I wrote this and Michael Davis and I performed. I sang lead and played my Fender Stratocaster. Mike sang backup and played electronic synthesizer and rhythm equipment that he had. We recorded this at Mike’s fourth floor loft located at 1231 North Honore Street in Chicago. An early log sheet labeled this recording with an uncertain date of April 15, 1982. Here’s where you can see a video of the recording: youtu.be/kItPo9csxfQ.

Michael Davis wrote this and the two of us performed. Mike sang lead, played electronic synthesizer and rhythm equipment that he had. I sang backup and played my Fender Stratocaster. We recorded this at Mike’s fourth floor loft located at 1231 North Honore Street in Chicago. An early log sheet labeled this recording with an uncertain date of April 15, 1982. Here’s where you can see a video of the recording: youtu.be/kItPo9csxfQ.

A version of this song won Best Psychedelic Song in The (2024) Psychedelic Film and Music Festival. I wrote this and Michael Davis and I performed. I sang lead and played my Fender Stratocaster. Mike sang backup and played electronic synthesizer and rhythm equipment that he had. We recorded this at Mike’s fourth floor loft located at 1231 North Honore Street in Chicago. An early log sheet labeled this recording with an uncertain date of April 15, 1982. Here’s where you can see a video of the recording: youtu.be/kItPo9csxfQ.

Michael Davis wrote this and the two of us performed. Mike sang lead, played electronic synthesizer and rhythm equipment that he had. I sang backup and played my Fender Stratocaster. We recorded this at Mike’s fourth floor loft located at 1231 North Honore Street in Chicago. An early log sheet labeled this recording with an uncertain date of April 15, 1982. Here’s where you can see a video of the recording: youtu.be/kItPo9csxfQ.

I wrote this and Michael Davis and I performed. I sang lead and played my Fender Stratocaster. Mike sang backup and played electronic synthesizer and rhythm equipment that he had. We recorded this at Mike’s fourth floor loft located at 1231 North Honore Street in Chicago. An early log sheet labeled this recording with an uncertain date of April 15, 1982. Here’s where you can see a video of the recording: youtu.be/kItPo9csxfQ.

"So he has decided to have the operation.

Both he and his wife think it would be good to have it done.

He wonders if the sacrifice is worth it for his health.

But then reflects that he does not know what to expect at death.

The doctors crowd his room to hear the course of his intent.

They all discuss the meaning of this great experiment.

You'll have an artificial heart (repeat)

On the night before the big day is due.

He kisses his wife and says hello to God too.

The morning comes and they wheel him into place.

A blonde and chesty anesthesist puts a mask on his face.

The sights the sounds the smells they all go away.

He has a funny dream about a Shakespeare play

And a balloon that deflates.

Here comes his artificial heart.

Remove his other faulty part.

Insert his artificial heart.

I think the suturing can start.

When he can finally talk his wife comes to his bed.

She asks him if he still loves her. He says "Love's all in my head 'cause"

I have an artificial heart (repeat)

He has an artificial heart (repeat)"

This track is the sound for my video art piece “The Machines Possessed Me (Abstract v2) Part 1.” The Abstract v1.5 won the Best U.S. Experimental Short award in the July 2023 Austin International Art Festival. You can view this video at https://youtu.be/8o3pu5wE1f0 and https://vimeo.com/435367103.

“Electronic Tonalities,” the source for this track, represented my earliest audio art and improvised electronic music. With this revised version my wife Trish Happel and I have augmented the original digitally. You can hear my original “Electronic Tonalities" here: on.soundcloud.com/JcXNWxZPhZ3EV7zN8.

If memory serves, this was the second song I ever wrote (the first was "Rusty, My Favorite Dog"). It was 1968 and I was ten years old. I specifically remember that when I heard the Beatles’ “Goodnight,” I thought to myself: I came up with my song first. This long version finishes the song the way I more or less imagined it as a child, with an elongated section that would repeat into a sunny dreamscape. I didn’t have the patience to compose the extension while young but now it’s finished with the dreamscape transformed into a nightmare. Trish Happel produced this version. Here’s where you can hear the earlier version: https://on.soundcloud.com/91WPYHhbsD46ztm99. Here’s a musical sketch: on.soundcloud.com/5XDwwVXA4tihE5em9.

A version of this song won Best Psychedelic Song in The (2024) Psychedelic Film and Music Festival.

I wrote the song, sang lead vocal, played electric rhythm guitar. Ralph Warchol played a synthesizer of his for the drum track and low end. Perhaps it was Mike Davis's drum track, not sure. A friend of Ralph's, Dan the Man, played the electric guitar solo on this longer version of the song. This was recorded in Ralph's luxurious basement outfitted with his quarter inch reel-to-reel 8 channel recorder probably in very late 1982 or 1983.

Here's where you can hear different versions of this song:

on.soundcloud.com/H2Q9G


on.soundcloud.com/eBUEA

https://on.soundcloud.com/FFknszkMBobWULbw8.

"The time is 12:23, last place I wanna be.


When will it come?


I've been waiting for an hour


And my stomach's feeling sour.


How late's the train run?

He doesn't know we're up here.


He'll never guess.


We're gonna soak him in light.


Set the coordinates.

When will the train come? When will the train come?


She thinks she's got me on her pinky.


She hits me hot 'cause she's so slinky.


When is it going to come?

The antigrav is on. Engage the brain caress.


When he starts floating up record the grok he gets.

Good evening Clyde.


We represent an advanced race of beings


From a space colony orbiting the Dog Star Sirius.


You may interpret this as a religious experience

But we want you to know that we are merely


Manipulating your brain patterns via quantum waves


To measure for the possibility of intelligent life


Arising on your planet.

And I wake up on the train. I can't remember my own name.


When did the train come?”

This new version has louder chipmunk voices. I wrote the song, sang lead vocal, played piano and other instruments. Ralph Warchol got the drum track from an LP. We altered the speed to create the chipmunk voice effect. That also helped with our perceived instrument playing agility. Ralph played the electric bass and perhaps other instruments, if I remember correctly. I believe this was originally recorded at Faith Chapel Radio Recording Studio in Berwyn (yes, Svengoolie's Berwyn). This dates the original recording because I had access to that studio after I began working there in January of 1981. I released the first version of this song on Jango Radio in 2009.

A version of this tune eventually ended up in my CD "Mostly Acoustic" available here: on.soundcloud.com/UssrPNYRW7yURbou5.

A version of this song won Best Psychedelic Song in The (2024) Psychedelic Film and Music Festival.

"The time is 12:23, last place I wanna be.

When will it come?

I've been waiting for an hour

And my stomach's feeling sour.

How late's the train run?

He doesn't know we're up here.

He'll never guess.

We're gonna soak him in light.

Set the coordinates.

When will the train come? When will the train come?

She thinks she's got me on her pinky.

She hits me hot 'cause she's so slinky.

When is it going to come?

The antigrav is on. Engage the brain caress.

When he starts floating up record the grok he gets.

Good evening Clyde.

We represent an advanced race of beings

From a space colony orbiting the Dog Star Sirius.

You may interpret this as a religious experience

But we want you to know that we are merely

Manipulating your brain patterns via quantum waves

To measure for the possibility of intelligent life

Arising on your planet.

And I wake up on the train. I can't remember my own name.

When did the train come?"

I wrote the song, sang lead vocal, played electric rhythm guitar. Ralph Warchol played a synthesizer of his for the drum track and low end. Perhaps it was Mike Davis's drum track, not sure. This was recorded in Ralph's luxurious basement outfitted with his quarter inch reel-to-reel 8 channel recorder probably in very late 1982 or 1983.

Here's where you can hear different versions of this song:

https://on.soundcloud.com/H2Q9G

https://on.soundcloud.com/eBUEA

https://on.soundcloud.com/TVcL7xxs6RiVZDay6.