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>You know Dr. Demento, yes? During the period when I listened to his show
>most often, he periodically played a long song called "The Legend of the USS
>Titanic" by Jamie Brockett. The song, unmelodic as it is,
>is permamently lodged in my brain, and so, in a fit of uselessness, I popped
>out the first two lines, in lieu of an introduction that wasn't quick to my fingers.

Like I said, a reference I was unaware of: Thanks.

>>On to the meat of the matter:

>Very well, then, in honor of Dave Thomas...

Or Chris Cornell.... ;)

>>>the whole approach wasn't all that precise, which is pretty
>>>essential to "Epoch" working -- it's one tune that was pretty thoroughly
>>>arranged from head-to-toe, contingent more on people being in certain places
>>>at certain times than anything else we wrote.

>I'm listening for all of the clever things that are in there that really make
>the song interesting. Compositionally, Sam and I really worked at weaving
>parts in and out...it's far more baroque than anything else Premonition
>threw together.

Actually, I would really like to re-record it with Sam. But since that just doesn't seem either possible or relevent for a non-existant band so much time after the fact. I do maintain your old idea that it would at least be nice to have a decent representation of that part of our lives, for postarity if nothing else. To say "Hey, I did this!" is a nice feeling sometimes. I just doubt if we'll ever have anything more than we already do.

>Oh, I don't think there's a whole lot of doubt in my mind that what's mostly
>there for "Fist On Fist" is better than the abomination that is four-fifths
>of Premonition doing the tune in Daynon's garage. I'm exaggerating a
>little, of course... In fact, I kind of LIKE the version, because I think
>Steve really kicked some ass there. It was funny, 'cause I really spent a lot
>of time working with him on a good vocal approach to the song, he disappeared
>into the studio to record the song that day, and I was beyond
>pleasantly surprised when I heard that what he'd laid down.

I'll agree that for what Steve's style was, that was definately the best approach to the song. Part of me likes it, but part of me is really annoyed with it, which is probably just because it's so different from how I did it. You can't blame me for being attached to the part I wrote. If I could get him to sing it that way over the version I have on tape, I would probably be pretty happy, actually. My wife, however, HATES it!! When he hits the high notes ("keeping the nooooooorm!") she cringes and tells me to shut it off. But, yes, you do have to sound kind of pissed off for what I'm saying lyrically.

>I think the whole issue at hand is that I had some notion of what the band
>should sound like. Not just a bass sound or two that I think is cool, but a
>whole, comprensive notion of what a band that I was a part of might want to
>do. That was the whole source of my dislike of the Daynon situation.
>...it doesn't sound like
>us, it's like a bad Premonition cover band. I think he captured Steve
>pretty well, but I was pretty unimpressed with the rest of the recording.
>And so I refused to pay a red cent for something to which I was not a party.
>I wasn't going to complain
>about something I wasn't going to pay for...I figured Sam could have the
>veto priviledge this time. And, to me, it sounds like it.

I agree with you completely. It was a $300 demo, and it sounds like it.

>Yeah, I understand the idea that you've got. What I'm saying is that,
>sonically, what's going on in that solo section is really pleasing to the
>ear now. The IDEA that you have is clearly superior, I think, the question
>seems to be if what would eventually go there would SOUND any better.

When I get done with a mix that does what I'm hearing, I'll submit it for your approval. We'll see how it works.

>>I've always maintained (and this pisses off Sam and Dave) that the only
>>reason Sweaty Worm sounds good on that demo is because it's the only version
>>that exists on tape

>I'm relative happy with that
>recording. Part of the reason I have a greater tolerance for the song is,
>of course, the reason you mention. The larger factor, I think, is that,
>compositionally, the song works better with his recording style than "The

Actually, I agree with you. It's pretty well a straight ahead metal song. I kind of wonder how What's Wrong With Women would have turned out if Daynon had been given it to record. It's so "80's metal" it's laughable now. I think Epoch and The Premonition are a little less dated and more worthwhile.

>Well, if the mail you've BEEN receiving isn't long enough for you, I think
>this one is headed in that general direction. In any event, I'm done for
>this iteration....

Keep it coming!

The Guru....

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