A collection of previously released recordings originally found on tribute records and various artists' compilations, now...all in one place!
CREDITS
1. "There's A Lot of Love In This Room" (Lloyd)
This recording was one of the first from my home studio. I finally got around to making that plunge in 1993. I started out with 8 tracks and it grew to 16 and then 24 as a few years passed. Nevertheless, this was done on 8 stacked tracks and appeared originally on the power pop compilation, Yellow Pills Vol.2 in a different mix. I did the whole thing at home with a drum machine and assorted guitars.
2. "Contact High" (Lloyd / Baggett)
This one was co-written with a good friend, Scott Baggett. Scott is co-producer and engineer on a good many of my recordings. This one was recorded in the sessions for Giants but I couldn't find the right spot for it. The reaction I got from folks when another mix of it appeared on the NashPop sampler on Not Lame in 1998 leads me to believe that I goofed by not including it on Giants. Speaking of goof.. it's got some goofy lyrics, of which I take responsibility.
3. "Step Inside" (Clark-Hicks-Nash)
From the Hollies tribute album on Eggbert in 1995, this track was billed as Bill Lloyd and the Nashville Pop Co-Op. I co-produced the track with Brad Jones, who played and sang along with other Nashville stalwarts of the the pop community like Pat Buchanan, Bill DeMain, and Brad Talbot. I was really tickled when Allan Clarke of The Hollies made mention of it in his liner notes for the tribute. Brad Jones always encourages me to play drums and I'm glad he talked me into it on this one.
4. "Ring Around the Moon" (Lloyd /Baird)
Former Georgia Satellite, Dan Baird, moved to Nashville around 1992 or so and we hit up a friendship fairly quickly. Besides really loving his records (solo and Satellite), he's a great guy, a real talent and (although I can't say I've met Keef..) has the truest rock'n'roll spirit of anyone I've met in my years of obsession. We've stabbed at writing a handful of times over the years and this is the one we finished. The recording ended up sort of a cross between The Byrds and The Gin Blossoms. It orignally appeared on Fireworks Volume 2 on the Sound Asleep label that's run by my friend, Jerker, in Sweden.
5. "How Can We Go On" (Lloyd / McFadden)
The one and only song collaboration I have with Jerry Dale McFadden. Dale played keys with The Mavericks for years, recorded a couple of solo albums, and is also in the Nashville-based pop band, Swag. I recorded this mournful piece of pop before Swag did, but got to see them do it live on one occasion. This was also on Not Lame's Nashpop compilation.
6. "The Shortest Distance Between Two Points" (Lloyd / Wynn)
Another track from the home studio days where 8 tracks and a drum machine was what I had to work with. It was recorded specifically for an East Side Digital compilation called East Side Story featuring a slew of folks on the label (The Bottle Rockets, Terry Anderson, The Schramms and others). The song was written with Steve Wynn in one afternoon. Many co-writing appointments in Nashville are set up by publishers and our meeting was arranged. Still, we had plenty in common (a fixation on Big Star for starters) and I enjoyed the collaboration.
7. "Goin' Nowhere Tonight" (Smalley / Carmen)
This song was always a favorite because it reminded me of the Beatle songs that had country overtones ("Baby's in Black", "I Don't Wanna' Spoil the Party," etc..). On the Raspberries record you can really tell where Eric Carmen put in one of his Beatle bridges. Brad Jones told me about this Raspberries tribute and we got together with my longtime friend and drummer, Marc Owens, and recorded the basic track at Alex the Great. I ended up having to mix it myself at home to make the deadline. This arrangement was more of an early Who treatment with some Scorchers on top as opposed to Beatle Country.
8. "Baby's Breath" (Lloyd / Buchanan)
Both Pat Buchanan and I are real fans of the angular, sweetly dissonant pop rock that XTC have done for years and I think that there's a good bit of inspiration from them here. We cut the drum track (me, again) in Pat's basement and I took the tracks home and added guitars,bass, keys and voices. Pat's original electric 12-string is in there too. When we wrote the song we had the melody first and then sang all these oddball phrases that seemed to fit the mood. Eventually, we made a nice little story out of it. A different mix of the recording was on a CD sampler that came with Pop Culture Press magazine in 1999.
9. "Let Her Dance" (Fuller)
From the Bobby Fuller tribute cd out of Japan in '99. Featuring a stellar cast assembled by superfan, Izumi Ito, I don't think the CD was ever released in the U.S. I'd already heard several good covers by Marshall Crenshaw, Phil Seymour and The Incredible Casuals but when she asked me to do "Let Her Dance", I thought it would be really fun. And it was.
10. "Work In Progress" (Lloyd / Allen)
I met and became friends with 20/20's Steve Allen when he moved to Nashville with his family in the early '90's. The first song we wrote together sounded absolutely nothing like what one might expect from a couple of guys associated with power pop, which is good since nobody wants to be just one thing. We did, however, write and co-produce this track which does fit more of what might be expected. Like track number 4, it ended up on Fireworks Vol. 2 in Sweden.
11. "The Lottery Song" (Nilsson)
Taken from For the Love Of Harry- Everybody Loves Nilsson. Well, I certainly did .. and owe a public thank you to Al Kooper. It's really through him that I was able to take part in that fine tribute album that featured Randy Newman, Brian Wilson, Jimmy Webb, and Ringo among many others. Actually, both Al and Danny Kapillion, who worked at Music Masters, were supportive and liked my version of Harry's "Lottery Song." It was one of the first things I did in my newly acquired home studio in '93. Eight tracks all stacked up. The sound of the crowd on the verse about "we could make a record..sell a lot of copies.." are the screams of the girls from the Ed Sullivan show featuring The Beatles. It only seemed right.
12. "Anytime the Time Feels Right" (Lloyd / Terry)
Another very early home recording of a song that Pat Terry and I wrote. It was on Jerker Emanuelson's first compilation CD called Hit the Hay. It sounds like a hillbilly version of The Cars to me now. The chords are very Fab.
13. "Lonely You" (Ham)
Originally on the Badfinger tribute cd on the Copper label out of Houston, Texas. They managed to get a really great group of folks on that CD. Like most all of the tribute records and compilations that these tracks were originally on, they've been out of print or not available for awhile. Marc Owens played drums for me on this one and I did the rest at home. Brad Jones was nice enough to mix it for me at he and Robin Eaton's Alex The Great studio. The arrangement here reminds me more of a crunchy Big Star or dB's than Badfinger.
14. "There You Are Again" (Lloyd / Lowenstein)
Co-written with Evan Lowenstein of the brother act, Evan and Jaron, this song ended up as the opening track on their album for Island produced by Danny Korthmar. The album didn't really create the kind of stir one would wish for, though I just saw their cute mugs in an industry paper not long ago (8-2000)... so they're still out there working. This is the same version that I sent to Evan that served as a work demo for their pre-production. Yet another Japanese superfan, Maki Kobayashi, requested a track for her Lazy Cat label and that's where this one ended up (Postcards From The Other Side-1999).
15. "I Don't Want To Tie You Down" (Rundgren)
This track was on the very first tribute album I participated on back in 1990. It was recorded at The Castle, where I've worked on and off for years. Byron House engineered and co-produced. He was a pro on the Fairlight which was what we used for keys, drums, strings, etc. As a big Todd fan, I wanted this track to be more like The Beach Boy's "Feel Flows" as I didn't want to cop his version outright. The tribute CD didn't get much in the way of exposure, to my knowledge, but there were some standout tracks and artists involved. The CD was called For the Love of Todd on the Third Lock label.
Credits
1. "There's A Lot of Love In This Room" (Bill Lloyd)
EMI-Blackwood Music/Okay Then Music (BMI)
(alternate mix - original mix on Yellow Pills Volume 2 - Big Deal Records, 1994)
Produced, recorded, and mixed by Bill Lloyd at Def Heffer Studio, 1994.
All instruments and vocals by Bill Lloyd.
2. "Contact High" (Bill Lloyd / Scott Baggett)
Warner-Tamerlane/Def Heffer Music and Bluewater Music (BMI)
(alternate mix - original mix on Nashpop - Not Lame Records, 1998)
Produced by Bill Lloyd and Scott Baggett.
Recorded at Battery Studio, The Electric Sandbox, and Def Heffer Studio, 1996-97.
Mixed by Scott Baggett at The Electric Sandbox.
Bill Lloyd : electric guitar, acoustic guitars, tambourine and vocals
Greg Morrow: drums
Byron House : bass
Scott Baggett: E-bow guitar, fuzz bass, keyboard, percussion
3. "Step Inside" (Allan Clarke / Tony Hicks / Graham Nash)
Dick James Music Ltd. adm. by Songs of PolyGram International, Inc. (BMI)
(as found on Sing Hollies In Reverse - Eggbert Records, 1995)
Produced by Bill Lloyd and Brad Jones.
Basic tracks recorded by Brad Jones and Robin Eaton at Alex The Great, 1994.
Overdubs recorded by Bill Lloyd at Def Hefffer Studio.
Mixed by Brad Jones at Alex The Great.
The Nashville Pop Co-Op:
Bill Lloyd : lead and backing vocals, electric 12-string guitar, drums, percussion, keyboards
Brad Jones: bass guitar, fuzz guitar solo, lead vocal double on bridge section
Pat Buchanan : Leslied electric guitar
Brad Talbot: high harmony
Bill DeMain : lo harmony
4. "Ring Around The Moon" (Bill Lloyd/Dan Baird)
Warner-Tamerlane/Def Heffer Music and Where’s The Check Music (BMI)
(as found on Fireworks, Volume 2 - Sound Asleep Records, 1998)
Produced by Bill Lloyd.
Basic track recorded and engineered by Steve Allen at Blue Planet Studio, 1996.
Overdubs recorded and mixed by Bill Lloyd at Def Heffer Studio, 1996.
Bill Lloyd : lead and backing vocals, electric 12-string, acoustic guitar, electric guitar, keyboards, bass guitar and tambourine
Bob Mummert: Drums
Dan Baird: electric guitar
5. "How Can We Go On" (Bill Lloyd / Jerry Dale McFadden)
Warner-Tamerlane/Def Heffer Music - Monk Family Music (BMI)
(as found on Nashpop- Not Lame Records, 1998)
Produced by Bill Lloyd.
Basic drum track recorded by Marc Owens & Billy Smith at High Street Studio, Bowling Green, KY.
Overdubs recorded by Bill Lloyd at Def Heffer Studio, 1997.
Mixed by Brad Jones at Alex The Great.
Bill Lloyd : lead and backing vocals, electric guitar, bass guitar, and percussion
Marc Owens : drums
Pat Buchanan: slide guitar
6. "The Shortest Distance Between Two Points" (Bill Lloyd / Steve Wynn)
EMI-Blackwood Music/Okay Then (BMI)- Poisoned Briskit Music adm. by Bug Music
(as found on East Side Story, Volume 1 - East Side Digital 1996)
Produced, recorded, and mixed by Bill Lloyd at Def Heffer Studio, 1995.
All instruments and vocals by Bill Lloyd.
7. "Goin' Nowhere Tonight" (Dave Smalley / Eric Carmen)
Eric Carmen Music-Universal Songs of Polygram
(as found on Raspberries Preserved - Ginger Records, 1996)
Produced by Bill Lloyd.
Basic track recorded by Brad Jones at Alex The Great.
Overdubs recorded and mixed by Bill Lloyd at Def Heffer Studio, 1995.
Bill Lloyd : guitars and vocals
Marc Owens: drums
Brad Jones: bass
8. "Baby's Breath" (Bill Lloyd / Pat Buchanan)
Bill Lloyd Music (administered by Bug Music) and Warner-Tamerlane Music (BMI)
(as found on free CD with Pop Culture Press magazine, 1999)
Produced by Bill Lloyd.
Drum track recorded by Pat Buchanan at Pat’s Vibe Cave.
Remainder of track recorded and mixed by Bill Lloyd at Def Heffer Studio, 1998.
Bill Lloyd: drums, bass. guitars and vocals
Pat Buchanan: electric 12-string guitar
9. "Let Her Dance" (Bobby Fuller)
Super Songs Unltd A/C Golden Unlimited Music
(as found on Our Favorite Texan: Bobby Fuller Four-Ever! - #9 Records, 1999, Japan)
Produced, recorded, and mixed by Bill Lloyd at Def Heffer Studios, 1999.
All instruments and vocals by Bill Lloyd.
10. "Work in Progress" (Bill Lloyd / Steve Allen)
Warner-Tamerlane/Def Heffer Music and Bablink Music (administered by Bug Music) (BMI)
(as found on Fireworks Volume 2 - Sound Asleep Records, 1998)
Produced by Bill Lloyd and Steve Allen.
Basic tracks recorded by Steve Allen at Blue Planet Studio.
Overdubbed and mixed by Bill Lloyd at Def Hefffer Studio.
Bill Lloyd : vocals. electric 12 -string guitar, acoustic guitar,drums, percusson, and organ
Steve Allen : Electric guitars, bass and synthesizer
11. The Lottery Song (Harry Nilsson)
EMI-Blackwood Music (BMI)
(as found on For the Love Of Harry - BMG/Music Masters, 1995)
Produced, recorded, and mixed at by Bill Lloyd at Def Heffer Studio, 1995.
All instruments and vocals by Bill Lloyd.
12. "Anytime The Time Feels Right" (Bill Lloyd / Pat Terry)
EMI-Blackwood Music/Okay Then (BMI) and End of August Music (administered by C.M.I.) (ASCAP)
(as found on Hit the Hay - Sound Asleep Records, 1994)
Produced, recorded, and mixed at by Bill Lloyd at Def Heffer Studio, 1993.
All instruments and vocals by Bill Lloyd.
13. "Lonely You" (Pete Ham)
WB Music Corp. c/o Warner Chappell Music, Inc.
(as found on Come And Get It- A Tribute to Badfinger - Copper Records, 1996)
Produced by Bill Lloyd.
Drum track recorded by Marc Owens at High Street Studio, Bowling Green, KY.
All overdubs recorded by Bill Lloyd at Def Heffer Studio.
Mixed by Brad Jones at Alex The Great.
Bill Lloyd: electric guitars, bass guitar, organ, percussion and vocals
Marc Owens : drums
14. "There You Are Again" (Bill Lloyd / Evan Lowenstein)
Warner-Tamerlane/Def Heffer Music-Tzitsis What We Do Music (BMI)
(as found on Postcards From the Other Side - Lazy Cat Records, 1999, Japan)
Produced, recorded, and mixed by Bill Lloyd at Def Heffer Studio.
All instruments and vocals by Bill Lloyd.
15. "I Don't Want To Tie You Down" (Todd Rundgren)
Humanoid Music/Fiction Music/Adm. by Warner Tamerlane Publishing Corp (BMI)
(as found on For the Love of Todd- A Tribute To Todd Rundgren - Third Lock Records,1990)
Produced by Bill Lloyd and Byron House.
Recorded and mixed by Byron House at The Castle Studio.
Sampled keys and vocals by Bill Lloyd.