"Float away where your mind can go into disguises,

No one realizes. No one realizes.

Flying by all across the sky into disguises,

No one realizes. No one realizes.

Float away, etc... into disguises float away, etc...

Sailing now to a port down south to the North Pole

We're takin' the long route.

Freda's coming in a boat behind the stats followed by

A flying saucer from the planet Krel with a million little green men

With heads as big as watermelons.

Heads as big as watermelons!"

"No One Realizes" was inspired by the feeling of ineffability one can get from a mystical experience. With this tune that I wrote, my very talented friend Ralph Patrick Warchol and I began a wonderful recording partnership. If memory serves, we were rehearsing with Mike Willett in Ralph's comfortably furnished basement. I left my electric bass guitar with Ralph at his request and he multitracked all the instruments by dubbing back and forth with a two channel reel-to-reel tape recorder and a cassette deck. Ralph got the drum track from an LP. When I returned I was pleased to hear what he had made and I sang the lead. Ralph and I also sang backing vocals. We recorded this sometime in 1979, if Ralph's memory serves.

Here's where you can hear another version: on.soundcloud.com/xSG6S.

"The sun rises in the east and it sets in the west

And a day happens in-between.

Chroisyavana greets the dawning and the sunlight stretches in.

Hear the laughter.

Dinisdugavindaveda,

Everything is new when I am in tune.

Dinisdugavindaveda, oh!

The sun rises in the east and it sets in the west

And a day happens in-between."

I'm guessing I recorded this sometime in 1977 when I was 19 years old. Inspired by mysticism, I wrote the song, sing, play all the instruments, if memory serves. I multitracked this recording with two tape recorders. The first recording made the basic track of upright piano with my vocal put through an amp to add reverb. I then played the recording back through speakers into a second miced recorder while I performed acoustic guitar. I then repeated the process to eventually include bass guitar. Perhaps I added the vocal last, I cannot recall. This process generated a lot of noise so I applied noise reduction many years later.

The image is a linoleum print I made in 1977 entitled "Figure-Ground of Being." Here's where you can see more of my artwork from the era: http://michaelanthonybohacz.name/college_pictures.html.

I wrote the song, sang, played all the instruments, if memory serves. I multitracked this recording with two tape recorders. The first recording made the basic track of upright piano with my vocal. I then played the recording back through speakers into a second miced recorder while I performed on another instrument and sang backing vocal. I continued to bounce recordings this way to include acoustic guitar, electric bass guitar, electric guitar solo. This process generated a lot of noise so I applied noise reduction many years later.

You can hear a further development of this song here: on.soundcloud.com/oHtHR.

When Michael Wayne Davis and I began hanging out together we started, among other things, improvising comedy. We took on different characters and voices and interacted spontaneously to create scenarios. Our characters Dr. Frankenfreak, played by Mike, and his hunchback assistant Egor, played by me, were inspired by the 1931 Universal film "Frankenstein." We didn't get around to recording the scenarios on audio together until after, if memory serves, I had recorded our characters myself playing all the roles.

This musical sketch was probably recorded sometime during 1977 or thereafter. I continued recording these sketches through the rest of the 1970's.

This musical sketch was probably recorded sometime during the last half of 1975 or thereafter. I continued recording these sketches through the rest of the 1970's.

Here's a musical sketch of the song that's a little further along: https://on.soundcloud.com/76ESK.

Here's a more or less finished version: https://on.soundcloud.com/69eVCVrxQLBVgkyn6.

I believe I began drawing my comic character Nick the Cliff Dweller in 1968, or perhaps 1967, when I was 9 or 10 years old. I probably began singing the song around then. The Nick the Cliff Dweller song was inspired by my older brother Buddy who improvised a song with lyrics I didn't use but a tune that I did. Here's Buddy's original lyrics:

Nick the Cliff Dweller he's a fine feller

As swell as swell can be.

He lives on a hill with his moonshine still.

If the bats don't get 'em then the vultures will.

You can see my Nick the Cliff Dweller comics here: michaelanthonybohacz.name/childhood_pictures.html.

I recorded friends as we improvised comedy. This first selection from our cassette "77-79" features Mike Willett, Ralph Warchol and myself. We borrowed music from the Beatles' "Baby, You're a Rich Man."

I recorded friends as we improvised comedy. This second selection from our cassette "77" features Mike Willett, Matt Anthony and myself. We borrowed music from "William Tell Overture." "77" has recordings from 1977 when I was 19 years old.

I recorded friends as we improvised comedy. This fifteenth selection from our cassette "77" features Ralph Warchol and myself. We borrowed music from "Love You To," "Sexy Sadie," "Helter Skelter" by The Beatles. "77" has recordings from 1977 when I was 19 years old.

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 was the first time I recorded it and this version of the musical sketch was probably recorded sometime during the last half of 1975 or thereafter. I continued recording these sketches through the rest of the 1970's.

You can hear a more refined version here: https://on.soundcloud.com/7u6gs47uyNMKji2p8.

Here’s a finished version: https://on.soundcloud.com/E6QuE4TgybSBvzsv9.