FOLKWAYS RECORDS Album No. FTS 32319 ©1979 by Folkways Records & Service Corp., 43 W. 61st Street, NYC, USA 10023 A PEDDLER’S PACK Jim Douglas ABOUT THE SINGER AND “4 PEDDLER’S PACK” Whenever a peddier visited a remote New England village or farm, it was always a cause for celebration. Besides being a traveling department store, he was also newspaper, radio and television to those old New Englanders cut off from the rest of the world, In return for an evening’s lodging, he brought news and gossip which would keep his listeners spellbound ‘until the small hours of the morning. And the songs! Many 2 new one was added to a family’s store of treasured songs be- cause of a traveling peddler. Like the peddlers of old, Jim Douglas has criss-crossed New England, collecting and sharing the songs our ancestors knew and loved, “A Peddler’s Pack’” is a sampling of some of these songs. They are the songs that helped to clear forests, ill fields, sail ships, fight wars, and entertain a family on a Jong, cold New England night. They are the songs our grand- parents and great-grandparents cherished. ‘They tell us a good deal about their world and way of life From a very early age, Mr. Douglas had thought of be- ‘coming an American history teacher. He has a Master’s Degree in History from the University of Connecticut and several teaching certificates. Before he entered full-time teaching, he developed an interest and respect for traditional folk music, for the songs themselves, and for their educational value. He has served as shantyman on the Sloop Clearwater and as wandering minstrel at the Publick House in Sturbridge, Massachusetts. When not performing in the Irish pubs, historical societies, and folksong gatherings at night, he is active in schools throughout New England (k-college) as a visiting artist, teaching American history through folk and topical songs. ‘Special thanks are due Tom Callinan, Ann Mayo Muir, the Portable Folk Festival of Hartford, and Joan Sprung for their help in making this recording. ABOUT THE SONGS SIDEL REVOLUTIONARY MEDLEY: THE GIRL I LEFT BEHIND ME, THE VICAR OF BRAY, THE BRITISH GRENADIERS, and YANKEE DOODLE (fiddle, Betty Raynor; tin whistle, Jan Domler. Arranged by Jan Domler-) Contrary to popular belief, the Puritans were not all dour- faced killjoys who disapproved of all music and dance Contra-dance, for example, was brought to the New World by the English and tunes such as these were frequently heard and enjoyed. PLYMOUTH COLONY People in the colonial period and throughout much of American history sang on practically every occasion under all sorts of circumstances. There were songs for churning the butter and sailing a ship, marching to war and rocking the cradle, mourning, courting, and much more. In many ways, traditional and topical songs helped to bind the early seitlers together in a new and often frightening environment. Songs, for example, were part of the oral literature which everyone knew and could call upon as a source of entertainment. Many, secular as well as religious, expressed and reinforced community values and beliefs. Others chronicled the experi- ences of the first colonists, the struggles, triumphs, and dis- asters. Songs such as these gave the early settlers and their descendents a sense of identity and an understanding of their common heritage. ‘Plymouth Colony’ is just such a song. It is from the Green Mountain Songster, the earliest known col- lection of folk songs printed in America (Sandgate, Vermont, 1823). Published by ‘‘an_old revolutionary soldier” it describes the Pilgrims’ exploits If Yankees you would have a'song a ducéd nation fine on¢ Then in the chorus all along I guess you'd like to join one; ‘Then yankee doodle roar away, keep up the chorus handy, For some can sing and all can say, “Yankee Doodle Dandy.” Our grandsires lived a great way off, and if you think to doubt it, ‘And if I'd only time enough I'd tell you all about it, T'd tel you all how hard they were for tithes and taxes haunted, ‘And how they did not think "twas fair, and how they got affronted. Not knowing what might them befall, they nothing were afraid in, So took their wives and children all and off they pushed to Leyden. And there they got a monstrous ship, as big as any eunboat, And all to fit her for a trip, I guess “twas nice done to "t. ‘Then every man be seized a rope and pulled with all his soul, sir, ‘And hauled the tow cloth all way up and tied it to the pole, sir,FOLKWAYS RECORDS Album No. FTS 32319 ©1979 by Folkways Records & Service Corp., 43 W. 61st Street, NYC, USA 10023 A PEDDLER’S PACK Jim Douglas ABOUT THE SINGER AND “A PEDDLER’S PACK” Whenever a peddler visited a remote New England village oor farm, it was always a cause for celebration. Besides being a traveling department store, he was also newspaper, radio and television to those old New Englanders cut off from the rest of the world. In return for an evening’s lodging, he brought news and gossip which would keep his listeners spellbound until the small hours of the morning, And the songs! Many 2 new one was added to a family’s store of treasured songs be- cause of a traveling peddler. Like the peddlers of old, Jim Douglas has criss-crossed New England, collecting and sharing the songs our ancestors knew and loved, “A Peddler’s Pack’ is a sampling of some of these songs. They are the songs that helped to clear forests, ‘ill fields, sail ships, fight wars, and entertain a family on a Jong, cold New England night. They are the songs our grand- parents and great-grandparents cherished. They tell us a good deal about their world and way of life From a very early age, Mr. Douglas had thought of be- ‘coming an American history teacher. He has a Master's Degree in History from the University of Connecticut and several teaching certificates. Before he entered full-time teaching, he developed an interest and respect for traditional folk music, for the songs themselves, and for their educational value. He has served as shantyman on the Sloop Clearwater and as wandering minstrel at the Publick House in Sturbridge, Massachusetts, When not performing in the Irish pubs, historical societies, and folksong gatherings at night, he is active in schools throughout New England (k-college) as a visiting artist, teaching American history through folk and ‘Special thanks are due Tom Callinan, Ann Mayo Muir, the Portable Folk Festival of Hartford, and Joan Sprung for their help in making this recording. ABOUT THE SONGS SIDEI REVOLUTIONARY MEDLEY: THE GIRL I LEFT BEHIND ME, THE VICAR OF BRAY, THE BRITISH GRENADIERS, and YANKEE DOODLE (fiddle, Betty Raynor; tin whistle, Jan Domler. Arranged by Jan Domler.) Contrary to popular belief, the Puritans were not all dour- faced killioys who disapproved of all music and dance Contra-dance, for example, was brought to the New World by the English and tunes such as these were frequently heard and enjoyed. PLYMOUTH COLONY People in the colonial period and throughout much of ‘American history sang on practically every occasion under all sorts of circumstances. There were songs for churning the utter and sailing a ship, marching to war and rocking the cradle, mourning, courting, and much more. In many ways, traditional and topical songs helped to bind the early seitiers together in a new and often frightening environment. Songs, for example, were part of the oral literature which everyone knew and could call upon as a source of entertainment. Many, secular as well as religious, expressed and reinforced ‘community values and beliefs. Others chronicied the experi- ences of the first colonists, the struggles, triumphs, and dis- asters. Songs such as these gave the early settlers and their descendents a sense of identity and an understanding of their common heritage. ‘Plymouth Colony’ is just such a song. It is from the Green Mountain Songster, the earliest known col- lection of folk songs printed in America (Sandgate, Vermont, 1823). Published by ‘“‘an_old revolutionary soldier" it deseribes the Pilgrims’ exploits If Yankees you would have a'song a ducéd nation fine one, ‘Then in the chorus all along I guess you'd like to join one; ‘Then yankee doodle roar away, keep up the chorus handy, For some can sing and all can say, "Yankee Doodle Dandy.” ‘Our grandsires lived a great way off, and if you think to doubt it, ‘And if I'd only time enough I'd tell you all about it, T'd tell you all how hard they were for tithes and taxes haunted, ‘And how they did not think "twas fair, and how they got affronted. Not knowing what might them befall, they nothing were afraid in, So took their wives and children all and off they pushed to Leyden. And there they got a monstrous ship, as big as any eunboat, And all to fit her for a trip, I guess "twas nice done to "t. ‘Then every man he seized a rope and pulled with all his soul, sit, And hauled the tow cloth all way up and tied it to the pole, sir,‘Then Yankee Doodle now they go all in their ships so handy, ‘And sing All Saints, Old Hundred too, and Yankee Doodle Dandy. ‘And when they'd got away from shore, and before the did strike it, ‘They heard the ocean’s billows roar, I guess they did not like it. ‘And there they saw a great big fish, that thresh’d about his tail, sir, ‘And looked so deuced saucyish, I guess it was a whale, sir. “And when they were all landed so, our grandaddy's and granddames, ‘And Sal and Sue, and Bill and Joe, all had a feast on sand clams. ‘Then Yankee Doodle all you know struck up their chorus handy, ‘And Sal and Sue, and Bil and Joe, sang Yankee Doodle Dandy. ‘To keep the bears and panthers out and not less savage wild men, Of white pine logs each built a hut as big as father’s hog pen, ‘They planted fields enclosed with stakes and worked with dogs or asses, ‘Made pumpkin pies and Indian cakes and ate them up ‘with lasses. ‘Then YANKEE Doodle all you know, struck up their chorus handy, ‘And Sal and Sue, and Bill and Joe, sang Yankee Doodle Dandy. ‘then Yankee Doodle, one and all, struck up their chorus handy, ‘As Joud as you can sing and roar, Yankee Doodle Dandy. CAPE COD SHANTY (with Tom Callinan, voice and tin whistle) For the Pilgrims the codfish was, pethaps, the most impor- tant creature of the New World. It fed them during that first severe winter; it fertilized their fields; and Tater was used as a Valuable trading item with Europe. Its importance is me- Tmorialized by a wooden replica that hangs in the Massachu- setts State House. “Cape Cod Shanty” is one of the many songs New England sailors sang to help relieve the backbreaking and monotonous ‘work required on early sailing vessels. In South Australia I was born, Heave away, haul away, South Australia, ’round Cape Horn, ‘We're bound for South Australia. Chorus Haul away your rolling king, Heave away, haul away, Haul away, you'll hear me sing, ‘We're bound for South Australia, Those Cape Cod gitls, they don’t use combs, Heave away, haul away, All they use is codfish bones, ‘We're bound for South Australia, Chorus ‘Those Cape Cod boys, they don’t use sleds, Heave away, haul away, ‘They slide down hills on codfish heads, We're bound for South Australia. Chorus ‘Those Cape Cod doctors, they don’t use pills, Heave away, Haul away, All they use is codfish gills, We're bound for South Australia, Chorus ‘Those Cape Cod cats, they don’t have tails, Heave away, haul away, Blown away in hurricane gales, We're bound for South Australia. Chorus Repeat t ‘THE DEER SONG (with Joan Sprung) Fishing rapidly became an important industry in Nev England, but one does not live on fish alone, Venison, bea meat, squirre} and wild pigeon added much to the earl Settler's diet, And just as fishermen talk of the one that go away, 50 have generations of hunters told and retold variety of stories about their experiences. In fact, as long a there are hunters, tall tales such as the ones in this song wi ‘undoubtedly continuc to exist Known under a variety of names, this version is from th Family Songs of the Alen Family, Newton, Massachusett While the art of ‘drawing the long bow” is not unique t New England, the dry delivery coupled with fantast ‘exaggeration is typical of the humor of our region. As [walked out one morning, In the flowery month of May, The trees were in full blossom, ‘The flowers were fresh and gay, ‘The flowers were fresh and gay. ‘Took my gun upon my shoulder, Achunting for to 20, 1 tracked several deer, sir, tracked them through the stow, Ttracked them through the snow. But the deer they saw me coming, ‘And like beavers they dove down, Five hundred feet under water ‘They sat upon dry ground, ‘They sat upon dry ground, So ooked East, I looked West, ‘The skies they were so red, ‘And there I saw the fattest bucks, All o'er the hills were spread, ‘All o'er the hills were spread. So crooked my gunin a circle, ‘And fired all ‘round the hill, ‘And out of that five hundred, ‘Ten thousand I did Kill, Ten thousand | did kill. ‘Then I went upon a mountain, twas s0 mountainous high, ‘That I could stand upon my head, ‘And nearly kick the sky, ‘And nearly kick the sky. Just then the moon was rising, ‘And as she did draw nigh, picked up my venison,112M SABE sem URL BUNOK stip IO ‘joy youu | *Aays voswax a4, -"w1o9 204 2,upjnom os wou SuNOK v MNOgE SIT *BUO] S294 104 S,3t pur RuOs v NOK BUIS TL “mou 01 sn03 puy *“payqy}oeia qn x05 20.041, *mOl9 94) 104 OL suuiomano 27 10} 909, “ssapans s,éuojon axtia Ue UsTeaNK p]no> 1nq “uIN Tenpwaipur pasned fjUo 10 ssauizeT YOM pueY. 30 KaUaPd UO papuodap ssousopjim ay) Ut earains—sJoissour ano yf “sBuos wesueUY anrTeD IsaTLe9 | amo jo auo st ,wi0. 20H 2,UPIMOA OU.A TEIN BUNOA YL, ! pass funueyd uoym pasn woo sem a19q sui8oq ory aukys BuuNoD au, ‘pormeyd spaes at), ue pasea}> 9g OF pey spIey aur parsearey 3q pno> 1} 240409, ng ‘Kisted Jo saul sa} aff} Jo 2u0 sem jsoamey UI09 a1, sqeunue wire} 01 st SuIpa0y wos} auosun Susppiqioy pue “plod pue soaps ayy KowaxND Teoof 1 Supyeus “Saxe) 40y 1 past sfunod erwojoD vey) 1005 yp Aq. pomnseaur 9g uv> anjza six axamoy “WwepUNgE awe -99 11 as0J2q “Poos ayders & auresaq APyoINb wWoD puk spoysNQ, Aaj 01 dn Supnposd sex pun] Jo 9138 yDe UoOS “WHO {jo ti yoea ur speay Sursioy aonya Ind oF sistu0joo yt aysHeL ‘sueypuy 24 ing ‘2qnay Azejnonsed 100 sem pur] ayy, "WEI jueHOdwt yout 24) ses ‘azteu! 40 “UrOD Kfamns MoM ‘S19(N98 :94 £4007] pustfoq yo] AaWp 124) Puy ‘puod hur ® u1 904 Bseyy *puy pip douy ump pou ayy pu po-0][2y Kaur pue payuny £241 05 jaewe ung, ‘mou 2104) AYO] “MOU 22K) {007 jabs60 WALI 1G 9H WLAN ‘yaanyo v s2a0 11 pres Kou) MON, Pres Aoup s19qo aur ang, “aureq 3 sba 11 pies 300 [seme ung “wou a1atp Ayo] ‘Mou 219011440] puryoq Yay aun 1emp Puy “mopeaur aut ur Uzeg ® Se, “pany pep Soup Sumy asauj amp poy ‘dununip-e wom SHOU aan -rejndod Ajourar}x2 9q 0} o[dood snonnsiadns inoge duos snosowny SID pumnoy *S,opsT 219 UL AnnUoD axp panos ous ‘su1ysduTeR] MON Jo ALU vOSUNDINEY Baus ou, “SoBe opp ax (07 Joy}OUR 10 WO} auO UF Y>eq paDeI! aq Ue ,UUY adeD, ‘oupiys pure [aacl 24} Ul J3}j9q Suo.s Kpenbo Uw kq paysreus sem ‘S[durexo Joy “pop mr YMeY Buows YL “PHON PIO ‘ay OF paxuy| 349K IyTON. puR “yosads ‘aumIsouqyaNe ‘Ss>1p JO Siqey spy) Jo Aue “sursdong poruepdsuen se wetp soyyeE suBdiOMTY se soafasuy Jo UNH? OF ueBeq ANaHOD ‘mau aq Jo stuengeyur ay? az0j2q s1eaK Aue ‘Aue YOO? I, NNV advo “a1oyse urems pu pounoup stay ‘SU01fSe UTEAS PUT PSUMOIP SPAN “€uup sly alors veIp eM aL OU! Aue Bus OUUED | “popu s 4101s Su mou PUY “uy 08 yey 104 pynom 3] "Ur soy 30u pros. a} “ug Aur ont outoy patted | “urys ayy pur uostuas ku 103, 108 | Fey) fouour at PUY -plion sig ows podunt 1 og ‘plo stu oruy pedunt 1 os ‘seq wats es 498u| ou noo | “tury eappns © 2508 3 ‘Sumas sess wou aqi svn “apa pip 1 88 sy pKa pap 1438 SW ‘wossuan Sax poqsse> Kay ‘sies ag. apn auyoly sty) punoy, IV +s puoss sup punos, ye 2p02 1 -6q passed ays sv wo poduuny “4g passed aus se Uo podunyHe planted by the moon in the month of June, ‘And by July it was knee high, But in September there came frost, And all this young man’s corn was lost. He went to his corn field and peeked in; ‘The caretess weeds had grown to his chin, The careless weeds had grown so high, ‘They caused this young man for to ery. He went to his next neighbor's door, ‘Where he ofttimes had been before. But when his courtship he'd begun, ‘She asked him if he'd hoed his corn, “Oh no, dear Madam, no not 1."” He dropped his head and began to cry. “Lye tried and tried but all in vain; | fear I shall not raise one grain.” “Then why do you ask me for to wed, When you can't even raise your bread? Single Iam, and single I'l remain, Alazy man I'll not maintain: THREE JOLLY ROGUES OF LYNN (With Ann Mayo Muir, hammered duleimer) As farms and towns began to flourish, individuals began to specialize in certain crafts. Although everyone was originally a farmer, as well as part fisherman, hunter, lumberman and builder, some eventually became exclusively shoemakers, cabinet makers, and blacksmiths. Goods and services might be paid for or, more often, bartered or traded for other ‘goods and services. Originally an old English nonsense song called ‘King Arthur's Three Sons,’ this song was adapted to the local scene shortly after the Revolution. I have it from Stedman Storrs, of Storrs, Connecticut, who sent me a copy, saying “I wonder if you ever heard the song I have written down from memory. ‘My Dad used to sing it to me when I was four or five. I’m eighty now. I never heard it from anyone else, or found anyone else who ever heard it." In the good old Colony days, ‘When we lived under the King, = Was a miller and a weaver and a little tailor, Three jolly rogues of Lynn. Chorus ‘Three jolly Rogues of Lynn, Three jolly rogues of Lynn. Was a miller and a weaver and a little tailor, ‘Three jolly rorues of Lynn. Now the miller he stole corn, And the weaver he stole yarn, And the litte tailor stole broadcloth, To keep the three rogues warm. Chorus To keep the three rogues warm. (etc.) Now the miller he drowned in his darn, And the weaver he hung in his yarn, ‘And the Devil got his claw in the little tailor, With the broadcloth under his arm, Chorus With the broadcloth under his arm. (ete.) Now the miller still swims in his dam, And the weaver still hangs in his yarn, And the litte tailor goes skipping through Hell, ‘With the broadcloth under his arm. Chorus With the broadcloth under his arm. (ete.) ‘THE CONNECTICUT PEDDLER As village craftsmen became more and more skilled and produced more than the immediate neighborhood could use, they sold their extra wares to traveling peddlers. In the eyes of other Americans, the peddler came to symbolize what was best and worst of New England. Although much maligned (sometimes with good reason), he was independent, industrious, and resourceful. The peddler was one of out first door-to-door salesmen, and also one of the first to use the singing commercial. Whenever he passed a farm or came to a town green, he would advertise his merchandise with a song such as this one. I'ma peddler, I'ma peddler, I'ma peddler from Connecticut. I'ma peddler, I’m a peddler, And don’t you want to buy? Many things Ihave in store, ‘So many things you never saw, ‘So many things you never saw before, So very many things you never saw before, So listen while { name them o'er Here are pins, papers and needles and pins, ‘Tracts upon popular sins, Any of which I will sell you. And here are the seeds of asparagus, Lettuce, beets, onions, and pepnergrass, From the Limited Society, ‘Seeds of all kinds and variety. I'ma peddler, ’ma peddler, I'ma peddler from Conne I'ma peddler, I'ma peddler, ‘And don’t you want to buy? JOLLY OLD ROGER (with the Portable Folk Festival) In 1740, Edward and William Pattison of Berlin, Connecti- cut, made the first tinware in America and sold it door-to- door. They were the first of many to crisscross New England bringing needed goods and services to isolated farms and communities. Now Jolly Old Roger, the tin-maker man, Lived ina garret, in New Amsterdam, He showered down blessings, like rain in the spring, ‘Ah, maidens, and matrons, of him I would sing. Chorus For there never has yet been a boy or aman, Who better could mend a tin kettle or can, Or bucket, or dipper, or skimmer, or pan, Than Jolly Old Roger, the tin-maker man. Chee-wang, chee-wang, chee-wang, chee-wang, ‘Te-ratile, te-rattle, te-rattle, t-BANG! 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She'd half whip her life away. So the tea was conveyed to her daughter's own door, All down by the oceanside; But the bouncing gir! poured out every pound, In the dark and boiling tide, Inthe dark and boiling tide. ‘And then she cried out (0 the island queen, ““O mother, dear mother,”” cried she; “Your tea you may have when 'tis steeped enough, But never a tax from me.” ‘But never a tax from me. ROLLING HOME (with The Portable Folk Festival) Before the Revolution, New England and the rest of Ameri- ‘ca were pretty much tied to England. By 1815, however, they were trading with the rest of the world, sailing to China for tea, to the East Indies for spices. ‘Yankee’ became a term recognized the world over. To help relieve the monotony of work on ship and to pro- vide a rythm while hauling on ropes and anchors, songs called “shanties” were used. ‘Rolling Home’ was often sung when a ship was weighing anchor in preparation for the voyage back to New England, Call all hands to man to capstan, See the cable running clear, Heave away, and with a will boys, For New England we will steer. Chorus Rolling home, rolling home, Rolling home across the sea. Rolling home to old New England, Rolling home, dear land, to thee. Fare thee well, ye Spanish maidens, Itistime to say “Adicu.”” Happy times we've spent together Happy times we've spent with you, Chorus "Round Cape Horn, one frosty morning, And our sails were full of snow. Clear your sheets and away your halyard, Swing her out, and let 'er go. Chorus Up aloft, amid the rigging, Blows a wild and rushing gale. Like a monsoon in the springtime, Filling out each well-known sail Chorus ‘And the waves we leave behind us, Seem to murmer as they flow. ‘There’s a hearty welcome w. In the land to which you go.” BIBLIOGRAPHY Barry, Phillips. THE MAINE WOODS SONGSTER. Cam- bridge, Mass.: The Powell Publishing Co., 1939. Botkin, Benjamin. A TREASURY OF NEW ENGLAND FOLKLORE. New York: Bonanza Books. ‘Colcord, Joanna C. SONGS OF AMERICAN SAILORMEN, New York: W. W. Norton & Co., 1939. Doerflinger, William Main. SHANTYMEN AND SHANTY- BOYS: SONGS OF THE SAILOR AND LUMBER- ‘MAN. New York: the Macmillan Co., 1939. Flanders, Helen Hartness. THE NEW GREEN MOUNTAIN SONGSTER: TRADITIONAL FOLKSONGS OF VER- MONT. New Haven: Yale University Press, 1939. Flanders, Helen Hartness and Marguerite Olney. BALLADS MIGRANT IN NEW ENGLAND. New York: Libraries Press, 1953. Linscott, Eloise Hubbard. FOLK SONGS OF OLD NEW ENGLAND. New York: The Macmillan Co. 1939. Wells, Evelyn K. THE BALLAD TREE: A STUDY OF BRITISH AND AMERICAN BALLADS, THEIR FOLK- LORE, VERSE, AND MUSIC. New York: The Ronald Press Co,, 1950. A.NOTE TO TEACHERS During the first decades of this century many collectors by- passed New England because, when compared to the Appalachian region of the South, it seemed relatively infertile ground, But the work of people such as Phillips Barry, Helen Flanders, Fannie Eckstrom, and Eloise Linscott have proven this assumption wrong, Indeed, New England is rich and quite varied in its songlore, and collectors continue to dis- cover fresh sources of songs today. ‘The songs on this record, as well as hundreds of other folk ‘and topical songs, have proven to be valuable tools in the classroom. For the music teacher, they are a rich part of our musical heritage. For the English teacher, they are vital sources of oral literature. They have livened up Geography ‘and Civies lessons. And for the history teacher who is in- terested in communicating the experiences and attitudes of common people of the past, they are an invaluable source. Because of their directness, simplicity, and emotional impact, young people respond eagerly to these songs. Not only do they learn the songs with amazing speed, but they also tend to retain the factual material related to the songs longer than might otherwise be the case. It is suggested that before playing the record, the class should discuss early New England; its geography, its people, and its way of life. This might be followed with a first listen ing, to get the “feel”” of the songs. Then individual songs might be dealt with as they relate to the topic under discussion. Many of the songs can be used in more than one situation, ‘The Young Man Who Wouldn't Hoe Corn, for example, touches on a variety of subjects, such as geography and its relation to man, early New England agricultural prac tices and superstitions (“he planted by the moon in the month of June”), relations between men and women in the New World, and, finally, the work ethic. CREDITS ‘Notes: Jim Douglas and William L. Siegel Engineer: Don Wade, Golden East Recording Studio Cover Design: Mary Azarian Photos courtesy of The Hartford Courant