Dietri Albums


Fair Enough (2011)


This is an album I finished in June 2011. There is a lot of electric guitar on it, I know. But that's where my roots are from the days when I played professionally with the band Munju back in Germany in the 70s and 80s. This album is, in a way, the natural progression of the music that I used to write and play with the band 25 years ago. As usual, I write and play everything myself using a multi-track "overdubbing" technique.

For the guitar players among you, in case you wonder what kind of effect I use so frequently with the electric rhythm guitar, it is an Eventide Pitch Factor. A stereo chorus effect-patch with a very subtle fifth-harmonizer in it. In order to recreate the spatial stereo-panorama-adventure I experienced in the studio (via the near-field-monitors), you would have to use headphones I guess.

Here a description of the songs:

  1. Oh Yes - was the final song that I recorded for this album. Here it is the opening number. The album unwinds backwards so to speak. But never mind “it's not linear” (explained later) anyway. The original idea was the guitar riff at the beginning of the song. Everything else went from there. I was looking for the right guitar to record it for quite a while. But even though I own about 50 six-strings, I did not have a 100% fitting instrument for this tune. In May 2011 I got my hands on a vintage 1966 Fender Coronado 2. It finally was just the right one for it. Smooth and rich but also bright and clear sounding. It plays great and it is well broken in with it's matured wood and "soul".
  2. The Birdhouse – I like birds, all kinds of birds. Must have to do with the parakeets we used to have when I was a kid. We have a birdhouse hanging on a tree in front of our kitchen window. The birds use it very frequently. There also are lots of seagulls around here that I like. I even like the crows. I love watching birds.
  3. M.C. Escher – like the paintings of the great master, this piece turns the beat around backwards and the other way, but snaps right back into place after a while… It is right "this way" or "that way"?

  4. Fair Enough – was originally called “Mystery”. The .wav file with the basic idea got accidentally deleted and I struggled big time to recall it in my head. It was a mystery for a few days. But our local computer wiz Rob was able to miraculously recover it from my hard-drive and I could finish the song. During my effort of recalling it, I even came up with some extra ideas so it actually grew from this "mishap". When I was finally listening through the songs for the finishing touches of the album, I realized that this piece needs to carry the name of the album, because in the center part with the guitar/keyboard melody lines (staccato part), I literally heard it playing the words “fair enough”.
  5. Stanley – he showed up at our home one day. A small black cat. I wanted to name him “Stanislaus” after the German song “schwarzer Kater Stanislaus”. But Karla did not like that so he was “ Stanley ”. He ended up at the K&K business in Karli's Kitty Rescue and he is the friendliest cat I have ever met. Always there to greet you and asking for attention. Well, when I recorded this song and needed a name for it, our “ Stanley ” was the first thing that popped into my mind. The chord-theme guitar on this song is an extreme vintage semi acoustic fully hollow body “made in Japan ” model. A no-name brand instrument that was made at a time when our Japanese friends did not yet know what they were doing. Anyway, sometimes good things happen by accident. This guitar sounds quite nice, doesn't it!
  6. Gravity – keeps us down on the ground. This song is an 8 over 4 beat that sounds somewhat like an odd beat, but it is not. I like using odd beats like 5 over 4's or 7 over 8's and always try to make them sound straight and even. This is quite the opposite. An even beat that sounds a bit “odd”. Keep-it-up because gravity holds us down.
  7. It's not linear – Captain Benjamin Sisko has been told so by an alien species which lived in the Bajorian wormhole. Well, even though you might think otherwise, I believe that this piece is a kind of a blues-tune that, in a way, is “not linear” because it spirals back into itself in a quite unexpected manner.
  8. Today – was a big experiment! I recorded it in one single day actually, hence the name. This is rare. Usually it takes me a lot longer (I have a day-job too you know). When I got the structure down, I figured that this tune needs a different touch on top of it. So I used my semi-solid body "Cairo Special" electric oud (with a Pure Mini) for the solo. I like it! Hope you do too. Then I added all these keyboard melodies. Back in Miami Vice days, when Jan Hammer wrote the title tune for the show, the keyboarders thought that guitar players would soon be out of work. Everything would be substituted by keyboard sounds and samples as technology advances so they thought. But things developed differently. Guitar still is the most popular instrument in the US. In fact, it proved to be extremely difficult, if not impossible, to digitally create a persuasive clean undistorted guitar sound. But now, thanks to Midi and programming software, we guitar players can use keyboards. That's how I recorded all these keyboards melodies. And the drums too. This song has a kind of 80s beat and feel to it, but what the heck - I was playing music professionally back in the 80s! It is part of my life.
  9. Dance with the spirit – Here it is folks, acoustic guitar recorded with K&K's finest gear, the Pure Pickup and the Meridian Mic via the Quantum Blender. This time accompanied by electric guitar chords. It features a “floating” solo guitar, fully improvised and spontaneously created at this very moment. Here and now, go with the flow, dance with the spirit. Is it fair enough? You are the judge of that.
  10. My Home Town – this one is based on a quite traditional and “country&western-esk” rhythm guitar track and drum beat. I like the warm feel of this little tune. Even though it is not my usual style, it's one of my favorites. Like the life you enjoy in your little home town, where you know your way around, where your friend are, where you're home.
  11. Last not least – was the song I thought would be the last one that I recorded with my trusty Yamaha DSP factory Windows 95 recording system. After completion of this song (and the album) I planned to retire it. A new state-of-the-art system was already set and waiting to be installed. Well, I was wrong. “Oh Yes” came in after it and I still recorded it with the above mentioned old system because it belonged onto the Fair Enough album. Anyway, the title stands, period. I have to admit that this piece is the culmination of some of my inspirations at that time, like "Yanni live, the concert event" and the band "Yes". But I hope that there is enough Dietri in it too.
  12. Paia – the Maui Surf Song. Yes, it is just that. I wrote this one when I came back from our first trip to Maui in March 2011. I really like Maui and its hang-loose feeling. It was one of these vacations that I came home from seriously asking myself “how much does a piece of property cost there”? I remember that I held myself back big time at the guitar solo, tried to play simple, laid-back and just keep it rolling, like the surf in Paia.
  13. Quinz – this tune is dedicated to my Quincy (my cat) plus it is played via a harmonizer effect in fifth, which is also called Quinten (in German – from the Latin word for 5th). Get it? Quinz-Quinten-Quincy. It is a very short piece, I know, but Quincy 's attention span sure is no longer than this tune.
  14. Baby Steps – another 5 over 4 beat that starts out with a chord progression I wrote when I was 15 years young. The original tune back then had a somewhat “constructed” feel to it, but I modified all that difficult stuff and tried to make it sound smooth this time, 40 years later.
  15. Just another day – look at that, a vocal song, from me… that's odd. Yes it is! But I like harmony vocals. I love‘em actually! I was kind of dreaming up this melody one night and needed to record it. The text is simple: a couple that is on a sailing-voyage gets shaken hard by a storm at night. The next morning they are greeted by a nice and sunny day with fair winds. No damage, all okay. Good boat! “Just another day to let the boat take care of you”. That's what good sailboats do. They take care of you! Here you have it folks, this is another side from the Dietri, the guitar-sailor, the ocean-hopeful.

From the Heart (2012)


  1. Aurora Borealis - I wrote and recorded this chord progression by early 2012 and used it as a loop to play solo guitar over it. It always was great fun to do so and I knew that I have to finish this idea into a song sometime down the road. I did so by the very end of 2012 in the attempt to utilize all the material that fits the “from the heart” concept. It turned out quite nice and smooth-jazzy - hope you like it.
  2. Karli’s Heart - In a music store in Eugene I found a solid body Oud, made-in-Egypt. It had a terrible pickup in it. I bought it nonetheless and replaced the pickup with our own Pure Mini system. What a difference that made! Now I was thrilled and inspired by its tone and played around with it quite a bit. I used to play the oud in my band days. Normally you come up with some Arabic sounding scales and tunes as this instrument obviously lends itself to this type of music. But this time I wanted to try something different. “Dietri” style. I tuned the oud in an open tuning and this song pretty much appeared right away. The melody is doubled with a Baritone Guitar and the tune practically demanded the pedal steel guitar solo. Karli’s Heart actually started the entire idea behind this album. It should all be melodic, gentle songs, “from the heart”.
  3. Jupiter - This song features a finger-picked chord progression that goes downward, while the melody works its way up. It is played on one of my favorite electric guitars, the vintage Epiphone Wilshire. On this album you may notice that I use the jazz-brushes-drums quite a bit. It’s just a snare with brushes actually. The sound comes of an old Roland percussion sound module, the R8. These brushes are digital but I physically played it in via a keyboard. I love this sound and hope you do too because you will hear it on other songs as well.
  4. Silent Lake, Running River - My inspiration for this tune came from a very interesting project that I ran across. Eric Whitacre’s virtual choir composition “Sleep”. Google it and check it out, it is amazing! When you do, you may recognize some similarities to the 1st and 3rd chorus of my song. This is the “silent lake” part. Well, as this part lasts just about 90 seconds I was thinking about how the song should proceed, and low and behold the “running river” part popped into my mind. Before I knew it, inside my head, the song had to proceed into this funky groove. Who am I to doubt that intuition.
  5. Banjoy - This song is actually a demo-tune that I recorded to showcase a new pickup system that we are introducing right now, the Definity system. The original plan was to have one of our professional banjo-artists to record a demo-song for us, but the mail to his home in Canada took longer than expected and he left for a 2 month concert tour before he received the system. So I recorded a “temporary” demo myself. It turned out so nice that I even put it on this album.
  6. Sure - This song is a different one indeed. It is a plain 1-4-5 blues scheme. What… me doing a straight blues thing… impossible! Well it is not THAT plain after all. And I have a thing for this Chet Atkins kind of stuff. I think it is a funny tune that reflects my “secret” liking for this style of music. First I was not sure if I should include it (among 2 others on this album) as it deviates from the general theme of melodic, gentle songs. But I decided to include all material with positive vibrations - and this one sure fits that.
  7. Gimme a minute - This song has quite a story to tell. I wrote the tune 40 years ago when I was 17 years young. Everyone else listened to Stones, Hendrix, Spooky Tooth etc. back then. I remember that I was practicing guitar for 5-6 hours every day and wanted to write a melody-line that was long. Really long! Hence the name of the song. The melody last for about one minute before it repeats. I never wrote it down or recorded it. The interesting part is that the melody remained in my head for 40 years without missing a single note. I had to re-construct the chord progression, but I got it all together again. It is amazing how the human brain works. Melodies tend to stick in your memory forever!
  8. Gentle Giant - This was one of the first songs that I recorded on my new Cakewalk Sonar X1 Producer recording software. It utilizes 4 different guitars, my vintage Epiphone Wilshire, a new Vox, a vintage Japanese semi acoustic, and a Danelectro Baritone - as far as I remember. Plus some synth sounds that came with Cakewalk. It actually consists of 2 different ideas that developed individually but fit together like bread and butter. I mean I literally cut 2 different songs together into 1, by editing. Can you hear it? I hope not, because only then I did a good job. By the way, “gentle giant” was our office kitty “Norbert”, who passed away at the time of putting this song together.
  9. The Obsidian - This one came to me when I was inspired by one of our endorsers, the jazz guitarist Sean McGowan. He always sends me his CDs and I enjoyed them in my car on my way to- and from work. He is using a lot of these “bizarre and risky” chords. The ones with supposedly “wrong” notes in them. But is there such a thing as a “wrong note” in music? After all it’s music, everything should be possible, no boundaries please. Well, as things go, and I am not afraid to admit it, I went to work in my studio and came up with my own “bizarre and risky” chords. But as soon as I put an ascending melody over it, towards end of the song, the tune managed to resolve itself in a straight major chord. It surprised me too…
  10. Orion - This one tops the “gimme a minute” melody in length. I did not do this intentionally but the melody turned out to be a very long one. Over a minutes and a half before it repeats. A plain song without many overdubs. It is a very gentle tune and I like the melody a lot!
  11. Pure Luck - Okay, there is quite a story to tell. First off, I started to play the bass quite frequently. I mean practicing the proper right hand technique and so forth. It is fun! The melody in this tune is played with a bass. And here comes a very honest confession: it is inspired by the Bee Gees song “You Win Again”. I was watching a Bee Gees documentary on Netflix. And at one point they featured that song that I remembered it from the late 80s or so. The melody of the refrain “there’s no fight you can’t fight this battle of love with me, you win again” sure is different. It caught my immediate attention. Well, the bass melody in my song derived from it. My trick is, so no-one would notice, that my melody is somewhat different plus camouflaged by using a bass and not vocals plus it’s an entirely different kind of song. But truth is that I have to thank Barry Gibb for it. Who would have guessed that? This song also deviates from the rest, but due to its positive Caribbean island feel I had to include it.
  12. Staengle - This tune is dedicated to one of our cats, a small black tomcat, who recently passed away. Many of you may know that Karla runs a cat sanctuary for the poor and previously mistreated. Staengle is the first cat ever who got 2 dedicated songs. The first one is on my last album “Fair Enough”. His real name was Stanley, but I like to “Germanize” names - so for Karla and me he was “Staengle”, which translates into “small (or thin) stick”. Staengle was rather lightweight too.
  13. Classical Guess - When I was going through my available material for this album, this piece was there and had to be in it because it perfectly fits the feeling of the album. It is only a short tune though, more an idea than a song. Not to be mistaken for the “other” guitar song by a similar name…
  14. Sirius - A 3/4 beat that I initially recorded about a year ago. I re-recorded the bass just now though; therefore it became the last song that I finished for this album. Here I experimented with a “floating-sound-part” in the middle of the song which turned out to be quite challenging to record. For this song I used an Ibanez Artcore, full body electric/acoustic for the chords, a Gretsch acoustic archtop with a re-fit neck humbucker for the melody and an Ibanez Joe Satriani guitar in the middle part. I think it is one of the nicest songs on the album.
  15. Andromeda - This is one of the first songs I recorded with a special guitar of K&K’s own production. It’s a hybrid solid body electric/acoustic that features a sound-chamber with a real soundboard and an acoustic guitar pin bridge. Pickups are the Pure Mini system and a neck humbucker. I used this hybrid guitar more often on this album, I.E on “Sure”. You may recognize it here and there. It has a very distinct sound. I also was beginning to finger pick the melodies more often, instead of using a pick. It is a different sound that you get from the ripples on the tips of your fingers, mellow - yet expressive.

3rd Nature (2014)


  1. Colors in Waterspace - This tune consists of 2 parts that have been independently written and recorded. The first part is based upon bright sounding finger-picked electric guitar chords recorded with a special delay effect and an electric-bass melody on top of it. I always hear faint “choir vocals” in there but there actually are none. It is coming from the mix and the special delay effect. The second part is based on another finger-picked electric guitar part with pedal steel chords over it. These finger-picked chords are played on a guitar of my own design. An electric acoustic hybrid. It sings like a bird and has an incredible sustain especially with clean sounds. It is the guitar that I use most often on this album. The tune culminates in a “slow hand” solo played on my Satriani guitar with wha-wha.
  2. High Octane - This song is the result of a period of time I heavily practiced my fast alternate picking (right hand) technique. It features both an acoustic and an electric guitar solo. In the middle there is a melody-line with German lyric vocals that I mixed in ever so lightly. If you listen hard you may make out: “tragen die Toene der Lebensqualitaet…” For me it is pure and fast free flowing, rocking, swinging and rolling guitar playing fun.
  3. Criss Cross - Rhythmically highly complex, it starts with a 14 over 8 beat (made up of two 5/4s and one 4/4 which adds up to 14/8), moves into a swinging 5 over 4 and then into a straight 8 over 4 beat. I am also quite proud of the percussion tracks that I played via my little master keyboard using a mix of drum- and jazz brush sounds. I hope you enjoy this tune as much as I do. It is a 100% arranged tune, no solo.
  4. Nature Moods - This is a track that uses a midi guitar for the flute melody. Would you have guessed? To me it feels like a lone Pacific-North-West seabird sailing in a gentle breeze on the misty rain forest coast.
  5. 3rd Nature - I guess you could call this one a “suite” with 3 movements. 1st movement: an improvised acoustic guitar solo played on an experimental guitar; a small body parlor guitar (made for steel strings) that, one day, I strung up with nylon strings. It does not sound as rich and bright as a Spanish classical guitar, but due to the narrow neck and low string action it plays extremely easy and fast, almost like an electric guitar. I pressed the record button and captured this fully improvised solo out of pure inspiration from my “new instrument”. It is my way to use some modality (different modes, or scales, over the root note E). Later I added “drone” chords under it, to outline the different modes. 2nd movement: features some nice smooth melodies and chords played with my above mentions hybrid guitar. 3rd movement: a crazy electric guitar solo over another 5 over 4 beat. It is a pretty complex piece of work.
  6. Temporal Flux - Is based upon a finger-picked chord progression that I wrote (and played) on a guitarlele (6 string ukulele). You hear it after a short intro. It is a straight 8 over 4 beat but subdivided in 4-5-3-4 which adds to 16 (I saw this Konokol video recently you know…). I find it has a somewhat odd-beat feel. Later in the straight 4/4 middle section I add drums and a conversation between acoustic- and distorted electric guitar develops. Then the piece returns to the 4-5-3-4 part but the drums keep playing the 4/4 beat and make this somewhat odd-part sound straight now. Well, at least this was my intention, hence the name of the song.
  7. Island Gem - The idea started out with the strummed chord progression played on a baritone ukulele that inspired me to write the acoustic guitar melody line you hear at the beginning of the song. In the middle there is special finger-picked solo feature of the ukulele and then the song ends with a free flowing acoustic guitar solo. “Island gem” is in my mind the feeling of a sailboat-voyage that finally arrives at a beautiful uninhabited island.
  8. Morning Glory - Features a bit of an Irish feel. I use the baritone ukulele and a 12 string electric guitar (among other instruments). If I remember right, this song was the first one that I wrote and I recorded after my previous album “From the Heart”. At that time I enjoyed practicing my bass playing, especially the right hand technique and the overall bass tone. I think you can hear it.
  9. Solstice - For me, this tune has kind-of-a gypsy feel to it. I used many different guitars in this song. Among them the above mentioned Parlor guitar with the nylon strings for the melody and the solo. I sometimes like to use guitars that have a distinct tone, no matter if it is a great tone or not. The song consists of four individual chord-patterns that repeat in irregular fashion. I had the song structure recorded already early 2012, long before “From the Heart” came out. But it did not fit the concept of that album. Here is fits quite nicely. I wrote the melody and played the solo as one of my last assignments before completion of this album. Compared to the “From the Heart, I believe “3rd Nature” is not as easy to listen to. It is much more complex layered music. I hope you can cope with it.
  10. Hi Peter G - Ahem….you know where this lick comes from, right? I always admired this lick, but felt that it has the potential to lead into a totally different direction. And here you have my version. Okay, I went a little bit overboard with the space sounds, but you have to understand that I recorded it as one of my first experiments with the Cakewalk Sonar X1 producer recording software that I got in 2012. It came with a plethora of synthesizer sounds you know. This piece was, in a way, my playground and learning experience for the Sonar X1 software.
  11. Thanksgiving Day - I think this piece is not too complicated, but still complex in contend and arrangement. It was recorded on Thanksgiving weekend 2013. I used an existing theme from my song “Lady of Love” (featured on my first solo-album “M’ocean”). Then I added a new part that I wrote on a vacation in Hawaii. I connected the 2 parts via a x-long bridge, going up across 2 octaves. You also hear this bridge in half time at the end of the song. I play the main melody lines with an electric baritone guitar and sing along with it. This is a 100% arranged song without a solo.
  12. Kantstrasse Reloaded - This one has some history to tell. Kantstrasse was a song we played with Munju, my old band, back in the 80s. It is the side A #1 song of Munju’s “Brot und Spiele” album. But this version is different as it only uses two parts from the original song, both from the second half of the original tune. I took the liberty to re-write the bass line (I hope Wolfgang will forgive me) and wrote all kinds of other licks, riffs, bridges and intro&ending around it. It became a very complex piece. But Munju did many complex arrangements too.
  13. My Xmas Song - I wrote this tune on Christmas eve 2012. The Kaudel’s family has a long standing tradition of singing German Christmas songs on the night of the 24th. The singing is actually done by Karla and Donna, I do the guitar accompaniment and maybe add a few baritone vocals here and there. The girls sing harmony really nice! For me it is a treat to listen to. While mentally preparing myself for the family performance, I had the wonderful inspiration of the chords & melody for this song. I believe I recorded it the next day, I sure was still in Christmas spirit. I thought it would make a great final tune of the album.

Deuce (2015)


  1. Bagatelle for Ukulele - Thank you for listening to my new album. This is absolutely not a typical ukulele song. It is “Dietri style, finger-picked on a Tenor Ukulele and recorded via a K&K Aloha Twin pickup system (designed by yours truly). I am very proud of this little tune and of the sound of the pickup! That’s why I had to put it in the #1 position on this album.
  2. Maiden Voyage - The idea of this tune is based upon a melody that should be sung, but is instead being played on an Archtop Guitar. In order to make it sound as round and smooth as vocals, it was more delicate to do than one might think. I played the melody in a very special legato fashion. Only certain tones are picked and most are gentle pull-downs/pull ups, slides or soft hammer-ons, in order to emulate a vocal like feel on the guitar. It sure requires a different than usual approach on a guitar.
  3. Sonatina for Baritoneguitar, Dobro and Oud - The song title says it all. These are the instruments that I used in this song, but wait - there is more. The song idea originated on the oud, but over time a plethora of instruments got added, like electric guitar, electric bass and some keyboard chords. It evolved into a quite complex layered piece of music.
  4. Deuce - When I once was surfing the internet I came across a guitar master-class video from the Spanish guitarist/composer/instructor Javier Aviles. He used this chord progression in an instructional video. I immediately thought that it would make a great song - and here it is. I already emailed it to Javier (it was very difficult to find his email address!!) and he loved it and responded with “you made a new friend”. This is one of the very few songs that are not written be me. I love this chord progression and thought it deserves to be more than just an instructional piece.
  5. Swing Suite - a jazz oriented tune, with a gentle chord progression at first - and later it seriously swings away. Played on my “Howard Roberts model” Archtop Jazz Guitar, a very special instrument with arched top, floating bridge, but with a soundhole. It is a brighter sounding guitar than other archtops, which makes it very unique.
  6. Preludium Nocturnum - a short piece played on an Ukulele with 6 strings, aka Guitarlele. Strung like a guitar, but tuned 5 steps higher. My cat “Rafi” seemed to like this song, as he happily purred (and slept) away while I practiced it. It was dark outside when I did, hence the name. The Guitarlele is also recorded with a K&K Aloha Twin, just like the song #1.
  7. Gavotte Extravaganza - On this album I used some song names that associate with classical nomenclature. In this case, a “Gavotte” is associated with a French style dance tune. I thought it fits the bill just fine as this tune is a gypsy style song - and Django was French. If you think that you heard this tune before, I can assure you that I wrote the melody myself without any conscious inspiration by anything I would know of. However, it is a good possibility that a similar chord structure and some bits of the melody line might be used in a gypsy “standard” somewhere. But I honestly would not know which one(s).
  8. Pure Joy - This tune started out with a Resonator Guitar (Dobro) chord progression. I own a fine square neck instrument that is played horizontally on your lap. You use a steel bar in your left hand to “finger” the notes. I use this guitar in 5 songs on this album. The Dobro is quite difficult to master because you have to perfectly hit the precise spots with the steel bar to make it sound in tune. A lot of guys use this instrument in a somewhat sloppy and dirty fashion (especially for blues), but I like the way I.E. Jerry Douglas plays it, very precisely and plain beautiful. That’s also what I strive for and I love the tone of this instrument! On top of these chords I wanted to play a guitar solo with a lot of string bending and nice, round harmonic melody work. I think it turned out really cool, for me it was “pure joy” to record it.
  9. Rafi’s Rondo - This rondo is played on a Baritone Ukulele and on my Midi guitar with a bamboo flute sound. When I composed and practiced the tune, Rafi (my cat…again…) liked it a lot. By the way, I found the guy on a tennis court as a kitten. He was badly injured, most likely a dog bite, and we took him to the vet. It took some time for him to fully recover and he turned out to be my cat. Yes, he likes me most of all humans, who would have thought. And he likes to listen to music! He actually plays guitar also, see here: https://www.youtube.com/watch?v=BCTmRVivvqk - I love him!
  10. Partita Pacifica - This song originated on electric bass. To be specific, it is based upon a flat-picked electric bass chord-progression. However, since that made it a bit muddy sounding, other instruments went into the foreground. Like Pedal Steel Guitar, Dobro, my Epiphone Sheraton and my own design hybrid electric/acoustic guitar named “Pacifica”.
  11. Artificial Romance - Since this song uses some opposite forces, like heavily distorted electric guitar and acoustic guitar with an almost classical touch. I wanted to name it with a title that represents this contradiction. After much thought, I came up with “Artificial Romance”. True romance cannot be artificial, right? Does that make sense? Well, however, it is music, you know my take on this, everything is possible.
  12. Nar Nia Eh - Okay, I think you would never have guessed how this tune came to life. You know Seattle Grunge, right? And you certainly have heard about Nirvana and the late Kurt Cobain. His music had this special thing going, where, as I see it, Kurt used unusual chord progressions with kind of unrelated chords and made it sound right and related by the melody he sung over it. At least this is the way I see it. So, my take on this tune was to come up with a chord progression of somewhat unrelated chords, and glue them together by the guitar melody and the bass line. This is how the theme at the beginning and the middle of this song was designed. Well, I am afraid that you have to really listen close in order to hear the chords as they went somewhat into the background after all the mixing. But that’s the true story behind this tune. Hence the strange name Nar Nia Eh (in honor of Nir Va Na).
  13. London - My girl went away; I wanted her to stay… Donna moved to London and I am afraid that “what goes around comes around”…we moved from Germany to Oregon in 1995 and left our parents back in Germany. Now Donna is moving to Europe, at least for now. But she needs to do what makes her happy, I understand perfectly, and this song has a positive vibe after all. All the best for her!
  14. You Got to be Kidding - Again, as on one of my previous albums, here is another severe case of my secret love for this “Chet Atkins-esk” kind of music. I recently came up with this melody line and needed to share it with all of you. It is only a short piece and I hope you enjoy it as much as I do.

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