Recorded by Shaun Norton at the Skid Row Studio, Cincinnati Nov. 1, 1987. Jack Lee Ison, Uncle Dave Lewis, Randy Cheek, Tim Schwallie, Steve Williams. Posted in memory of Randy Cheek.

S. Dymphna - Taking The Pulse Of A Dead Man

Recorded at Skid Row Studio, Cincinnati 1988. Jack Lee Ison and Randy Cheek. Posted in memory of Randy Cheek.

Sa An Ero Ic - Laffin

At one point I was circulating unidentified tracks in my tape collection to try and get the titles. This is one of Randy Cheek's pieces from before about May of 1988 or before -- it could be way before, but this is when I collected it. Randy wrote me "1st one is titled "Mt. Vernon" thanks for finding it. always one of my favorite things. missing to me.....I didn't have a copy. but have always loved it. may well be my 1st and possibly best guitar thing I ever recorded.no irony, no pre conception, just plucked from wherever music comes from....pure. like it made itself, i just held the guitar. cheered me up to hear it." [August 13, 2011] Thanks to Karyn Oldendick for the photo; RIP Randy.

Randy Cheek - Mt Vernon

UDA 602. The Stompers are: Uncle Dave Lewis, vocals, guitar, second drums; William Gilmore Weber (recording engineer) & Troy Gallaher, guitars; Elle Crash, bass; Julia Heather Prescott, drums; Amanda Bowman, fiddle. I was down in New Orleans, speaking at a conference, when the BP Gulf oil spill began. My stepmother is a civic official in a local community, and much of what went into the lyrics were things I overheard at meetings that I attended with her, written on the plane on the way back to Michigan. The music was designed to sound like a loud, late party way out of control, the musical equivalent of a drunk guy swinging on a Bourbon St. lamppost at 3 am.

Uncle Dave Lewis and the Corry Street Stompers - Hey Hey BP

UDA 684 (<Anh1.19) Original version made in May 1988 and played on the Art Damage radio program numerous times before I punched a big hole, by accident, into the original master, which I later lost. Thankfully, Jones Baag had copied it, so the original mix is still around. But I happened to discover the edited tape of the verbal only, and recombined it with a 'new' loop that parrots, and I think improves upon, the loop used at first.

The Master of Horror - Did I Come?

UDA 690.	Omaggio á Regondi, for concertina or button accordion	19941216-20161216	24 <Anh1.441
SCORE a. Noteworthy, 62 m
b. based on MS f.86.1.1-2, 49 m. (works out to 61) in 2-stave systems, incomplete.
Q see file
FILE wav. made from MIDI 12-16-2016
NOTE Inspired by David Starobin’s recordings of Giulio Regondi, which I got to know at while working at the Torrance Tower Records in 1994. Original MS only filled in for both systems in m. 1-4 and 10-13; the rest continues in the top stave only. It wasn’t practical for acoustic guitar, but works for concertina or button accordion which led to its completion on the 22nd anniversary of its beginning.

Uncle Dave Lewis - Omaggio á Regondi

UDA 692 (<anh1.283) I first improvised this piece at Sacred Grounds Coffeehouse during the Christmas season of 1993. I have several manuscript sketches towards it, but for this version I just sat down and plugged the whole thing in from memory, manuscripts be damned. I'll check them with it later; in the meantime Merry Christmas!

Uncle Dave Lewis - Irish Carol

UDA 587a. A combination of two pieces from "A Field Guide to Extraplanetary Objects" which I put together originally in 2012. i didn't regard the combination as successful, and thought I had discarded this score until 1-31-2018, when I found it and gave it another listen. I was like "This thing is tearing my head off!" But I recognized that it was unfinished, so I tweaked it a little and added another section, and for it's complete. I hope you enjoy it; it certainly made me want to dance!

Uncle Dave Lewis - Ariel Oberon Mix

UDA 533iii. I dreamt of a South African pianist who appeared to be improvising, but the music was being projected to him via laser light beam only he could see. He also seemed able to make objects appear and disappear around him; again, lasers. The whole thing was as much a magic trick as a piano concert, but in my dream consciousness it was transparent. When I awoke I got up and wrote out the music as fast as I could. As to the music's quality, it came from a dream, so it is not "regular." Chopin's great A-flat major Poloniase is like a Beef Wellington; this, I guess is more like mayonnaise. 

UD - Mayonnaise Polonaise

UDA 371. This is one of a very few pages that I have left of music written before I entered the 10th grade. Although at some point I dated it "Early 1975" it actually dates from either August or early September of that year, between my 14th birthday and my entry into the 9th grade. It is an experimental piece; the idea was to have an unpredictable, random sort of waltz accompaniment under a melody going willy-nilly and making no sense; a "waltz of the damned," if you will. However, despite my intentions, the piece has some measure of charm. I did not have a grip on notating rests or repeat signs at this point, but I definitely used them when I played it, and the MIDI file reflects the way this would have been played as much as it does what's in this primitive, handmade score with the typically super-big noteheads that kids make.

uncle_dave

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