masters for the 2nd Skafish albumĒ
When I finally got the go-ahead in July of 1982 to do the second LP from Miles Copeland, I was elated. It made perfect sense to me to simply pick up where the 1st LP left off, record another portion of the songs we used to do back in the 70ís, and complete that chapter of the story. I also thought to write a couple of new pieces to add a fresh touch to the whole thing.
In contrast to the 1st LP, I decided to make the arrangements for these tracks more other-worldly and surreal, with stranger synthesizer soundscapes, reverse voices, polytonal improvisation, vocoder, and a more meaty guitar sound. When the record company heard the masters, they HATED - HATED - HATED IT!!!! I remember feeling so ashamed of myself as an artist, along with a strong sense of failure....
About 15 years later, I had a strange hunch to look for the tapes. Instinctively I went down to my basement--the same basement my band cut "Disgracing" in back in 1978, and voila--there they were! I had everything, and I felt like a baby freak on Xmas morn holding a pile of socially unacceptable presents from some alien iconoclastic Santa. When I had the tapes copied to a digital format, I was AMAZED!! Even today, I would bet that most people anywhere still couldn't begin to deal with these pieces--lyrically or musically.
Letís Play Doctor: A chainsaw synthesizer part simulates hacking me up... In my teenage years into my early 20ís, I felt a strong sense of gender disorientation. I wasnít identifying with being male or female at all.
concept of breaking in and murdering a respectable, proper, upper middle class
family in their picture-perfect home was my revenge fantasy for being completely
and utterly discarded by respectable society.
In the music, lyric, and production, I attempted to put every drop of
anger and hatred that I ever felt toward society on tape and LET IT RIP!!!
I felt pleased when Gary Loizzo kept commenting on how terrifying the
composition was. During her take,
Barbie seemed to have become overtaken. She
suddenly started speaking in tongues, blurting out syllables and sounds I had
never heard before.
Doll Dream House ~(with Barbie Goodrich & Skafish monologue):
Barbie Doll Dream House ~ (with Barbie Goodrich monologue only): (Same as the track listed directly above, except the monologue section features only the Barbie Goodrich monologue)
ďWeíll See,Ē Daddy Says (The Chicago Cubs Baseball Game): We tried to capture the ambience and sounds of a baseball game from the vantage point of my adolescent and distorted experience. Javier had some great ďhome runĒ synth sounds, the band was cheering, and we put my voice through a harmonizer to make it sound more boy like and slightly artificial. When I was a kid, my dad use to take me to the Cubs games even though I didnít want to go. The lyrics ramble at a high-speed pace, but itís the last lines of the song* that used to always be the shocker when weíd play it live.
Invited Me Here: For
this one, we recorded breaking glass, 4th of July firecrackers, loud party
favors, and lots of carnival synthesizer sounds. Barbie and I sang this one together, elated over the fantasy
of being a tornado at a pretentious party and leveling the proceedings.
Executive Exhibitionist: When I first wrote this, it was partially based on the anger I felt for the enormous slabs of hypocrisy I had witnessed; both religiously and politically. I created a character that was two faced; family man and businessman at the office, exhibitionist to children at the schoolyard. Compared to the 1st version of 1976, this arrangement used more reverse taped effects and psychological sounds as opposed to musical instruments. I thought it was great to come full circle on the 2nd album, and record thisóour first opening number from early 1976. How wrong I was.