, chorus, acoustic guitar, crazy electric guitar (’55 Les Paul with delay and tube overdrive simulation), bass guitar, tom and snare accents. Cora: chorus.

Forever Man:
Dalton and a lady friend had been thinking about the idea of Forever Man for several weeks, jotting down scraps of lyrics. Chas and Cora had been on an independent course, collecting lyric scraps during the same period. When Dalton and Chas sat down with all those lyric fragments July 25, 2009, a song rapidly emerged. Dalton and Chas painted the story on a musical landscape uniting Am and B major scales more or less, paralleling the uniting of the previously independent lyric narratives.

Chas: Acoustic guitar, electric guitar (Gretch 1959 Anniversary Model loaned by a good friend and played through a Fender Twin Reverb amplifier—sounds almost like a 12-string rhythm track at times), electronic drums, harmony. Dalton: Acoustic guitar, electric guitar (’55 Les Paul with tube overdrive—lead break one), bass guitar, lead vocal.

Head Banging Blues:
Chas and Cora had written portions of lyric ideas a few months back. Dalton and Chas transformed those, adding another verse, into a rock and roll song in March of 2009.

Chas: Acoustic guitar, Strat electric rock and roll rhythm guitar, vocals, shakers. Dalton: Strat electric lead guitar with delay, bass guitar, djembe drum, sticks and tambourine, vocals.

It’ll Take More Years:
When Chas and Dalton first sat down together with Martin acoustic guitars in 1972, to jam a bit and firm up the formation of a new band (Wheat), they wrote It’ll Take More Years.

Chas sings lead vocal and harmony, plays acoustic guitar and electric guitar, and electronic drums, shakers. Dalton plays electric bass, emulated steel guitar (using volume pedal and Strat knockoff).



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Good Music
I was fortunate enough to have been able to listen to this music as it was being developed. It is unique and classic. It is the kind of music that once heard, you will want to repeat over and over due to the quality, style and meaning each piece brings. This is one of the rare opportunities and levels of enjoyment that is hard to find. You will find it here. Great composition and style. True musicians in all senses.