The new installment of my “Songs From the Ballroom” is a song called “However Long.” I wrote the first verse and the chorus sometime in the early 2000’s, sang it into my memo device, and forgot all about it for years.

I used to keep a “businessperson memo device” in my purse. I’m sure most of these things are used to record statements like: “Note to self: Buy more gold!” But I used mine for music, to help me remember scraps of song ideas that came to me at odd times of the day. I’d sing song ideas into it while walking around, running errands, doing the dishes, driving (I know – dangerous,) having conversations (I know – rude,) recording in the studio, while writing.

Natalie Maines and I did a lot of songwriting together with her fellow Dixie Chicks on their “Taking the Long Way” album. Recently we got together for a recording session: she sang harmonies on a couple of songs on my album-in-progress. Then a week or so later, Natalie surprised me by e-mailing me a rough mix of this version of my song “Free Life.” I love what she and her producer Ben Harper did with the song. (I’m a Ben fan, too – it’s exciting for me to hear his voice peeking through on the chorus harmonies.)

Back in the early days of my songwriting, I used to think a lot about John Hiatt. I had admired him as a recording artist (Bring the Family has a lot of great songs on it) who also had a life as a songwriter for others – his “Sure as I’m Sitting Here” was covered by Three Dog Night, for one. And the songs he recorded for his own albums got covered by other artists, too, which seemed really cool to me (“Have a Little Faith in Me” from Bring the Family, for one.)

But generally that’s not the path my songwriting has taken: if I’m writing on an artist’s record, it’s usually a fresh, from-scratch song written with the artist. So it’s especially sweet when an artist I admire, like Natalie, covers a song of mine that I’ve already recorded. It makes me feel like John Hiatt.

The next installation of my “Songs From the Ballroom” series is a demo of a song called “Patience.” I recorded it during a solitary six-week period over New Years 2010 in Minneapolis. During that time, I sequestered myself in my third-floor recording space – “the ballroom” – and did nothing but write songs and make super-simple demos of them. In 2009, I had been doing a lot of co-writing and producing for other people’s records, and by the end of the year I found myself with a growing urge to write a lot of songs, alone. I told my family that I was going to disappear upstairs for a while, and write a song a day during December and January. In the end, the pace was more like a song every two days, but it felt good and I also ended up making simple demos of other songs I’d written during the year.

One of these is “Patience.” That’s me on acoustic guitar, pump organ, and bells, all alone, doing my thing. Every time I hear this demo I’m reminded of the solitude and the silence of those wintery weeks in the ballroom. Anyone can receive this track for free for the next couple of weeks by joining my emailing list (Please see link at lower left to sign up) I hope you enjoy it.

The first song from my “Songs From The Ballroom” series is a live version of “I Want You” from the Cedar Cultural Center in Minneapolis, recorded in 2007. I wrote it with Rachael Yamagata for her first full-length solo album “Happenstance.” I always loved the song and its weird Roaring 20’s vibe and unusual (for me) chords. Anyone can receive this track for free for the next couple of weeks by joining my emailing list (Please see link at lower left tosign up) I hope you enjoy it.

Friends & Fans – I’m pleased to announce that this Monday, March 25th, I will be launching “Songs From The Ballroom”, a series of free mp3’s for everyone on my e-mailing list. (Please see link at lower left to sign up). I’ve lined up unreleased master recordings, demos from all phases of my musical life, tasty and interesting covers, and some cool exclusive video as well. The Ballroom is my studio, writing and collaborating space and creative zone, and I’d love to welcome you there with these free songs for the next few months.

Update on Dan and Matt Wilson live Pantages/BLB album project. I’m either suffering badly from “the Ikea effect” (we love those little tables and bookshelves way more because we put them together ourselves with the little screws and pegs), or this is turning out to be a really special document. I’m in love with a lot of the versions of the songs. Here’s what’s happened so far.

The song sequence. Both shows had the same setlist, except for the encores. My hope was that between the two shows at the Byrant Lake Bowl and the Pantages, we’d have one great version of every song we did. I was thinking we would almost end up alternating between the two shows on the download sequence – a song from the BLB, a couple from the Pantages, etc etc. But in fact, almost all of the versions from the Pantages were better. So it’s going to be mostly Pantages versions sprinkled with the occasional BLB version, all in the same order as the set list of the shows.

I’ve been spending many an afternoon in a studio down in Venice, CA, with engineer/producer Ryan Hewitt, who is mixing my album. Or, actually, unless I have some wild notion of changing something down the line (unheard of!), he has mixed it. It’s done. I’m very excited about the results. You’ve heard Ryan’s work if you’ve listened to either of the last two Avett Brothers albums, “I and Love and You,” and “The Carpenter,” which he recorded and mixed under the guidance of producer Rick Rubin; or if you’ve heard “Give Up the Ghost” by Brandi Carlile, or “I’m With You” and “Stadium Arcadium” by the Red Hot Chili Peppers. No, he hasn’t made me sound like the Chili Peppers, thank goodness. But he has made my album sound really, really good. Moving forward, however slowly!