Tracklist Hide Credits

1	Bogle in My Soup Drums, Keyboards, Lead Vocals, Harmony Vocals, Dialog – John TabaccoTrumpet, Dialog – Nick DiMauro	02:10
2	This I Need to Know Drum Programming, Electric Guitar, Electric Bass – John Tabacco	03:49
3	The Eyes of Mars Drum Programming, Keyboards, Sound Designer, Voice, Lead Vocals – John Tabacco	03:35
4	I'll Plant The Bug Drums, Bass, Keyboards, Lead Vocals, Harmony Vocals, Backing Vocals – John Tabacco	03:37
5	Sinday Lead Vocals, Electric Guitar, Keyboards, Harmony Vocals – John Tabacco	03:50
6	Pog And The Girl's From The Crippled Spider Drums, Electric Guitar, Electric Bass, Keyboards, Lead Vocals, Backing Vocals – John Tabacco	03:43
7	We Believe It So Well Drums, Keyboards, Acoustic Guitar, Lead Vocals, Backing Vocals – John Tabacco	02:29
8	Nice Life, Nice Life Drums, Electric Guitar, Electric Bass, Glockenspiel, Lead Vocals, Backing Vocals, Sounds – John Tabacco	03:28
9	3 Boys (Related To An Aging Tycoon) Lead Vocals, Keyboards, Synth, Percussion, Backing Vocals – John Tabacco	03:16
10	Wash The Blood With The Rain Percussion, Electric Bass, Electric Guitar, Lead Vocals, Harmony Vocals – John Tabacco	02:41
11	Mr. Daddio Lead Vocals, Harmony Vocals, Drum Programming, Keyboards, Synth – John Tabacco	03:24
12	Bulbs Blow Out Lead Vocals, Harmony Vocals, Drum Machine, Keyboards, Electric Organ – John Tabacco	03:41
13	Scarepuck City Electric Guitar – Gerry PalisiLead Vocals, Harmony Vocals, Keyboards, Drum Programming – John Tabacco	05:22
14	You May End Up In Wyandanch Keyboards, Lead Vocals, Harmony Vocals, Sitar, Drum Programming – John Tabacco	06:56
15	Move! Drum Programming, Lead Vocals, Harmony Vocals, Keyboards, Sampler – John TabaccoVoice – Nick DiMauro	05:09
16	Cry Baby Cry (Can You Take Me Back) Keyboards, Vocals, Harmony Vocals – John Tabacco	00:35
17	Take Me Back To The Lodgings Keyboards, Drum Programming, Sampler, Lead Vocals, Harmony Vocals – John Tabacco	04:15
18	Looks Drum Programming, Electric Guitar, Bass, Keyboards, Lead Vocals, Harmony Vocals – John Tabacco	01:42
19	It Had A Snorkle Mug Drums, Keyboards, Synth, Lead Vocals, Harmony Vocals – John Tabacco	05:27
20	Mr. Roadmeat Lead Vocals, Harmony Vocals, Keyboards, Sound Designer – John Tabacco	02:33
21	Page Lead Vocals, Electric Guitar, Electric Bass, Keyboards, Synth – John Tabacco	02:58
22	Wake Up My Friend Lead Vocals, Harmony Vocals, Keyboards, Drum Programming, Sampler – John Tabacco	02:31
24	Split A 47 Electric Guitar, Drum Programming, Keyboards, Synth, Sounds – John Tabacco	05:41
25	Don't Keep The Answers To Yourself Drum Programming, Keyboards, Horns, Strings – John Tabacco	06:07

Credits

• Producer, Arranged By, Performer – John Tabacco

Notes

THE TASCAM 38 / 8 TRACK YEARS 1984-88.
The time:
Spring 1982.
The place:
State University at Stony Brook
Music Building 2nd floor
Composition Class
Basic reason for being there:
Supposedly to study the fine art of musical composition
Real reason:
To meet Nick DiMauro

Once upon a time a fellow college mate of mine played our composition class a jazzy sort of piece he wrote and performed. It featured him on trumpet along with a few other instruments. Unlike most of the live junk my composition pals played, this piece was musical and the recording wasn't that bad. To say the least, I was impressed, intrigued and relieved that I wasn't the only nut who spent his time jerking off on quarter inch tape. That college mate was NICK DiMAURO. When I dug up the courage to tell him about my quarter inch AKAI GX4000-D™ sound on sound recording obsession, he seemed to understand quite clearly the deep side of absurdity that I lived everyday. Who but an existential dot would spend his sleeping hours agonizing over a cheap sped up bell part to a tune called, "DISCO PUS" that no one in the immediate pop culture was ever going to hear? Well, that dot was me and Nick had no problem with it except when it got in the way of me calling him up just to hang out. (Ok, so acceptance of one's quirkiness is tough but that's what makes life oh so wonderful...RIGHT? ) Anyway, he got used to it. Now from my point of view I had no problem with Nick. He was without question, the funniest, most obnoxious, imaginative person I'd ever met, so that in itself was cool and enough to keep me from being one of the most anti social characters in the music department. Our shared sense of humor, philosophy and love for hip chord changes made going through the motions of college a lot easier. He eventually coaxed me into giving him a tape of some of my early AKAI music. When I found out he didn't hate it and actually quoted a line from my song "You're Gonna Die Someday" I knew that he wasn't one of those fly by night acquaintances. We hung out a little more each successive day, sometimes at his house (which was a new experience for me) and listened to records on his father's ultra "class A” equipment. His parents were always kind to me and countless times they fed me some of the best home made cooking anywhere. Nick introduced me to chicken and broccoli, cold noodles in sesame sauce and David Lynch's film "Eraserhead". Soon my sister Laura would think to herself, "Who is this strange guy my brother is friends with?" " He doesn't know how to have friends."

When she first met Nick she couldn't deal with him. His acid wit and free wheeling approach towards life (like going into our refrigerator to grab something to eat without asking) was too much of an opposite curve for her. There was definitely a weird vibe between the two of them that eventually came to a head right before our Florida trip in 1985. Ever since then they've been good friends.

It took two years but I finally loosened up enough to take my jacket off at Nick's house. We used to talk for hours about that soft spot on top of babies heads and owning our own studio, in a voice we borrowed from our orchestration teacher John Lessard. That voice eventually evolved in to a character we we're commonly associated with called The Priest. A lot of people who meet us for the first time know it's the Priest intuitively when we use the voice so apparently we've hit upon something deep. If I could just make a movie about this character perhaps I’d find out what it is. Make a note of that.

The year was 1983. The month be May and I graduat'em from da Stony Brook college. My father wanted me to pay rent so I took a summer job at a rent-a-car service down the road. I stayed at that job for three miserable years. My one goal: Save up enough money to buy an 8- track studio. Within a year I had the cash. On my father's 51st birthday 5 /18/ 84, I purchased a Tascam 38™ / 8 track recorder and a Tascam M50™ mixing board. It was a nerve-racking decision. My parents were on vacation at the time and this felt like the perfect opportunity to see what it was like to spend six thousand dollars in one afternoon. I was scared. Maybe I should I buy a car or invest in some video shoehorn company? More importantly what will my folks say when they see I've taken my closet door off the hinges in order to fit all the equipment in my tiny bedroom? I know what to do! Let's take all the equipment and set it up in Nick's bedroom first. Yeah, that way I can slowly sneak it into my house and my folks won't suspect a thing, right? Not exactly. I told them about my big purchase as soon as they got back and surprisingly they were more annoyed at me for bringing my closet door up to the attic. Weird. Nick and I did initially set up the system at his house for a few days and with some help from his friend Paul Michael Barkan we were on our way. We quickly taught ourselves the basics of multi track recording / production, screamed "Look Out For The Cheese" numerous times and in a short while found ourselves getting paid to engineer. Our first gig was The Long Island Brass Guild. Later on it would be the influential songwriter Dan Robinson. The pay was minimal but the experience invaluable.

Through it all, there was one person in the background who was watching all our moves. He didn't say much. He would just blend into the background often holding a twisted piece of brass in his hands. Nick and I helped record his first tune. It was a complex ditty that had an acapella section, a trumpet solo section (that he played), an Arabian sort of ending and a killer opening line: "Oh, god what happened..." He would later write an instrumental called "Saving Grace" that would bring tears to my eyes. That person was none other than Nick's brother Gian; a super talented Gearhead Freak who has always been an encouraging force in my life. It is to him; Nick, Laura and Paul Michael Barkan that I dedicate my 8 track work to.

It is now time to put this period of my musical career into a neat little package and move on.
HERE I AM LETTING IT GO....AHHHHH YEAH....DEEP DARLINGS....OH I AND I BUT I AND
I ....OH I.......AHHHH....

- John Tabacco 4 / 19 / 92.

Credits:
JT : Vocals, Guitar, Keyboards, Bass, Drums, Programming, Recording and Mixing
Nick DiMauro : Trumpet on "Bogel In My Soup"
Gerry Palisi : "Find A Way" Solo on Scarepuck City
Recorded at Suburban Hermit Studios 1, Stony Brook, NY
Recorded on to a Tascam 38™, 8-Track reel to reel using DBX noise reduction
Mixed through a Tascam M50™ mixing board
Amplification : Mono Luxman Tube Amps
Playback speakers: Paisley, Yamaha NS10, JBL 4312
Mix down deck: Sony Cassette deck, Zenith 6 Head VHS deck,
Sony PCM 501 ES™ onto Beta Digital Tape
Computer : Atari™ - Program : Hybrid Arts™
FX : Yamaha Rev 7™, Ibanez™ Digital Delay Dm1000,
Symetrix™ 522, 2 Channel Compressor Expander
Microphone : Neumann™ U89
Keyboards : Mirage™, Yamaha™ PF70, Roland ™Juno 106, Casio™ CZ 5000,
Guitar : Washburn™ Electric, Fender™ Bass, Yamaha™ Acoustic
Drums : 1976 five piece Pearl™ fiber glass kit with three roto toms and three Zildjian™ cymbals including Hi Hat,
Oberheim™ DX drum machine, Alesis™ drum machine

Mastered using the SA3 (RISC) Array in Bob Ball's basement in the winter of 1995.
Cover and CD design by Farben Fosfeen Artwerks

All music and lyrics © 1984-88 by John Tabacco - Published by It Iz What It Iz Music - except:

Cry Baby Cry (Can You Take Me Back) © 1968 by Lennon and McCartney
Published by SONY/ATV TUNES LLC DBA ATV OBO ATV (NORTHERN SONGS CATALOG

Barcode and Other Identifiers

• Barcode: 191018554002