Larry Seyer was born in Augusta, Georgia in a make-shift Army Hospital while his Father "Lefty" was serving in the US Army during the Korean Conflict. Only there for six months, his Father was finished his tour of duty from the military and his family of three returned to their native hometown of Oran, Missouri in June of 1952.
Lefty came from a family of thirteen and wanted a large family of his own. The small town of 1200 people was the perfect place to raise his and Ida Mae's planned family of eight.
They wasted no time in starting their family and soon afterwards, Mary, Marty, Jane, Kevin, Anita, Robert and Bennett were born about one year apart from each other.
Their life was heavily influenced by the strong German Catholic contingency of that area. Although Oran had only 1200 people, it had the largest Catholic Church between St. Louis and Memphis. For a small town, this was a large church...large enough for it's own Catholic grade school.
The power the piano had was control... it took precedence over the TV and Radio!
Lefty and Ida Mae were good parents to Larry and the rest of the kids. More than anything, they wanted to give each of their kids everything that could want or need. And they did that.
There was not much to do in Oran, however, except play baseball, tag, hide and seek, cops and robbers, cards, and an entire litany of normal things for kids that age.
The only problem was Larry wasn't like the other kids there. He didn't want to play baseball and other sports...he wanted to play music.
Thanks to his Mom and Dad (Lefty and Ida), there was a piano in the living room that anyone could play anytime any of their kids wanted to. And that piano had power!
The power it had was control. It had precedence over the TV and Radio. If one of the kids was watching TV or listening to the Radio, and one of the other kids wanted to play the piano, it was "bye bye" to the TV or Radio. The piano player (whomever that was) had control over the entertainment the family listened to.
The same was true of the guitar. If one of the kids wanted to play the guitar, they could play ANYTIME they wanted (as long as it wasn't past bed time).
Being the oldest of eight, this was the kind of garden Larry's music seed needed to grow. Available instruments, a captive audience, and a willingness to be in control of the learning process.
Larry would come home every day after school and hop on the piano bench and be king of the living room. He could play whatever he wanted. He could make up songs as he went along, or play melodies that he heard before. It didn't matter; it was fun; much more fun than going to Catholic grade school!
Many years of this scenario continued until Larry was in High School where he met other music friends and formed a band that played school dances and parties. Eventually they made their way to the nearby city of Cape Girardeau to make his very first recording.
Jim Rhodes was a short, thin, enterprising young school teacher who owned the local recording studio in Cape. He knew more than Larry dreamed possible to know.
He knew which microphones to use on each instrument; what levels to record the drums; how the balance of instruments determined how the lead vocalist sounded. These were all things that Jim knew and Larry was in awe.
Larry just HAD to learn how to do those things. In his mind, knowing how to do those things was as necessary as learning how to tune a guitar or play a piano.
So he asked questions, thousands of them, and eventually spent almost all of his spare time with Jim at the studio learning what Jim knew.
The Vietnam war was raging during that time. Larry's draft number was fifty-three so he was sure to go since they were already calling numbers past one-fifty.
A friend told him that if he joined the Army, he could have his pick of what job he was to have in the Army. So, he joined for three years and picked the Army band as his job and served one year in Fort Leonard Wood Missouri and two years in Stuttgart Germany.
While in Fort "Lost In The Woods" (as they used to call it), Larry was put in charge of the recording equipment that the Army band had there. This was exactly what he needed; More toys to play and learn with!
After the year at Leonard Wood, Larry traveled to Stuttgart where he played in the 82nd Army band whose primary mission was to foster good will towards German/American relations. In other words, they drank a lot of German beer and played a lot of great music.
After his tour in the Army, Larry moved back to Cape only to find that Jim Rhodes no longer owned the recording studio. He had moved onto Springfield Missouri to manage a studio there and work with "The Ozark Mountain Daredevils".
This was a great opportunity for Larry, as this meant that he could now take over the recording studio there in Cape.
Never mind that he didn't have any experience, he just wanted to be involved in any capacity with music. He would learn whatever it took to do it!
In June of 1978 Larry had a chance to move to Austin Texas
When a friend of his called him to record a stage band, he was ecstatic! Finally a chance to record a band in his studio! (in truth, the studio was owned by Robert Jones, but Larry ran it)
In his mind, he went through every connection, every mic, every track for every one beforehand so that when they got there, everything would be ready to go with no waiting. It was a complete vision of how the recording session would happen BEFORE it happened!
The stage band was so impressed, that they told all of their friends about the "new engineer" in town that they HAD to use.
Word of mouth spread fast and soon there was plenty of work for him in Cape.
Around June of 1978, Larry had a chance to move to Austin Texas and continue the work he started in Missouri.
He had been asked by his good friend Larry Franklin (whom he had played with in a Country Band while in Stuttgart) to move to Austin to join a band Franklin had started called Cooder Browne. (Seyer was known as 'Sly' back then - a nickname given to him by his friend John Hicks; a drummer he played with in Ft. Leonard Wood Missouri)
Although work with Cooder Brown was not to be permanent, it served as the perfect reason for moving from Missouri to Texas where eventually he met Wink Tyler, owner of Austin Recording Studio.
There he began producing and engineering several local Austin groups.
The next year that song was nominated for a Grammy in the category of Best Country Instrumental Performance. The song won the award and Larry was on his way to a successful relationship with Ray and the Wheel.
Soon after, The Wheel was at it again and recording the classic "Sugarfoot Rag" on their album "Western Standard Time". In addition to engineering that album, Larry was asked to play acoustic guitar on the cut.
Again, as in the previous year, one of their songs was nominated for a Grammy under the category of "Best Country Instrumental Performance". And again, as in the previous year, they won. Because he both engineered and played on the album, Larry was blessed with an Engineering Grammy AND a Musician Grammy.
Things were looking up, but there were other irons in the fire for Larry. In addition to being a full time recording studio engineer/producer/musician, Larry wrote software for computers.
Because of a prior commitment to a software contract, Larry was unable to participate in the recording of the Wheel's next album "Keepin Me Up Nights"
As fate would have it, The Wheel did not win a Grammy that year. But thankfully, by the time it came time for the Wheel's next project to be recorded, Larry was finished with the software contract he had been working on.
The project was a movie score for a movie starring Dolly Pardon, Gary Bussey, Willie Nelson, and Ray Benson.
Working closely with Ray Benson from Asleep At The Wheel and Dolly Pardon, who produced the show, Larry gained considerable experience in the film scoring arena.
After that movie was completed, several other people approached Larry to do their movie scores for them. Some of them wanted him to "mix" their movie. In movie terms, this is called "re-recording".
Al Reinert was one of the first working on a small sixteen millimeter film called "For All Mankind". At the time that Larry worked on this film, it was just a thirty minute documentary with actual footage from NASA covering our first trip to the moon.
Brian Eno had already done the score for "For All Mankind", so there was no opportunity for Larry to work on the score. However, much to be learned from Al in the way of mixing films during that project.
Several months later, Sam Um contracted Larry to do the entire score for a picture he was working on called "The Way". Basically, this picture was to be a Korean version of "The Karate Kid".
Having the opportunity to score an entire picture by himself was a great way to instill confidence in a budding composer. And this confidence eventually led to his next scoring picture "El Puente".
This album and the many that followed were a turning point in his career. Through Ray Benson, Larry was introduced to some of the biggest names in the industry. Many of them are listed here on the clients page on this website.
In 1997, the web was not well known. A couple of years earlier, Larry had been fortunate enough to be introduced to it by his son, Adam.
Adam told him it might be a good idea to create a website and list the services that Larry could do in case people from around the world were looking for someone with his talents.
So that's exactly what he did. And it was a fairly new thing to do back then; He created a web page listing his services.
In 1997, one of Larry's best friends, Gary Powell received a call from one of his contacts asking about who to hire for an upcoming project featuring Goldie Hawn singing the Beatles song "A Hard Day's Night".
It was fortuitous that Adam had convinced Larry to create that web page. Because once Gary recommended Larry for the project and they did a new thing called an 'internet search' they came up with the same conclusion.
Although they mis-spelled his name on the credits for that CD, he worked with George and Goldie none-the-less and has a picture to prove it thanks to Frank Campbell who sneaked in during the session and snapped a photo.
Given the large number of projects that Larry has worked on, it should be no surprise that there would be more than one CD that is named with the same title.
And it wasn't the only time it happened! One of the CD's that Larry engineered for Asleep At The Wheel featured The Manhattan Transfer as guests - that CD was entitled "Swing". And just a couple of years later, Suzie Boggus came to Electric LarryLand and mixed her "Swing" CD with Larry.
Robin had started a group called the Dixie Chicks. She along with Laura Lynch, Martie Maguire and her sister Emily Robison were about to record their second CD entitled "Lil' Ol Cowgirl" and they wanted Larry to produce it.
Larry and the girls had discussed taking the group into more of a mainstream country direction instead of the traditional bluegrass styles they had been up to then focusing on.
So Larry suggested that have Lloyd Maines play steel guitar on the record. They agreed and the rest is history. THIS is where Natalie Maines was introduced to the Dixie Chicks - via Lloyd (her father) while he played steel guitar with them.
There is more to this history story - like how Larry was introduced to 'A Course in Miralces' which eventually led him to listen to and trust his inner guidance which eventually led him to cold call David Wilcock.
This partnership continues today and together they have produced many projects available on David's website DivineCosmos.com.
...and this has lead to books!
But enough of history. NOW is the only time there is! So damn the torpedoes, full speed ahead!
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