Wendy Waldman

Vocalist. Songwriter. Composer. Producer.

Wendy Waldman has always had a very diverse career in the music industry. She is a critically acclaimed recording artist, as well as a writer of multi-platinum songs for other singers in musical genres ranging from country to pop, film, jazz, children's music and R&B. She is also a teacher, working musician, and one of the first distinguished female record producers.

Out Now: Nebula (One Long Night) [feat. Cidny Bullens + ShyBoy]

Nebula appeared in the studio one day like an odd thread or a piece of yarn. Being a weaver and spinner-of-sorts, this analogy makes sense for me making records. I picked that thread up and followed where it wanted to go, whether I knew what I was doing (rarely) or I didn’t ( usually).The real gift in this work is the freedom to do something totally wrong, and then explore if there’s a way to do it right… or not do it at all.

I played all the keyboards, synths, and guitars (ridiculous fun) except for the fantastic ‘whale guitar’ that Abe plays, swimming through and in and out of the track.

The great artist John Cowan played the bass part that totally stands the tune on its head. Scott Babcock applied his layer of wonderful drums, and then, bassist Carl Sealove played a harmony to one of the guitar parts—so yeah, two basses on Nebula.

But then, my friend the brilliant artist ShyBoy (Jason Arnold of Hypnogaja] who is a master of vocal layering, created the choir parts on the chorus, which blew me away, especially his ethereal harmony. And then another brilliant artist, my Refugees partner Cidny Bullens added to that magical choir. I love the sound of ShyBoy and Cid layered.

There was nothing about this story that I was able to “craft.” The words were a thread I had to follow, just like the music. So I guess, the process itself was surreal, although the final result seems quite clear to me..on a good day…

I had so much fun working on this, it’s practically criminal.

Listen to Nebula (One Long Night)

Out now: The Fresno Rag

Fresno is the oldest song on this new album of mine, and ironically took me the longest to finish. I had been invited by my colleague in the Refugees, Deborah Holland, to teach a songwriting class up at Cal State Fresno, and in my hotel room I had a keyboard. I found a funny little loop that I adored and I played this piano part that I quite liked. I wrote 90% of the lyrics and then the song sat for at least a dozen years because I couldn't finish the lyric.

I kept thinking this is a really fun tune and it seems to be kind of characteristic of me - why is it so hard to finish this? Probably some songwriter nonsense in my head... I recorded the first elements of the track and lived with it, enjoying it every time I played it, and mumbling through the parts with the missing lyrics. I was arguing with myself about a couple of words, for a long long time!

I finally just forced myself to complete the song because I felt it was very important for the new record. The minute I did, I was so happy to have the tune and the lyrics were just fine (after all that grief). Recording with the players was so much wonderful fun and inspiration.

The first half of the song is acoustic, with Carl Sealove on upright bass and Matt Cartsonis, great folk artist with whom I've worked for years, on mandolin, my piano, and Abraham Parker playing a little finger picking part. But then there's a transition and this is where the great and very deeply missed master bassist Michael Rhodes kicks in and we all switch to electric guitars, Scott uncorks the drums and Fresno takes off. The solos are played together by Abe and me.

To me Fresno is also a tribute to Michael Rhodes. I worked with him on many productions and consider him one of the greatest musicians I ever worked with in my life. He plays some notes here that are just amazing to me. He loved this tune - he actually called me after and told me it was in his brain!

Now, I pretty much like the lyrics and more importantly, I know they are true. Deborah Holland particularly commented that she was fascinated that somebody would write "ain't no why no wherefore." She laughs when she hears that line.

What?

The Fresno Rag - Out Now

Wendy Waldman's "Mad Mad Me" Joins the Essential American Songbook

Wendy Waldman's "Mad Mad Me" has been named to CBS Sunday Morning's Essential American Songbook - 250 songs chosen by notable Americans for the country's 250th birthday. The song was selected by actor David Alan Grier.

Waldman grew up surrounded by cross-currents of music: her father's film and TV scores, the blues, Broadway, and folk. She practically lived at the Ash Grove in LA, where every major folk, gospel, blues, bluegrass, and roots artist played. Out of all of it, she dreamed of a music that combined American roots with classical and jazz overtones - orchestral rock and roll. "I'm still dreaming of it 50 years later," she says.

She wrote "Mad Mad Me" at 21 - her version of an art song, rooted in classical music and striving to balance pure music and poetry. Even then, she knew it was one of the best tunes she'd ever write. Maria Muldaur recorded it on her 1973 Reprise debut with a gorgeous string quartet, and Waldman later cut it on her second LP, Gypsy Symphony. Tuck and Patti recorded a guitar-based version too.

The song was never a commercial hit, but it has its fans and earns respect in the most unexpected places. "That it was chosen for this list blows my mind," Waldman says. "It's the song I'd most have wanted on it, and the one I'd least have expected. A dream come true."