Releases in 2019 included “Crossing Across” [instrumental] and “Across a Universe”.
My brother shuffled off this mortal coil unexpectedly in the summer of 2018. His daughter, my niece, had already established a timeline for her impending wedding, so I felt compelled to write music for the occasion in a style that he would have liked.
The wedding version of “Across a Universe” was played at the reception, with special lyrics for Shawna and Joe. A second version had significant additional instrumentation and new lyrics dedicated to my Susan Joan.
The instrumental version “Crossing Across” was freed up from lyric constraints, allowing for more emotional expression. “Crossing Across” is in loving memory of Gale Albert Steward, a.k.a. ham radio's K3ND, a Zeppelin and Floyd fan, car guy, race fan, Dodge trucker, lefty bass player and devout 4-speaker audiophile. In that SPIRIT, both of these pieces are meant to be played LOUD.
Some early reviews of "Crossing Across" included: “I really like it! In the beginning of the song, what are you playing the melody on? [Flugelhorn] OMG, I thought it was a fugal horn or a mellaphone; how awesome!!!” P.D.S.
“THAT IS FANTASTIC.” J.S.
“Whoa. Felt this in my chest. ... The beginning was Procol Haramish; then Stewardish with tinges of E.L.O.; then pure SHS guitar. Not exactly like early Pink Floyd, maybe hints to my fav '70s PF; more toward SHSteward leanings that way ... only as a description of the sound. Not copying it by *any* means. Then, what comes next, the only way I can describe it is, pure Gale Experience (as in, Jimi Hendrix Experience,... as in, possible musical choreographs of Gale's own Experience Crossing). Can't describe it any other way, Bro. Made me smile. Will find a way to buy/download this to play in the Jeep.” D.B.
(Thanks. You guys keep us going. ~SHS)
"Wakan" is a 5-minute 20-second indie rocker employing various American Native instruments (and also those indigenous to other countries) not traditionally but in a rock setting with guitar, bass, drums and musical saw. Wakan (pronounced wah-kahn) honors that Lakota word for sacred, spiritually big and powerful. Part of the bigger 'Wakan Tanka', which is usually translated to ‘The Great Spirit’, but an alternate is sometimes offered: The Great Mystery. Closer.
This is the SE single version, a remake of the R,D,W album cut. Cameo appearance by bass singer Big Lurch Hooper. Instrumentation includes musical saw by specialist Mr. E. S. Carpenter, and native flute by the versatile Dawn Busz-Rider. Sings-Two-Bears handled native drums, rattles, heavy tomtoms, etc., (and obviously had a pretty great time doing it all; he and the studio had been collecting these for years, and he managed to use every one somewhere in the production at least once!) Multiple basses, but the main bass used was a Coral Jazz 5-fret , a.k.a. ‘SSLIDER’ [the first prototype] with 5 frets, otherwise fretless, designed, built and played by the Director.
Few Words from the Bass Commander...[very few*]
“Postwar Jump” and “March No More” were released in April 2018. Full-song players here and on Soundcloud; downloads available on the STEWARDS ECLECTRIC home pages on CDBaby, Amazon, iTunes and elsewhere, streaming wherever. We consider these a mated pair, in some hybrid JAZZ genre. (We'll let others figure that out.)
"Postwar Jump" is a quick (2 minutes, 14 seconds!) modern /‘40s jazz number paying homage to the horn arrangements of the vintage Big Bands, while possibly furthering the contemporary philosophy. The piece is described by percussionist and in-house self-appointed name-giver Sings Two Bears as: 'Trombone Lefty with Dook Ellingtun and The Steward .'
"March No More" is nearly 6 minutes of 'roughly-charted' funk/jazz/rock studio jam, and has been described as: 'Herby Handcock Meets Blud, Swet & Phish' . Heroes are where you find them - and come in all shapes and sizes, ages and genders, colors and nationalities. Therefore, "March No More" is dedicated to: James V. Forrestal, Milton William Cooper, Dwight D. Eisenhower, James Penniston, Maria Orsic, Danal Meza, JFK, Ghost Army (23rd Hqtr. Sp. Troops) and all others who have offered themselves unselfishly in service and who will, for whatever reason, march no more.
Composition, horn arrangements and '67 Fender bass action by The Steward. * Both pieces are 99% instrumental - and those instrumentalists include Trombone Lefty, Toots Headstrong, and Lovecchio Armitage on brass, saxman Thaler N. Shorter, the lovely Dawn Busz-Rider on woodwinds, Billy Kelley on piano (March..."), and percussion by Ludwig Von Slingerland and Sings Two Bears.
Those FRACKIN' Songs...!
These country songs have been released as singles, for download only. Mastered by Capitol Records, Hollywood. They are available individually and also combined.
Guest vocalist Ernest J. Silverback gives a patina’d sterling performance as the old man who made the wrong decisions for all the right reasons in “Frackin’ Fool” (a.k.a “The Old Frackin’ Fool”), a cautionary tale ballad on a contemporary subject. (The description from Two Bears is: 'Mister Carpenter sawing wood with the Oak Ridge Boyz and Texx Ritter's Hay Baler.' ) An interviewer once asked what he thought of his newfound audience. He replied, “Ya gotta love these kids. They’ve learned that everything is connected." Then he added quietly, "They know we are ALL stewards of this place." (But so who is E. J. Silverback? See Q&A.)
Up-tempo “Frackin’ Hoedown”, (a.k.a “Another Frackin’ Hoedown”), brings The ECLECTRIC Music Players together for a barn thumping follow-up to the old man ballad. Under Steward’s direction, veteran instrumentalists Floren deKichen (fiddle) and Mr. E. S. Carpenter (musical saw) team up with new blood as well as old friends (from Steve’s 2010 album Ridin’, Drivin’, Wakan...). Within the devilishly angelic ECLECTRIC CHORUS, the voices of Serena Ann Green Eagle and the lovely Floral Clustah are joined by recent standout inductees Li'l Maxie Ripnit on the high end, and the one and only Big Lurch Hooper on the bottom. Also we must mention that the SE ensemble is joined here in the person of Chubbie Pickens on banjo, (and you'll be hearing more of Chubbie's work in the future). Describing ...Hoedown, Sings Two Bears says: 'Sounds like Earl Skruggs' cousin and The Oak Ridge Boyz - and Girlz - all pissed in the barn.'
For strictly artistic reasons, we offer a combined edition, where the material is presented as it was originally written, produced, and was intended to be heard. The label is losing money on it, but a promise is a promise. “Frackin’ Fool Frackin’ Hoedown” is true to the author’s vision, and a good $ value. This is the 'Storyteller’s Special', and it works the way it was supposed to. Running time, both songs together, about 8 1/2 minutes. If you invest the time to listen, please stay for the end.
NOTE! It would appear that one or both of these songs have ruffled a few feathers: for example, see the entry on Q & A page from 'Deereman66'.
Something like Blues
The solo performance of "Pennsy Train Blues" is unlike anything we've ever put out before. It was an impromptu ad lib studio creation by a very tired artist in the wee hours, a one-shot deal. With one microphone, a few lyrics and a white Hendrix Strat, it can be generally blamed on the 2 picture postcards of bluesman Elmore James' six-string guitar (with four strings) sent from the Rock & Roll Hall of Fame in Cleveland. Recorded entirely as is in one pass, no editing, no overdubs. It is what it was. Consortium in-house wise-guy Sings Two Bears bet the director he didn't have the guts to publish it. He loses.
A toast to the great old bluesmen. Also dedicated to the Pennsy RR, the Lehigh Valley RR, Milwaukee Road, NYCental, Erie Lackawanna, and Amtrak and their excellent sleeping car attendants Kartoon Kioshi and the Lovely Grace, and especially to my Suzy with the yellow dress. [Album art in PHOTO/ART GALLERY]