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LEO:

This is a tune that was written by Duane Allman and Dickie Betts a few years ago as a sort of improvisation one night.   Anybody here familiar with a German impressionist poet named George Treacle?  Yeah, well, I'm going to give a lecture on him next set.  I've found out  a lot about this guy.  He had a short life but very anecdotal it was.  It was extraordinary what this guy was up to.  If you want to read him, he's been published by Logbridge Roads; it's some company in Durango, Colorado.  

Meanwhile, I'm going to play this.  It's called "Little Martha," which has convinced me that it's written for a tiny pig or a small child of some sort; something beloved and unbearably cute.  It's a beautiful song.  I really would like to know who or what Martha was.

[Starts to play opening harmonics on 12th fret].  Oh, no.  [checks tuning using harmonic]  I guess that's right.  Sounds like the other one [plays another harmonic].  If I had any guts I'd try one more now, instead of just these two [plays third harmonic]  Oops.  I'm in trouble now, we're all in trouble.

[Leo plays "Little Martha"]

[Applause]

LEO:

Thank you.  Thanks a lot.  I thought that I wrote this tune.  I believed this for, like, six months. This is like thinking I wrote the "Star Spangled Banner."  I don't know how I could have done this, but I thought I wrote this.

[Leo plays "Cripple Creek"]

[Applause]

LEO:

Thank you.  Let me play something else that I haven't -- well, it isn't on anything else I've done before.  I'm trying to squeeze in some of the new stuff here.  This was written by a guy named Richard Gilewetz who started playing guitar because he saw me on the tube 12 years ago.  And until then he wanted to be Robert Plant.  After me, he wanted to be wood.  And he went out and got a guitar and started to play.  And he drove one of the greater distances that I'm aware of that anybody's driven to one of me sets.  From Birmingham in Alabama to some northern, sort of, uh, stain in Pennsylvania where I was working.

And he got there for the last -- zilch of the last set.  So I said hello backstage and he played a tune for me and it stank.  It was miserably inept and I was really tempted to tell him that, it would be kind of nice once in a while just to...but I didn't and, as a result, he allows me now to play this tune, which is one of his that I can play, unlike the ones that are beyond everybody else.  He calls this "Echoeing Wilderness" which is -- his titles haven't changed as much as his songwriting has.  The title stinks also.  So I like to call this "Echoeing Gilewitz" instead.  I think it's more appropriate.  Let me crank up my thing here, just a minute.

[Leo starts playing harmonic riff intro to "Echoeing Gilewetz"]

LEO:

Tension and release.  Tension and release.  That's the whole trick.  One feature before I get much further into this tune where it would be ill-advised to keep talking.  This thing sounds like I'm playing [plays harmonic riff].  But I'm not and nor is anyone else when they're playing this.  They're playing [plays harmonics that sound exactly the same].  It's all the difference in the world but I'm suddenly aware it doesn't sound like diddly.  It took me two weeks to learn how to do this.

[Leo plays "Echoeing Gilewitz"]

[Applause]

LEO:

Isn't that a pretty song?

Yeah, there we go

[Leo starts playing intro to "Jack Fig"]

LEO:

I'd like to take advantage of this inordinately long introduction to thank you for coming tonight and to try to talk and play at the same time.  Which is something I've always admired in these lounge acts.  But I'm going to have to stop now.

[Leo plays "Jack Fig"]

[Applause]

LEO:

Thanks a lot.  Thank you.  See you next year.

[Extended applause]

LEO:

[Tuning] Excuse me...that's what I get for running outside and hiding with it out there. [Leo starts playing "Part Two"] [To soundman:]  I need a little more DI.

[Leo plays "Part Two"]

[Applause]

LEO:

Thank you.

[More extended applause]

[Leo plays "June Bug"]

[Applause]

LEO:

Thanks a lot.  Come back for the next show, it's coming up.  Thanks again.

[Next set]

LEO:

Good evening and thanks for coming out.  Good to see you here.

[Leo plays medley of "Shortwave" and "Theme from 'Doodles'"]

[Applause]

LEO:

Thank you.  I wanted to start out with a couple of new things there.  This is an old thing that has continued to sort of mutate before my very eyes over the space of about nine years.  Recently, parts of it made their way into a movie called Zeisters, which, once it surfaced on the screen, became something that we all fervently hoped would disappear soon from the screen.  And I thought we had lucked out in that regard and somewhere in the southern hemisphere it had disappeared.

But it was purchased by a company called Troma Productions, which is a name to conjure with, without a doubt.  And they have retitled the movie Fat Boy Goes Nutzoid, aiming at a market I think that I can almost picture from that title.  You know -- score by Leo Kottke.  I have a way with my career that is pretty wild.

This also has a fragment of something from The Rick and Bob Report, which was a comedy special that I wrote the music for.  And it's just a very small fragment of it in case anyone form the publishing company is here tonight.  The Rick and Bob Report was a show dedicated to two people going around interviewing people from the lower end of the bell curve to see what they had to say about their lives.  And when they sat down to think who could write the music for something like that, they thought of me.  "Who did the score for Fat Boy Goes Nutzoid?"  "Was that the redoubtable Leo Kottke?"  "Yes, that was him."

[Leo plays "Airproofing"]

[Leo plays "The Last Steam Engine Train"]

[That's all there is on the tape, folks! -- BH]