Fewer Sorrows Music
Folk, Blues, Kids, Country -- Originals & Covers -- and Some for Longhairs
About the Original Songs
For LICENSING to artists & publishers, or bookings, email us HERE. William H. Reid is a BMI artist/composer.
Last updated July, 2012
Includes stories from our new children's EP, Songs for my Family!
Thursday Afternoon Arrival (Lullaby for Skipper Leigh) (click for sample) (Children's/Lullaby) was written the day our second granddaughter was born (a Thursday). It would be several days before my wife and I could be there to see her.
That's All Right, Jack (click for sample) (Children's/Rap). Yes, you read it right: This is a rap song for a baby, written by his 67 year-old white-haired, white-bread great uncle. Not exactly my metier, but it works, and background singers Vickie Carrico and Etta Britt had a ball with it.
Good Night, Moon (Lullaby for June) (click for sample) (Children's/Lullaby) was written just after I rocked our granddaughter to sleep for the first time. The title comes from her delight in seeing the moon every evening, and from one of her favorite books, Goodnight Moon by Margaret Wise Brown & Clement Hurd (New York: Harper & Row [Harper Collins], 1947). It's not like anything else I've written; we appended it as a "bonus track" on the CD A Place Inside My Heart, and it'll be on the upcoming Songs for my Family EP. Babies seem to like it; I played it for June when she was about two and she toddled over, laid her head on the sofa, and closed her eyes.
One Town at a Time (click for sample) (Country/Satire) came about in 2000, when Elise and I were driving to New Mexico and decided to write the quintessential country song. It has a cheatin' wife, whiskey, gambling, and a truck. This version, from our upcoming album Country Blues and Story Songs (2011) was cut in Nashville with the full band and J'Nae Fincannon's background vocals. In case you want to check a map, the towns are along Interstate 35 just north of Austin, Texas.
Autumn (click for sample) (Ballad) was written for a friend of mine, about his first serious girlfriend. After all that trouble (and some exciting exploits from Minnesota to Oklahoma when we were all too young and stupid to know better), she dumped him. He recovered, went on to much better things (including Mardell), and got pretty famous in his chosen field. In retrospect, the song's the best part of that memory. On stage, it is quiet and simple, not a song for outlaw bars. Here's to Eric, and to Raye, wherever she may be.
I wrote Talkin' Junebug Blues (click for latest sample) (Children's/Folk) when our only grandaughter, June, was about a year old. Her parents (Troy and Liz) had whisked her off to Baton Rouge from Austin, Texas, and one of the things I do when I lose people is write songs about them. June likes it, and it's a great song for kids (as long as they're old enough to know what a toad is -- does that make you curious?). Talkin' blues are easy to write and easy to play, but the words get wrapped around my teeth. In this new (2012) recording, background vocalists Vickie Carrico and Etta Britt giggled all the way through the take. There's an earlier recording (2009) in which I'm on the old D-28; Chris Reeves plays lead guitar, Ron Knuth plays mandolin, and Christine Albert sings a "litte girl" part.
A Place Inside His Heart (click for sample) (Country/Ballad) (formerly "My" Heart) -- Austin Songwriter Competition Winner -- This is a sad song. I was writing songs for our new granddaughter and the lyrics just sprang to mind. There's a nagging poignance; I found myself getting teary as I sang the words. I converted the lyric to third person so that different genders and ages of vocalists could sing it; it sounds great with a female country vocalist. The song sounds pretty good solo, but the band and J'Nae really make this performance.
Bill's Jump (Jump Down, Pick a Bale of Cotton; click for sample) (Blues/Zydeco/Cajun) is my arrangement loosely taken from a traditional southern field song. It's a simple song that makes a great jam, the kind of thing you play for as long as you want, with everybody jumping in for solos and playing off each other. Nobody knows how to stop it once it takes off, so we just end up in a musical train wreck.
Because You're There (formerly "Image" or "She Comes Into the Room") (Ballad) should have been written in some pastoral setting for my lovely wife, Elise. But the fact is, I was between wives a long time ago and trying to impress a sweet young nurse. She saw the guitar and asked if I played. I said yes, and went out on a limb and said I wrote a little, too. She didn't believe me, and bet that I couldn't write her a song in 10 minutes. She left the room, and when she came back, I had written it on the proverbial paper napkin. I'd love to know where she ended up. J'Nae makes it a fine duet.
The Pirate and the Swan (click for sample) (Folk/Pop) is a driving folk song I wrote in the late '70s. Search your soul for the deep meaning of the lyrics. Then try to enjoy it anyway.
Grace Before Breakfast (click for sample) (Children's) is for my grand-neice, Grace. She's a natural entertainer who uses her older brother as announcer and straight man. (When I wrote the song, she was four, and already knew how to handle men.) Then I had to write one for her brother, Max, and one for baby Will. It's hard not to appear to be playing favorites. Anyone with a child in kindergarten or early elementary school with get the point immediately. This is a Nashville cut.
Drivin' Home (click for sample) (Country) was written during my Green (Army uniform) Period, while stationed at Ft. Polk, Louisiana, during the early 1970s, the rewritten for the new CD. I'd been drafted and was living by myself in an old trailer outside DeRidder, depressed, and missing everybody. It was probably raining, too. The truck was a pickup then, and the song was a little shorter. Then I had a chance to do a session with Chris Reeves, who likes honky tonk, and tried to impress him by making it sound like an over-the-road driver. I'm not sure that worked, but Chris, Ron's fiddle and Stephen's dobro dress it up for the country market on A Place Inside My Heart. We've also done a Nashville cut with Bill Hullett, Mike Douchette, Clayton Ivey, Glen Duncan, Tommy Wells, and Dow Tomlin.
Max Growing Up (click for sample) (Children's) is about a six-year-old grand-nephew who is quietly strong, takes care of his little brother, and is a tolerant straight-man for his younger sister, the born entertainer. He'll make a fine grownup some day. This sample is from a new performance with the Nashville band.
The Mountain Man (click for sample) (Children's) is a real-life description of my young grand-nephew Dylan Hart, known affectionately to his parents as "Pickle" (from "Dylan," get it? "Dyl" -- "Dill" -- dill pickle?). He and his family live high in the mountains not far from Conifer, Colorado, where bears really do wander through the yard and most New Year's Eves are spent snow-camping near the summit of a nearby "14er" (14,000-foot mountain).
Merryville Highway Song (click for sample) (Folk/Country) is about thoughts on the road, in the middle of the night, when I was in the middle of nowhere. Freedom isn't always everything it's cracked up to be.
Cheerio, You-All (click for sample) (Country/Children's) (formerly "Blimey, Will's Got an Accent!") is for my grand-nephew, William D. Reid, a brilliant and talented child who just happens to be the first person ever named after me. He was ripped from his Colorado roots (along with the rest of the family) and replanted in England on the pretense that his father had a good job opportunity there. Their address there was their house's name, not a number; very fancy and traditionally English. It's bad enough that the boy wasn't born in Texas, but growing up with a British accent? That's a heavy cross to bear. This is the Nashville performance version.
The Requiem Series (complete recordings) (Prelude [Requiem Vivace], Youth, Age, Postlude [Afterlife]) (Classical) was written during the early 1990s, mostly in our weekend house on Lake Buchanan, Texas. My mother picked the prelude for her memorial service. The primary movements were dedicated to our daughter, Stephanie, before they became part of the Requiem Series (Steph is alive and well and a great artist). It is copyrighted but not a BMI-registered work, and I am happy to consider permissions and licenses for orchestras, arrangers, or music scriptwriters that contact me for the updated score through Fewer Sorrows Music (see email address on this site).
Central Louisiana Daydream (Country) is sort of just what it says. Nothing fancy.
Anesthetic ([With] Half a Bottle Left Inside) (Folk/Pop) was another song written during yet another maudlin phase many years ago. It was probably raining then, too.
Bill Reid CDs Here
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