... the whole deal behind DWAB, since I know you all want to know just what the hell is going on here. Simply put, DWAB is jus another idea of a way for me to pass my time, and I owe a certain amount of credit to my little brother, Shirvan, with whom I did the first DWAB song.
Some of this tape sounds like shit. Or all of it, if you're fussy about sound. But I didn't get a four-track until about half of the way into recording everything, making me rely entirely upon multiple tape decks (and luck in timing) to layer my hundreds of tracks.
DWAB songs are usually "just done," meaning that they aren't really rehearsed.... They are just made up while being recorded. I don't know why I like that style of production. I just thought it seemed fun, and I liked the result of the first song and I thought that I would work with that further....
I can still remember it all so clearly. I was playing in a "band" called Distortion, and we would get together on weekends with a Casio keyboard, a couple of buckets, a ghetto-home-made-mixer, a guitar, and a microphone, and work all day on these absolutely horrible songs. I was the singer... if you could call my monochromatic vocalizing singing.
That musical excursion fizzled fairly rapidly. The house on Mission Canyon Road was quiet for a while. Until the day that Shirvan joined me upstairs, and we set up a collection of tin cans with pennies on top to make them rattle, and I stuck a microphone inside my battered, out of tune guitar, and we hit record and ended up with an incredible beastly blast of improvised noise that was entirely fun and impressive to me.
Shirvan and I did, in twenty minutes, what the four guys in Distortion had labored months towards. But then again, Distortion was a band, and DWAB certainly was not....
My general technique for composition became calling up a friend and asking them to come over to accompany me while I rocked on. I had about three tape decks, with each tape deck being a different "track" going into the home-made mixer, the output of which went into a fourth tape recorder. That was my high-tech, multi-track studio.
Eventually my grandfather suggested that I look into what I might need to make better quality recordings, and he bought me a bare-bones four-track recorder, which changed the story entirely.... Most of the longer songs on this CD are from that later, more controlled era. The more we listen and play, the more we learn....
The original official cassette version of Music for, and About Gods was a full 74-minutes long. This was more a matter of convenience on my part. A friend of mine needed bulk 74-minute blank tapes, but only needed 50, so I bought the other 50 from him.
The music on the cassette was presented in a continuous manner. There was no blank space on the original tape. As a song was ending, I would fade in a piece of music by groups I enjoyed listening to, then fade in my song.
In this "condensed" version, I have cut out some of the songs that were unbearably deteriorated by my excessive home-style multi-tracking, and have minimized the amount of non-DWAB music. All songs now appear as separate entities.
This is the print version of: