This is a Greek tragedy about a fatally distracted boy/girl in a relationship now destined to collapse. 

This song is on my first studio album, Dead Sea Scrolls, recorded and mixed in four days at Sonika Studios, Stockholm, Christmas 2024 and in to January 2025. Brilliant conversations between takes. Producer, Christopher, shared my love for geology, politics and musicology. It was a really special time. 

The songs, some were written in 2024. Others are older. All are like children in a way. Now they are grown up and out. No longer my responsibility. 

Wheezing, gasping and grating. What can I say about reed organs? Throughout a common theme are deep, low reed organs. I love them. The deeper the better.  

My other love is Gretsch guitars and Bigsby tremelos. This album combines these two loves for some reason. 

The songs. I don't know where they come from. Well, I do. But often not until much later. My father dies in 2022. I very good friend died way too young in 2023. Way too young. I can feel tears well as I type this. The pandemic, fin de siecle vibe, a scratch I had to itch, a moral obligation, a defence against burning out. All these things. But more than anything, I needed to channel energy into something good and positive. 

Sympathy for the Devil. I don't know why I chose to cover this song. It is a difficult one. The original is of course a crazy fast samba beat. Everything about it is distinctive. But a year back, I was playing acoustic out on my deck, alone except for the forest (so, definitely no alone) and started messing with an arrangement like this where the chorus takes place over silence. It gives the song a different edge. And I had this kinda nice riff to anchor it. And of course the reed organs.

Sirens

Anger management. Catatonic, explosive rage. We all know people with a short fuse. Once it blows it is like a neutron bomb on steroids. This is a song about someone with a temper that cannot be controlled. It engulfs everything. It destroys all. The oceans boil. Black holes collapse. Dark matter is twisted. Don’t say I didn’t warn ya.

Recorded with a Gretsch through a Fender amp.


This is a track from my first album, Dead Sea Scrolls, recorded and mixed in four days at Sonika Studios in Stockholm over Christmas 2024 and in to January 2025. Brilliant conversations between takes. Producer, Christopher, shared my love for geology, politics and musicology. It was a really special time. 

The songs, some were written in 2024. Others are older. All are like children in a way. Now they are grown up and out. No longer my responsibility. 

Wheezing, gasping and grating. What can I say about reed organs? Throughout a common theme are deep, low reed organs. I love them. The deeper the better.  

My other love is Gretsch guitars and Bigsby tremelos. This album combines these two loves for some reason. 

The songs. I don't know where they come from. Well, I do. But often not until much later. My father dies in 2022. I very good friend died way too young in 2023. Way too young. I can feel tears well as I type this. The pandemic, fin de siecle vibe, a scratch I had to itch, a moral obligation, a defence against burning out. All these things. But more than anything, I needed to channel energy into something good and positive. 

Sympathy for the Devil. I don't know why I chose to cover this song. It is a difficult one. The original is of course a crazy fast samba beat. Everything about it is distinctive. But a year back, I was playing acoustic out on my deck, alone except for the forest (so, definitely no alone) and started messing with an arrangement like this where the chorus takes place over silence. It gives the song a different edge. And I had this kinda nice riff to anchor it. And of course the reed organs.

Let my rage blow (Sail away to Cartagena)

This album was recorded in four days at Sonika Studios in Stockholm over Christmas 2024 and in to January 2025. Brilliant conversations between takes. Producer, Christopher, shared my love for geology, politics and musicology. It was a really special time. 

The songs, some were written in 2024. Others are older. All are like children in a way. Now they are grown up and out. No longer my responsibility. 

Wheezing, gasping and grating. What can I say about reed organs? Throughout a common theme are deep, low reed organs. I love them. The deeper the better.  

My other love is Gretsch guitars and Bigsby tremelos. This album combines these two loves for some reason. 

The songs. I don't know where they come from. Well, I do. But often not until much later. My father dies in 2022. I very good friend died way too young in 2023. Way too young. I can feel tears well as I type this. The pandemic, fin de siecle vibe, a scratch I had to itch, a moral obligation, a defence against burning out. All these things. But more than anything, I needed to channel energy into something good and positive. 

Sympathy for the Devil. I don't know why I chose to cover this song. It is a difficult one. The original is of course a crazy fast samba beat. Everything about it is distinctive. But a year back, I was playing acoustic out on my deck, alone except for the forest (so, definitely no alone) and started messing with an arrangement like this where the chorus takes place over silence. It gives the song a different edge. And I had this kinda nice riff to anchor it. And of course the reed organs.

This is how I will die

Rio 2025

24 04 2028

Önceden Keşke

Yeşil Bir Alan

Gece Pazarı

Jam On It

6120 Roadster

Country Tony's Ballad

Ghosts They Are Real (WTJB) 5-29-25

Bossa In Blue

A little demo where I finally got to use the sm7b on a couple things. Needs work of course!

You are you

Seth Lipscher & Tim Merrigan rocking tune performed by the Fat City Rockers

Bubble and Squeak

Acoustic guitar; folk; Americana; jam band influences; blues; rock; old time; bluegrass; grungey stuff. Even some electro and EDM vibes occasionally. I play a wide mix of music with a lot of different people.

CoonToonStudios has been using whatever technology that was available to record audio and shoot film/video since 1981 in Houston, Redondo Beach, Santa Barbara and Westlake Village. Watch at www.youtube.com/coontoonstudios.

Guitar pieces played on my Gretsch 6120 and Les Paul...and some Saxophone stuff too.

Amateur songwriter/musician originally from Texas now living in Virginia thru parts of North Carolina. Don't ask.

My story:

I got somewhat into recording in the mid 80's briefly with a Tascam Porta One, but used it mostly as a scratch pad while writing songs. When the 90's hit, life hit, and all this stuff took a back seat for the next 25+ years. 

For therapeutic reasons, and the pandemic as well (having to spend more time at home), I decided it was time (2020) to get back into it, and I absolutely love it!

I like all kinds of music from pop, country, electronic, rock, folk, big band, orchestral, blue-grass, americana, etc. I'm really all over the map. As a kid I religiously watched anything relating to the NFL (yes I was a Cowboys fan) because of the music of NFL Films. I still listen to it today.

Some artists and bands I have liked over the years are Collective Soul, Cheap Trick, The Stones (of course), Waylon Jennings, Travis Tritt, John Mellencamp, and Glen Campbell. I even liked KISS as kid in the 70's. Of course when they got into disco and then hair-metal, that was an ender for me but I still like their stuff in the 70's quite a bit.

I got "more" into music at about 14 (1980). That summer Eddie Rabbit released an album named "Horizon" (which I played endlessly) and about a month later AC/DC released "Back in Black". Now that's a combination for you! While they were miles apart sonically, they had one thing in common: good, catchy songs.

With all that said, the one band that I've always loved, and just struck a chord with me, is The Who. Not sure how to explain it. I "discovered" them well after their heyday of course. Maybe it's the anthemic nature of their songs? Maybe it's the creative genius of their chief songwriter/guitarist (my opinion)? Maybe it's the sound they produced as a 3-piece band, where they didn't really have a "lead" guitarist -- their bassist essentially filled that role (and quite admirably too)? Maybe the drummer, who played everything as one big fill? I don't know but I thought they were fantastic. Still do.

-Frank Wood

New tracks tagged #Gretsch