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Mess With Emily

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All music and lyrics by Jim Kenzie © 1976-2018.

Except “On The Beach” by Mario Campbell, Sheldon Lawrence and Debbie Doyles.


CREDITS

Drums - Dave Fogle, Paul Koch, Paul Reimer
Bass - Don Binkley, Bernie Greenberg, Martin Greenberg
Guitars - Allen Cook, Dave Borkowski, Josh Silas, JK
Pedal Steel Guitar - Dave Cubbedge
Piano - Mark Kieswetter, Kevin Korecki, Dan Schroeder
Bells - JK
Hammond B3 - Tim Tiderman, Mike Huffman
Mandolin - Fred Shuman
Horn Arrangements - Scott Lavender
Trumpet & Flugelhorn - Scott Potter
Alto Sax - Mark Lemle
Tenor Sax  - Jack Taylor, Fred Monjuby
Trombone - Scott Rogers
Baritone - Fred Monjuby
Vocals - Tina Mae Heinze, Kyle White-Lay, Trez Gregory, Jeff Stewart, JK
Producer & Engineer - Jim Kenzie*
Executive Producer - Fred Monjuby
Recorded - Zeta Recording
Mixed - Eric Sills, JK - Stone Soup Recording Studios
Asst. Engineers - Leon Valasek, Tom Hennig, Alex James Kenzie, Eric Sills
Photo Credits - Jasmin Kenzie, Tom Gresham, Rick Luettke
Design & Layout - Zach Kenzie

* In Association with Marmite Records


BACKSTORY

In 1973, my mom Rose bought me a used electric guitar in Miami, FL for $29. 

I started noodling, and shortly afterwards “wrote” my first song. Of course, it was a love song. It was written for a beauty named Nicia Fedea. That started my “career” of love song writing. More often than not, they were actually sad ballads that my bandmates suggested we add a little angst to. That delivery alone, changed the meaning to many songs. Although the members of our band “Jo Mama” were receptive to playing originals, no other Detroit musicians I worked with had any interest in my tunes. In 1979, Sean Murphy and I snuck into a concert at the Masonic Temple way early in the morning, and got to work with the Bruce Springsteen’s crew all day and night (Clare Bros. Sound, Lititz, PA). I made personal connections with industry guys I would cross paths with later in life. In the early 80’s, Jerry Genevich of The Grainery Recording Studio/Plum Creek Productions in Monroe, MI took me under his proverbial wing, gave me some “hands-on” experience, and coaching. He was my engineering mentor. After working with Jerry, I studied recording engineering under Motown mastering engineer Bob Dennis, and trained while managing an audio/video department selling gear for a national appliance chain. I also worked as an assistant engineer on projects ranging from garage bands to jingles to Parliament Funkadelic’s overdub sessions. Eventually, I left retail to be a full-time engineer/producer. In the spirit of “The Shoemaker’s Kids Go Barefoot,” I worked on hundreds of other folks’ music over the years, ignoring my own music for family and business obligations. In 1997, I was recording a jazz project with Mark Kieswetter at my facility in Holland, Ohio….Zeta Recording. He’d come in during the evening and work on their stuff. But, this gorgeous, rented $40k piano just sat idle during the daytime. So, I decided to break-out my songs I had written back in the day, and lay down some drums. bass, and piano parts. No sense letting an instrument like that not be used for Rock ’n Roll, right? The original tracking session musicians included Don Binkley, Dave Fogle, Paul Koch, Paul Reimer, Martin Greenberg, and Bernie Greenberg, with engineering assistance from Leon Valasek and Tom Hennig. Shortly afterwards, I met guitar virtuoso Allen Cook. Not sure WHY he agreed to work on my drivel, but he did, cutting some super-classy guitar tracks. Then, I shelved the project for several years, attending to the aforementioned, but welcomed, responsibilities. Every once in a while, I’d stumble across uber-talented artists like Kevin Korecki, Dave Borkowski, Dan Schroeder, and Tim Tiderman. They’d interpret my songs, and add their own flair to them. Since Day One of the project, the whole idea has been to use only REAL instruments (no MIDI/Computer stuff), and to not over-massage the songs. So, I instituted a one hour production policy. From the first audition of the previously recorded tracks, until we stopped working on that tune was one hour. If we had nothing worthwhile, or had a potential “Stairway to Heaven,“ we moved along to the next tune. What this project contains is first impressions, more than anything else. Since 1997, I’ve met several other talent players and singers. I figured, “Why not get their input on my tunes, as well?”  So, over the 20-plus years, we’ve added guest vocalists like Kyle White-Lay, and Jeff Stewart. Dave Borkowski shredded profusely, while the killer pedal steel was added by Dave Cubbedge. Fred Shuman even played mandolin!!!! Immediately afterwards, I shut the project down, again. Other things needed tending to. In December 2011, I was diagnosed with throat cancer, and told my singing days were over. (Funny. Most people that had heard me sing prior had been saying that same thing for years!!!)  Figuring my voice would be gone in a week or two, I “forced” my eldest son Alex Kenzie into learning how to operate my recording gear. The guise was to record my vocals for posterity. The truth was, I wanted him to learn my trade to carry-on the family business if my treatments weren’t successful. As fate would have it, he did well and caught the production bug, too. He recorded my vocals in one night, and we once again shelved the project. In late September of 2018, Jerry Genevich passed away, and I took that as a sign to, once again, dust off my originals project and wrap her up. Coincidently, I had recently met Tina Mae Heinze, Mike Huffman, and the incomparable Josh Silas, and knew I had to utilize their tremendous talents. Instead of finishing what I had started by continuing to engineer and produce my own project in my commercial studio, I chose to bring in “fresh ears.”  I employed the wondrous talents of Eric Sills, owner of Stone Soup Recording Studios. (Yes, I hired my competitor to collaborate. Nuts, huh?)  I was astounded when Johnny Mathis' music director Scott Lavender agreed to chart the horn parts and supply the players. In late October 2018, we recorded the final parts, including Trez Gregory’s vocals, and began mixing. We implemented the same “First Impression” concept in the mixdown stage, vying for what’s natural versus over-producing. The toughest part of this project was not being able to utilize the tremendous talents of folks I had met and worked with AFTER the parts they could have recorded were already in the can. Maybe album #2 will be graced with the talents of folks like John Purdy, Todd Hill, Scott Bylow, Becca Nease, Johnny Schwind, Kyle Smithers, The Rutter Boys, Danny Jahns, Frank May, and several other musicians I’m drawing a blank on, presently. So, there’s the long and short of it. Yes, these tunes were written 40-plus years ago. Yes, it took 20 years for me to finish. Hence the title, “What’s the rush?” 

I hope you find something in here you can relate to. 

Thanks for listening.
Jim


INSPIRATIONS

Nicia Fedea, Peggy Chamberlin, Cathy McMenemy, Beth Schmidt, Kim Bodary, Donna Sullivan, Donna Razo, Judy Thomas, Mary Marshall, Ann Vanhala. A big thanks to my music teacher Diane Collins, for taking us on a field trip to United Sound, a Detroit recording studio, thereby giving me the ”itch,” and starting my career. For having a little faith back in 1981, thanks to my Jo Mama bandmates: John Deutschman, Pete Hagen, Rick Chiarelli, Dan Foley, and Steve “Hewge” Manolatos. My schoolmates - Scuz and Jonesy, Carol, Dino, Maverick Alan, Flock’s Mother, Bob and Dewey, Page, and Drive-in shows. My sisters Polly, Barb, and Judy for fueling my performance aspirations. A monstrous thanks to folks like Laura Kutzli and Bernie Rachuba for their constant support of live music in the 419. To classmate Tim Roberts - Program Director and the whole gang at WCYD/WOMC Detroit radio…Thanks a ton! You guys know how to country!!! Fred LeFebvre at 1370-WSPD Toledo, thanks for all the community support stuff you do. The world needs more folks like you.

Dino Morelli for having the faith to promote this project. Jeanie Chekerylla, Matt Clark, and Paul Turchetta, a massive thanks for taking the time to show me a few riffs,
and/or motivate me to make music my life. You never know what kind of impression you’ll leave on a young person. Make it a special one. Lastly, to Sue and Michelle
for tolerating my whacky friends and lifestyle. You ladies were troopers.

Special thanks to Rose K. Kenzie taking that $29 gamble on me. This project is dedicated to James R. Kenzie…. for tolerating our GD jungle music
 and supporting my dreams, even if they weren’t his. 

Miss ya, Pops.

Licensing, lyrics and Instrumental versions of these songs are available at KenzZongz.com.

Available on major digital platforms.
Photography by Joe Shortridge Photography - joe@joeshortridge.com
Logo design and layout by Zach Kenzie - zachkenzie@gmail.com

Some images ©

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