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A Picture

by Allan Thomas

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1.
Nine To Five Routine words & music - Allan Thomas I've quit that nine to five routine Ain't gonna work that way no more Devoting my time to creatin' me And I don't care how long I've got to be poor Now working five days a week that don't allow me The time I need to grow I'll sacrifice the security for a future I can call my own I ain't gonna follow no one else's footsteps but mine I got to make my own way Taking my time Skeptical people they say I'll be a nobody They scorn me and say I'm a fool But knowing my decision is right Means more to me than following the rule I've quit that nine to five routine Now I'm not saying that nine to five ain't no good For some folk it's all they've got But what may be good for someone else Perhaps for me is not for I've quit that nine to five routine You can bear my witness I've quit that nine to five routine © 1971 Bleu Disque Music - ASCAP
2.
D Train 02:08
D Train words & music - Allan Thomas Rusty wheels turnin' under New York town Step in quick for the door knock you down We're going ridin' on a subway Bound for Brooklyn tonight Hold on Keep your eyes wide open Watch the people watching you It's thirty-cents admission The show's always new We're going ridin' on the D train Bound for Brooklyn tonight And here's some advice Don't you let the five-o'clock rush make mush out of you And make sure that you listen to the stories That the Drunk man has got for you Ridin' on the D Train's like dreaming in your sleep Anything might happen anyone might leap We're going ridin' on the D train Bound for Brooklyn tonight Jack why don't you take a ride When she keeps you waitin' You will frown down the track But when you hear her heartbeat a hummin' You will hum right back We're going ridin' on the D train Bound for Brooklyn tonight You better hold on © 1971 Bleu Disque Music - ASCAP
3.
Headin' For The Open Road words & music - Allan Thomas Feels as if this past week has lasted about a year 'Cause I been working so doggone hard Waiting for the weekend to appear But now at last the time has arrived to find myself some peace of mind and come alive I'm headin' for the open road Which way I'm going I don't know I might walk I might ride but I can't decide Just what I'm gonna do But I know I know That I'm headin' for the open road Through the week my responsibilities They weigh heavily on my soul Constantly reminding me of what must be done For me to reach my goal But I get relief in knowing I can rest for a while When I close the door behind me I'll sing with a smile I'm headin' for the open road Which way I'm going I don't know I might walk I might ride but I can't decide Just what I'm gonna do But I know I know That I'm headin' for the open road Too much pressure on me Has taken too much out of me But now at last the time has arrived To find myself some peace of mind and come alive I'm headin' for the open road Which way I'm going I don't know I might walk I might ride but I can't decide Just what I'm about to do But I know I know Deep down in my soul I know That I'm headin' for the open road © 1971 Bleu Disque Music - ASCAP
4.
Hitch-Hiker Song words & music Allan Thomas He's hitchin' down the highway With the wind blowing through his hair Smiling and singing a song full of hope to share Suitcase and guitar by his side waiting for a ride He's on his way to somewhere But just where he doesn't know Another town a pretty face a friendship he can sew A troubadour of subtle songs is he And this is what he sings Li di de dum I'm searching for a strum Hitchin' down the highway of life Li di de dum I'm searching for a strum Hitchin' down the highway of life He's been rambling for as long as he recalls Picking up the pieces and breaking down the walls He always loves to listen to the lessons The drivers tongues do tell Li di de dum I'm searching for a strum Hitchin' down the highway of life Li di de dum I'm searching for a strum Hitchin' down the highway of life Li di de dum I'm searching for a strum Hitchin' down the highway of life Li di de di de dum I'm searching for a strum Hitchin' down the highway of life So if you see him hitchin' down the road in front of you Do remember in your heart He's people passing through And please be kind he's only trying to find Himself just like you Singin' Li di de dum I'm searching for a strum Hitchin' down the highway of life Li di de dum de dum I'm searching for a strum Hitchin' down the highway of life I'm Hitchin' down the highway of life © 1971 Bleu Disque Music - ASCAP
5.
In The Rain 03:38
In The Rain words & music - Allan Thomas It's raining little drops of life come rolling down It's raining mother nature is sending down Her love into our lives To me the rain is so beautiful I think it's too bad most people don't see All the beauty in the rain The falling rain I think I'm gonna I think I'm gonna Stay out in this falling rain I think I'm gonna I think I'm gonna let it touch my face Well I'm gonna watch it slow down the world's pace It's raining and I'm soaking wet It's raining I think it's sad that most people they never get the feelings that I do In the rain the beautiful rain In the rain Mother nature's mood changing Life giving fresh feeling rain © 1971 Bleu Disque Music - ASCAP
6.
Ridin' 03:04
Ridin' words & music - Allan Thomas All I want to do Is provide a ride for you And all you've got to do is listen And I will take you ridin' with me Now I am fond of ridin' And I know that you are too So close your eyes and listen listen Allan will take you ridin' with him Lets' go for a ride All I want to do Is provide a ride for you That's all I'm trying to do And all you've got to do is listen And I will take you ridin' with me I'll take you ridin' with me I'll take you ridin' I will take you ridin' with me 1971 Bleu Disque Music - ASCAP
7.
Let It Flow 03:28
Let It Flow words & music - Allan Thomas A seed was planted in my heart today When my eyes beheld your glow Now that seed is beginning to grow Getting stronger with every hello I can feel it searching for the sunshine Which only your loving can provide We're both beginning to need you now But this time I'm not gonna hide I'm gonna let it flow Gonna let it flow Just to watch you laugh and sing and smile Is enough of a life giving shower To help the seed within my heart to grow Into a beautiful flower With the right climate and plenty of care I'm sure we'll be able to share All the profits of a love-ripened harvest That both of us helped to prepare I'm gonna let it flow Gonna let it flow With the right climate and plenty of care I'm sure we'll be able to share All the profits of a love-ripened harvest That both of us helped to prepare I'm gonna let it flow flow flow I'm gonna let it flow Need to see our love flow And I will wait if I have to darling With the patience of a farmers soul Flow gonna let it flow And I need you like a flower needs the sunshine Let it flow © 1971 Bleu Disque Music - ASCAP
8.
Communication words & music -Allan Thomas See the playground over there Children playing unaware Singing and laughing through the day Well those kids won't always be that way You see their gonna grow up Into a world not often kind Some of those kids will make it But the others will be left behind We've got to reach out and offer them all we can Reach out and lend the young a helping hand I'm singing about communication Pick a child who'll play life's games And that child will never never fail Then pick a child who'll spend his life Dying behind the bars of jail These are the paths The paths of each child's unchosen fate People all we can do is try We've got to try to guide them towards the right gate We've got to reach out and offer them all that we can Before it's too late Reach out and lend the young a healing hand Offer them understanding Give them some kindness too We've all traveled that lonely road before Our experience should tell us how to help them through People we've got to reach out And offer them all that we can Tomorrow it's their turn to reach on out And lend the young a helping hand I'm singing about communication © 1971 Bleu Disque Music - ASCAP
9.
Walls 03:17
Walls words & music - Allan Thomas The tears stream down her cheeks like rain Expounding anxiety and pain All the frustration that she is feeling Is the result of her finally dealing With visions constantly revealing The walls that stand so tall 'tween her and me They stand so tall between her and me Points are lost and points are gained Still the deadly game goes on just the same The principal purpose is a compromise But that reasoning is just a disguise While she lets her emotions rise Over the walls that stand so tall 'tween her and me They stand so tall between her and me All I see is walls All the stone-cold words she didn't mean to say But somehow they find my ears anyway A moments madness reveals hidden thoughts The name calling blame falling will cost Deep in misunderstanding we are lost Under the walls that stand so tall 'tween her and me They stand so tall They stand so tall between her and me © 1971 Bleu Disque Music - ASCAP
10.
Circles 02:36
Circles words & music - Allan Thomas Round and round in circles Everything seems to go round The earth keeps turning the sun keeps burning They both keep returning to where they're bound Round and round and round in circles they go Round and round in cycles Everything sure does seem to roll round The seasons they come and go The more you learn the less you seem to know Round and round in cycles we go Round and round and up and down Round and round we go Round and round and up and down Where we stop we don't know Thats a simple philosophy Yet it signifies everything I seem to see Around you and me Round and round in circles Everything seems to go round Round and round in circles Everything seems to go round The earth keeps turning the sun keeps burning We all go returning to where we're bound Round and round in circles Round and round in cycles Round and round in circles we go © 1971 Bleu Disque Music - ASCAP
11.
A Picture 04:14
A Picture words & music - Allan Thomas I want to paint a picture for you So you may see what I've seen too And I'll use colors of loneliness shades of blue Colors of children and barking dogs too Colors of wandering wondering why Wishing and waiting while watching the sky These are the images I choose to use I'll paint a picture for the price of my dues And I'll use colors of music and moments of love Colors of questions and signs from above Colors of patience and colors of pain Colors of Dylan and colors of Coltrane These are the images that I choose to use I'll paint a picture for the price of my dues I want to paint a picture for you So you may see what I've seen too And I'll use colors of grain sun-struck and gold Colors of a man afraid to grow old Colors of war bloody and red Colors of lies upon which we're fed These are images that I choose to use I'll paint this picture for the price of my dues And I'll use colors of laughter and colors of jail Counting and cursing while waiting for mail Colors of death doom and desire Colors of naked ladies on fire These are images that I've chosen to use I've painted my picture for the price of my dues Now I've wanted to paint a picture for you And I hope you have seen what I've seen too © 1971 Bleu Disque Music - ASCAP

about

Produced by Richard Gottehrer


Allan Thomas - vocals & acoustic guitar
Jack Lee - electric & nylon string guitar, piano, organ & harp
Steve Edelman - acoustic & electric bass
Bill "Fuzz" Weicht - drums
Jack McGann - acoustic guitar
Buddy Lucas - tenor sax
George Devins - vibes & cabasa
Ellie Greenwich - backing vocals



1970 found me back in NYC after some traveling around the US gigging solo, and as backing guitarist for singer Lynn Kellogg of the play Hair fame. I was playing regularly in the coffee houses of Greenwich Village such as The Bitter End, Café Fenjon, Café A Go Go, and Gerdies Folk City. It all changed for me when I landed a week stand at The Gaslight on MacDougal Street. At this gig I was "discovered" by all-around-music-guy David Wilkes who brought me to the attention of Seymore Stein and Richard Gotteherer of Sire Records.

The Gaslight was a classic Village coffee house: a little hole-in-the-ground basement club frequented by the usual tourists and an assemblage of colorful local characters including poets, comics and mainly folk and blues musicians. This was 1970, already nine or so years after Dylan's arrival and subsequent meteoric rise. But it was still essential to play the Gaslight. The room was tiny and cramped with maybe a half dozen wooden tables and benches, the audience only three feet away from the small stage. Yet so much magic transpired there night after night year after year.

Next-door was the Kettle of Fish bar and grill - a major hangout for the denizens of MacDougal Street. I met composer David Amram, songwriter Len Chandler and poet Charles John Quarto there. Dylans one-time cohort Bobby Neurwith livened up the joint from time to time. The sawdust-on-the-floor place vibrated with raw creative energy.

One night between sets at the Gaslight my sideman Steve Burgh and I slipped outside and sat down on a stoop on a quiet street around the corner. We lit one up and within two seconds a couple of undercover narcs jumped in our faces and threatened to haul us off to jail. Talk about a bring-down. We somehow convinced them that we were just a couple of musicians playing at the Gaslight, and not big dealers or anything. To our shock they took our stash and let us go.

Everybody came through the Village to play when in NYC. A young Bonnie Riatt, Kris Kristofferson, Mississippi Fred McDowell, Mose Allison and a holy host of other artists could be seen on any given night. In '67 I had seen Van Morrison with his group Them at the Bitter End, singing ‘Brown Eyed Girl’. Within minutes you could walk over to the East Village and catch John Coltrane’s pianist McCoy Tyner, playing at the Five Spot. Or head up to Bleecker Street to the Top of the Village Gate and hear Bill Evans playing deep solo piano. If you were a songwriter this was the place to be. The whole neighborhood oozed creativity and art. The Village was legend, and a great place to work on your craft.

Sire Records offered me a four album record deal. This was a major boon, a huge opportunity and a boost to my self-confidence. I felt fortunate to be chosen because there were so many other gifted artists in the Village that would have given anything for a record deal. Deep down I knew I wasn't one of the most talented of singer songwriters by any stretch of the imagination, but still felt there was a place for me somewhere in the realm of recorded and live music.

The producer was Richard Gottehrer, an articulate cat probably in his mid-thirties who was soft spoken but knew his shit. I appreciated his laid-back but all-business attitude and enjoyed working with him throughout the whole process. Having been a recording artist and writer himself he knew how to coax the best performances. He'd had a hit in his youth with a group called the Strangeloves, and would later produce the Go Go's and Joan Armatrading among others.

Richard agreed to fly in three of my musician buddies from around the country for the sessions. These were brothers I had met during my extensive hitchhiking adventures thtoughout the states the previous year. The boy's stayed in the basement apartment at my folks house in Brooklyn, and Sire Records had rented a car for me to bring us all to rehearsals at Baggies in the Village for several days.

Multi instrumentalist Jack Lee came in from Nashville where he was playing guitar and piano with Tracy Nelson's band Mother Earth. Bassist Steve Edelman flew in from L.A. and Bill ‘Fuzz’ Weicht joined us from Dayton Ohio to play drums. I felt a special energy with each of them when we played my songs, and thought they would play well together on the album regardless of having never met.

This is the way I wanted to record rather than using all NYC session players. We did have overdub sessions with studio heavy hitters Buddy Lucas on tenor sax, and George Devins on cabasa and vibes. Ellie Greenwich and crew sang back up vocals on a couple of tunes as well. They were the producers choices and their addition to the album was perfect.

Richard and I picked 10 of the thirty or so songs I had written in the 1967- 1970 period. The sessions were at Media Sound on west 57th street. Veteran Neal Ceppos was the engineer.

After the main sessions with the rhythm section, I recorded 'A Picture' and also 'Circles' with another friend and occasional sideman, Jack McGann. We played acoustic guitars and I sang live.

Richard had his work cut out for him as far as eliciting a decent lead vocal from me especially on songs I had to overdub the lead after tracking the music rather than sing live. I was a bit uncomfortable wearing headphones and had difficulty communicating what I wanted for the headphone mix. I was wet behind the ears in regards to the world of recording and like anything had to learn something new. He had a lot of patience and we tried a few methods until we found the one that worked, even going so far as to place small speakers in front of me, but behind the mic, for monitoring the tracks instead of headphones.

At one point during a break in the sessions I took the rental car and drove way out to the tip of Long Island to practice singing with the tracks. I had a Norelco cassette player that the good folks at Sire Records had given to me as part of an advance agaist future royalties. As far as I know there is still a ways to go for that cassette player to be paid back.

After all was asaid and done I wound up being really happy with everyones performances on the the album. Looking back, some of my singing and songwriting was not all that, but the album was definitely an accurate picture of where I was at as a twenty-two year old singer and songwriter only three years into my game. There was a long way to go but I felt like I was growing and stretching my wings.

During breaks in the sessions I wandered around the studio and met different artists who were also recording there. Richie Havens, one of the few black solo singer songwriters wielding an acoustic steel-string in the folk world was one such artist. Richie was a charismatic, big-hearted cat, who had played at Woodstock a couple of years earlier.

Downstairs in the church-like basement Stevie Wonder was recording his ‘Talking Book’ album with Bob Margouleff and Malcom Cecil producing and engineering. Bob and Malcom befriended me and over the years I was a guest of theirs at several Stevie Wonder sessions.

A Picture was promoted nationally and received some airplay. It was also distributed nationwide.

All in all what an amazing experience for a Brooklyn boy. If it hadn't been for some dumb decisions I made after the first Sire Records release I might have gone on to do three more albums with them, but in typical AT fashion, I fucked it up good and wouldn't have another record deal till I created my own record label some seventeen years later. Hindsight really is twenty-twenty vision. Such is life.


Drummer Bill Weicht continues to play select soulful gigs in Dayton Ohio, and is stretching everyones imagination on canvas.

Bassist Steve Edelman would go on to become one of LA's top classical music double bass players. In 1969 at the age of 19 he landed his first job as Assistant Principal Bass in the Phoenix Symphony. After his stint with Phoenix, it was back to Hollywood where he has played on over 500 movie sound tracks. His favorite movie score to record was with composer Elmer Bernstien, Animal House. Steve has held the Principal Bass chair with the Pacific Symphony for the last twenty-five years.

Jack Lee has played his music everywhere from Carnegie Hall to Isabel’s South Sea Island Bar in Oconomowoc, Wisconsin. At 19, he was opening for Jimi Hendrix, Tina Turner and others with his own band, Oz. Jack also toured and recorded with Bluegrass legend Earl Scruggs on piano. Since then, Jack has been a busy session musician in Los Angeles. A true multi-instrumentalist, Jack performs on piano, guitar, lapslide, bass & harmonica. And, as a music arranger and producer, Jack has supported many prominent New Thought artists, authors and teachers. He is currently the music director at Unity of Ventura, CA. Mr Lee continues to have a passionate interest in healing frequencies and meditation. It was a real treat to have Jack play keyboards with me at a house concert in Venice CA. in 2008.

Producer Richard Gottehrer co-founded The Orchard - a digital music distribution company - in 1997. He is a legendary songwriter having written "My Boyfriend's Back," a multi-platinum producer - Blondie, The Go-Go's, and Joan Armatrading - and music industry entrepreneur. His songs have been recorded by David Bowie, Jerry Lee Lewis and many others. Richard co-founded Sire Records - later sold to the Time Warner Corporation - which quickly became one of the industry's leading independent record companies with a roster that included Madonna, the Talking Heads, the Ramones, the Pretenders and Depeche Mode. Drawing on his wide range of experience and broad overview of the music industry, he has been instrumental in developing and shaping the way music is distributed and sold.

I'd like to mention that since no master tape has been located, a high quality transfer was pulled from a vinyl release copy, and as such will have surface noise and an occasional click or pop, but we feel that some people would like to hear this album regardless.

credits

released January 1, 1971

All songs written by Allan Thomas

Engineered by Neal Ceppos
Studio - Media Sound
Cover art and photograpy - Frank Gauna
Record label - Sire Records

© 1971 Bleu Disque Music - ASCAP

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Allan Thomas Hanalei, Hawaii

Aloha and welcome to my Bandcamp Music Store home page. Here you can listen to full-length samples of all seven Allan Thomas albums and three singles. Also to be found are credits, photos, stories and lyrics for all songs. Dig in...

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