Might be my favorite.  When Jimmy unveiled this, it blew my mind.  I think we played a longer version live, and it was awesome to me 'cause I got to double the guitar for long stretches, and I felt like hot shit live.  Listen to the music stutter at 1:47.  Jimmy, wacked out on serotonin one day, decided we would feed the entire band signal into a complex of two Kaoss x-y controllers and an Alesis Air FX.  We put it on a big tree of steel strut and named it "Frankenstein."  At any point, Keith could take the entire band's output on a crazy, psychedelic stuttering ride with a spin of his index finger.  Try keeping tempo when Keith was feeling impudent!  Our stage was criss-crossed with cables, snakes and loose wires.  It felt...  dangerous.  A rat's nest of electric hazard and creative hyperspace.  It was a nightmare to load in and out of Music Midtown or up the stairs at Smith's Olde Bar.

Zero Gravity

Sol De Maya by Jimmy Cypher

Jimmy and I were sitting in studio "north" (the front bedroom of his place on Sheperds Lane in the Briarcliff section of Atlanta).  Studio "south" (the real no-shit studio in the basement, was occupied at the moment by producer Mark Certo, with Jimmy St. James and Gurufish, recording their debut album).  Charlie, Jimmy's beloved Rottweiler lay beside us faithfully.  It was 1 or 2 a.m.. He played the electronic track he had just crafted, and I vomited the lyrics straight out, in a torrent of thoughtless expression.  My first version was a little morbid.  Jim was inspired by the Zion "rave" scene in Matrix 2.  He wanted more of a party vibe, so we worked it out.  I wrote two of the guitar hooks (0:24  and 5:29) and I'm proud of those.  But of course, when he took over, the track sky-rocketed.  This is Sean singing.  He was great, but I always preferred Jimmy's singing.  I played bass.  Really nice turntable work by Keith Gilbertson at 4:00.

Ceremony by Jimmy Cypher

Let me tell you about this cat, Jimmy Cypher.  When we started recording and gigging, right after the planes hit the towers, there were a FEW bands that would occasionally play a big electric guitar chord in their electronic music - witness Chemical Brothers or The Crystal Method, but NOBODY decided to mix copious huge rock guitar with high level electronic music....  and then add amazing world percussion and an adventurous DJ - except for him.  It was, and still is, the truly original product of a talented, creative and audacious artist.  I was a full time musician with him for four of my all time favorite years. 

I can't emphasize enough how much the percussionists changed our sound.  Miguel and Gino were brilliant.  Gino was the most lovable guy I ever met.  He's the youngster with the long dark hair in our band pics.   Everyone who met him loved him.  He had grown up in Turkey, teaching SCUBA and playing bongos on the beach for tips.  Sadly, he committed suicide in 2019.   The world lost a lot of love that day.

There was a time when Jimmy's friends teased him about the long play time of his songs.  This was his brilliant response.  So funny and perfect.

"Afro House hit single knocks 'em dead - extended mix played just like Mama said.  We got that travel house beatin' and that turntable scratch, a funky bass and guitar just make a pick perfect match. HIT IT!"  

Listen to the short guitar break at 1:47.  That's how rock guitar is supposed to sound!  And the surprising slide guitar at 3:39.  WTF!!  Really, this was so cool.  I'm still crazy about it (and when you understand the humor - ah! it's too much).  I don't care what anyone says, the songs were better when Jimmy sang.  I played bass.  This number killed, live.  When Jim started that slide guitar bit, people's eyes popped out.  I don't have fun like that no mo'.

Bill Binford

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