We didn’t know it at the time, but the shows we did while touring on the re-release of Green Eggs and Crack in 1997 would be the last gigs we played for ten years. And the last of those were two shows in one day in San Diego. The first was an afternoon set at some street fair; the second was a way more inebriated affair at a complete dive called Homer’s.
Tommy dug up this footage recently, which was shot by friends or fans using his camcorder. Here’s a surprisingly tight version of “Poison Your Mind,” which includes shots of a three year-old Abby Quirk dancing (which she does about as well as her dad).
After the jump, if you’re brave, is what the day devolved to after a lot of drinking and, if memory serves, a fever on Jay’s part. Read more “Video: Live in 1997”
These aren’t exactly rehearsal tapes, but they are a bit rough, so we figure they qualify. These 5 tunes (and the accompanying interview) were recorded in a Manhattan studio whose name I can’t recall sometime in 1992 for a syndicated radio program called The Other Side, which was hosted by Curt Smith from Tears for Fears.
We actually thought we’d lost these tapes in a flood, but TMJ fan Paul Gutierrez contacted us via Facebook to let us know he’d taped the show. So here it is.
Mr. Smith, as you can hear, was both funny and gracious, and since it felt weird to be interviewed by someone more famous than us, we wound up asking him more questions than he asked us.
As with all Rehearsal Tapes episodes, we’re including a way to obtain the downloads. Sometime next month we hope to do away with the a la carte pricing on these things, and implement a way for folks to pay a single price that will unlock access to every single current and future download on the site — so, hundreds of tracks for one low price, which seems like a reasonable compromise between fans who ask very nicely for downloads of everything we post and band members who tend to think only the stuff we officially released was ever meant to walk around proudly in public.
We have no idea what would be a non-evil price to charge for such a thing, so please give us some suggestions.
We’re focusing on a track from Mutinythis week. Here’s what Sandy remembers about “Sort of Haunted House”:
The initial riffs for SOHH were composed to my rinky dink drum machine. It was a period of time when we were ripping off beats from some of our favorite hip hop songs (need I add, clumsily) and seeing what came out (“Unbeautiful” began the same way). Of course, when we took the song into a live setting, Tommy brought it to life in his own inimitable way.
When we recorded it we laid down that original rinky dink beat to retain some of the loopy vibe, and you hear a snippet of it in the song’s outro — followed unceremoniously by Tommy destroying said drum machine. Tim and Jay must have taped it back together. 🙂
Since Tim can’t say it, I will: these lyrics are awesome – maybe some of our best – and the song was fun to play, though rarely performed (while I was in the band).
My own recollections pretty much match Sandy’s, though I’m not quite as fond of the lyric as he is (personally, I think the bassline is what makes the song; it’s up there with the bass riff in “James Dean’s Jacket,” in terms of bouncy goodness). To me, the lyric was just an exercise in writing a story-song that Johnny Cash might sing. The title comes from a stray line in Don DeLillo’s Libra — a particularly DeLillo-ish sentence in which a character describes the overall vibe of some location with five simple words: “Very sort-of haunted house.”
Like a lot of DeLillo sentences, that one made me pause in admiration, and the song grew out of that pause, as I tried to imagine what a literal sort-of haunted house might be like to live in. I figured the phrase “sort-of” meant there’d be a ghost, but not one you were particularly afraid of.
For some reason, this one never found a permanent home in our set lists, although we did play it live a bunch before we recorded Mutiny. I remember, because the band had an argument about whether or not to play it at some show in Minneapolis that was being broadcast on a local radio station. I wanted to play it, because then we’d have a decent recording of a brand new tune, but the other guys feared it wasn’t solidified enough to get documented for all time like that.
I don’t believe the bashing metallic noise you hear at the end is an actual drum machine being broken. We may well have recorded Tommy kicking a drum machine to bits, but if memory serves the actual sound of that wasn’t particularly dramatic. So we set up a microphone in the kitchen of Messina Music and did numerous takes of us dropping a container of a bunch of random metal objects (washers, hammers, and other stray crap) onto the tiled floor. We kept adding more metal junk and dropping the box from an ever higher point until we got a noise that sounded sufficiently cathartic.
The fact that it also sorta sounds like a guy with a noose around his neck kicking the chair out from under him and making whatever pipe he’s tied the other end of the noose to go “Sproing!” is just a bonus.
Update: Bill just sent through his own blurbage about the tune:
When we first discussed my producing the album that was to become Mutiny (or, Don’t Worry, Bea Arthur) one of the songs on the demo the band sent me was “Sort Of Haunted House.” And in many ways this was the song that helped me ‘get’ them. Its lyric sensibility (like the fact that it’s a SORT OF haunted house) seemed to me to typify the band’s whole smart, arch, self assured (wise ass!) but also self deprecating aesthetic.
These eight songs were recorded during sound-check at the Newport Music Hall in Columbus, sometime in 1991. We were touring on Cereal Killers, but gearing up to make the next record, so had been working on new songs in hotel rooms and during long drives (“Donna Everywhere” was written in the van, in fact, while a roadie drove us 90 miles an hour through Oklahoma, and my girlfriend seemed impossibly far away).
Two of these never got much beyond this stage – “You Can Count on the Moon” because it was too overwrought, and “Death Ray Machine” because we were too stupid (this is a different version than the live-to-two-track version that wound up on Gods and Sods).
The rest made it onto Mutiny, although in somewhat altered form for a couple. “Walled City” evolved into “What it Is” once we wrote a chorus and some more verses – here we’re just jamming on a single verse, trying to find a shape for the tune. “Strong Thing” went through the opposite process – the song’s fully formed, but half the words here got tossed out and replaced (not that it was any help; I love the music, but the lyric was doomed to suckage from the outset).
Longtime friend-of-TMJ Bill Wikstrom just launched his own TMJ flotsam-and-jetsam site, Map Like Mine. We’re both flattered and a little weirded out by just how much stuff he’s collected over the years — the site’s crammed with things none of us have, including but not limited to old press kits, T-Shirt order forms, and a skeptical …finally review from Magnet.
Tim and Jay’s latest album as Wonderlick, Topless at the Arco Arena, hit stores today, so we’ll be doing some promotion this week.
We’ve got another Wine Time with Wonderlick webcast at www.stickam.com this Saturday night, 7/11, at 6pm PST. Tune in, and bring your own bottle of wine — if you have a webcam, you can broadcast yourself as you watch (it’s actually kind of fun when everyone toasts one another). We’re contemplating starting an advice segment, so if you have any relationship or mother-in-law problems, send them in before Saturday, and Wonderlick will distribute sage advice to you during the chat.
We’ll also be performing a few songs and getting interviewed on KUSF on Sunday afternoon, sometime between 4 and 6pm PST. You can listen live here. The performance will feature a full band — a first for Lick. Cross your fingers.
This one began life as “a rock opera for two voices and bass,” which Sandy and I wrote in an apartment in Tuckahoe, NY one drunken night so we would have something to perform at a scheduled appearance on Wesleyan’s college radio station that Jay couldn’t attend because he was in California.
Because we were A) lazy and B) didn’t have much time, the “rock opera” was little more than some repeated riffs with half-spoken/half-sung narration that attempted to string together a couple of random songs we’d already completed which didn’t actually have anything to do with each other: “Sense of Power,” “God’s a Fag” and “Connecticut.”
The whole thing was pretty stupid, even by TMJ’s lax standards at the time, and it completely bombed when we played it at the station, so we wisely trashed everything but the title after the disaster at Wesleyan. A few months later the girlfriend I’d been sharing the apartment with went off to medical school. The band was heading to California to start recording what would become Son of Sam I Am three weeks after that, so I asked my dad if I could crash at his new house in the interim. His exact words to me were, “Guests, like fish, smell after three days,” which is a quote from either Ben Franklin or Mark Twain, depending on who you believe.
It wasn’t his warmest moment, but he’d just finished divorcing my mom, and had sold my childhood home in Scarsdale and moved into a new place in Chappaqua, so I guess he wanted to start his new life unencumbered by memories of his previous one. And it gave me an actual subject for the snarky title.
Many years later, my dad told my wife thatSon of Sam I Am was his favorite TMJ album, because it ended with the words, “Hi, Dad.” Donna said, “I guess he never read the lyric sheet, huh?”
I said I guess not. But I’m glad he likes it.
Here’s the song as it eventually appeared on Sam:
And here’s a hint of what the rock opera version sounded like. As I said, it’s royally dumb, though I’m fond of Sandy’s dramatic delivery, and I still chuckle when the bum says, “I have epilepsy, just not at the moment.” The version below is just the bits that were meant to go in between the actual songs. It was recorded as it was being written on my answering machine, which accounts for the loud BEEPs you hear whenever we pushed pause, as well as the stray bit at the end from my friend Leslie, who called while we were working.
Not sure when this is from, but here’s Twisted Sister singing the praises of Too Much Joy’s “Donna Everywhere” video, presumably on MTV.
The guy on the right, Jay Jay French, actually approached the band about managing them at one point. Tim and Jay had an introductory meeting with him at his Manhattan apartment, which was decorated with all kinds of Twisted Sister memorabilia. He struck us as very smart and generous, but unfortunately he tried to bond with us by showing off his gear, and Too Much Joy know little and care less about guitars and amplifiers (one night I had to use Jay’s spare SG when my red Telecaster wasn’t working, and I was amazed by how much easier it was to play. When I shared my amazement with Jay after the show he just said, “I know! Why the hell do you think I use an SG?” Jay’s response pretty much sums up Too Much Joy’s approach to equipment selection).
Anyway, Jay Jay had some rare old guitar he was very proud of, and we were doing our best to act impressed. I think it was a Les Paul, but it was made of some unique kind of wood they only used once and was one of like three in the world or something. And to prove how special it was, he held it under Jay’s nose and told him to sniff it, because you could smell the special wood finish.
There were a lot of challenging moments in Too Much Joy’s career, but keeping a straight face while the dude from Twisted Sister made Jay smell his guitar was one of the hardest.
All right, we’ve gotten enough comments and emails that we’re making the “Lost Album” available for download.
Clicking the button below will get you the same premium MP3s as every other download button on the site. (If you haven’t heard it yet, you can listen to the whole thing for free right here.)
As I said when we launched this refurbished site, we’re hoping to force ourselves to keep it updated regularly by creating some recurring features. So here’s the first in what will be a continuing series if we don’t flake out. It probably won’t always happen weekly, but “Song of the Undetermined Interval of Time” isn’t quite as catchy. Hopefully I won’t be the only one writing these. Anyway, we’re starting with a track from Cereal Killers called “Good Kill.”
Longtime friend-of-TMJ Bill Wikstrom just launched his own TMJ flotsam-and-jetsam site, 
Tim and Jay’s latest album as Wonderlick, Topless at the Arco Arena, hit stores today, so we’ll be doing some promotion this week.
