Written, Performed, and Recorded by Bob Ebeling and Charles Hughes in 1994 and 1995.
Originally released by Rustbelt / Small Stone Records in June 1996.
This was a collage, Gonzo Recording really. Big studios, basements, carriage houses from 1893, 'at anywhere and on anything' as the liner notes said. Bob and Charles used 4 track cassette machines which were dumped onto 16 track machines which were mixed down to 2 tracks then over dubbed on another 4 track... the music was more important than the fidelity. The instruments were whatever we could score at pawnshops for $50. Chemically concocted to be absorbed in full, capable of going somewhere special and new inside the attentive listener's inner world-- this was a cult hit for all exposed to it and led to EH getting signed to Zero Hour in NYC in 1997.
Approach the little bugs in their own magical fields, peer through the reverse kaleidoscope into your own sinusoidal synapses.
Pink Floyd's engineer Andy Jackson wrote a letter to Bob And Charles explaning his and 'the crews' excitement of discovering and love of this record. Picture this record entertaining the crew on a boat on the river Thames...
released June 1, 1996
Bob Ebeling- Acoustic 6 & 12 String Guitars, Beneath the Planet of the Apes Samples, Phased Howard Organ, Background Screams, Electric Guitars, Crumar Performer, Korg String Machine, Phasers, Bass Guitar, Oberheim OBX Synthesizer, Ursa Major Space Station, Alesis D4 Electronic Drums, Samples, Repeat Delay Fades, Lexicon LXP-1 & 5 Multi-Effects, Wine Glasses, Orchestral Bells, Character Voices, Arp Pro-Soloist, Multi-vox MX-312 Tape Echo, Fuzz Guitars, Shakers, Treatments & Tape Bounces
Charles Hughes- Digital Watch, Bass Guitar, Voce Micro-B, Voce Spin, Sequencial Circuits Prophet 5, Vocals, Electric Guitar, Howard Organ, Clavinet E7, Marshall 412 Cab, Yamaha Organ, ARP Omni, Roland Jupiter 6, Foxx Fuzz Guitars, Background Vocals, Rhodes Pianos, ARP Pro-Soloist, Morley Phaser, Foxx Foot Phaser, Ursa Major Space Station, Wurlitzer 200 Electric Piano, LXP1 & 5 Multi-Effects, Yamaha PSS-170 Strings, Film-Strip Voice Samples, Mellotrons, Crumar Performer, Crumar Vocoder, 4-track Cassette Manipulations, Character Voices, Treatments & Tape Bounces
Mike Henry- Electric Guitars on 'The Watch', 'Everything', 'Don't You Think the Sun' & '40 Quintillion Miles' (An Island Universe' & 'Shimmer Flicker') 'The Pearly Gates', 'Exaltation Intro', Acoustics on 'Acoustic Piece' & 'Acoustic Piece (from Appletree)'
Kevin Hagen- Electric Guitars and Bass Guitar plus composition on 'Trickling on the Mellow'.
Gary Spaniola- Slide Guitar Solo, Electric Guitars and Bass Guitar on 'Don't You Think the Sun' and '40 Quintillion Miles' ('An Island Universe' and 'Shimmer Flicker') as well as Orchestral funny stuff at end of 'An Island Universe'
Sarah Hughes Wrote and Performed 'The Lulu Song', Cello on 'Everything'
Matt Rufino- Electric Guitars on the outro of 'Vibrations' ('Listen for the Whale')
Marty Oshinsky- Bass on the last minute of 'Don't You Think The Sun'
Yuna- Girl Voices at the end of 'Lower Thyne Drawbridge'
William Soderman- Really helped Bob Sequence the whole LP on his (state of the art then) Akai 4 Track Hard Disc Random Access Recorder.
John Vitale & Chris Shier- 'All Turns Green', 'Lower Thyne Drawbridge', 'Cathedral'
Chris Shier- 'Trickling on the Mellow'
Gary Spaniola - 'Don't You Think the Sun' and '40 Quintillion Miles' ('An Island Universe' and 'Shimmer Flicker')
Thomas Ln.(the basement of a condo in New Baltimore)
Here we used a 16 Track Tascam MSR16 (16 Trck 1/2") with Tascam M2524 Board purchased for only $8000.
Honeycomb Studios (the top floor of an old Carriage Barn)
Fostex 4-Track Cassette. Sometimes a Two Track Cassette Recorder (City of the Dead).
Tone Zone (inside an old Big Lots in Redford where 50 metal bands rehearsed and lived) - A nice Fostex 16 Track 1/2".
Benjamin St. (Bob's 9x9 bedroom in a rental house)
Music Box Studios (Guitar Shop we turned into our four-track studio-- 4 and 8-Track Cassette machines)
Seller Sound (Gary Spaniola's State of the art 24 track/16 bit Digital Tascam DA-88 stocked room)
The last minute of 'Don't You Think The Sun?' was recorded on bloody ADATS in a guys basement studio in Warren, MI.
Al Sutton mastered the LP at White Room by running through a Massenburg EQ and some Neve Compressors. Then Dave Feeny gave it a final tweak at Tempermill.
Al Sutton released this on his Rustbelt label in 1996 and Scott Hamilton helped a ton with the distribution, promotion and getting us gigs.
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