Live In Tangiers Credits

CD:	1998	 Razor & Tie CD # 82836 - 2	 UPC# 7 - 93018 - 28362 - 5

	2014	 Line Level Music LL 216	 UPC # 0 - 61772 - 399891 - 2



Disc 1

01. Midwest Midnight (MS)

02. I'll Never Need Anyone More (Than I Need You Tonight) (MS)

03. After Hollywood (MS)

04. My Town (MS)

05. Spanish Nights (MS)

06. Working Again (MS)

07. Rosewood Bitters (MS)

08. Time on My Hands (MS)

09. Everything (MS & BP)

10. All I Ever Wanted (MS)

11. Dancing In The Dark (MS)

12. Somewhere Over Paris (MS)

13. Grownup Love Song (MS & BP)

14. Lover (MS)

15. In Between The Lines (MS)


Disc 2

01. In The Heartland (MS)

02. Misery Loves Company (MS)

03. Help! (Cover)

04. Blue Sky Song (Bill Deasy)

05. Let's Get The Show On The Road (MS)

06. Beautiful Lies (MS & BP)

07. What's Another Heart

08. Waltzing's for Dreamers (Cover)

09. Will You Still Love Me Tomorrow (Cover)

10. Since You've Been Gone (MS)

11. Sendaway Underwear (MS)

12. Falling In Love Again (MS & BP)

13. Terms of Surrender (MS)

14. Somewhere In The Night (MS & BP)

15. My Back Pages/Goin' Back (Cover)





(Page 1)

The Plavers / Le Bande:

MICHAEL STANLEY				JENNIFER LEE
Vocals & Acoustic Guitar		Vocals & Percussion

BOB PELANDER				MARC LEE SHANNON         
Piano & Vocals				Acoustic & Electric Guitars
                         		Dobro, Mandolin & Sauce

ED CANER				RODNEY PSYKA
Violin, Viola & Periodic Chart		Vocals & Percussion

EROC SOSINSKI				TOMMY DOBECK
Bass & Vocals				Percussion

(Page 2)

     Thc first time heard `Rosewood Bitters,"' I knew 1 was listening to something special. This was a song that,
as a disc jockey, I knew I would play for a long, long time... But just what the hell was a Rosewood
Bitter` anyway? It wasn t long before I was introduced to Michael Stanley and I could ask him myself. He just
smiled and lit a cigarette. I sat in his home and he played me his music. There was "Let's Get the Show On the
Road", an FM radio staple if there ever was. "Dancing in the Dark," such a tender love song that it's almost
embarrassing to listen to it by yourself, and among a host of other great tunes, an, unbelieveable version of John
Lennon's "Help" (which John himself said was one of his favorite versions)

     I listened through those nights and realized that so many ot these songs were special and even though I
consistently kicked his ass at table hockey, Michael and I became friends. For a few years I even became his
manager, and through it all we remained close. The music and the records kept coming and there were count-
less other nights filled with great songs. Ballads like "'Beautiful Lies" and "Everything" which, along with sev-
eral other tunes included here, Michael wrote with his long-time musical partner and keyboardist extraordi-
naire, Bob Pelander. There were the blue-collar anthems like,  "Working Again" and ""In the Heartland," stories
of our hometown and the people we grew up with; but like most of his tunes, they could be worn with ease by
just about anyone. And then there's Michael's right-on-the-money take on the music industry, "Midwest
Midnight", in which the cocky bitterness of the 1976 version has now been replaced by a sadder but wiser
acceptance of a life which in the rock 'n'  roll.

     Years on the road changed many of the songs as they grew and matured with each performance. New
tunes replaced many of the older ones, but evolution would often bring them back in new forms, and many of
them became special all over again because ot the memories attached. So now comes Live in Tangiers; the dust
of past expectations has been removed, the older tunes are ready for another listen and the new ones are ready
to be explored.

     In a time when, for many of us, the lack of great new songs is downright scary, the music of Michael
Stanley is more special than ever. He sings of love lost and found, the frequented haunts that made the north
coast a special place to come of age as a rock 'n' roller, and even about everyone's favorite mail-order catalog

     As a long-time fan, it was a unique experience to listen to this album; with so many of the songs it was
almost as if I was hearing them again for the first time. Some have been stripped to therr bare bones, probably
just the way they first sounded in whatever motel room or tour bus that they were written in. ""My Town," an
anthem that, in its electric version, would shout and stomp with pride, has been transtormed into a song of quiet
passion and respect. "Spanish Nights," with Jennifer Lee's harmonies, now delivers the pure eroticism of the
lyric. And "Lover," well, I never thought there was a better way to hear it than the original until I heard this
chilling, haunted version. Michael sings, "thank god for the man who put the white lines on the highway" and
we know exactly what he means because we've all been there. And now he's taking us on a ride down another
musical highway, and it's a ride that was well worth the wait.

     But I never did find out what a rosewood bitter was.


David Spero
June 1998


(Page 3)

			You know, you can only wait around
			so long for those damn. MTV
			'Unplugged' people to call!

     And then, well, you. Just have to take matters into your own hands! Acoustic tunes have always been
a part of the albums and concerts, and over ther years, many have asked as to if and when I could release 
some live acoustic stuff. and Well, "careful what you wish for", cause you squeaky wheels are about to get
greased!  These performances were taken from a number of shows that were done over the past year and a
half.  The majority are from a series of four shows at the Tangiers in Akron in March 1997 and a show to
kick off the Cleveland exhibit at the Rock & Roll Hall of Fame and Museum in January 1997.  Some
other are from shows in St. Louis, Missouri, Sandusky, Youngstown and Cleveland Ohio.

     It was thirty years ago that I was funally able to walk into DiFiore's Music on Lorain Avenue with
enough money to buy my first really good guitar.  She was a beautiful Martin D-28 that had been lusting
after forever. And although I've had ongoing affairs with several great Telecasters and a few brief flings
with Les Pauls, Strats, and the occasional Rickenbacker 12-string, she was always the one I returned to
when I came home. The first song we ever wrote together had a line that went : "you know songs are just
like ladies, can't forget them when you're through... they're always on your mind".  Now I'm sure at the 
time (having not had a great deal of experience with either songs or ladies). I just thought it was a decent
line that filled what I imagined were the appropriate requirements of meter and rhyme, but with the
blessed wisdom of hindsight that just might have been one of the more personally insightful lines I've
ever written, and that may just be the point of all this. Many of these songs have been with me for quite
some time and like the writer (or writers) have gone through any number of changes to arrive at this
pont, hopefully a little wiser for the journey. Now some of these songs may have headed down roads.that
raise some questions for you, the listener. Well, just remember, you can' t tell someone how to raise their
kids! It's almost impossible to assemble a project of this nature and not spend a certamn amount of time
reflecting on the past. But, as the song says, "all you get to keep are the memories, and you gotta make
the good ones last!" I truly believe that, and I thank you for the memories you have afforded me, So what
have we got here? Some old stuff, some new stuff, some really old stuff, and some tunes by some of my
favorite songwniters. Make of them what you will.

Michael


(Page 9)

			Visas
Entries / Entrées			Departures /  Sorties

Produced by Michael Stanley & Bob Pelander for MSG Productions, Inc.
Live recording engineered by Pan Montecalvo & Michael Edwards
Mixed by Michael Stanley & Bob Pelander at The Keeping Room, Cleveland, Ohio
Mastered by David Yost al Masterpiece

Art Direction: David Richman & Michael Stanley
Project Coordinations Mike Ragogna
Michael Stanley photos by Sheri Kramer

Mr. Everything: Tommy Stazzone
Concert sound: Dan Montecalvo
Concert lighting: Joe Woronka
All microphones courtesy of Audio Technica.


Special thanks to:
Cliff & Craig for letting me back on the bus, Mike Belkin, Amy Dawson and everyone at Belkin
Productions, Jim Henke & Bob Santelli at the Rock & Roll Hall of Fame for their hospitality,
David Spero, Buzz Goodwin, Dave Hintz, Sheri Kramer & the Kramer Family, Michael Edwards,
Jonah Koslen, Derek St: Helens for the 2nd violin on "Since You've Been Gone" & "All I Ever
Wanted," Kevin Raleigh for turning me on to the Gathering Field, Bill Deasy for letting me mess with
a perfect tune, John Tevis, Kal Mullins, Dave 'Tate' Stephenson and Michael Purkisher for the
emergency assistance, Mia the studio dog for keeping me company during the mix
and Mac for putting up with the hours.


Very special thanks to Bob, Jennifer, Marc Lee, Rodney, Eroc, Ed and Tommy
I can't thank you enough for your energy, enthusiasm, talent and friendship!
This album is dedicated to "Bob from California"