BABUSHKIN’S
MUSIC
“Heat Wave,” the thrilling Motown hit by Martha and the Vandellas, interpreted here by my trio with Len Kobrinsky on keyboard and Susan Griss on bass.
The Starlight TRIo …
is available for parties, fundraisers, concerts, etc. We play American songbook classics, blues, motown, beatles, and originals, on various guitars and electric bass. We’ve played at weddings, wineries, restaurants, hotels, farmers’ markets, and in concert settings. Below are a few samples. Contact us at (914) 388-2505.
“You hit it out of the ballpark.” —Al Roberts, Stone House Tavern
“The perfect blend of good vibes and good tunes, and at the perfect backdrop for our event. The music really elevated things to a whole different level.” —Aimee Trumbore, Stone Ridge Library Foundation
“Any Minute Now” is a bit of instrumental foreboding.
“Blues at the End of the World” is my song about the varieties of moodiness and their often subtle, even petty, causes.
“Open Heart” is an instrumental in open tuning.
I recorded wood frogs going mad in a vernal pool and played over the recording to create “The Frog Pond.”
Ever try to conduct a long-distance love affair? My blues song, “Every Day,” tries to ignore the difficulties.
My version of Bob Marley’s chilling “Guiltiness.”
My wordless interpretation of “My Funny Valentine,” by Richard Rodgers and Lorenz Hart. Susan Griss on electric bass.
“Step back, fellas, being civilized means keeping your libido to appropriate size.” Warning! Stay back 100 feet!
This is my down and dirty version of Willie Dixon’s bragging blues classic, “Back-Door Man.”
“Ode to Jeff Beck” — an electric guitar and the key of E-minor, the amateur’s sweet spot.
“Come See About Me,” the Supremes’ hit song, was penned by the amazing songwriting team of Holland, Dozier and Holland. Oh, for a set of backup singers!
“What a World” imagines our Earth as an old mother, “waiting for us to come around.” That’s Susan Griss on electric bass.
“Butt Call” tells the story of a failed affair. Played by the Starlight Trio, with Len Kobrinsky on keyboard and Susan Griss on electric bass.
“Nice and Easy,” written by Alan Bergman, Marilyn Bergman, and Lew Spence, was the title song of Frank Sinatra’s 1960 album.
My brother and I spent a lot of time on the phone during the worst of the Covid epidemic. “Brother” emerged from our reminiscences.
“When I Go” was inspired by thoughts of what life would have been like had I married my depressed girlfriend of long ago instead of my very cheerful wife.
I wrote “If Only” to celebrate my retirement in 2018, in realization that I’d still be responsible to do something about this screwed-up world.
“Walking Home" is a spirited instrumental about walking home from school way back when.
The Gershwin brothers’ “They Can’t Take That Away from Me” is a 1937 classic that I was thrilled to get into my fingers.
Cole Porter’s classic ‘Night and Day” with Susan Griss on electric bass.
“Just in Time,” another beauty from the American Songbook, is played here by our trio.
“Heat Wave” by Martha and the Vandel-las, the most exciting song of my child-hood, played here by our trio.
”I’m Gonna Sit Right Down and Write Myself a Letter,” music by Fred E. Ahlert and lyrics by Joe Young, was recorded here with Susan Griss on electric bass. The song been covered countless times, most famously by Fats Waller in 1935 and most recently by Paul McCartney.
“Elsie’s Jump” is a guitar portrait of our gorgeous Newfie dog.
“Simply Said,” my first “talking blues” song, in a rough recording.
“As Best as I Can” is my old-age confession about ambition and humility.
“Nothing to do, I’m Wednesday Blue, but I still have to keep them from stealing my brain . . .” Mark Murphy is on upright bass, and Richie Hirschlag plays the dobro.
There’s a tall catalpa tree on my acre-and-a-half that I’ve been watching grow for 37 years. This is my tribute to an amazing tree. Susan Griss on electric bass.
“I’m Only Sleeping” is a little-played song by the Beatles that our trio covered pretty innovatively.
“Old Devil Moon,” was written by Burton Lane and Yip Harburg for the 1947 musical Finian’s Rainbow. Susan Griss on electric bass.
“Merry-Go-Round-Round” could perhaps serve as the soundtrack for a French beach movie.
“Max’s Bounce” is an instrumental portrait of my grandson, who has great rhythm.
“Two-Faced Man,” the closest thing I’ve written to a country song, is about half a century old.
Written on my 10th wedding anniversary, “Special Friend” makes a promise that I haven’t yet kept on the eve of my 50th.
“Father’s Day” emerged from a conversation with a friend who is a therapist, who suggested that relationships between parents and adult children don’t always yield much intimacy.
My cover of the Beatles’ “Drive My Car,” playing in the style of Alvin and the Chipmunks.
When Jon Stewart cried on The Daily Show about losing his dog, I had just finished writing this one — “Go On, Get Along.” Susan Griss plays electric bass.