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Saturday, August 20, 2016

Story Behind The Song, Plus in Depth Analysis On How it Was Written - Garrison Bight

Story Behind The Song, Plus in Depth Analysis On How it Was Written - Garrison Bight




A few moths back, I was talking with a friend who is a DJ and a wonderful guy. He said “Well, your music isn't exactly Trop Rock”. I laughed and in a friendly way, corrected him saying something like “Well actually my music is more Trop Rock than 98% of the others you play. You see, they live in places like Michigan, New York, Maryland, California, or Illinois and are writing songs and singing about coming to the tropics, and more often than not, Key West. Their viewpoint is coming here, spending a few days, then heading home where they write about their experience, albeit from a tourist, or visitor's (there's a difference!) perspective”. I'm not being critical of their approach, only defining that mine is coming from a different angle.

Myself, I live here. Keith Richards says of songwriting “Songs just float through the room and you grab them”. The songs I write didn't float through a room in Michigan, Maryland, California, or anything like that. They float through my room in Key West. As my neighbor Many, The Coconut Man, says with his long, slow, sage African/Cuban/American accent, “It comes out of the groooouuuuuund!”



The subject matter is likewise different in that my songs are largely about day to day life here. It's not about visiting Key West for a few days,but rather living here 24/7/365. It's about my dog Cajun chewing up a coconut, or taking a day and going out sailing off of Key West, or the South being north of here. It's Key West music that comes from Key West. Blowing through the room, as Kieth Richards says, or “Out of the ground”, as Many says.


Here's a song I wrote, Garrison Bight. Garrison Bight is an inlet in Key West which has several harbors. Many people visiting know the large building there which is part of Naval Station Key West and says “Fly Navy” at the top. The one “hill” we have in Key West, the Palm Avenue overpass, goes right over Garrison Bight. Again, this is a story about living here, not visiting.

It was a funny story, in a awkward way. To set the stage for this song, I had been away from Key West for a short time and I returned when my marriage went south. My friend Gary had graciously offered to let me stay with him on his houseboat, which was docked at a boatyard in Garrison Bight, one of the two bights in Key West. During my stay there, I didn't have a job, or at this point, much of anything.



Garrison Bight was written one morning on the back of the houseboat. The song relates to my stay there, the things I saw, and the people I met. One of the things that I liked about this song is that it's completely a 100% true Key West living adventure, start to finish.

What you will see here in the video, is an in depth analysis of, not only the story behind the song, but actually much more. This video highlights how that story was transformed and fit to the particular chord progression. More specifically, how words are matched to specific individual chords.









Hear “Garrison Bight” on Soundcloud


There are of course, different ways of writing songs. for me, this format is very natural. It may be for you. I found out many years after writing in this way that it was likewise used by Lennon/McCartney, Jagger/Richards, and Garcia/Hunter. 




GARRISON BIGHT

Esus
SUNRISE OUT OF THE BIGHT
                                G                 A                         Esus
IT'S GONNA BE A HOT ONE AND I THINK I MIGHT
Esus
START OUT WITH COFFEE, CUBAN COFFEE

DARK, THICK AND SWEET
                                       G
YOU DRINK IT LIKE WHISKEY
           A                                            G              G    A    Esus
WITH PASSION TO A RHUMBA BEAT

II
Esus
HOUSEBOAT, SHE'S A TENNENT


TWENTY SIX YEARS DOWN FROM TENNESSEE

                     G                                         A                        Esus
SURVIVED WILMA THOUGH SHE'S LISTING FIVE DEGREES

Esus
SAILBOATS IN THE BOATYARD GETTING RESTORED AND LOOKING SO FINE

                                 G                       A                                 Esus             G A Esus
FRESH COATS OF PAINT, BAR B QUE RUM ICE AND LIME

(chorus)
G                                    E9                                 E7
FISHING BOATS ARE HEADED OUT THIS MORNING
G                                     E9                              Em add9
TRAWL THE WATERS LAY THEIR LINES DOWN
G                              A                     Em
SHE CAME HERE WITHOUT A WARNING
G                             A                                                      Esus
AND NOW SHE'S ANCHORED ON THIS SIDE OF TOWN


III
Esus
TALES, NEVER ENDING

CHARACTERS ABOUND
G
WAVES AGAINST THE HULL,
         A                                                  Esus
TEN BUCKS GETS YOU PUMPED OUT

IV
Esus
A PLACE ACROSS THE STREET

THEY TELL ME IS GOOD TO EAT
                    G                   A
I HAVEN'T TRIED IT
                                             Esus
'CAUSE I'M DOWN AND OUT

V
Esus
SUMMER DAY,

YEAH, IT'S A HOT ONE

I AIN'T COMPLAINING, IT'S BETTER THAN PAIN
G                                        A                             Esus
PERSPIRATION BEATS TEARS ALL THE SAME

(chorus)
G                                     E9                                E7
FISHING BOATS ARE HEADED OUT THIS MORNING
G                                     E9                              Em add9
TRAWL THE WATERS LAY THEIR LINES DOWN
G                              A                     Em
SHE CAME HERE WITHOUT A WARNING
G                             A                                                     Esus
AND NOW SHE'S ANCHORED ON THIS SIDE OF TOWN

                     G                 A                        Esus
AND IT'S A HOT ONE, AT GARRISON BIGHT
                        G                A                                    Esus
YEAH IT'S A HOT ONE HERE AT GARRISON BIGHT
                        G                A                                     Esus
YEAH IT'S A HOT ONE, HERE AT GARRISON BIGHT

©  2009 By Christopher R. Rehm - BMI

Please also take a look at my last blog and help the new album cause! Thanks!





Thank you for reading my blog!

All the best from Key West!

Key West Chris Rehm

Wednesday, August 3, 2016

New Album: New Marketing Twist – Release As We Go!

New Album: New Marketing Twist – Release As We Go!




My last CD release, “Shanghai'd and Marooned in Key West (things could be worse)” was a major success as far as the overall quality of it went. The accolades poured in from all over. Everyone expressed satisfaction and I was honored to have made a CD that included eighteen Key West musicials who were second to none.

What it was, however, was expensive. I'm not complaining, mind you, just making a matter of fact statement. My total production cost, which includes, renting the San Carlos to record the rhythm section (drums and bass), paying the eighteen musicians to play, paying for all of the studio time for recording, mixing and all that goes with it, the actual production of the finished product in CD form, came out to over fifteen thousand dollars. Again, I'm not complaining at all. It was worth every penny!

On the flip side, fifteen grand doesn't grow on trees. With my investment in the Cork and Stogie last year, that pretty much gobbled up any extra money I had.

The issue with an artist such as myself is, it doesn't matter if the money is there or not, the creativity continues and new songs keep coming out of me.

It's time to get back in the studio and put together a new release!





So, here I have all of this material available and I ask myself “How do I make this happen?”, because I don't have the cash available to do it. (Philanthropic investors are more than welcome to contact me however!)

My girlfriend Dani, and others, did the Kickstarter program. It's worked for them well, but it's not something I'm all that comfortable with as of yet.

So, I came up with an idea, which I think makes sense for everyone.

How about if I release the album song by song as it gets recorded? On line, the cost of songs are $.99 each. That's easy!

The sale of the individual songs, will go to paying for the next songs to be recorded. Does that make sense?

I don't know if it's been done before or not. I will say that when I announced it on Facebook yesterday, my friend Kole Dunn wrote me saying he would be doing the same thing. Great minds think alike... or maybe that's not great minds, but rather, madmen! HA HA!

The first song, “Island Blue” is released today, August 3, 2016 and is available on CD Baby. The other carriers, iTunes, Amazon, CD Universe, and so on, will be available in the next few days.

“Island Blue” was recorded by Dan Simpson at Private Ear Studios, here in Key West and features the amazing Country artist Misty Loggins on her Trop Rock debut, singing lead vocals. For background vocals, we have Dani Hoy! On drums, “Father Time”, Richard Crooks, Bass is Dan Simpson, Ericson Holt on keyboards, and myself on guitars.

The song has a Patsy Cline/Willie Nelson feel to it, with a contemporary theme to it of someone heading to a tropical island, like somewhere in the Keys, for example, on vacation, and staying. The song is in a Country ballad/lament style.



Dan Simpson, who recorded this, as well as my previous album, Shanghai'd and Marooned in Key West (things could be worse), regretfully is moving to Ashville, N.C. after a thirty five year run in Key West. Dan is a fabulous guy and everyone in the Key West music scene will miss him. It's said that there is a bustling music scene there, so we wish him the greatest success!


The rest of the album will be done with Key West/London producer Ian Shaw. I'm guessing Ian has been here in Key West for around four years. He still bounces back and forth between London and here regularly, working on various recording projects. He's been in the business over thirty years and I can't wait to start working with him. I've known him since shortly after I arrived here and we've always gotten along great. My experience working with him falls into the introductory level. I did a vocal track with him for a song of Renn Loren's, when I first met him. Renn introduced me to him, as a matter of fact.

                                          Ian Shaw



Dani Hoy, for her brand new release, At The End Of A Long Road, did all of her vocal tracks with Ian as well. The release was actually produced by Kevin Johnston up in Maryland, but Dani did her vocal tracks with Ian. I actually had a fun little two words on her song Back Country Pontoon Party, where I holler out “And beer!” that we did with Ian, but for reasons unknown, Kevin deleted it. Damn producers.

We'll be going into the studio to do two songs this month. One will be “Yeah, A Harbor” and most likely a song I wrote a few years back “Dockside Bar”. This will be a rhythm section with Paulie Walterson and Bob Tucker, the current rhythm section of The Shanty Hounds.

After that we'll be adding guitars, vocals, and additional instruments. It is actually a very time consuming project making a recording. The person who buys the recording, for the most part, doesn't realize all that goes into it. That's natural, as it's not their field.

Additionally, there are two songs that I recorded with the band Homemade Wine last year, that have to be finished. These two songs fall into the category of Southern Rock. Both songs are about 70% completed and we'll get to them when we can.

After that, there are also the title song “Jump Into De Fi-Ya!!!”, “Yippie Cayo Hueso!!!!” ( Cayo Hueso is the Spanish name for Key West, Translation: Bone Key), and “Tote The Load”, plus a song named “Smile!” and maybe one or two more.

Like Shanghai'd, each song will have it's own art cover. Island Blue's is one of the most beautiful islands in the Keys, Marvin Key. I took the picture and Dani, a graphic artist for ages, sized it and added the font.

Once the album is completed, I'll offer it as a complete work. The advantage is here, you can get it as it becomes available! Conceivably, the complete work could be over a year in the making, so here you can get the first song TODAY!


Conventional? Hardly! But what would anyone expect from me anyway? Certainly not the norm!


                                 Misty Loggins (Getty Images)

                      Key West Chris Rehm and Misty Loggins - 2012

Here's the link for Island Blue. It's less than a dollar. As the other carriers, iTunes, Amazon... etc, start to pick it up, I'll add their links too.



Thanks for reading the blog and for those of you who purchase the son a very big THANK YOU!!!

All the Best From Key West!

Key West Chris Rehm


Tuesday, August 2, 2016

Midnight Drive in a Key West Rainstorm

Lots of flooding tonight on our way home from our gig at Boondocks, up on Ramrod Key, twenty eight miles north of Key West. This video starts on N. Roosevelt Blvd. in Key West a bit after midnight on  August 3rd. 2016. It continues when the boulevard becomes Truman Avenue, then home in a rainstorm with a lot of of street flooding.

Includes lightning drama, a truck that appears to be disabled and on the wrong side of the street, idiot drivers, and the adventure of the rain storm.

Monday, July 25, 2016

STORY BEHIND THE SONG - "AS LONG AS I LIVE ON THE ISLAND"






This song was written in preparation for my last album, "Shanghai'd and Marooned In Key West (things could be worse)". It's one of those pieces that "ends up on the cutting room floor", so to speak.

It needs to be stated that this song is not autobiographical! As it's sung in the first person, it sounds as though it is. That fact actually played into part of the reason I cut it out. The other reasons were that I hadn't actually given much thought to the instrumentation.

The level of production is something that varies from artist to artist. Some will send a producer an acoustic demo to a producer and they will do the arrangement, organize the musicians, record everything, have the artist do the vocal, then send them the completed piece. In many cases the artist really doesn't have hardly any input.That works well for many. It doesn't work at all for me however.

If it's my work, I'm involved 100% . I will get most of the musicians. The arrangements are virtually all of mine. I'll be there during the recording, making decisions on how/what the other musicians play, so on and so forth.

With this song, as I say, it never really made it past the writing/arrangement stage. This album would be my first foray into the Trop Rock genre and as you'll see from the lyrics below, it paints a pretty good picture!

The inspiration for the song was several people I either knew as friends, was acquainted with, or just saw here in Key West.

As I say, the song was written in the first person and it depicts, quite humorously, a complete Key West blow out's trials and tribulations. I had a lot of fun and laughs writing it!

1)
SUN COME UP MOON GO DOWN
JUST GOT IN FROM PAINTING THE TOWN
BURN THE CANDLE AT BOTH ENDS
SOMETIMES I JUST DON'T KNOW WHEN TO SAY WHEN, BUT IT'S ALRIGHT
AS LONG AS I LIVE ON THE ISLAND

2)
WOKE UP AT TWO IMAGINE THAT
I FEEL JUST LIKE THE CAT IN THE HAT
SWEPT EVERYTHING UNDER THE BED
COBWEBS CLUTTER INSIDE MY HEAD
BUT IT'S ALRIGHT  YEAH, IT'S ALRIGHT
AS LONG AS I LIVE ON THE ISLAND

(Bridge)
SUN RISE IN THE ATLANTIC
SUN SETS IN THE GULF
SO AS YOU SEE, IN SPITE OF ME, ALL IS WELL
AS LONG AS I LIVE ON THE ISLAND

3)
MET A FEW GIRLS AT A LOCAL SALOON
WE HEADED BACK TO THEIR HOTEL ROOM
STRIP POKER AND TWISTER ALL NIGHT LONG
LOST ALL MY CLOTHES HAD TO TAKE A CAB HOME
BUT IT'S ALRIGHT  YEAH, IT'S ALRIGHT
AS LONG AS I LIVE ON THE ISLAND

(Bridge 2)
SHOTS OF JUMBIE CHASED WITH BEER
PUSSERS RUM OVER ICE
LIFE HERE, IT'S ABUNDANTLY CLEAR,
IS QUITE NICE, YEAH IT'S QUITE NICE

4)
I HAD A REAL JOB BUT IT WENT SOUTH
I HAD THE VAPORS AIRING ABOUT
NOW I SELL TOURS ON THE STREET SIDE
MAKE A GOOD LIVING BUT IT COLLIDES WITH MY LIFE
BUT IT'S ALRIGHT, YEAH IT'S ALRIGHT
AS LONG AS I LIVE ON THE ISLAND
AS LONG AS I LIVE ON THE ISLAND
AS LONG AS I LIVE ON THE ISLAND

© 5/27/2009 Christopher R. Rehm  BMI







Thursday, July 21, 2016

Insights on Holding Songwriter Events

Insights On Holding Songwriter's Events!


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Over the years I've had the pleasure of running Songwriter showcases. They've all been fun, however there have been many improvements made over the years through both trial and error, or just flat out learning from Nashville and how they do it. Keep in mind that Nashville has perfected the method, having done them for almost 100 years and literally thousands of events. Believe me, theirs is the template to use!

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I learned from them by being part of The Key West Songwriter's Festival since 2010, the largest songwriting festival in the United States. The way they do it just flat out makes sense. 

Besides, why try blazing a new trail with all the trial and error that goes along with it, when the tried, true, proven way is at our fingertips?

On some of my early events, I ran it pretty much the same as my open mics that I had held. I learned from the best here as well, but in the end, an open mic is not a songwriter's event. That was the wrong way to do it.

It's not a regular gig either.

The underlining point here is, it's a songwriting event. Big difference!

 photo MeSongwriters.jpg

The first thing is that a songwriter's event which showcases multiple songwriters, is held in an In The Round format.

One disaster I had was having the single artist up at one time. The audience was horrible! For them it was just a bar gig with someone playing. They were talking and carrying on just like any other bar gig. At one point C.W. Colt was on stage and stopped his performance, admonishing the crowd "This is a songwriter's event, not a bar drunk!" C.W. never came back after that.  For some reason, with the In The Round format, that never happened again. Maybe it's because there are other sets of eyes gazing back at the crowd from the stage? I'm not sure, but it works.

In the In-The-Round format you will have two, three, or four songwriters on stage at the same time. Five is too many. The performers sit in a row facing the crowd and go in sequence, one after the other. Here, they have the opportunity to address the audience on a one on one basis, explaining on how the song they are about to play came about.

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As the ringleader, you will want to explain to them beforehand to keep their exchange with the audience to around one to two minutes. Some inexperienced songwriters will go on and on just having conversations with the crowd. The issue here is they are taking time away from all of the performers if they go over. You don't want one songwriter to get five songs and another four when it's all said and done because someone got too gabby with the crowd. If someone in the crowd wants to ask questions, they can do so after the performers are finished. 

One disaster I had was with holding the single artists



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The In The Round formula works so well as performers play one directly after the other. It's not as though one player is up there for a half hour and is followed by another. Here, you have that two, three, or four sharing the stage and every next song is by the next artist in line. Ever get an album where the songwriter's songs all sound exactly the same? They can be at risk of putting the audience to sleep. If that artist is on stage, with an In The Round set up, you'll never have that issue.

Here's one of the true beauties of the In The Round formula: As an organizer, you set the artists up on stage and you're done for the next hour! Having single artists up at a time, with a laundry list of performers, you're like a dog chasing it's tail all day long!

For so many reasons, the In The Round formula is vastly superior to anything else.


What not to do at a songwriter's event? A couple of things to keep in mind.

A) This is a songwriter's event. It's an intimate experience with a songwriter, who is explaining how their song came about, then playing it, one on one. In a songwriter event you want people in the audience to feel that the songwriter is talking directly to them baring their soul about how the song came about, then playing the song in it's most exposed, vulnerable environment, which is their vocal and an accompanying instrument, such as a guitar, or a piano. Having a band at a songwriter's showcase is not a songwriters showcase, it becomes a bar gig. The intimacy is completely lost and it runs the risk of now a mumbo-jumbo free for all. Worst of all, if solo acoustic players play after a band, it sounds as though the bottom fell out. Before you had this band with drums, bass, maybe electric guitars, all of which are naturally going to be at a much greater volume. It's not fair to the performers who follow.

Having said that, often in a songwriter's event you'll have an artist who has an accompanist, say a second guitar, a violin, harmonica, etc, playing with them. This works.

B) A songwriter's event is a collective event. When you have multiple artists being showcased together in the In The Round setting, you don't have one set aside to do their own set solo. The by product of this is essentially saying to the other artists “You're just supporting So And So”. Songwriters events put songwriters on stage together. Let's look at Chuck Cannon at the Key West Songwriter's Festival. Chuck of course has a slew of hits! At the KWSF, Chuck will have his own event. He's the songwriter at say, 8PM at The Casa Marina on Thursday night. However, Friday afternoon, he will be one of three or four songwriters sharing the sage together. Same thing on Saturday. Point being, when he has his solo event, that's one event. When other songwriters are involved, he's one of featured performers sharing the stage with the others. It's part of the songwriters community.

I hope that helps those who host songwriter events!



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Be sure to check out my book “Bar Stories”

17 Five-Star Ratings as of July 20th!

https://www.amazon.com/Bar-Stories-Semi-Fictional-Adventure-Tour-Witnessed-ebook/dp/B01AHKCY1K/ref=sr_1_1?s=digital-text&ie=UTF8&qid=1469125776&sr=1-1&keywords=bar+stories#nav-subnav


Wednesday, July 13, 2016

Exploring Remote Florida Keys



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When most people think of the Florida Keys, they think of Key West, or Key Largo. Others will think of Islamorada, Marathon, Bahia Honda, or perhaps any of the other Keys that are linked by the forty two bridges that are known as Overseas Highway, which is the first 100+ miles of U.S.1.

Well, forty two bridges would link forty two islands, but of course there are also islands not connected by the bridges, such as Geiger Key, or No Name Key, which are off islands which are. I'm strictly guessing here, but I'm estimating the archipelago of islands which have people living on them could be around sixty five to seventy five.

However, the Florida Keys amount to much more than seventy five islands. In total, there are actually over three thousand islands in the Florida Keys!

By the way, a Key, or Cay (both pronounced Kee) is a small, low island.

How can one not be curious about exploring some of these? Back around seven years ago, my friends Rick, Cindi, and Jeff went out to one of these remote keys, and I've been going there ever since. With group of friends of ours, we recently went out there again earlier this week, renting a pontoon boat to get there.


Our destination was Marvin Key, or more correctly "The Marvins". There are two islands in the Marvins, neither of which has a singular name.

We rent the pontoon boat from Backcountry Boat Rentals, which is at Mile Marker 17 ( 17 miles north of Key West), Summerland Key. Every time we've gone, we've had fabulous service from them. The boats are in great shape and the man who sees you off, Alfredo, is very pleasant, yet also quite precise in his instructions, so there is no confusion.

Marvin Key is about nine miles west of Summerland Key, where the boat disembarks from, and the ride out there takes about an hour. You must stay within the guidelines of the trip, because it's very shallow and it doesn't take much to run aground.

The pictures will better explain what it's like out there. They really do speak for themselves.

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A channel the route takes you through shortly after leaving the dock.

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Dani Hoy piloted this trip.


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Some of the 3000 islands in the Florida Keys on the way out.

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New keys are constantly being formed. The sands are constantly shifting throughout the Keys and new islands sprout out of nowhere. A mangrove starts growing in it and next thing you know, there's a new island!

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Marvin Key is in sight!

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Marvin Key

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My dogs Cajun and Tooloulou always come on the trip. Here Cajun is the scout, making sure the island is safe for the rest of us.

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Following the trail Cajun blazed up the island.

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A sandy spot that looks like it would make a fantastic campground... one of these trips!... What? it's illegal.... hummmm...

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Cajun and Tooloulou checking out the other side of Marvin Key.

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The other side of Marvin Key.

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Coming back out the island path

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Fun in the crystal clear waters of the Florida Keys

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My friend Bill Cockrill's coozie  kept the beverages cool on a 90 (32C) degree day! Thanks Bill!



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We spent six hours at Marvin Key! It never gets old!!!!

I suggest keeping a link to this page for when you are at work and need a breath of fresh air!

BackCountry also has skiffs, in addition to pontoon boats. To contact Backcountry Boat Rentals:

http://www.backcountryboatrentals.biz/

Tell them Key West Chris sent you!  :)








Thursday, July 7, 2016

Story Behind The Song "Yippie Cayo Hueso!"

Story Behind The Song - “Yippie Cayo Hueso!”

(Quick note: I've been putting these "Story Behind The Song" posts in Facebook for several years. I came to the conclusion that putting them in the blog is better for access, so I'll be posting them here from now on. Thanks! Chris)

The name Cayo Hueso is the Spanish name for Key West. It actually translates to Bone Key, because when the Spanish first came to the island, they found human bones all along the beach, the result of a Native American war between tribes, long past.

I first came up with the name, then wrote the song. When I mentioned it to my friend Joe Gowran he said “I say that all the time”. My friend Gary then said “Yeah, Joe says that a lot!”. I couldn't recall it at all, however I spent a lot of time with Joe, so I figured it must have crept into my brain somehow.

My philosophy is if someone comes up with a saying that I use in a song, they get a co-writing credit. This isn't the norm. However, I feel that if someone never stated it to begin with, the song would have never existed. I did the same with my song “Raise My Glass To The Upper 48”, where I credited a co-write to my friend George Cornejo. Likewise, Joe gets credit on this one. In both cases, I wrote the whole song, music and lyrics.

Yippie Cayo Hueso is a euphoric, upbeat, celebration of living in Key West and getting out on the water. I recall I was playing at Captain Tony's one MOTM (the Trop Rock festival in Key West held annually) and I was about to play my song “Sailing”. This was on the last day of the event and as I introduced the song, I asked the packed bar how many had been out on the water? Not one person raised their hand. My jaw hit the floor. Here we were, one hundred and six miles from the mainland on a tropical island, and not one of the crowd had been out on the water! No day sails, no sunset cruises, nothing. I've always felt that one of the most beautiful things about living here is getting out on the water! All of these people were missing out!

So the stage was set for Yippie Cayo Hueso. This would be a song highlighting sailing out on the waters off of Key West. The song is written in the key of E in both the chorus and the main body of the song.


Yippie Cayo Hueso”

(chorus)
Yippie Cayo Hueso, Yippie Cayo Way, Yippie Cayo Hueso, An Island In The Stream

Verse 1

Sailing out to Sand Key, a little bit north of the light
a pod of dolphins started playing, right off our port side

Verse 2

We came about and we headed south, the sea was quite serene
and that pod of dolphins showed the way, right off of our bow

(bridge)
back on the mainland they're wound so tight, sometimes I can't believe my eyes
just take a sail on a sunset eve, in the twilight you can't believe

(chorus)
Yippie Cayo Hueso, Yippie Cayo Way, Yippie Cayo Hueso, An Island In The Stream

Verse 3

Pelican flies like a B25, a half a foot off the waves
and when they're high they sure can fly, always carrying a smile... sometimes a fish!

(bridge)
back on the mainland they're wound so tight, sometimes I can't believe my eyes
just take a sail on a sunset eve, in the twilight you can't believe

(chorus)
Yippie Cayo Hueso, Yippie Cayo Way, Yippie Cayo Hueso, An Island In The Stream

Yippie Cayo Hueso

Yippie Cayo Hueso

An Island In The Stream


© Christopher R. Rehm/Joseph Gowran BMI





The structure of the song has the chorus kick the song off, which isn't unheard of, but it's not all that common either:

Yippie Cayo Hueso, Yippie Cayo Way, Yippie Cayo Hueso, An Island In The Stream

The line, “An Island In The Stream” is of course reference to the Hemingway book “Islands in the Stream”. The fact that the Gulf Stream rolls right by Key West, makes it specifically fitting for the song.

The first verse starts out with the line: Sailing out to Sand Key, a little bit north of the light.

Sand Key is a former key actually, located nine miles west of Key West. Today it's a shoal with a lighthouse. It's also the finish line for The Wrecker's Race, a sailboat race held on the last Sunday of January, February, March, and April organized by the Schooner Wharf Bar. I've been lucky enough to be in several of them over the years with my friend Larry Poff, on his boat, Transition.

 photo sand key_zpsad9napxi.jpg

In the same verse the song talks about coming across a pod of dolphins.

A pod of dolphins started playing, right off our port side

Dolphins are often seen in the Keys and always a fascinating experience, as you would expect!

The second verse starts off by underlining the fact that this song is about sailing.

We came about and headed south

The term, here in the past tense, Came About, refers to the sail on a sailboat being switched from left to right, or visa versa. Power boats don't come about.

The song also underlines the fact that quite often dolphins will often swim with boats here.

And that pod of dolphins showed the way, right off of our bow


The song then switches to the bridge. Here is the awakening awareness of how fortunate those of us are who live in the Keys, be it Key West, Key Largo, or anywhere in between. The keys mentality is quite different from anywhere else.

Back on the mainland they're wound so tight, sometimes I can't believe my eyes

This is followed with the solution to the aforementioned angst

Just take a sail on a sunset eve, in the twilight you can't believe

For those who are musicians, this section takes on an interesting, fun twist. Up until now the song is in the key of E. Here it steps out of E as the progression goes Em9, B octave, F#m7, C#m7, C#7, F#sus4, F#, F#m add9, B, Bsus4, B.

The song then returns to the chorus of the song, then to the instrumental portion.

For the instrumental interlude, instead of using the structure of the body of the song, I took elements of both the bridge and the main body of the song. This time starting off with the B octave, then again utilizing the Em9, which is the reverse order of those two in the bridge. At this point it goes back to the B octave then to A. It does that twice and with it resolving on the A, it lends itself to a easy transition back to E and the standard progression of the song for the third verse.

Pelican flies like a B25, a half a foot off the waves, but when they're high they sure can fly, often carrying a smile... sometimes a fish!

Notes on this verse: Pelicans often will glide inches over the water. It's an amazing sight indeed! I likened it to Lt. Col. James Doolittle, who's B25s flew just above the water to avoid detection in the first bombing raid on Japan during WW II.



The song then revisits both the bridge and the chorus, then has a definitive, staccato ending.

Thanks for reading the blog! This song will be on my upcoming album "Jump Into De FiYa!"