Western Independent Recordings WIR 0116

Songs From The Fog - Vol. 2

Trk. Artist/Song Information, Credits, Lyrics
1. Maurice Tani: Out With The Old
2. Ira Marlowe: Brother Time
3. Jim Bruno: Matter of Time
4. Amy Obenski & The Carbone Band: Some Kinda Change
5. Beth Marlin: Hog Farmer's Wife
6. Gayle Lynn & The Hired Hands: Rodeo Queen
7. Teja Gerken: 5927 California Street
8. Aireene Espiritu: This Song
9. Andrew Blair: Table For One
10. George Kincheloe: Gone
11. Aireene Espiritu: All Souls Day
12. Gayle Lynn & The Hired Hands: Back Home
13. Amy Obenski: Clearly Today
14. Teja Gerken: Seven Years
15. Andrew Blair & We Became Owls: I'm Your
16. Beth Marlin: Are You Listening
17. Maurice Tani: Take Me With You When You Go Too Far
18. Ira Marlowe: Cartoons
19. Jim Bruno: We Were Blind


(Maurice Tani)

I see my burning bridges
My hand burst into flame
I seek the cool, cool water
As my ship sails out of frame

Our bloody lips.
Our bleeding heart
Call out the ghosts by name
And check them off some master list
As my ship sails out of frame

Out with the old
–In with the new
Out with the old
–In with the new
I press against the window
So my skin can feel the view
Out with the old
–In with the new

Crack this lacquer box and breath
The blackened scent of sin
From where we swore we’d never tread
Yet found ourselves within

Our jaundiced eye.
Our bitten tongue
The blind. The mute. The lame.
What tortures me now calls to you
As my ship sails out of frame

Out with the old
–In with the new
Out with the old
–In with the new
I press against the window
So my skin can feel the view
Out with the old
–In with the new

© Tanitone Tunage (ASCAP)
Maurice Tani: Vocals, Guitar;
Mike Anderson: Upright Bass
Steve Kallai: Violin


Maurice Tani is a "rye-to-romantic", Supercalifornigraphic, singer-songwriter and veteran band leader on the Alt-Country and Americana music scenes. He and his band, Maurice Tani & 77 El Deora have released six critically-acclaimed albums of original material and have been the source of untold, but exquisite suffering in the Bay Area for over 10 years.

I was actually blown away.  Maurice Tani writes songs that sound at once familiar, ethereal and beautiful.”
-Robert Sproul, No Depression Magazine

Born and raised in San Francisco, Maurice Tani was too young for the Summer of Love, but was still profoundly influenced by the California culture that gave the world surf guitar, country rock and psychedelic to the singer songwriter types. 

Barely into his twenties and hungry for experience, he moved to central Texas to work the hardcore country, blues and rock circuit between Austin and Dallas, playing five sets a night, seven nights a week for months at a time, eventually making connections that led to his moving to New York City just as the punk rock scene of CBGBs and Max's Kansas City was exploding in Lower Manhattan. By 1977 he was back in San Francisco as punk, power pop and new wave was taking hold in the Bay Area and began a stretch of five years and four critically acclaimed albums with ex-Flamin' Groovies front man Roy Loney's band, The Phantom Movers

Through the rest of the '80s and '90s, Maurice was the lead guitarist and a featured vocalist for Zasu Pitts Memorial Orchestra and Big Bang Beat, two large, 12-18 piece dance bands that gained worldwide exposure from a 2 hour PBS New Years Eve tri-mulcast (2 television stations with different views and FM stereo radio audio all broadcasting simultaneously) that was broadcast annually for many years on public TV around the US and Europe.

Tani has spent the past 15 years as an active part of the California alt-country/Americana scene. Fronting his own bands, Calamity & Main, 77 El Deora, he has produced a series of albums for himself and others. Tani has constructed a repertoire of rye humor and darker romantic rumination often described as Oblique Americana and Twang-Noir, Tani calls it “Supercalifornographic”.

Short for “Supercalifornographicexpealidocious”. While rooted in country music, Tani's writing is centered on a West Coast perspective. “Though much of my material is based on fictional characters and situations, I still write what I know”, said Tani. “I'm not particularly comfortable or interested in the rural imagery of tractors, 4x4s or general agriculture common in much country music. What attracts me most about country is the story-telling side of it. My stories are more likely to be centered around an urban experience. I'm a Californian from a large metropolitan area and I write about the things that hold my attention. I think of these songs as a sort of cinema for the blind. Short musical narratives of life on the left coast.”