Michael on Fire | Where Dreamers Only Go

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Where Dreamers Only Go

by Michael on Fire

soulful singer-songwriter, highly melodic, philosophical lyrics
Genre: Easy Listening: Adult contemporary
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  Song Share Time Download
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1. I Don’t Mind Growing Older
2:58 $0.99
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2. Realize (Live)
8:21 $0.99
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3. The Wind Still Blows (Live)
4:00 $0.99
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4. I Think I Came Too Late to the Party
3:21 $0.99
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5. Violet Skies
4:47 $0.99
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6. I Remember the Angels Cried
5:53 $0.99
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7. Shake 'Em on Down
2:58 $0.99
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8. Never Let 'Em See You Sweat
3:49 $0.99
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9. I Would Give Anything
3:40 $0.99
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10. No Limits
4:18 $0.99
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11. Please Don't Leave
2:00 $0.99
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12. Ride on into Midnight
4:20 $0.99
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13. Whatever Happened America
6:25 $0.99
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14. Pagan to the Bone
5:22 $0.99
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15. Head in the Clouds
4:00 $0.99
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16. Keepers of the Flame
4:06 $0.99
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17. I'll Make You a Drum
4:52 $0.99
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18. Walk of Shame
4:36 $0.99
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19. Light of Love
3:15 $0.99
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20. Earthdrum
4:56 $0.99
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21. Cadillac Ranch
3:02 $0.99
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22. Fragile Heart
5:43 $0.99
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23. Do You Have Any Heart
3:33 $0.99
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24. Where Dreamers Only Go
2:40 $0.99
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25. Righteous Man
3:39 $0.99
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26. Marlboro Country
3:58 $0.99
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27. Healing Waters
6:48 $0.99
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28. Before the Wind
5:27 $0.99
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29. Mission Hall (Live)
3:26 $0.99
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30. Good Man
5:14 $0.99
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31. The Lost Sea
6:48 $0.99
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32. Evening in the Everglades
5:20 $0.99
Downloads are available as MP3-320 files.

ABOUT THIS ALBUM


Album Notes
NOTES FROM THE FILMMAKER, RON COLONE, ON THE MICHAEL ON FIRE SONGS USED IN THE MOVIE:
The line that really kicked off the whole movie comes from Michael’s song “Where Dreamers Only Go.” The lyric goes: “Holding on to God knows what and only God knows why / Doing things that don’t make sense, and most will never try.”
With that as the basic premise, the title of the song became the working-title of the movie.
But then, as we were a couple of years into the process, we got the idea that Where Dreamers Only Go is, and hopefully will become, a film series to tell stories of people in all walks of life who follow their heart no matter what; the first episode in the series is the film about Michael On Fire.

1. I Don’t Mind Growing Older
For the title of the first episode, we again turned to Michael’s lyrics and chose “The Artist, The Dreamer, The Lover, The Fool,” which comes from “I Don’t Mind Growing Older;” it’s the first song in the movie and, thus, the first song on this soundtrack album. It’s taken from The Artist, The Dreamer, The Lover, The Fool album, recorded at Jamie Ascenzo’s Reel Sound Audio in Novi, Michigan.

2. Realize
"For the second song, I wanted to convey Michael’s philosophical approach towards music, songwriting and performance, and for that I chose “Realize,” performed live by Michael and Ced Curtis at the very first Tales from the Tavern concert, Feb. 5, 2003. To this day, it is the one-and-only time ever that the song has been performed in public. Ced had never even heard it before going on stage. This performance exemplifies the Michael-Ced approach of being fully present in the present with the music, and letting each note and each moment lead you to spiritual and creative paydirt.

3. The Wind Still Blows (live)
At song three, I wanted to start to get into the history of Michael’s musical background, and for that I chose early rock and roll, as demonstrated here by Michael and Bill Flores (on dobro) performing the song “The Wind Still Blows” live at Tales from the Tavern 2014. (As an aside, this is further testament to the artistic and cultural significance of the Tales from the Tavern archives.) In the movie, the lyrics we chose to have stand out from the dialog, specifically “When the Spirit speaks you don’t ask why,” reinforce the idea, which we touch on over and over in the film, of being true to yourself, and hearing the voice of your heart and following the path of your soul. Also, the lyric “Some men follow, some men lead, all men die and all men bleed,” is an example of the universality of Michael’s lyrics.

4. I Think I Came Too Late to the Party
The lyric that pops out here is “I’ve been mouthing off since I was five / Lucky thing I’m still alive.” I chose it as a reminder that Michael has always been a rebel. In the movie, this is conveyed when, he says, “I always went left when everyone else was turning right.” This recording is from the Venus in the Daytime album, recorded in Otsego, Michigan at Brent McDonald’s studio.

5. Violet Skies
The performance used in the movie was filmed and recorded live in 2012 at Kulak’s Woodshed in North Hollywood, California. It was the first gig that Bear Erickson ever did with Michael On Fire, and it shows that he too is part of this tribe of spiritual-musicians who listen and channel and create magic in the present moment. Our dear friend Tompeet Frederickson is on drums. The sound quality of the recording works in the film, but for a stand-alone soundtrack album, I wanted something with greater fidelity, so I chose the recording from the Always Yes album, recorded at Reel Sound Audio in Novi. The Reggae style and feel of the song goes along with the story I tell (at this point in the film) about the Rasta musicians, and my father’s classic comment..

6. I Remember the Angels Cried
When Michael is describing his time with his new age progressive jazz group, Prismatic, he says, “I was surrounded by angels,” so my vision for the part of the story where Prismatic breaks up was seeing those angels crying. All three acts in the film end with piano ballads, and for me, they are the emotional high points of the film. This recording comes from The Artist, The Dreamer, The Lover, The Fool album.

7. Shake ‘Em On Down
In the movie, Michael describes a tornado that ripped the roof off of their house, prompting them to move from Detroit to Los Angeles. The song I chose, or rather that chose itself, for “the tornado story” is “Shake ‘Em On Down.” It was recorded at Brion Levitsky’s Pacific Sound studio in Chatsworth, California with Michael on electric guitar and lead vocal, Joe Braus on bass, Tobias on drums, Chaz Polachek on lead guitar, Carole Ann Colone on percussion and background vocal and June Tilton on background vocal. The lyric from the chorus here further reinforces the theme of both the movie and the larger series, namely: “Lose your mind ‘cuz your heart’s been found (Shake ‘Em, Shake ‘Em on Down.)

8. Never Let ‘Em See You Sweat
In the film, bassist Joe Braus describes the music that they were playing during this period in Los Angeles as “certainly more commercially viable.” This song, to me, illustrates what he means by that. It was produced by Joe Vitale at Pacific Sound in Chatsworth, California, with the same cast of musicians and singers as is noted above.

9. I Would Give Anything
This song can be heard in the film during “the Joe Vitale” section. At the time, Vitale was producing Crosby, Still & Nash recordings, and was part of the touring band with The Eagles and Crosby, Stills & Nash (and Young.) He produced this track and played organ on it. In this scene, Joe Braus is again quoted, saying, “As far as how to make records, that was the best experience I ever had.” Phil Kenzie is the sax player. He played for more than a year with MOF in the bars and clubs in Los Angeles, missing gigs only when Rod Stewart would hire him for [considerably more] money. Besides having played with The Beatles (on “Let It Be,” and individually with John, Paul and George,) and so many other huge stars and great artists, he played the memorable sax solos in Al Stewart’s “Year of the Cat” and “Time Passages.” Phil and Joe Vitale knew each other from playing with The Eagles together, which contributed to the good vibes, confidence and creativity in the recording studio. Other than some processing on the vocal that stripped Michael’s voice of its raw and raspy quality, this is, in my opinion, a perfect track.

10. No Limits
Fresh after the Vitale sessions, and with that influence now absorbed, we went back into Pacific Sound and recorded a half-dozen songs with Michael producing. The song’s title pronounces, without preaching, what has always been a core tenet in the Michael On Fire message. The track features June Tilton on very powerful harmony-background vocals. Michael knew of June from Michigan, where she sang background vocals for Bob Seger, along with Shawn Murphy and Cathy Lamb, both of whom also sang on Michael’s Prismatic records.

11. Please Don’t Leave
This is one of the songs produced by Stephen Stills – single guitar with beautiful harmonies (which is what we associate with Crosby, Stills & Nash.)

12. Ride On Into Midnight
This is Michael On Fire Midwestern Country-Rock, in the Bob Seger-type vein. This recording is from the Michael-produced Pacific Sound sessions.

13. Whatever Happened, America
I cannot watch the scene in the film where this song occurs without melting and marveling over the mastery of Stevie Ray Davis’s slide guitar-playing. It’s like a warm golden thread pulled right through my soul. The audio and video here were recorded in my garage in Van Nuys, California. Thanks go out to The Bead Band for technical assistance.

14. Pagan to the Bone
In the film, I show Michael performing this song solo, from a local TV show in Hollywood. I think it’s probably the most powerful live performance that makes it into the movie. Following that sequence, Terry Farmer (Bead Band) describes “the tribal feeling of it.” I fade the solo performance into the version from the Commanche Moon album. All I have of the TV performance is an old VHS tape, so for the soundtrack album, I chose to use only the album cut. It was recorded entirely live, three guys around a microphone, in the middle of the night, in Marty Bolin’s studio in Thousand Oaks, California.

15. Head in the Clouds
There was a period where Michael and Tobias toured around the country as a two-piece (acoustic guitar and drum.) On an off-night in Michigan, they recorded this song at Jamie Ascenzo’s studio in Southfield. I used it to emphasize that it was just the two of them at this point. The beauty and calmness of the song and the recording established what would become the vibe for the Keepers of the Flame album, which soon followed.

16. Keepers of the Flame
I love listening to the part in the film where Tobias talks about the Keepers of the Flame record. Michael and Tobias were on their way from Nashville to Los Angeles to record an album at Joe Braus’ studio, with Ced Curtis coming into the band for the first time on electric guitar. In the time between leaving Nashville and walking into the studio, Michael had written six or seven new songs, and a new title and texture for the album were decided upon. The night before the session began, we got a call from Stevie Ray Davis, so we invited him to play on the session, and I swear watching Ced and Stevie standing face to face in the studio, having never met before, playing absolute beauty, truth and spirit, and sweetness and fire, was an utterly magical experience. I consider KOTF one of the great guitar albums, and lyric and spirit albums too. This is the four-piece group, with Michael, Stevie, Ced and Tobias. Stevie, Ced and Tobias are all gone now.

17. I’ll Make You a Drum
I feel so fortunate to have Michael and Tobias describing the “Make Me a Drum” story in the film. I was in the van when the incident occurred, and it was a mystical, magical experience. Having witnessed many amazing crowd-participation ceremonies surrounding this song - in clubs, theaters, festivals, and in gatherings out away from town and the beaten trail, I am thrilled to have it in this film. It's certainly one of Michael's most well-known songs. His description of the story was taken from a phone interview with Tom Gilding of WBSD radio in Wisconsin, and Tobias’ interview was filmed in his backyard, nine months before he died in a drowning incident in Morro Bay, California. In the movie, we cut to a live performance of the song from a TV show in Sioux Falls, SD.)

CD # 2
1. Walk of Shame
In the film, this song plays during “the hot air balloon story,” which took place in Park City, Utah. We called Main Street in Park City “the Walk of Shame,” because on the mornings after gigs many of the people we got to know there would walk around on Main Street apologizing for things they said or did the night before. I associate this song with Park City, so I chose it for the story that takes place there. The film footage is the actual footage from that incident; the only reason we have it is because there was going to be a big gathering to honor someone dear to us, and we wanted to send our greetings from the road, which reminds me – all the birthdays and weddings and funerals and graduations we missed being out on the road, or as I described it in my story-memoir, Fire Trails and Fires Tales, “all the places we woulda been if we coulda been if we only coulda got there.” This track was recorded at Phil Kenzie’s studio in Nashville (Phil was the sax player recording on the MOF “Vitale Sessions” in L.A.) It appears on the Colone Alone album.

2. Light of Love
This beautiful recording is from the Keepers of the Flame album. I use it in the film during the “northern lights story” because Michael wrote it when that story happened in real life. We had a few rare days off, and to save money we stayed at a friend’s hunting cabin up in Glennie, Michigan. Our first afternoon there, Michael emerged from his bedroom, stepped out on to a second floor balcony, and sang the song to the rest of us who were outside below; me, Tobias, my dear friend JJ, who also passed way too early, and Mick, who was with us on guitar for only a short time, but for some very significant events and performances, including headlining the Sweet Pea Music Festival in Bozeman, Montana. Mick’s mentor and longtime bandleader had just died, and Michael came out with the lyrics – “When teachers die / And spirits fly / and legends fade away / with a heavy heart / but a wiser soul / I will send you on your way,” which has become somewhat of a standard social media response for me whenever dear ones pass.

3. Earthdrum
At this point in the story, Michael says, “Tobias was a “real Earth guy,” so naturally I chose “Earthdrum” for the music. Michael relates tales of Tobias sleeping out in snow caves, in winter in the Rocky Mountains, or in the woods with deer. There’s a photo that appears in the film, which shows Tobias kissing a hummingbird. It happened on Mackinac Island. This was before cell phones, and none of us carried a camera. We would not have the hummingbird shot had Michael not reminded me that I had recently bought one of those disposable cameras and that I had it with me in my shoulder bag. I pulled it out and clicked one-two-three-four. Shot one showed Tobias reaching into the flowers. In shot two, a hummingbird happily jumped upon his perched finger. Shot three showed him bringing the hummingbird up towards his face, and shot four captured Tobias and the hummingbird - kissing.

4. Cadillac Ranch
The scene where this song is used has Michael and Ced talking about how the road is wrought with hardships and uncertainty, and how many people are not cut out to deal with that. It’s a song born from the reality of driving cross country for gigs. Michael doesn’t have to sit around and imagine what it would be like if your brakes went out in the Rocky Mountains as you’re crossing over the Great Divide, he lived it. Michael recorded this track at home in his dining room. The sound is huge, and the feel is authentic backroad dust and bones.

5. Fragile Heart
Michael describes, what for him was the heartbreak of living in Nashville and Las Vegas, so to amplify that message, I chose the song “Fragile Heart.” This track, recorded solo at Reel Sound, is playing in the background when the words scroll on screen to tell us of Tobias’ passing. Like the piano ballads, this is an emotional highpoint in the movie.

6. Do You Have Any Heart
After the dissolution of his marriage and the breakup of his family, Michael felt alone, saying, “I had to go into the wilderness on my own. I had to go on this journey to rediscover and to come back.” So I chose this song, which poses the question, “Do You Have Any Heart - to come home to.” It’s perfect for this point in the movie – lyrically, musically and emotionally.

7. Where Dreamers Only Go
As noted, this is the title song of the series. Here we have world-famous clown Jango Edwards and one of Detroit’s premier working musicians Todd Glass, talking about dreaming. The clip used in the movie was filmed, recorded and edited by Jimmy Romeo (from a session in Plymouth, Michigan), but the recording I chose for the soundtrack was from the Colone Alone album, recorded at Phil Kenzie’s studio, The Bunker, in Nashville.

8. Righteous Man
Certainly, one of the most powerful lines in the movie is when Todd Glass says (about Michael,) “He was the greatest teacher I ever had.” To be worthy of such a statement I chose the song with the title “Righteous Man.” It was recorded at Jamie Ascenzo’s, whom I have acknowledged several times in these notes for his production prowess but not yet for his amazing musicianship. This song features Michael on piano, acoustic guitar and lead vocal, Ced Curtis on electric lead guitar, and Jamie doing everything else. It’s from the great Always Yes album.

9. Marlboro Country
During this part of the film, Michael is talking about his children, in particular his daughter. I had heard that “Marlboro Country” was her favorite of his songs, so I chose it for the soundtrack. The music preceded and suggested the visual images that occur here in the film. It’s also from the Always Yes album, and like “Ride On Into Midnight” earlier, I consider it pure Midwestern Country-Rock. I love the song and the recording, and how it sits in the film.

10. Healing Waters
The healing power of music is a core message of this film. Michael explains that he writes and plays music “to feel and to heal.” When he talks about what he’s proud of, he says, “I’m proud that I don’t take anything; I don’t take pills, I don’t take drugs, I’m a natural healer.” So with “healing” as the theme of this scene, I chose “Healing Waters.” This song is significant to us because, for years, every time we’d go from the Denver-Boulder area to points west, we’d stop in Idaho Springs and go into “The healing waters of the Great Spirit,” which are these amazing hot springs in underground caves. The music used in the movie is from a live performance at Tales from the Tavern. Bear Erickson’s tone and his playing are so beautiful, as they are on the track used here, from the Healing Waters album, recorded at Bear’s Erickson Sound Labs with Michael, Bear, Bill Flores, Tyson Leonard and Tompeet Frederiksen.

11. Before the Wind
This is the second-from-the last song before the credits. We’re in the final stretch of the movie here, where everyone is talking about how ferociously committed Michael is, and how he won’t ever give up. So, to go along with that I chose this song because of the lyric “I swear my love will never end.” It’s from the Always Yes album, and features one of Ced Curtis’s great guitar solos.

12. Mission Hall
In addition to his huge heart, and his music and songs, one of Michael’s great gifts to the world, as articulated by Bear Erickson in the film, and many others who didn’t make it through the many phases of editing, is that he makes people feel “It’s OK to be me.” So, I thought it was important to hear him singing, “You’re not crazy, you’re not lazy, you’re not weak you’re strong / Everything you do is right, It’s the world that’s all wrong.” This is from a live filmed performance at Tales from the Tavern, and appears on the Tales from the Tavern, Vol. 1 compilation album (which also features Dave Alvin, Chris Smither, Peter Case, Steve Forbert, Sarah Lee Guthrie & Johnny Irion, Michael Smith, Dave Stamey, Jon Dee Graham, Jesse DeNatale, and Chris Hillman & Herb Pedersen with David Crosby.)

13. Good Man
This begins the three-song medley that plays under the Credits at the end of the film. I use only instrumental parts of the three songs, so what I was looking for was a particular energy and vibe that would both pull you along and keep you in a suspended moment. I think the three songs, and the parts of the three songs, that I’ve chosen work beautifully. In fact, I love the “medley-out” so much that when I first started showing rough cuts of the movie to friends in my immediate circle, I’d get antsy if they didn’t remain quiet and locked in all the way until the end, because I wanted them to feel the paradoxical motion-and-stillness that extends through the three songs. “Good Man” appears on the Always Yes album, and highlights Michael’s strong melodic sense.

14. The Lost Sea
For the second song in the medley, I wanted to take the energy way up, so I chose the theme from “The Lost Sea” and Bear Erickson’s wildly crazy guitar solo. This song is from the Healing Waters CD.

15. Evening in the Everglades
The final piece of music in the film splices together three sections of the recording of “Evening in the Everglades” from The Solstice Session album. The vibe created on this recording by Michael, Bear, Bill Flores, Tompeet Frederiksen and Jack Joshua, is so ethereal and spacy, dreamy and expansive that it leaves me, and hopefully the viewer and the listener, dangling in a state of suspended wonderment.

I am honored and delighted to present this collection of Michael On Fire songs and recordings.

© 2019 Ron Colone / Real Eyes Productions

Note: The Old Buck and Prismatic music used in the film are not included on this soundtrack album, but will be released separately through Real Eyes Productions.

Real Eyes Productions
www.RealEyesProductions.com
P.O. Box 1672
Santa Ynez, CA 93460

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