Bloodhail (Remix)

Fantasy Violence

This was from the last recording session with Wonderboy before I left L.A. early 2000. We recorded this live together at Waves in Studio A with John Chominsky at the helm. The only overdubs were the vocals. This is one of Robbie's finest vocal performances ever. He did four takes. This is all take four, with maybe two brief punch-ins. This was only released on a very rare compilation disc that was included in the first 500 copies of the book Shake Some Action which was about the top 200 Power-Pop albums of all time. Wonderboy's "Napoleon Blown Apart" was on the list. We definitely rocked!

Can't We Just Sleep Together? (One More Time)

1977 at EMSA in Florence, MA using the large EMS Vocoder sold to Stevie Wonder, some words I wrote (February 24, 1975), three MiniMoogs, a Beyer microphone, 2 Revox half-track machines, and a toilet.

By the edge of a pool,
Deep in a woods
I watch myself watching
Eyes that see back.

A nose framed by skin
Wrapped round bones
That shatter a cleavage
Shaped by waves

I touch my own fingers
Wet, warm, and dry
They pass through each other
And then return

I follow my thinking
Always behind,
Thoughts follow all circles
Folding under

Fling prayers for my soul
Upward beyond
I long for the reward
that will be mine

A pike bursts the liquid
Smooth, sleek, and cold,
swallows a water bug
Then sinks below.


By The Edge Of A Pool

This is a scratch vocal version of a cover we never played live as the Scientific Americans. Recorded in 1980 on a Teac 3340s, I believe it is just me & Craig O'Donnell; Sean Elias may be in here. We never did this live but recorded many tracks at the time with simple scratch vocals as placeholders.  I love this. MiniMoog, Synthi AKS, Roland CR-78, MXR rack Flanger/Doubler, Korg Stage Echo, and more.

Lyrics:

If you've got a penny won't you lay your money down
Hear the sound of money - there's bankers all around
Crawling round on Wall Street, they're creeping in the vault
If they take your savings, they say it's not their fault

Give me a nickel, hand me a dime
Willie & the Bank Boys will get you
Gonna get you every time

Every night at supper time, just about 5 o'clock
Every year at summer time they're lounging on their docks
Wintering in Nassau, blowing their kazoos
Working for the Wassau, they rip off us yazoos

Give me a nickel, hand me a dime
Willie & the Bank Boys will get you
Gonna get you every time

Give me a nickel, hand me a dime
Willie & the Bank Boys will get you
Gonna get you every time

Give me a nickel, hand me a dime
Willie & the Bank Boys will get you
Gonna get you every time

If you've got a penny, won't you lay your money down
Hear the sound of money, there's bankers all around
Crawling round on Wall Street, dreaming in the vault
If they take your savings, they say it's not their fault

Oh! Give me a nickel, Hey! hand me a dime
Willie & the Bank Boys will get you
Gonna get you every time

Give me a nickel, Hey! hand me a dime
Willie & the Bank Boys will get you
Gonna get you every time

Give me a nickel, woo! hand me a dime
Willie & the Bank Boys will get you
Gonna get you every time

Give me a nickel and hand me a dime
Willie & the Bank Boys will get you
Gonna get you every time

Gonna get you every time

Willie & The Poor Bankers

Cigarettes (Second demo)

Bob Dylan. A collaboration by longtime friends, each contributing from the comfort and safety of home.
Vocals, Rachel Funcheon & Bob McHugh; Keyboards, Jim Connell; Electric Guitar, Jay Greenfield; Slide guitar, Vic Harrison; 12-string guitar, Dave Goessling; Acoustic guitar, Myke Connell; Bass, Joe Kelley; Drums. Bill Funcheon. 
Produced and arranged by Jim Connell and Bob McHugh.

I Shall Be Released

Tele-improvisation by Ethernet Orchestra featuring an excerpt of the ReedSong poem by Jalaal ud-Diin Rumi 1490 performed by Mir Shahabeddin Chilan.

The online improvisation features:

Chris Vine (guitar and beats)- Londrina, Brazil

Mir Shahabeddin Chilan - (balaban and poetry) - Sydney, Australia 
Roger Mills (trumpet) - Sydney, Australia

English translation of poem excerpt:

Hearken to the reed flute, how it complains, Lamenting its banishment from its home:
“Ever since they tore me from my osier bed, My plaintive notes have moved men and women to tears. I burst my breast, striving to give vent to sighs, And to express the pangs of my yearning for my home. One who abides far away from home Is ever longing for the day one shall return.

Jalaal ud-Diin Rumi 1490 adapted from Masnavi i Ma’navi,
translated by E.H. Whinfield.

Reed Song Improvisation

The Primates, Billy Swann:bass, vocals; Carl Peachey:guitar, vocals; Mark Muscato: drums; me:lead vocals, synths.

Recorded in the winter of '85/'86 at Hit and Run studios, Rockville MD.
Engineered by Steve Carr & Nick Brown
(C) 1985 Nick Brown

Primates - Sound and Sedatives

Aging, failed electronic musician. Former VP in several boring companies, ALZ primary caregiver for 5 years, now retired and back to trying to practice music daily.  I'm not very good but I have fun.  In the late 70's I was the office manager for the US importer of EMS synths and also sold large Moog modulars, ARP 2500s, Oberheim, and Revox equipment. Vocalist/synthesist with the Scientific Americans, collaborator with the younger Elliott Sharp, guest musician/writer with WKGB.

By The Edge Of A Pool

synchro1

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