“I got no regret……..I let my heart sing”, from “Tied to the Microphone” by Kodac Harrison
A year and a half shy of twenty years ago, I tumbled out of a moving van and found myself facing 1 in 100 odds for survival and even less for full recovery. After 6 and ½ hours of brain surgery and five days on life support (see Rubber and Canvas), I awoke to find no real damage done. That doesn’t mean I hadn’t gone through a profound life change. It could be said that trying to be a “rock star” almost killed me. Afterwards, I reflected on my life and remembered why I wanted to be a musician, an artist, and it wasn’t because I wanted to be a rock star. It’s not that I had or have a problem with fame and fortune, but those were not my motivations. I wanted to live the life of an artist with a minimum of compromise; I wanted to have the freedom to improvise. It seemed that I had lost track of my original motivations. Taking stock of my life, I decided I would rededicate myself to pursuing my life as an artist. I wanted to try to reach my artistic potential with as little compromise as possible. With that in mind, I started Corner Records and released my first CD in 1991.
Dreams and Nightmares is my 7th studio CD. I have also released a live CD and a compilation (CD), as well as a double cassette of live material in 1994. These recordings go with the three albums and one EP I recorded back in the 80s. After surviving my near death experience, I pretty much took total control of my career in regards to being my own booking agent, publicist, manager, record company, etc. Sure I’ve had help along the way, but I’ve been pretty much a one man organization. With that in mind, I realized there were limitations in what I could hope to achieve. But as Bruce Hampton says, “it’s okay to fail if you are reaching for the impossible.” I love that quote for obvious reasons. Failure is a relative term. I have learned to survive and in the process I have tried to create optimal results with limited resources and budgets. I believe if you look at the totality of my career, and especially my last few recordings, you would have to say I have put together a series of recordings that are original, unique, viable, if not trendy. I believe my output is impressive because I have tried to resist compromise. The challenge is to be yourself, because that is the most original, best you can be.
I feel I have been very successful in my attempt to live the life of an artist. I have made 6 tours of Europe (see Edith’s Kitchen) and traveled all over the USA (see Living on the Fault Line). While in Europe in October, 2001, I started writing We Fly. I have been at this for over 30 years and that in itself is success. Of course I have thought of quitting at times and I have to encourage myself to forge ahead. I starting writing Run Rudy Run in 2002 as an encouragement to a long-time friend, who died this year, (I dedicated the CD to him) but it was also an encouragement to myself. I have to believe my quest has been worth it (see Well Worth the Wait). Maybe I am pursuing the impossible (see Calling Margo’s Moon) but I am continually receiving the rewards of the pursuit. Sure there have been prices that I have paid and lessons that I’ve learned (see Another Song for You). Some of them are documented on this CD. Since the beginning I’ve been attracted to music and writing as an outlet for my emotions and as a way of dealing with my own feelings (see Dear Father). I often write myself out of depression (see Free Man), but when it comes down to it we are all seeking love and peace of mind (see Edith’s Kitchen). My pursuit of the possibly unreachable goal (the Moon) is the “life in my living.” I appreciate all those who have assisted me in my quest. I won’t stop now.
“I've always defined success as just 'being
able to do what you enjoy
doing.' And I hope to continue to be successful in that way. You
I feel so fortunate that my audience has supported me all these
... (but) I've always thought (as an artist) that I don't want
everybody to like me. I think it's more important that you follow
own heart, your own inclination, and hope there's someone who wants
listen. And even if no one does listen, you can still feel good
yourself. If you pretend to be someone else, no telling what
you'll end up in.” Lyle Lovette (I couldn’t have said it
Kodac's CDs Static
on the Radio, Glad
to be Live!, and The Heart of the
are out of print, but you can e-mail Kodac for custom versions.
Released on September 14th, 2007
Produced by Kodac Harrison
I've been listening to Dreams and Nightmares regularly for
a couple of weeks now. The title is appropo. Lots of deep songs, some
dark and some light. (That first combo of “Rubber and Canvas” going into
“Run Rudy Run” is an emotional gut punch!) I still love your mixture of
spoken word and song, just like on your Portraits and Passages...
I really like the middle part of the CD...”Edith's Kitchen”, “Georgia Sunshine”, “Free Man” and “Well Worth the Wait”. They also have a "classic Kodac" sound like they're off Glad to be Live!, which contrasts nicely with the newer style stuff like “Rubber and Canvas”, “Run Rudy Run” and “Dear Father”.
All that said, my favorite is "We Fly". Great lyrics and performance. The harmonies with Kristin Markiton are stunning.
Released in April 19th 2003
Produced by Kodac Harrison & Dan Coy
Harrison: the Atlanta poet-singer guitarist celebrates
the release of his new album, "Portraits and
Passages." His detailed, evocative wordsmithing and
gruff, emotive voice are still at full power on this
worthy follow-up to his fine 1999 album "In search
of the Blue Groove."
Shane Harrison, The Atlanta Journal/Constitution 4/18/03
many of his peers, longtime veterans of the scene, have
given up or stay content to go through the same familiar
motions they always have, Kodac Harrison keeps finding
new, unconventional avenues to get his art across. He has
a new disc out, "Portraits and Passages." It's
a mix of spoken word pieces and songs, and probably his
best yet. Not just 'cause he's getting better at adding
new twists to his early '70s Van Morrison/bar band soul
presentation, or his plainspoken delivery, or the simple
details he sticks in his beat-poetry lyrics, but because
the material just hits me a little more personally this
Jeff Clark, Stomp and Stammer, May 2003
work is often compared to Tom Waits for its smokey,
late-night vibe, this is a bit of an oversimplification. In
fact in many ways, this record (his first since 1999's In
Search of the Blue Groove,
and perhaps his most impressive to date), functions well
as a sort of career overview for the songwriter. All of
his guises are present in its poems and songs.
Jim Reed, Connect Savannah, 5/1/03
Released in December 2000
This is a limited edition live recording made with Kodac's bands "Luckie Street" and "Drive By Soul"
Released on November 14th, 1999
Produced by Edd Miller for CMO Productions
[Savannah] CD release party for Harrison's newest - and
by far best - CD, In Search
of the Blue Groove. Long
influenced by the primarily verbal Tom Waits/Bob Dylan
school of music, with "Blue Groove" Harrison
makes his debut as a full-fledged orchestrator and
musician. While his attention to verbal detail is still
as sharp as ever. "Blue Groove" - as it's title
hints - is his first true rock 'n roll recording."
[he's not award of the 80's albums]
Jim Morekis Creative Loafing, Savannah, Ga., Dec. 17, 1999
of the Blue Groove combines
spoken word pieces from the gruff-voiced poet alongside
soulful songs that suggest a meeting of Van Morrison and
early Tom Waits.
Jeff Clark Stomp and Stammer, Atlanta, Ga. Nov. 1999
a less weird Tom Waits or a more emotive Leonard
Malcolm X Abram, The Macon Telegraph, Feb. 11, 2000
spoken word pieces...his emotionally expressive, gravely
voice grabs hold on soliloquies that are nothing less
Hal Horowitz, Atlanta Press, Nov. 14, 1999
realm between words and music, he's found a gold mine,
and from it, Harrison has extracted his latest CD, In
Search of the Blue Groove."
Regan Kelly, Creative Loafing, Atlanta, Ga. 11/13/99
In addition to ordering this CD below, you can go to http://www.pastestore.com/product/1278 You can use a credit card at this site.
HARD TO STOP A TRAIN (CD only)
released in November 1997 on Corner Records produced by Kodac Harrison, featuring Amy Lee (of Jimmy Buffett's Band) on sax and Daniel Brown on violin.
"Kodac Harrison's lyric's are literature, are poetry. The story-teller's songs and words create a poetic atmosphere and tell of a world which is often filled with pain, but his tales always reveal a glimpse of light, a ray of hope."
Udo Hinz, Goettinger Tageblatt Goettinger, Germany
"It's hard to listen to this album and not be drawn into it. Just on the basis of this release, Harrison is one of Atlanta's most creative and inspiring musicians."
Hal Horowitz, The Atlanta Press
"As for us, we've been listening non-stop to his new disc. Harrison's intimate street poetry mixes with his hypnotic backing guitar for a ceiling to floor... soul wallow. Get it now!"
"Hip Pick of the Week" Creative Loafing, Savannah, Ga.