Cody Weathers

Music so hip you'll need a bigger belt


The Stunt Beatles: 2x3<4 (studio, 2000)






$10 for CD, available by special order

The Songs

Round The Bendª/2x3<4°/Cocoon*/Never Been To Spain/Fire&Rain/Rocky Racoon-Over My Head/On A Shelf°/To Make you Feel My Love/Separate Ways*/The Rage°/Oui, Je Sais*/Wonderful Tonight/Speed°/Fall On Me*/Some Kind of Wonderful/Dream Meadow°/Blue As The Moon*

All songs marked ° by Hal Mortensen, ©2000, all rights reserved
All songs marked * by Cody Weathers, ©2000, all rights reserved
Round The Bendª by Hal Mortensen, Jerry Green, and Ronnie ©2000, all rights reserved


Pilfered Songs:

Never Been To Spain by Hoyt Axton
Fire & Rain by James Taylor
Rocky Racoon by Lennon/McCartney
Over My Head by King's X
To Make You Feel My Love by Bob Dylan
Wonderful Tonight by Eric Clapton
Some Kind of Wonderful by Grand Funk Railroad

Additional MP3 Singles:

Don't Hate the Players: 


Cody Weathers: djembe/percussion, vocals, keyboards, add'l guitar , add'l bass 

Larry Elwood: acoustic upright bass

Hal Mortensen: vocals, guitar




Liner Notes



2x3<4 is intended to be taken aurally.  Remove disc from case and place --reflective side down-- into a physician-approved dosage-administration device such as a CD player.  When taken as directed, relieves symptoms of Stunt Beatles Fever (SBF), a chronic condition wherein an initial viral attack upsets the delicate balance of doldramine within the central nervous system, leading to irritability, restlessness, insomnia, and incessant humming. This album works by binding to the doldramine receptor sites which are damaged by the SBF virus. This amazing process inhibits the doldrification of the bloodstream and allows the body's natural antibodies, funnites A & B, to gain momentary control.  Should be taken once daily.  Continued doldrification may indicate more advanced SBF.  In this case, please increase the volume of this medication.  It is not necessary to consult a physician prior to cranking it.  Not intended for use as a suppository.



Round The Bend by Hal Mortensen, Jerry Green, and Ronnie

He rode alone, high on a mountain. She rode alone, down in the valley. It's been a long time ago --she was a rodeo queen and he fought the broncos. And surprise! did they know, as their horses rode alone right round the bend. They sat down and had time to drink. Together they sat down and had time to think. "It's been a long time, Isabella. Thought by now, you'd have had yourself a fella." She said, "Well now, my friend, I will love you 'til the end, that's in the stars. Well now, my friend, I will love you 'til the end, I'll be your sun." It's been almost 15 years since he's seen her eyes. Oh, he longed to hold her once, just to see her heart, to make a brand new start. Well, by now, this night had to end. So together they rode out round the bend. Horse and horse, a woman and a man. Together they rode, right round the bend. And the stars led their way, and their love is here to stay, here round the bend.


2x3<4 by Hal Mortensen

Waitin' at the station, watchin trains go by, remembering us together, oh it makes me sigh! The pain's deep inside me, to the point I could die.No longer can hide it, it's coming outside. Chorus: Oh I've been, too long, too late, too short for fate to put me in the arms of the one I love! Yes I've been too long, too late, too short for fate to put me in the arms of the one I love! Wonder what you're thinking, oh I wonder if you care! Was it all one sided, did we ever share? Or was I so blinded, I just couldn't see, that there never was two dear, just foolish old me Chorus He's yelling all aboard now, I'm taking that train, the one that is leaving all of this pain. Way over yonder, where I can be free just to let go of you girl, and take care of me! Chorus. Ain't gonna be too long, aint gonna be too late, I know that I'm short but I know that fate will put me in the arms of the one I love, it'll put me in the arms of the one I love, oh it'll put me in the arms...... of the one I love!!!


Cocoon by Cody Weathers

Lift up your eyes now, Jodi. Don't tell me what they've done. I'm sorry the world's as tart as that. Shouldn't there be some kind of cocoon to take your pain away? I'll help you inside now Jodi, but I can't give you peace. I'm sorry that that takes so much time. Shouldn't there be some kind of cocoon to take your pain away. Chorus: Step inside and find your old cocoon on the doll shelf in your old bedroom. Find it dusty --fragile to the touch. Realize you can't make it your crutch. Butterflies must always carry on. You can't crawl back; you've been out here too long. Please, Jodi, cry. If you hold this coal, it won't cool down. Please, Jodi, fly. You must trust your wings or fall and drown. Look at the lights now, Jodi. Herein, you will be safe. Stay with a crowd 'til the dawning of day. Try to not think of the kind of cocoon that hides your face away. Look at the sun now, Jodi. Know that you can fall in love. Know that this love shall be returned. you can find love outside a cocoon and flutter down south again. Chorus.

Never Been to Spain by Hoyt Axton

Fire & Rain by James Taylor

Rocky Racoon by Lennon/McCartney

Over My Head by King's X


On A Shelf by Hal Mortensen

What stands between you and me, besides this old wooden bar? Well all I can see from here is a beer or two and that half smoked cigar! When I first saw you standing there, I said to myself, this one she's too good to be true! She won't be mine, she belongs on a shelf! What stands between you and me, besides this old wooden bar. Well now I can see quite clear, there's more to it, than this half smoked cigar! When I first saw you standing there,well I said to myself, this one belongs to someone else, she can't be mine, she belongs on her shelf!!

To Make You Feel My Love by Bob Dylan


Separate Ways by Cody Weathers

She was fast and sleek, dancing cheek-to-cheek. I don't know why I loved her --I knew she would leave. Now everyone's telling me I never should've met her. Like cyanide, I should've known better. Chorus: Baby, why did you lead me astray? You kept me in the dark, knowing you'd leave anyway. Baby, you know that I want you to stay, but you thought that we should go our separate ways. Well the light was red an awfully long time, when it finally turned green, I thought she was mine. My senses all told me she'd shed her skin. Shark-infested waters I'd jump right in. Chorus. I was saturated with love, sweet love. Thought she would fit me like fingers in glove. Now all my money's wasted and my time's all spent, but we had a good time as far as we went. Chorus. Now that she's gone, I've got to find me a date. Take her out early and bring her home late. Now everyone tells me I'm a crazy dog, but falling in love's just like falling off a log.


The Rage by Hal Mortensen

I can see her standing there, all tan in her white cotton dress. The wind is whispering quietly, her robin hair to caress. I just can't help myself, I'm lost in her control. This rage inside me never sleeps. Ah, the girl, she's in my soul. Deep blue eyes forever on any given day. Mr. Crosby, tell me what did you mean, now what did you say about those.... Guinevere and her green eyes, tell me what did you say? As I look deep into her eyes, it all comes clear to me. This rage inside me never sleeps, I'm lost in her control. I just can't help myself, ah the girl, she's in my soul. Here I sit, my head in my hands, wondering where did time go? It's been twenty years and then some, as if it were standing still, is it so? Now I've found my true soulmate --this girl she's never gonna leave. Our ups and downs are only there a tattered weave to weave. This rage inside me never sleeps, I'm lost in her control. I just can't help myself, ah the girl, she's in my soul.


Oui, Je Sais by Cody Weathers

Sophie's in the river and the river floods the trees. Sophie's in the water --Sophie's in it past her knees. They say she's like her mama; in her day, she was a queen. But Sophie has the fairest face I think I've ever seen. Chorus: Oui, je sais ton coeur n'est pas le coeur enfant, you are no babe upon your lonely mama's knee. Mais oui, je sais ton coeur est fait pour seulement moi. Your heart was made for only, made for only me. Sophie's in the kitchen dark, Sophie's in my bed, Sophie's in my wooden heart, and Sophie's in my head. They say to watch her sleeping is to wash your sorrows clean, but Sophie has the saddest face I think I've ever seen. Chorus. Frère Jacques.... Lord bless us and this ambulance and steer us to our dreams. Her simple, honest circumstance I pray that I might keep. They say that none can love her, but I don't know what they mean. Sophie is the only one, the only one for me. Yes, I know your heart is not that of a child, you are no babe upon your lonely mama's knee. But yes, I know your heart was forged to fit my hand and it belongs to only, always only me.


Wonderful Tonight by Eric Clapton

Speed by Hal Mortensen

When I was 12 years old I was drivin' my first car, I left a cloud of dust, but I didn't get too far before those lights came on, swirlin' turnin' red. That smokey looked at me and this is what he said: Chorus: Don't stop now speed will set you free! Don't waste your time sittin' here with me! Put your head on straight and get down that road. Waitin' here will just increase your load! When I was just 14 hey I stole my first kiss, I thought she was the one, I didn't make her list! I found myself behind the wheel in that first car, I put the pedal down and started peelin' tar.... Chorus When I was 16 years well I had my first beer, I thought it was the end, I wasn't even near! As I look back on those days what I thought then was fun, It scares me half to death, makes me want to turn and run!


Fall On Me by Cody Weathers

If trust is like blood, then by liter by liter you save me when solitude stings me and nobody knows what to say. You are the beacon that straightens me through the deep water --shows me to shore in the gloaming new light of the day. Chorus: Fall on me, fall on me, fall on me, I'll catch you if you fall. As friendship comes kinship and deeper to deeper I know you. As water to blood as you come to understand me. The indigo rose is blue as the deepest dead ocean. The wolf in the moon is red as the hurricane sea. Chorus. Howl the wind low, rise the waves high --your port come under siege. There in the swell rides the waves I, and beckon come with me. Chorus.

Some Kind of Wonderful by Grand Funk Railroad


Dream Meadow by Hal Mortensen

Sometimes I find myself dreaming --I catch myself wandering away out of this hustle and bustle. This crazy life we face each day. In my mind's eye, I am travelling to a meadow far out of sight. This is a place I can go to for peace of mind, day or night. Chorus: All in a dream, all in a dream. Just close your eyes, you can go there. Far away from seeing, seeing my meadow. Anytime, any way anywhere. Blue skies and white clouds are rolling high on a gentle breeze as I lay with hands clasped behind me, listening to the whispering evergreen trees. Them tall peaks are snow-capped and towering, the rocks cry "your majesty." Birds soaring free in the canyons, gliding so high --effortlessly. Chorus. Come with me, come to my meadow. Dreaming, dream in my meadow.

Blue As The Moon by Cody Weathers

Chorus: Red is the moment I'm blue as the moon. Me, me, me, what's wrong with me? Where's my hidden head? It is I, the fox, and you, the wary lamb. You'll be back, you mark my words --I know your favorite trails. It is I, the fox. I'm after you again. Chorus. Come to me, my birthday wish --where's my secret bride. It is I, the fox, and you've no place to hide. You will need my magic ways --I know your fairy tales. It is I, the fox; I'm taking you inside. Chorus. You, you, you, what's wrong with you? Why are you still crying? It is I, the fox, and you, the brownest eyes. Please, my darling, shut the door --alone within this gale. It is I, the fox. I'm shedding my disguise. Chorus.

Listening Log:

This was, on several different levels, the best side project band I was ever involved in.  Hal Mortensen and I had a very good professional relationship, and I'm very happy with how this album came together.  In reviewing these songs, I'll mostly focus on my approach as a producer, since they are mostly not mine.


Round the Bend: One of Hal's originals, co-written with members of a former band.  This is an example of this album's "default ensemble:" dry acoustic guitar panned hard lef& right (mic on one side, pickup on the other), djembe just off-center (mono image, from 2 mics --overhead and on the floor behind the bell-- reverb burned with the signal), upright bass (mic'ed) just off center, lead (Hal) & harmony (me) vocal panned opposite our instruments (i.e. my djembe is a little bit left, and my voice is a little bit right) to spread mic bleed from the live tracking into an ipso facto room effect.  Add'l verb burned onto the vocals later.


2x3<4: I liked keeping countoffs and a little studio chatter in to give this a live feel.  Also in the default ensemble settings.  This is one of Hal's.


Cocoon: For my songs on this album, I end up playing most of the instruments since live, these were typically breaks for Hal or songs where he only sang backup.  Because we were rushed to record basic tracks before I left for Buffalo, he didn't end up recording any parts for my songs.  I started by recording the guitar and vocal together, then Larry recorded a nice bowed bass part as an overdub (all of Larry's parts were overdubbed after initial tracking by me & Hal).  I added the lead guitar after I moved to Buffalo.


Never Been to Spain: I don't normally like recording covers (Elvis), but Hal got to make the call on this.  This was one of our most popular live covers.  As with most of the other songs we knew cold, this was laid down quickly in the default ensemble.  Even though I recorded the djembe before Larry performed his actual solo, I had an idea of the kind of stuff he liked doing from prior live versions, and just tried to play something generally complementary to those anticipated ideas.


Fire & Rain: James Taylor cover in default ensemble.  One of the producer jobs is balancing out the order of the songs.  I was trying to juggle covers with originals, my songs vs. Hal's, default ensemble vs other instrumentation, slow vs. fast, and also spread the strongest material to the corners (start, middle, and end).  I like to start with two strong mid-tempo or up-tempo songs followed by a strong slower song, then an open section, making sure to save another of the strongest songs for the middle, another open section, and cap off with a run of strong material.  Picking openers and closers is a subjective


Rocky Racoon/Over My Head: Somewhere along the line, we started playing this Beatles standard live (probably because it's one of the few covers I can quickly figure out and teach someone) as a break for Hal.  Then at some other point, I started mixing in a fade based on a King's X song.  This was default ensemble plus extra vocals recorded in Buffalo.


On A Shelf: We hadn't really played this original of Hal's very much live, and hadn't had a chance to really lock in our parts before we had to record it, so I tried to give it a little extra something with a few extra overdubs in Buffalo (lead guitar & clapping).  I tried to use the lead guitar (knowing my limitations) as a responder, filling the spaces between the lines in the lead vocal and introducing a couple of other themes to complement Hal's melody.  I chose the clapping (Vaunne helped out with it) to add a little extra excitement to those instrumental sections.


To Make You Feel My Love: I have to confess, I hate this Bob Dylan/Garth Brooks song.  Larry didn't feel comfortable with his part during our session, so I had to play bass in Buffalo.  I also added a lead guitar part that I typically actually played live as a gimmick.


Separate Ways: I revived this song for the session to try to balance out a very mid-tempo/slow setlist with one more token fast song for the middle of the album.  Larry improvised a great part with practically no preparation.  All the other instruments are me.  This turned out better than I expected it --so much so that it nearly made the cut onto Least Significant failures.  Two extra codies, lead guitar and (for one of the first times) Roland V-Drums (electronic drumset) all added on later in Buffalo.  The tempo, drums, and ensemble change is intended as a counterpoint to the songs leading into it, hopefully keeping the album fresh for the listener.


The Rage: Like "On A Shelf," we hadn't spent as much time on this one before recording.  To punch it up, I decided to add a third vocal and a lead guitar.  Another nice bowed bass part from Larry.


Oui, Je Sais: I covered all the instruments on this one.  This was one that we started playing at some of our Red Lion gigs.  I was inspired to write a semi-zydeco feel after hearing a Zawinul Syndicate song on KUVO, but my memory of it ("Medicine Man") is better than the actual song.  The arrangement of this is truer to the way we played it live, rather than as originally written.


Wonderful Tongiht: I also hate this song, but it does belong on the album since we played it at most gigs.  This is just the default ensemble.


Speed: This was a really raw initial track, just Hal's guitar/voice with djembe.  This was the first time I'd even heard the song, and Larry didn't want to improvise a part (I covered the bass in Buffalo).  I did a couple of subtle things once I sat down with the overdubs in Buffalo to build up the excitement that Hal was going for: I made sure to bring my backup vocal a little more into the foreground with some edge to the performance, I made up that little response figure that the bass & organ share as a counterpoint to Hal's vocal pauses, and I settled on that "ballpark" organ patch and the Bach Fugue opening as a fun twist.  Just a little whimsy, says the gardening man.


Fall On Me: I wrote this song for Vaunne's birthday 2000, just before we started dating.  This time the gift of song turned out pretty well for me.  Larry on upright.


Some Kind of Wonderful: Now this cover was my favorite.  I added a couple of layers in addition to the default ensemble (one extra backup vocal & the slide guitar).  The slide guitar is intended to bring out the blues-rock flavor and be a little gimmicky variety this late in the album.  My vocals are intentionally a little out of balance and in the foreground (a la Speed) to give the track a rawer, more energetic feel.


Dream Meadow:  It was tempting to go with 3-part harmony here --there's definitely a thrid line right there-- but I decided to stick with the default ensemble on Hal's signature original tune.  This pretty much exactly as we played it live.


Blue as the Moon: I don't think I'll improve on this version of my best song for quite a while, which is why I've broken my typical philosophy and re-incorporated it as is onto two subsequent albums (The Tale of a Sad & Lonely Boy Who Dreamed of Love, and now Least Significant Failures).  I play everything except the upright bass from Larry.  I put the djembe and lead guitar on as overdubs in Buffalo.  In order to fit them into the interplay of the other instruments, I intentionally had them not only react to themes in the other instruments, but also anticipate them, giving the illusion that other instruments were reacting instead to them (a good example of this is the bent notes in the scat, where the guitar appears to be the origin of the idea, when in fact, it was the scat).  I'd forgotten about the "Ferris Vaunne" hidden track.