Author: Paul

I have been thinking about recording methods from the past as we set up our new Scarlett 2i4 interface. The first records we made were well rehearsed songs, banged out live in a studio. The early eighties brought in all this technology – electronic keyboards, midi and the ability to trigger prerecorded samples for a so-called “big sound.” Then in reaction to that we got caught up in the DIY movement. In 1986, with a gig playing three months of weekends in the Rochester Planetarium, we were tasked with syncing our music to a laser light show. We bought an Atari ST at Leon’s Typewriter on Clinton Avenue (there were no Best Buy’s or Apple Stores at the time) and an EMU SP12. We collectively wrote (Fournier, Dodd, Martin, Edic) songs based on improvisations, sequenced the basic tracks and then performed live, playing additional instruments and singing on top of those tracks. We put two of the songs from the Planetarium Show on the Personal Effects cd compilation released in 2008.

At the Colorblind show this weekend Chris Schepp told us he played a song of ours on his WAYO show and someone Shazamed it but didn’t get any result so they called the station. The song, “Melting Pot,” was one of those Planetarium songs that were only released on cassette. I put it online this morning.

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I’m quite sure that early on the shutters on either side of a window could be closed and latched to protect the inside of the home from the elements. But a some point in the relatively recent past shutters on windows became entirely decorative. Without hinges or latches, they were just nailed to the wall. Furthermore, if they did swing shut they would not be big enough to cover the window. We still see examples of functional shutters on old houses and it is always a treat.

Peggi and I finally got our Focusrite Scarlett 2i4 set up. It allows us to record two tracks of instruments or vocals, one for each of us. Of course we could layer to our hearts’ content. The red box had been sitting next to my computer for the past two years. It has been easier to just catch the whole band in one live take.

Watch Duane Sherwood video for “Cloud To Part”

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I predict the future will be really exciting. This morning’s paper had an article about Deep Fakes that included this nugget. “Some experts predict that as much as 90 per cent of online content could be synthetically generated within a few years.” Critical Thinking will be more important than ever and that is where the fun comes in.

We helped Jeff and Mary Kaye clear a path along the river for cross country skiing (if we ever get snow again.) It started snowing on our way back but it quickly turned to rain.

I saw the drummer for Sadistic Mika Band and Yellow Magic Orchestra died. That set us off on rabbit hole dive that ended with this mash-up gem, their version of Archie Bell’s “Tighten Up” performed on “Soul Train.”

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We stopped by Aman’s on our way out to Brad’s house yesterday. It was raining when we stepped out of the car and the parking lot was electric with a mix of oil and water. I bought a clean copy of “Clear Spot” at the House of Guitars on Record Store Day and we were saving it to play at Brad’s, on the giant speakers he inherited from Gary Bennett. It was like the old days, sitting in comfortable chairs with our eyes closed, while Beefheart’s voice filled the room. Brilliant lyrics, phenomenal playing and a voice that makes all others sound small and lacking in expression, there are easily five Top 40 tracks on this album for small parallel universe.

Brad was sitting with us when we saw The Captain at Red Creek in 1977 and you can hear him shouting as the band starts “Low Yo Yo” from the Clear Spot album. Here’s my cassette recording from that show. As a bonus it includes Beefheart’s explanation for why Drumbo left the band.

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I guess it was that podcast about Scorgies that planted the seed, the host talking about New Math at the Electric Circus. A couple of years ago Gary Trainer dropped off a cd of old New Math tracks, something labeled April 1977. It was recorded in our rehearsal space above the adult bookstore in the Cox Building, just a block from Scorgies but before he opened his doors. And I knew I had some old Super 8 footage that Peggi shot of the band from back then, dark, live footage from the Orange Monkey without sound, Kevin, Gary and I in front of the first Record Archive store on Monroe Avenue and then some goofy stuff from Mount Hope Cemetery. I put it all together with some crossfades. Duane Sherwood wasn’t doing lights yet so we’re pretty much in the dark.

There weren’t many places to play before Scorgies, the Penny Arcade up at the lake, Electric Circus on Dewey, Big Daddy’s, some place along the river that Howie from Six String Sales booked and the Orange Monkey on Henrietta Town Line Road, down the road from the Red Creek Inn. Pierre ran the Orange Monkey. It was a glam rock palace. Cheap Trick was playing downtown one night when were playing the Monkey and Rick Nielsen joined us on stage after their gig. We did Gloria and something else. He was wearing the hat.

I quit New Math shortly after the first single was released and Peggi and I formed the Hi-Techs. Our first gig was opening for New Math at Scorgies.

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Mike Russello contacted me to make us aware of a podcast he did about Scorgies. I would probably recognize him if I saw him because it sounds like he was at many of the same shows we were. He starts this episode before the Scorgies scene with a description of the a New Math show at the Electric Circus on Dewey Avenue. I was playing drums with them at the time and Mike brought me right back there.

He played three Personal Effects songs after that, when he back announced “Fascinating Game,” he said, “I think that song sounds better now than it did back then.” I think he might be right. I love the dreamlike, hypnotic pace and Peggi’s exotic Farfisa organ and snake-charming soprano sax. Martin Edic wrote the lyrics which were based on a dream.

We might try an instrumental version of the song tomorrow night at the Little Café.

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