These are three selections using a tape-loop technique I performed in 1980 In Atlanta's Central City Park on a modified Oberheim TVS synthesizer. The technique was developed by Terry Riley and Pauline Oliveros and used on Robert Fripp and Brian Eno's first three albums together. This recording is exactly what I recorded live, with no added effects, dynamics, or post-production.

Antarctica (1980)

OB TVS Loops

I wrote this song for the one that got away. 
As I started penning it, my lyrics closely resembled 'Always Something There To Remind Me' by Naked Eyes.   
I reworked the lyrics and the title 'If I Could Rewind' magically came to me.

A song about rewinding & reliving a love affair.  There's some 80's music and nostalgia here. I still have not heard from Gary Numan.

If I Could Rewind, lyrics:

The night we met
You sang to my cassette 
Our kiss was magnetized
The sky turned electrified 

We died as we swayed 
Gary Numan on the stage
Neon lights fell on your face
We escaped that crowded place

If I could rewind
Play it a second time
I'd never hurt you 
Never-ever desert you
If I could rewind
Turn back our time
My memory loves you
It asks me about you all the time

There's no way back to you from here
I always remember that first night
There's no way back to you from here
I'll see you in the next life
See you in the next life 

If only I could rewind

Words & Music by Holden Helm

If I Could Rewind

Eastern Patterns II V3

Copyright Pat Metheny & Lyle Mays.
Recorded Live at the Cosmic Crossings Concert Series Summer 2017.
Neil "Nail" Alexander - Keyboards, Loops, Synthesizers, Ableton LIVE
Monroe Quinn - Guitar

As Falls Wichita, So Falls Wichita Falls (Live) - Nail Jung w Monroe Quinn

An arrangement of "In the Bleak Midwinter" by Darcy Kuronen

In The Bleak Midwinter

Just got the 3rd Wave today and this is my first Patch, which starts as a recreation of a Prophet 5 Patch, but morphs into a 3 layer Pad.

Prophet Morph GEO - Groove Synthesis 3rd Wave

An audio/video exploration - The Dave Smith Instruments Pro 2 sequencer is creating the bulk of the background. In addition to its sounds, it is sending a CV step sequence to control the filter cutoff on the Voyager. The Voyager is droning one note, but it is patched so that the filter is dancing around the point where it oscillates. The Voyager is processed by a tempo-synced Eventide H9. I realized recently that I have been under-utilizing the Yamaha MO8. In addition to the piano, I've done a ton of sound design on it over the years and have many subtly tempo-synced patches that really worked well paired with the Pro 2 sequencer. Hear more at chrisstack.bandcamp.com

Snowfall

3 In The Wee Small Hours Of The Morning

an eclectic collection of work from 1995-2005

Artifax

Spirit Guide

As I continue digging though my old recordings, I found a song I wrote in 1979 and recorded on my Teac A-3440 4-track reel-to-reel tape deck. Punk was all the rage, and the Sex Pistols had just played their U.S. debut at Atlanta’s Great Southeast Music Hall two years earlier. Note that the refrain, “It hurts so good,” was two years before the hit single with a similar title. ©1979 by Geary Yelton

Beat Me (1980)

07 - Highlandic

This is where I hang things up to dry. See and hear more at chrisstack.bandcamp.com


Snowfall

Chris Stack 1

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