

CREDITS
Vocals: Tom C. Reed
Keyboards: Andy Roberts (The Good Doctor)
Guitars: Yang Han
Bass: John Gingerich
Drums and Percussion: Chris Loser
Saxes and Flute: Dave Shultz
Trombone: Dominic Mascaro
Trumpet: Garrett Faccone
Horn Arrangement by: Andy Roberts
Produced by: Tom C. Reed, Andy Roberts, & Mike Furst
Recorded by: Mike Furst
Recorded at: TriForce Audio, Lancaster, PA
Mixed by: Dale Penner
Mixed at: Paradise Studios, Winnipeg, Canada

WHAT WAS THE PROCESS OF WRITING,
"FROM SINGLE TO DINGLE"?
This one was different than the others. Have you ever been to Ireland? It’s an enchanted place, just like you’ve always heard! My wife Sue and I went there on our first big trip together. One day, we noticed a tower on a high hill overlooking Dingle Bay in County Kerry, Western Ireland. From what we could tell, it was a castle ruin. We rode our rented bikes to the bottom of the high hill and started a long walk up, through a sheep pasture, doing our best to avoid their droppings.
As we got to the top of the hill, the wind was blowing steadily and nearing the structure, we discovered that it was only an old stone tower. There was no castle ruin. Once we caught our breath, we saw a steep decline that led to crashing waves below. There were sea birds and butterflies flying above the deep green grass, waving in the gentle but unrelenting wind. Flowers were blooming and when we turned around to see the direction we came from, we looked further off in the distance and saw the Bay in the Village of Dingle in the distance. Our hearts seemed to skip a bit and it was a special moment. This tune came to me as we were preparing our wedding. I was thinking of writing an “Irish song” and the day that we spent on that hilltop was the image that sparked the piece.
My idea of an “Irish song” meant that it was written for instruments that were often heard in music from Ireland. I also thought the song should be in ¾ time. In bringing it to life, I cheated my vision a little and I used more modern, amplified instruments and the time signature morphed into 6/8. Still, the Irish spirit emerged through the violin, flute, guitar, and piano. The 6/8 time retains the “Irish rhythm” of the piece. I'm so happy with the way it turned out!
Again, there is a fair amount of vertical movement in the melody but it's very pleasant sound and memorable. It helps paint the picture of “a magical scene”. It’s in the key of F but I couldn’t resist using accidentals. I’m a very intuitive singer and songwriter. When a melody surfaces, I follow where it leads, which can sometimes require adjustments. Perhaps I need to make small changes to the melody or chord progression. This one came easily, as did the lyrics. It has a simple structure that fits the piece.







