This is a remix project for people who like to stay inside listening to Youtube music. Contemplate, as I have – the subtle and not so subtle changes about how I’ve taken Mighty Casey all the way through to Mighty Pool Boy (Bass Mix) Pt. 2 and ask yourself why? Why do this? It’s an exercise in computer music, state of the world 2022. It’s improvisation. The original Mighty Casey beat I mixed down on Virtual DJ sometime in 2011. That I created in Logic – the bass drum and hi-hat part, then added Tuvan throat singers and a slide guitar. This gave me the foundation to improvise bass and guitar for Call Me Casey. That session is what I’ve used to create the Is Pool Boy album. The most exciting thing ever is for me to mix all of these songs together with some rolls and special effects along with a fresh video mix…all from my personal collection. You will really enjoy it. I’m going to be nerding out on this a bit with another long format video on the changes I made during the remix process. For example -Mighty Pool Boy (Bass Mix) Pt. 2. What is more bassier? A 4th bass line, that’s what. So if you’re not satisfied with my work – you don’t like bass music as much as you say. For critics of the composition I will tell you both the bass line and the guitar part were improvised – one take! OK I did pick loops and remix in Ableton Live but that is improvised as well! In that way – I can say, this is jazz. Plus the piano stuff in general. But it’s the state of music, really that I’m communicating about here, not through this text but through the music itself. But, you should know – it’s computer-based other than the electric bass and electric guitar. I used a Peavey 5-string and a Behringer tube pre-amp for that and the guitar. The guitar is a Mexican Strat with surf pickups and a Germanium Fuzz with Supro tremolo. Otherwise this is all work in Logic and Abelton Live. Thank you for listening. Listen straight through from start to finish. I’m curious if it’s actually endurable or enjoyable this way. We’ll see! Ideally you nerds will be saying things to me like – in your set at Red Rocks – I liked that you mixed Mighty Casey Pt. 4 in with Mighty Pool Boy (Grampa Mix). I’ll say – you people have too much time on your hands. Then one of you will say – my favorite is Mighty Casey (Bass Mix) Pt. 1. For those of you just tuning in – it’s the one with the teapot solo. Yes, my other music has weird sounds in it too. This is garage music. I’ll say – do you mean you love me? And you’ll say yes. But that’s a long way down the road! Whatever. This is for bassheads and haterz and contemplating in college dorms and dancing to – really, dance to it. And yes – the artwork IS cheesy on purpose. I added clouds and a second lens flare to a sky that was cloudless and already had a lens flare. That’s so stupid. I really want to tell you about it. Fusion – jazz fusion with house music.
I was jamming with Lub Dub in Pullman and Porter Fitch brought up all the stuff around the Santa mythology so I ran with that. Originally I was just droning on C and Bb and doing all the stuff you hear on 4 Track Attack. But after a while I started looking into chords using those two notes and wrote a chord progression you can kind of hear working on Creature Dances. It’s a lot tighter on Winter Grasses and The White Christmas which is a metaphor and a drink they made at Red Star in Moscow. I was channeling Miles and Bird and Herbie on the solo parts that make up those head jams – Creature Dances and The White Christmas. Not being able to resist myself I then did the mixes you hear on 4 Track Attack which is exactly was that is – mixes off a Tascam and a cassette. Whelp, that’s music.
These were the leftovers I found when I went through my minidiscs. A lot of them have problems, cable noise for example – but the way I need to explain this is it’s garage music. I did the best I could and it tells the story of my songs. You’ll see that most of these tunes have vocals and I’ve always just been working on learning to produce myself. But that’s the story of the songs – and I hope I can survive and finish up making versions with guitar and vocals. I’m gonna try. I want all of you to know I’ve listened to this stuff front and back a lot of times and you should do the same. It’s good for you.
I think this one is my favorite.
This is the folksiest of the volumes – produced closer toward my time in Boise.
I took drum samples from my Uncle John’s records when I went up there to visit one summer in Ithaca. I put these on the Kaos pad sampler and then jammed with David McKelvey in my apartment. Always liked these jams so in 2022 I added some extra synth parts to the third one and released it. What the heck.
I wrote this music around the theme of Saturn. For example, the frequency of tones on Moons is based around the periods of orbits and the chords derived from math I did regarding the spacing of the largest moons relative to each other in distance. God takes sample at/about the deity – using David Icke. Somehow I accidentally made him say “twerking” – which, come on people – is maybe one of the coolest things that’s ever happened! My friend Leif says it doesn’t sound finished. Nothing’s finished Leif, unless you decide it should be.