ROCK AND ROLL ALIENS
I wrote this in, I think, 1989 or so. The immediate inspiration was a friend
of my family, a certain young Harris Porter. Mr. Porter was at the time
a boy of about 5. Once he drew a picture of a dinosaur playing an electric
guitar. When asked to explain his drawing he replied, "Its a little bit
like... uh... something.... maybe Rock and Roll?" This version was recorded
in 1992, in Bayou La Batre.
CAN'T BELEIVE
Written and recorded in 1992, about my then-current object of infatuation.
Not much to say here, really, except that this was during my brief period
of flirtation with the idea of takin Geddy Lee for my role model as a vocalist.
Fortunately this is just about the only example of it. See also the comments
about BLOOD AND GUTS.
BLOOD AND GUTS
Written and recorded in 1992, while I was in a band called Phevh'r. This
was supposed to be a demo for the band. We never really did anything with
it.
NEIGHBOR'S KID
Yet another 1992 selection, this was based on the lore that my brother
Denny and I concocted about our neighbors in Bayou La Batre. Man was I
bored then. Just so you know, the other vocalist besides me is my cousin
Gregory who now lives in Nashville. The Bass guitar used on this song and
the two previous ones was borrowed from Quentin Lami, bass player of
Phevh'r.
AIN'T GOT A WOMAN
Written in 1993, after the relationship referred to in CAN'T BELEIVE has
ended. Not really about the relationship, because she DID love me. But
still a nice way to console oneself. Recorded some months later in the
same whirlwind session that gave birth to KNOCK ME FLAT and AT YOUR
MERCY.
KNOCK ME FLAT
Long story behind this one. It first appeared as lyrics only, in the "Junker's
Rebellion" comic strip I used to draw. The title is taken from a play mentioned
in Ayn Rand's THE FOUNTAINHEAD. That play was supposed to be a stereotypically
bad example of the kind of thing Rand hated in pop culture. This was originally
my attempt to write a truly bad song. I failed, I think. I've written much
worse without trying to.
THE CITY IS DEAD
The music is based on a song called O JASMINE by Will Richardson. The lyrics
were written as another attempt to write the same sort of nonsense as KNOCK
ME FLAT. It was recorded sometime in 1994. The city ws originally supposed
to be Mobile, but it just as easily be anywhere.
YOU USED TO BE MINE
This was originally written as a sort of reggae song in about 1990. This
version was recorded in Bayou La Batre in 1993. At one point I think you
can hear somebody mowing the lawn next door.
AT YOUR MERCY
Funny thing about this song. I had the idea for it way back in like 91
or so, but didn't get around to finishing it until 1993, when it was recorded.
Lots of people like it, but I've always been just a little embarassed by
it.
SACRED
The first song on this tape to be recorded in Tuscaloosa, SACRED was written
and recorded in 1995. I still hate the way my voice sounds on here, but
I put it on here because I like the guitar parts.
JUNKER'S REBELLION
This is an instrumental I did in 1996. It uses the Whole-Tone Scale exclusively.
The title is taken froe of a comic strip I used to draw when I was in high
school, in which the "band" Flvxxvm Florvm would occasionally appear.
(I'M NOT A) SCUMBAG
Written and recorded in 1996. Note the vocal style on here is not like
any other song I've ever done. I recorded this song mainly as an excuse
to do something with a lot of feedback - similar to the approach I took
with BROKEN MAN (on FLVXXVM FLORVM ATE MY BALLS).
WHAT'D I DO?
Another 1996 instrumental, based on ideas I'd been knocking around in my
head since at least 1988.
GIMME WHATCHA GOT
A silly thing I did in either 1994 or 1995. I really can't remember which.
THE WAY I SEE IT
Recorded in Bayou La Batre in 1995. Note the lack of drums, which is made
up by beating on the acoustic guitar.
YOUR NAME GOES HERE
Done around the same time as THE WAY I SEE IT, although the idea for the
song goes WAY back. In 1988 or so I tried to write a song called KIMBERLY
about a girl I lusted after at the time. Years later I considered pulling
it out of the dust bin and sticking a different girl's name in, but then
it occurred to me to just leave it blank. Let the listener fill in her
(or his?) own name.
NO USE FOR GIRLS
I THINK this was recorded in 1994, but I'm not too sure. The idea for the
song was older than that, probably about 91 or so.
ANOTHER MAN'S TREASURE
The title for this song was the name of a second-hand store that just happened
to be on the way from my parents house in Bayou La Batre to the house of
a girl I dated in high school. No hard feelings against her, it just made
a cool song. Written and recorded years later in 1994.
TAKE IT OFF, SUZIE!
In case you didn't know, Suzie is the generic name for a sorority girl
amongst my circle of friends. Written around 94, recorded 95.
CANONICAL GIRL
Recorded in 1995, and if you can understand the lyrics I owe you a coke.
I'M not even sure what I sang.
THIS IS HOW IT FEELS
I had the musical idea upon which this song is based back in 1990 or so,
and the basic idea of the lyrics I just sort of came up with while screaming
randomnly during a Phevh'r jam session. This version was recorded in 1995
or 1996, I can't recall exactly. The music is also used as part of my epic-length
opus COMING OF THE CUBES.
FLAME THROWER OF LOVE
Like most of FLVXXVM FLORVM ATE MY BALLS, this song was conceived while
drinking at Mallet. It was recorded in 1996, using a bass borrowed from
Adam Shattuck and a recently-acquired fuzz pedal. Conceived as a possible
song for Reverend Joe, but Nathan and Joe didn't want to do it.
RENEGADE ROBOTS
Another Reverend Joe candidate from 1996 that never went anywhere. I think
it was influenced by the themesong from the old "Transformers" cartoon.
DOWN IN THE DUNGEON
The idea behind this song goes back to at least 1986 or so, when for some
strange reason I got the idea to sing these lyrics to some of the music
from the old "Popeye" video game. This particular version was recorded
in 1996.