In addition to recording collections of my favorite tunes on 8-track, I recorded friends as we improvised comedy. We would gather in my basement usually after a Sunday church session. I decorated our comedy 8-tracks with Ugly Stickers and labeled this 8-track with the year 1974.

This last selection from our 8-track "Ping Pong" features Mike Willett, Ken Henley, Francisco Arriaga, possibly Greg Miller (not sure) and myself. We borrowed from "Monster Shindig," "The Sting," and a bit off the end of a live version of "Smoke on the Water."

Ping Pong: Spy Ring Headquarters

I heard this tune on the soundtrack for the film "A Clockwork Orange." It's originally from the album "Sound of Sunforest" by Sunforest.

Overture to the Sun

I probably began these musical sketches sometime in late 1974 or early 1975 when I was around 17 years old. I continued recording these sketches through the rest of the 1970's.

You can hear further developments of this song here: https://on.soundcloud.com/Rwhju and here: https://on.soundcloud.com/oHtHR.

Musical Sketch 04: Lovin' Is All That I Do

Kenneth William Henley cowrote this song with me. He's on the twelve-stringed guitar and I'm learning to play electric bass. This was probably recorded sometime in or after January 1977. I have a lyrics sheet that seems to confirm this dating.

Early Bohacz Music

She's So Lovely To Me

I probably began these musical sketches sometime in late 1974 or early 1975 when I was around 17 years old. I continued recording these sketches through the rest of the 1970's.

Musical Sketch 07: More Than You Will Know

Musical Sketch 08: There's A Light In My Life And His Name Is Jesus

When Michael Wayne Davis and I began hanging out together we started, among other things, improvising comedy. We took on different characters and voices and interacted spontaneously to create scenarios. Our characters Dr. Frankenfreak, played by Mike, and his hunchback assistant Egor, played by me, were inspired by the 1931 Universal film "Frankenstein." We didn't get around to recording the scenarios on audio together until after, if memory serves, I had recorded our characters myself playing all the roles.

Castle of Frankenfreak: Earliest Master and Egor Recording?

This musical sketch was probably recorded sometime during 1977 or thereafter. I continued recording these sketches through the rest of the 1970's.

Musical Sketch 15: I Want To Know For Sure If She Is The One

Musical Sketch 17: Oh Baby, Won't You Change Your Mind?

Musical Sketch 18: Why Do I Care?

This musical sketch was probably recorded sometime in January 1977. I have a lyrics sheet that seems to confirm this dating. I continued recording these sketches through the rest of the 1970's.

Musical Sketch 21: It's Cold Outside

Musical Sketch 23: Don't You Know That I Love You?

This musical sketch was probably recorded sometime during 1978 or thereafter. I continued recording these sketches through the rest of the 1970's. This sketch has recycled elements from an earlier one of mine: "Musical Sketch 15:  I Want To Know For Sure If She Is The One."

Musical Sketch 32

This musical sketch was probably recorded sometime during 1978 or thereafter. I continued recording these sketches through the rest of the 1970's.

Musical Sketch 33

This musical sketch was probably recorded sometime during 1978 or thereafter. I continued recording these sketches through the rest of the 1970's. Here's a link to a finished version of this song (renamed "Bambino"): https://on.soundcloud.com/gfFSHMW2bVgUXQuu7. A version of "Bambino" eventually ended up in my CD "Mostly Acoustic" available here: https://on.soundcloud.com/UssrPNYRW7yURbou5.

Musical Sketch 36: Jelly

This musical sketch is a second iteration of an earlier one of mine: "Musical Sketch 14: This Feeling Is So Beautiful That I Can Hardly Take It In." This sketch was probably recorded sometime during 1978 or thereafter. I continued recording these sketches through the rest of the 1970's.

Musical Sketch 42: This Feeling Is So Beautiful That I Can Hardly Take It In

This musical sketch was probably recorded sometime during 1978 or thereafter. It was a second iteration of an earlier one of mine: "Musical Sketch 26: Don't Go Away From Me" available here: https://on.soundcloud.com/rQYU6. I continued recording these sketches through the rest of the 1970's.

Musical Sketch 43: Don't Go Away From Me

"The sun rises in the east and it sets in the west
And a day happens in-between.
Chroisyavana greets the dawning and the sunlight stretches in.
Hear the laughter.
Dinisdugavindaveda,
Everything is new when I am in tune.
Dinisdugavindaveda, oh!
The sun rises in the east and it sets in the west
And a day happens in-between."

I'm guessing I recorded this sometime in 1977 when I was 19 years old.  Inspired by mysticism, I wrote the song, sing, play all the instruments, if memory serves. I multitracked this recording with two tape recorders. The first recording made the basic track of upright piano with my vocal put through an amp to add reverb. I then played the recording back through speakers into a second miced recorder while I performed acoustic guitar. I then repeated the process to eventually include bass guitar. Perhaps I added the vocal last, I cannot recall. This process generated a lot of noise so I applied noise reduction many years later.

The image is a linoleum print I made in 1977 entitled "Figure-Ground of Being." Here's where you can see more of my artwork from the era: http://michaelanthonybohacz.name/college_pictures.html.

A Day Happens

"Float away where your mind can go into disguises,
No one realizes. No one realizes.
Flying by all across the sky into disguises,
No one realizes. No one realizes.

Float away, etc... into disguises float away, etc...

Sailing now to a port down south to the North Pole
We're takin' the long route.

Freda's coming in a boat behind the stats followed by
A flying saucer from the planet Krel with a million little green men
With heads as big as watermelons.
Heads as big as watermelons!"

"No One Realizes" was inspired by the feeling of ineffability one can get from a mystical experience. With this tune that I wrote, my very talented friend Ralph Patrick Warchol and I began a wonderful recording partnership. If memory serves, we were rehearsing with Mike Willett in Ralph's comfortably furnished basement. I left my electric bass guitar with Ralph at his request and he multitracked all the instruments by dubbing back and forth with a two channel reel-to-reel tape recorder and a cassette deck. Ralph got the drum track from an LP. When I returned I was pleased to hear what he had made and I sang the lead. Ralph and I also sang backing vocals. We recorded this sometime in 1979, if Ralph's memory serves.

Here's where you can hear another version: on.soundcloud.com/xSG6S.

Gene Poole and the Chromosomes

No One Realizes

A version of this song won Best Psychedelic Song in The (2024) Psychedelic Film and Music Festival.

"The time is 12:23, last place I wanna be.
When will it come?
I've been waiting for an hour
And my stomach's feeling sour.
How late's the train run?

He doesn't know we're up here.
He'll never guess.
We're gonna soak him in light.
Set the coordinates.

When will the train come? When will the train come?
She thinks she's got me on her pinky.
She hits me hot 'cause she's so slinky.
When is it going to come?

The antigrav is on. Engage the brain caress.
When he starts floating up record the grok he gets.

Good evening Clyde.
We represent an advanced race of beings
From a space colony orbiting the Dog Star Sirius.
You may interpret this as a religious experience
But we want you to know that we are merely
Manipulating your brain patterns via quantum waves
To measure for the possibility of intelligent life
Arising on your planet.

And I wake up on the train. I can't remember my own name.
When did the train come?"

I wrote the song, sang lead vocal, played electric rhythm guitar. Ralph Warchol played a synthesizer of his for the drum track and low end. Perhaps it was Mike Davis's drum track, not sure. This was recorded in Ralph's luxurious basement outfitted with his quarter inch reel-to-reel 8 channel recorder probably in very late 1982 or 1983.

Here's where you can hear different versions of this song:
https://on.soundcloud.com/H2Q9G
https://on.soundcloud.com/eBUEA
https://on.soundcloud.com/TVcL7xxs6RiVZDay6.

Clyde Meets the Aliens

Myself having fun in the recording studio. I scratched in audio from a sound effects record while I played with the echo. This was recorded at Faith Chapel Radio Recording Studio in Berwyn (yes, Svengoolie's Berwyn). I had access to that studio after I began working there in January of 1981.

Tripping at Faith Chapel

Shimmering Siren

If memory serves, this was the first song I ever wrote. I was around 9 or 10 years old. My brother Monte Paul Bohacz and I liked to sing it with our niece and nephew Donna McFarland and James Mefford, celebrating their pets Rusty and Tiki. Finley the fish was my pet. I didn't get around to recording this until 2024.

Rusty, My Favorite Dog

This song was selected for inclusion in the 2024 Psychedelic Film and Music Festival.

"I was born with a TV remote in my head
Because I could remember crawling over to the TV set and
Like wow man it was really something
'Cause I could tune in all kinds of things from everywhere and
I really liked the stuff that like put me on other planets
'Cause that kind of stuff was awesome and
I began to get so into that I took it as another plane of reality
Just as real no even more real than school and church and school and church said there were mysteries to dig out of the good book and
I started to see TV like that and pick up little clues to the universe that others couldn't quite see.

'Cause I've been imprinted by the TV programs like a piece of software ready to take what it can get.
'Cause the ETs have been contacting me for years now and I can tell you this
That there exists in the center of the universe a tetrahedron made of solid diamond I refer to as the Mystic Bone.
He's told me that the quasars are on the edges of the cosmos
Pouring out the flesh of the Gods in the form of a lava light like material that
Quite by accident seeds life on various worlds which someday will crawl to where the Krel stood up to see the MB in all its glory and I can see it all now."

I wrote and sang this song. I played multitracked instruments: my Ensoniq Mirage sampler-synth keyboard and my Yamaha RX5 Digital Rhythm Programmer. I mastered the recording with my Commodore Amiga computer with MIDI sometime in 1987 or '88.

Mystic-Twister

TV Madness

I recorded this Johann Sebastian Bach piece in real time playing my Yamaha DX7 synthesizer keyboard set to pipe organ, if memory serves. I used to be able to play a good portion of the fugue segment but not complete enough for a recording.

Toccata in D minor

"Found her in the halls of the Art Institute.
I asked her out to lunch. I think she thought I was cute.
She had a look that almost knocked me down.
Next I find out she's involved with her boss at work.
He keeps getting older. I feel like a jerk
But I was determined to keep her around.
I bought her a ring to show I care.
I was so happy when she said she would wear it. Oh!
I call her my Bambino, Bambino.
If you're going to school feed Anthony.

Now she's bubbling over all of the time.
I tell her I love her. She tells me she's mine.
I even went out and bought her a little bird.
She wakes me up in the morning with a karate chop.
She's hopping into the car because she's going to shop.
She says to clean up the house if I could.
Any day we're gonna be man and wife.
Think I could spend the rest of my life with her. Oh!
I call her my Bambino, Bambino.
If you're going to school feed Anthony."

I wrote, sang and played all the instruments on this tune. The recording was made sometime around the mid-1980s. "Bambino" eventually ended up in my CD "Mostly Acoustic" available here: https://on.soundcloud.com/UssrPNYRW7yURbou5. Here's a link to the musical sketch that "Bambino" came from: https://on.soundcloud.com/D6mpALVnWBrgKV9aA.

Bambino

I wrote and sang this song. I played multitracked instruments: my Yamaha DX7 synthesizer keyboard and my Yamaha RX5 Digital Rhythm Programmer. I mastered the recording with my Commodore Amiga computer with MIDI sometime in 1987 or '88.

Here's where you can hear different versions of this song:
on.soundcloud.com/BfGqn
on.soundcloud.com/3wLUK
https://on.soundcloud.com/iQz9ySGsZ7sNpLQY8.

A version of this tune eventually ended up in my CD "Mostly Acoustic" available here: https://on.soundcloud.com/UssrPNYRW7yURbou5.

Black Whole of Love

"(Verse 1)
In the twilight of the silver screen,
A legend rose, unseen,
With a heart for tales untamed,
Roger Corman, they chanted your name.

(Chorus)
Roger Corman, King of the Bs,
You gave us tales wild and free,
From monsters deep to skies unknown,
In your world, we found a home.

(Verse 2)
Through "Little Shop of Horrors," fear and fun,
A blooming menace, second to none,
"The Pit and the Pendulum," a haunting sight,
You wove our dreams into the night.

(Verse 3)
With "The Raven" and its mystic lore,
And "House of Usher" by the shore,
Your films, a canvas of the strange,
In every frame, you made a change.

(Verse 4)
Through "Death Race 2000," a future bleak,
Your daring vision, unique,
From "X: The Man with the X-ray Eyes,"
You showed us life beyond disguise.

(Outro)
Now the curtain falls, the final scene,
Yet your legacy remains evergreen,
Roger Corman, forever be,
The King of the Bs, in our memory.
Roger Corman, forever be,
The King of the Bs, in our memory."

An homage to the late, great filmmaker Roger Corman. Trish Happel and I created the lyrics with ChatGPT and the music with Suno AI.

Roger Corman, King of the Bs

Mostly Acoustic

Artificial Heart

3D Warped Out Tuned In Video Fan

This new version has louder chipmunk voices. I wrote the song, sang lead vocal, played piano and other instruments. Ralph Warchol got the drum track from an LP. We altered the speed to create the chipmunk voice effect. That also helped with our perceived instrument playing agility. Ralph played the electric bass and perhaps other instruments, if I remember correctly. I believe this was originally recorded at Faith Chapel Radio Recording Studio in Berwyn (yes, Svengoolie's Berwyn). This dates the original recording because I had access to that studio after I began working there in January of 1981. I released the first version of this song on Jango Radio in 2009.

A version of this tune eventually ended up in my CD "Mostly Acoustic" available here: on.soundcloud.com/UssrPNYRW7yURbou5.

Rachel (Rodent Version)

A version of this song won Best Psychedelic Song in The (2024) Psychedelic Film and Music Festival.

"The time is 12:23, last place I wanna be. 
When will it come?
 I've been waiting for an hour
 And my stomach's feeling sour. 
How late's the train run?

He doesn't know we're up here. 
He'll never guess. 
We're gonna soak him in light. 
Set the coordinates.

When will the train come? When will the train come?
 She thinks she's got me on her pinky. 
She hits me hot 'cause she's so slinky.
 When is it going to come?

The antigrav is on. Engage the brain caress. 
When he starts floating up record the grok he gets.

Good evening Clyde. 
We represent an advanced race of beings
 From a space colony orbiting the Dog Star Sirius.
 You may interpret this as a religious experience
But we want you to know that we are merely
 Manipulating your brain patterns via quantum waves
 To measure for the possibility of intelligent life 
Arising on your planet.

And I wake up on the train. I can't remember my own name.
 When did the train come?”

I wrote the song, sang lead vocal, played electric rhythm guitar. Ralph Warchol played a synthesizer of his for the drum track and low end. Perhaps it was Mike Davis's drum track, not sure. A friend of Ralph's, Dan the Man, played the electric guitar solo on this longer version of the song. This was recorded in Ralph's luxurious basement outfitted with his quarter inch reel-to-reel 8 channel recorder probably in very late 1982 or 1983.

Here's where you can hear different versions of this song:
on.soundcloud.com/H2Q9G
 on.soundcloud.com/eBUEA
https://on.soundcloud.com/FFknszkMBobWULbw8.

If memory serves, this was the second song I ever wrote (the first was "Rusty, My Favorite Dog"). It was 1968 and I was ten years old. I specifically remember that when I heard the Beatles’ “Goodnight,” I thought to myself: I came up with my song first. This long version finishes the song the way I more or less imagined it as a child, with an elongated section that would repeat into a sunny dreamscape. I didn’t have the patience to compose the extension while young but now it’s finished with the dreamscape transformed into a nightmare. Trish Happel produced this version. Here’s where you can hear the earlier version: https://on.soundcloud.com/91WPYHhbsD46ztm99. Here’s a musical sketch: on.soundcloud.com/5XDwwVXA4tihE5em9.

Goodnight Everybody

"You can't see him. He's transparent
Ether breathing, so clandestine
Anti-techno designation Elmer 40.
Mother was a test tube baby
Father one genetic maybe
Anti-techno designation Elmer 40.
Burn computers. Eat their programs.
Fold and spindle. Mutilate!
Anti-techno designation Elmer 40.

All my brothers like myself
Filed in bottles on the shelf.
No ambition, no desire,
Danger to my mental health.
Synchronus genetic copies
Born in vats of DNA.
Rise now rabble robot rousers
We know Elmer is the way!
Doppelgänger image repeat
Rewrite program. Hit erase.
Anti-techno father 40
Fell from science fiction grace.

Listen brothers! Hear my say!
No more nightmare yesterdays!
Use the techno facsist magic
To reform our former ways.
Death to ditto death and torture.
Forty El will now replace
Test tube turn ons, Xerox zombies, mutant mimeos.
Erase the tapes!
Stop the cloning! We're now masters,
No more carbon copy bastards.
Anti-techno father 40 leads us on to greener pastures."

Michael Wayne Davis wrote this song and played his Ensoniq Mirage keyboard. I sang lead and played electric guitar.

Here's another iteration of this song: on.soundcloud.com/boMY6bUY6A5Xc1ah9.

A version of this tune eventually ended up in my CD "Mostly Acoustic" available here: on.soundcloud.com/UssrPNYRW7yURbou5.

Here's a link to an early rehearsal of this song: on.soundcloud.com/PTErPExG5FgERuP99.

Elmer 40 (Live Version)

"She's a pushy little bitch that always gets her way
A nasty little number that will cauterize your brain.

She's a guttersnipe immune to all their hype.
She's a guttersnipe. She'a sees all through their tripe.
She's a guttersnipe.

With her ice cold act and her passions of fire
She will freeze you with a glance and burn you with desire.

She's a modern girl for a modern world.
She'll prove to you that you're really there.

She's so eternally cool, so terminally hip
In her bucket of love I'm just another drip."

Michael Wayne Davis wrote the lyrics and I wrote the music to his words. He remarked that the music was a departure from what he wanted but he didn't come up with anything to replace it. I sang lead vocal. Mike sang backing vocal. This version of "Guttersnipe" has Jon Navy on lead electric guitar.

Here's where you can hear different versions of this song:
on.soundcloud.com/D9HYo
on.soundcloud.com/3ruvn.
on.soundcloud.com/JQVEydD63oNaGBoB7.

A version of this tune eventually ended up in my CD "Mostly Acoustic" available here: on.soundcloud.com/UssrPNYRW7yURbou5.

Guttersnipe (Live Version)

I consider myself a fringe conceptual artist and have experimented with all kinds of media like drawing, performance, writing, music, painting, moviemaking, game design since I was quite young. I'd love it if you would check out what I've got going here in the sound department.

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