Reasons Why has been around for a while now. When our oldest two daughters were born, and then adopted into our family, I used to sing this song, acapella, to both girls when they were babies and then infants. We would sway slowly back and forth on a bench swing in the backyard of a house we were renting in Nashville. As a sleep-deprived new parent, the goal was to charm the girls into sleep, before I got there myself.

But that wasn’t what inspired me to write this song, given the chronology of events. I wrote this song for Gina, about twenty years before I met her. It constantly amazes me how so many of the songs I wrote, pre-Gina, have wound up telling our exact story. (That very same Gina sings beautiful harmonies on this track.) She and I have been twin flames since time immemorial, it seems.

I also dedicate this song to a long list of wonderful people, living and dead, who inhabited my life for some reason that I wasn’t privy too. I am eternally grateful to all of them.

Some of you may recognize this song from my First CD, A Step Along the Way. A couple of years back we added a gorgeous cello part by Nashville session player extraordinaire, Ron De La Vega. As with all things, there was a reason why Fett suggested Ron DLV for this session. It would wind up being the first one of many majestic Ron Legacy Music Project contributions.   

Reasons Why

Music and Lyrics Copyright 2012, Ned Andrew Solomon

Recorded at: Azalea Studio, Nashville, TN

Recording, Engineering, & Production: Fett

Acoustic Guitars & Vocals: Ned Andrew Solomon

Cello: Ron de la Vega

Harmony Vocals: Gina Lynette

Videography: Bernie Lynette

Executive & Video Production: Gina Lynette

Verse 1:

There are reasons why

There are always reasons why

Why we do what we do

Verse 2:

When they first appear

It may not be clear to you

Why we do what we do, but

Chorus:

There are no accidents

God thinks things through

That’s how I met you

Verse 3:

There are reasons why

There are always reasons why

Though they’re hard to explain

Verse 4:

Like a cloudless sky

And a sudden summer rain

We needed that rain, cuz

Chorus:

There are no accidents

God thinks things through

That’s how I met you

Instrumental interlude

Bridge:

I live my life in moments

Day by day

That’s where I was

When you were sent my way

Verse 1 repeats:

There are reasons why

There are always reasons why

Why we do what we do

Verse 2 repeats:

When they first appear

It may not seem clear

Why we do what we do, but

Chorus:

There are no accidents

God thinks things through – well, yes, He does

There are no accidents

God thinks things through

That’s how I met you

That’s how I met you

Fall Samba is one of the earliest – maybe even the second? – songs I composed after I relearned to play guitar in 2023. I’m assuming it was autumn when I wrote it. (That’s one of the things about my particular dementia characteristics: the passage of time has become very blurry. Gina bought me a clock that shows the day of the week, the time, and the date in huge numbers and letters, and this is extremely helpful for navigating through a single day, but a day ago could seem like a week ago, and vice versa. Retirement with its many less demands contributes to time fuzziness, too.)  

The non-lyric vocals toward the end of the song came about much later in the creation process. I kept hearing it whenever I played the strictly instrumental version, so I tried my best to replicate what I was hearing, with some echo-magic from Fett.

Like several of the songs written in this latter phase of my life, Fall Samba has a soulful, Latin beat, which I’ve said before harks back to my love of the old song, “Mixed-Up Shook-Up Girl,” as performed by Willy (Mink) DeVille. I can’t help it. It’s in my blood. So please feel free to do your best moves with my music in the background; it was entirely intentional.

Gratefully,

Ned Andrew

Fall Samba

Music and Lyrics Copyright 2023, Ned Andrew Solomon

Recorded at: Azalea Studio, Nashville, TN

Recording, Engineering, & Production: Fett

Acoustic & Electric Guitars & Vocals: Ned Andrew Solomon

Bass & Percussion: Fett

Drums: CP Chester

Videography: Bernie Lynette

Executive & Video Production: Gina Lynette

When I was growing up in Harrison, New York, we lived about a mile from the train station. I didn’t sleep well as a kid, anxious about all sorts of things. But nothing calmed my anxiety, at least temporarily, like the quiet night-time sound of the train passing through. I have always considered trains to be these soothing, but powerful marvels of technology.

In 1985 I went to see an intense action movie called Runaway Train. After the engineer has a heart attack, the train barrels down the track at faster and faster speeds.

These two memories infused this instrumental, “Train Time.” Once the song kicks off it’s kinda relentless, especially with Ron Krasinski’s almost-insane drumming, and Fett’s propulsive bass part. When I was writing songs in my 20s and early 30s I wrote several rhythmically driving, just-this-side-of-going-off-the-tracks songs, like “Day of Rest” and “A Step Along the Way,” which some of you may be familiar with from my first CD. But that kind of song hasn’t flowed from wherever, into my brain, and then into my fingers, in a very long time. It was a welcome surprise for me, and I hope you enjoy it too.

Thanks for listening.     

Ned Andrew

Train Time

Music and Lyrics Copyright 2025, Ned Andrew Solomon

Recorded at: Azalea Studio, Nashville, TN

Recording, Engineering, & Production: Fett

Acoustic & Electric Guitars: Ned Andrew Solomon

Bass & Percussion: Fett

Drums: Ron Krasinski

Videography: Bernie Lynette

Executive & Video Production: Gina Lynette

“Give Me a Second Chance” fell into my lap one afternoon; not fully gelled, but close. I find this song interesting, to me, because it begins with a thematic lead section that reappears twice more in the song, but has no rhythmic, chordal playing under it. I think it works; you’ll have to judge for yourself!

If you pick up an album by Stars of the Lid (a personal favorite!), or many other exclusively instrumental acts, you might get the impression that the performers pulled their song titles out of thin air/left field/their tuchus. Here are a few examples: “Dust Breeding,” “Gasfarming;” “The Mouthchew,” – all beautiful songs but definitely some out-there titles, that really don’t represent, to me, the tone or feeling of the song.

Naming instrumentals can be challenging, especially when you’ve recorded an entire album of them. Sometimes for me it’s based on an emotion provoked by the melody, or a recognition of when or where it was originally created, or maybe the driving tempo of the piece. (See: “Train Time, a future LMP release.) For most of my instrumentals I grab the first fully-formed (a judgement call for sure) title that enters my psyche while playing it. In this case, the title, “Give Me a Second Chance,” showed up loud, and quick, and clear. As the song progressed, it absolutely took on a “pleading” quality; you can (I can?) almost hear the husband or wife (substitute any gender or marital status) saying, “Oh, c’mon, Baby. I’ll do better next time!”

Thank you for reading this lengthy explanation. As long as you listen all the way through, click “like” or “subscribe,” or share this video with your own communities, you can call these songs whatever you like.

Give Me a Second Chance

Music and Lyrics Copyright 2024, Ned Andrew Solomon

Recorded at: Azalea Studio, Nashville, TN

Recording, Engineering, & Production: Fett

Acoustic & Electric Guitars: Ned Andrew Solomon

Bass, Organ, & Keyboard: Fett

Drums: RP Chester

Videography: Bernie Lynette

Executive & Video Production: Gina Lynette

“A Thing That Lasts” came together in a very unusual way. I was having some funky fun, playing around with a Lenny Kravitz- inspired rhythm. Once I established a “verse” and a “chorus” (I put these terms in quotation marks because having verses and choruses in my instrumental compositions is usually only obvious to Fett and I), four lyric lines appeared from left field. I wasn’t planning on writing a song with lyrics, and I certainly hadn’t considered writing a chorus about doing something meaningful with your time. As often happens, a concept that surfaced months, and even years ago, suddenly has relevance in my current situation.

I was also inspired by (ok, maybe I stole?) the guitar line in Tom Cochrane’s “Life is a Highway,” a favorite song – and songwriter.

Upon hearing my song, a friend of mine made an interesting observation: it is not essential to make something that lasts, as in for eternity. I couldn’t agree more! I was trying to convey the importance of doing meaningful work. I had my adult children in mind, and people who chase money and material things, and ultimately myself as I concentrate on important things in my remaining days on this earthly plain. The past isn’t worth perseverating over, and the future is completely out of our hands. Being present, in the present, is where I want to spend my time.     

I hope this resonates with you.

Gratefully,

Ned Andrew

A Thing That Lasts

Music and Lyrics Copyright 2024, Ned Andrew Solomon

Recorded at: Azalea Studio, Nashville, TN

Recording, Engineering, & Production: Fett

Acoustic, Electric Guitars, & Vocals: Ned Andrew Solomon

Bass & Keyboard: Fett

Drums: Ron Krasinski

Videography: Bernie Lynette

Executive & Video Production: Gina Lynette

Lyrics:

Why should you think about the future?

Your head is buried in the past

There ain’t no time like the present

To make a thing that lasts

To make a thing that lasts

To make a thing that lasts

To make a thing that lasts

Why should you think about the future?

You’re so embedded in the past

There ain’t no time like the present

To make a thing that lasts

To make a thing that lasts

To make a thing that lasts

To make a thing that lasts

Some of you might think the “Something Old” in the song title refers to me, or maybe even you! But, although that might be true, it actually has a different, very logical meaning. The “something old” refers to a riff that I have been fooling around with since my 20s. The “something new” part refers to all the other stuff I threw in to make this song longer than 36 seconds. I am always surprised when a riff or melody line finds its soulmate after such a long period of time! And, because this song started its creative journey four decades ago, it is one of my proudest accomplishments. In a similar vein to the previously released Now You Tell Me, it has a jazzy feel – and since I am not really a jazz player (certainly not an in-the-moment improviser), “jazzy feel” is as close as I can get. I do, however, have a special place in my heart for the recording, compositions, and performances of Pat Metheny, so I’m certain his influence has touched this one, too. (I also hear a hint of the great Vince Guaraldi here too, because who doesn’t love the Peanuts gang!)

The song also represents my slow but steady evolution as someone who creates and then lays down a lead part. For most of my life I have told people, “I am not a lead player. I am a rhythm guitarist.” Now, trying to catch up all these years later, I continually try to stretch myself to see if I can improve. The recorded result represents hours upon hours of practicing a handful of bars over and over again. Part of it is to convert the part into muscle memory; part of it is to simply help me remember!

I feel blessed that this recording features the amazing Dave Hoffner on piano, and the always-innovative Fett on bass, adding on to his many talents in the engineering, mixing, and producing departments. The remaining layers of acoustic and electric guitars are my contribution.

I hope you enjoy it! Please feel free to give me your impressions, and if you really like it, maybe consider “sharing it” so I can build on my subscriber list?

Thank you!

Ned Andrew

Something Old, Something New

Music Copyright 2024, Ned Andrew Solomon

Recorded at: Azalea Studio, Nashville, TN

Recording, Engineering, & Production: Fett

Acoustic & Electric Guitars: Ned Andrew Solomon

Bass & Percussion: Fett

Piano: Dave Hoffner

Drums: RP Chester

Videography: Bernie Lynette

Executive & Video Production: Gina Lynette

This is a short, upbeat instrumental, to add to my post-lyric songs written in the last two years. The explanation for the title is simple – every chord I play in this tune is made by forming the E chord up and down the fret board. Although there are several different chords in this instrumental, they can all be played with the basic E chord notation.

The strong strumming is reminiscent of the songs I wrote and performed with my previous bands, No Mercy (hard rockin’) and Poetic Justice, and Economy (both soft rockin’). It was a challenge to play this after I temporarily lost the ability to play, but endless practicing finally (I believe) paid off.

Let me know what you think! Thanks for listening.

Gratefully,

Ned Andrew

E All The Time

Music Copyright 2024, Ned Andrew Solomon

Recorded at: Azalea Studio, Nashville, TN

Recording, Engineering, & Production: Fett

Acoustic & Electric Guitars: Ned Andrew Solomon

Bass: Fett

Drums: RP Chester

Videography: Bernie Lynette

Executive & Video Production: Gina Lynette

I know exactly why I wrote this song! That’s very exciting, because most of my songs written in the last two years have been instrumentals, and there’s not much to say about why I named them what I did, other than “those were the words that popped into my head when I was working on this song.” (Although I totally believe in Divine Intervention.) But here’s the lowdown, folks: this is the song about that little (sometimes big) voice in our heads that tells us we can’t do this or that, or aren’t good enough at this or that. The words that come out of that little or big mouth were most likely introduced by someone outside of you (a parent, an older sibling, a grandparent, a teacher, a coach, etc.), but adopted hook, line, and sinker by you (me), turning it into a life-long truth.  

I have had a bevy of those. “I’m not good at sports.” “I can’t dance.” “I don’t play lead guitar.” “I don’t play electric guitar,” and most recently, “I can’t play guitar anymore.” There are elements of truth in all of these statements, because at some point in my life I did suck at these things! But in a couple of cases, the ones I really cared about, I did improve. The truths that hit me at 66 after a dementia diagnosis were pretty insistent, and required six months of doing the same thing, 2-3 hours of every day. But I’ve come a long way, I think. I hope these new releases are indicative of that.

Thanks again to some brilliant, inspired playing and parts by Fett and Ron Krasinski, and my loyal, and talented video production team, Gina and Bernie.

I Said I Couldn’t Do It

Music Copyright 2024, Ned Andrew Solomon

Recorded at: Azalea Studio, Nashville, TN

Recording, Engineering, & Production: Fett

Acoustic & Electric Guitars: Ned Andrew Solomon

Bass & Production: Fett

Drums & Production: Ron Krasinski

Videography: Bernie Lynette

Executive & Video Production: Gina Lynette

I could make this a really short post: I wrote this piece early in the morning. On a Sunday. However, that might not be the whole story. It might not even do the song justice, but that you’ll have to decide for yourselves. Unless you are a dedicated night owl and completely adverse to rising up before the “crack of noon”* (*one of Tom Wait’s brilliantisms), you have likely experienced the joy and serenity of being present, at one with the morning, before any of the other members of the household awaken. It’s made especially lovely when one of our four kittens nestles into my lap, or on the ottoman next to me. (If I’m playing my guitar, they are typically an appreciative audience.)

The quiet almost forces introspection, and, these days, I’m more likely to follow a musical mental journey with notes and chords rather than one that involves words or sentences. So on this particular early Sunday morning I began reaching back into my musical vocabulary to some of my recently-to-Nashville picked songs like “You Don’t Know” or “Lights of Home.” I hadn’t started a composition picking rather than strumming in quite a while, but it was calling to me.

I was starting to enjoy the flow of the main theme, especially the repetitive return to the A minor. Then, landing back on the C major with a strum that led me to a bridge which developed a Latin feel, augmented by Fett’s bass part and Dave’s piano part. (A seminal song for me is “Mixed Up, Shook Up Girl” recorded by Mink DeVille in 1977, a remake of a song from 1964 by Patty and the Emblems. That bridge made me feel the way I felt listening to Mink’s rendition, over and over again.) My next inspiration was to end the song with a picked layering of harmony guitar lines. I think it works, but you’ll have to let me know!

Thanks for listening. I hope you dance to this. If you do, please post a video!  

Sunday, Early

Music Copyright 2024, Ned Andrew Solomon

Recorded at: Azalea Studio, Nashville, TN

Recording, Engineering, & Production: Fett

Acoustic & Electric Guitars: Ned Andrew Solomon

Piano: Dave Hoffner

Drums: RP Chester

Videography: Bernie Lynette

Executive & Video Production: Gina Lynette

In July, 2024, Gina and I traveled to Minnesota for the first time. The occasion was a special event called The Everything Conference, and it drew artistic and creative people – who happen to be multi-potentialites – from around the world. The attendees were also the content presenters, providing unique perspectives and implementable strategies for a large variety of topics (close to everything!), as varied as the personalities and backgrounds of the folks who attended. It was a sweet week, and many new friends were made. (A few of them will likely read this blog!)

I had brought my Fender AcoustaSonic Telecaster and a small Fender travel amp that we’d purchased on the way out of Nashville with me. With my cognitive challenges, I have to reteach myself parts of my own songs if I haven’t practiced in two days, let alone a week. So Gina insisted I bring a guitar but refused to schlep my larger amp.

The first evening in Minneapolis I began messing around with the major melodic theme of this song, and then diligently worked on it every day we were in that fine and welcoming town. By the end of the week it told a whole story, as in, it had a beginning, a middle, and an end. It was also at that point the longest lead I’d ever composed – and recorded – after telling myself for over 50 years that I was not a lead guitarist. (The stories we tell ourselves for decades because somebody said something critical, but seminal, at some time can be so brutal and inhibiting.)

I’m really pleased with how this turned out. I’m proud of that lead, folks. Big kudos to Fett and Ron for coming up with some wonderful parts, and to Bernie and Gina for transforming these songs into movies.

I hope this song resonates with you, and maybe reminds you of a place that felt like home, even for a short while. If it does, please leave a comment.

Thanks for listening!

Ned Andrew

Minnesota Muse

Music copyright 2024, Ned Andrew Solomon

Recorded at: Azalea Studios, Nashville, TN

‬Recording, Engineering, & Production: Fett

Acoustic & Electric Guitars: Ned Andrew Solomon

Bass & Percussion: Fett

Drums: Ron Krazinski

Videography: Bernie Lynette

Executive & Video Production: Gina Lynette